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Aki Kaurismaki is an enigma, an eminent auteur who claims his films are a joke. Since 1983, Kaurismaki has produced classically-styled films filled with cinephilic references to film history. He has earned an international art-house audience and many prizes, influencing such directors as Jim Jarmusch, Quentin Tarantino, and Wes Anderson. Yet Kaurismaki is often depicted as the loneliest, most nostalgic of Finns (except when he promotes his films, makes political statements, and runs his many businesses). He is also depicted as a bohemian known for outlandish actions and statements. The Cinema of Aki Kaurismaki is the first comprehensive English-language study of this eccentric director. Drawing on revisionist approaches to film authorship, the text links the filmmaker and his films to the stories and issues animating film aesthetics and history, nostalgia, late modernity, politics, commerce, film festivals, and national cinema.
Scandinavian popular novels and films have seen an efflorescence in the last thirty years. In Crime and Fantasy in Scandinavia, Andrew Nestingen argues that the growth and visibility of popular culture have been at the heart of the development of heterogeneous ´publics´ in Scandinavia, in opposition to the homogenizing influence of the post-World War II welfare state.The book provides significant insight into the changing nature of civil society under the Scandinavian welfare state through the lens of popular culture. Nestingen develops his argument through the examination of genres where the central theme is individual transgression of societal norms. Among the internationally known artists discussed are Henning Mankell, Aki Kaurismäki, Lukas Moodysson, and Lars von Trier.Andrew Nestingen is an Assistant Professor of Scandinavian Studies at the University of Washington.
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