The visual style of Susanne Bier’s films
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The visual style of Susanne Bier’s films. / Hansen, Lennard Højbjerg.
I: Journal of Scandinavian Cinema, Bind 7, Nr. 3, 09.2017, s. 253-266.Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt
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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