Danish Film Analysis

Anyone interested in watching films would be familiar with Danish films, and many probably have seen and enjoyed Danish films without even knowing that they were Danish. There exists an impression many have that Danish films are dark and realistic films often discussing social situations and the human condition and mind. While such themes could possibly put many people off, Danish films have interestingly continued to attract the eyes of many. From classical well-known films like Festen (The Celebration) (1998) and Nightwatch (1994) to television series including Borgen (2010-2013) and Matador (1978-1981), there are many reasons why one could have seen a Danish film without knowing, for example, it would be imagined that Danish films would

While the US film industry progressed with a loud boom heading the classical cinema culture from the 1930s to the 1960s, Denmark could only move around the international stage as minor cinema. Some Danish films did manage to gain attention, particularly those that came from Carl Theodor Dreyer. Dreyer Danish films grew in popularity especially within the local circles, as majority of the films were ___, a genre highly favoured, and full houses in cinemas were not a rare sight as cinema-going became one of the highly favoured forms of entertainment of that time. Danish films were able to occasionally catch the eye of the international audience, such as those produced by directors such as Erik Balling and Gabriel Axel. These films were thought to be doing well aesthetically, fitting into the likes of the audiences. This slight move in the direction of international success was however short-lived, with the rise of the newly favoured realistic and artistic European films coupled with the popularity of Hollywood as the 1960s began. Besides language barriers, the Danish film industry had to now cope with the constant changes in the audience’s taste for film and competition from other countries who had better technology and a favoured style. As Denmark entered the 1970s, a few initiatives were mounted by the government, such as establishing the Danish Film Institute in 1972 to help support the Danish film industry. A new film law was passed, and included measures such as removing the 15% duty on tickets and filmmakers were given direct government subsidies administered by the Danish Film Institute. …. Building upon all the foundations that were laid over the decades, the Danish film industry entered what could be probably be termed as a second golden age, and representing the industry at its front would include key players like Thomas