The visual style of Susanne Bier’s films

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

The visual style of Susanne Bier’s films. / Hansen, Lennard Højbjerg.

In: Journal of Scandinavian Cinema, Vol. 7, No. 3, 09.2017, p. 253-266.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Hansen, LH 2017, 'The visual style of Susanne Bier’s films', Journal of Scandinavian Cinema, vol. 7, no. 3, pp. 253-266. https://doi.org/10.1386/jsca.7.3.253_1

APA

Hansen, L. H. (2017). The visual style of Susanne Bier’s films. Journal of Scandinavian Cinema, 7(3), 253-266. https://doi.org/10.1386/jsca.7.3.253_1

Vancouver

Hansen LH. The visual style of Susanne Bier’s films. Journal of Scandinavian Cinema. 2017 Sep;7(3):253-266. https://doi.org/10.1386/jsca.7.3.253_1

Author

Hansen, Lennard Højbjerg. / The visual style of Susanne Bier’s films. In: Journal of Scandinavian Cinema. 2017 ; Vol. 7, No. 3. pp. 253-266.

Bibtex

@article{ae5461d848804565a9b1ff1c743a535b,
title = "The visual style of Susanne Bier{\textquoteright}s films",
abstract = "This article analyses four of Susanne Bier{\textquoteright}s films with regard to audio-visual style and the role of style in relation to the presented story. Bier{\textquoteright}s visual style in the selected films – Open Hearts (2002), Brothers (2004), After the Wedding (2006) and In a Better World (2010) – is a combination of a generally applied style that I call Dogme light and one consisting of various small montages and extreme close-ups. The Dogme light style can be traced back to the tradition of realism, and Bier has used it consistently throughout her directing career, whereas her use of small montages has varied greatly from 2002 to 2010. By combining these two stylistic tendencies, Bier has become highly regarded internationally as an art-house director, while also reaching a broader audience in Scandinavia.",
keywords = "Faculty of Humanities, aesthetics, art-house style, Dogme light, neo-formalistic film theory, montage, segmentation",
author = "Hansen, {Lennard H{\o}jbjerg}",
year = "2017",
month = sep,
doi = "10.1386/jsca.7.3.253_1",
language = "English",
volume = "7",
pages = "253--266",
journal = "Journal of Scandinavian Cinema",
issn = "2042-7891",
publisher = "Intellect Ltd.",
number = "3",

}

RIS

TY - JOUR

T1 - The visual style of Susanne Bier’s films

AU - Hansen, Lennard Højbjerg

PY - 2017/9

Y1 - 2017/9

N2 - This article analyses four of Susanne Bier’s films with regard to audio-visual style and the role of style in relation to the presented story. Bier’s visual style in the selected films – Open Hearts (2002), Brothers (2004), After the Wedding (2006) and In a Better World (2010) – is a combination of a generally applied style that I call Dogme light and one consisting of various small montages and extreme close-ups. The Dogme light style can be traced back to the tradition of realism, and Bier has used it consistently throughout her directing career, whereas her use of small montages has varied greatly from 2002 to 2010. By combining these two stylistic tendencies, Bier has become highly regarded internationally as an art-house director, while also reaching a broader audience in Scandinavia.

AB - This article analyses four of Susanne Bier’s films with regard to audio-visual style and the role of style in relation to the presented story. Bier’s visual style in the selected films – Open Hearts (2002), Brothers (2004), After the Wedding (2006) and In a Better World (2010) – is a combination of a generally applied style that I call Dogme light and one consisting of various small montages and extreme close-ups. The Dogme light style can be traced back to the tradition of realism, and Bier has used it consistently throughout her directing career, whereas her use of small montages has varied greatly from 2002 to 2010. By combining these two stylistic tendencies, Bier has become highly regarded internationally as an art-house director, while also reaching a broader audience in Scandinavia.

KW - Faculty of Humanities

KW - aesthetics

KW - art-house style

KW - Dogme light

KW - neo-formalistic film theory

KW - montage

KW - segmentation

U2 - 10.1386/jsca.7.3.253_1

DO - 10.1386/jsca.7.3.253_1

M3 - Journal article

VL - 7

SP - 253

EP - 266

JO - Journal of Scandinavian Cinema

JF - Journal of Scandinavian Cinema

SN - 2042-7891

IS - 3

ER -

ID: 198375330