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interest   in   how   it   wants   to   be   involved,   and   it   has   been   successful.   So   far,   however,   the   response   from   a   cultural   perspective   is   lacking   and   British   film   academia’s   response   appears   non-­‐existent   other   than   to   continue   down   a   familiar   path.   The   following   sections   of   this   thesis   seek   to   provide   potential   answers.  

3.2  The  Danish  system    

3.2.1  Cinematic  background  of  Denmark  and  Scandinavia      

The  Danish  system  shows  a  commitment  to  film  education.    It  is  a  commitment   that  is  far  reaching  and  one  that  also  showcases  an  interesting  industrial  model.  

The   national   film   organisations   display   a   consistent   commitment   to   culturally   relevant   commercial   filmmaking   by   acknowledging   and   supporting   the   work,   ideas  and  talent  developed  by  the  National  Film  School.  

The   film   school   in   turn   is   culturally   and   industrially   proactive,   empowering   its   students   to   shape   the   Danish   cinematic   landscape   through   a   commitment   to   collaboration,  creative  thinking,  story  and  a  strong  sense  of  national  identity  and   cinematic  history.  Throughout  this  chapter  there  are  several  examples  where  the   NFSD  has  responded  to  murmurings  within  Danish  culture,  including  government   proposals  to   become   involved   in   the   school   and   new   educational   options   that   emerged  through  both  success  and  limitations  of  the  school.  By  forging  positive   links   and   making   confident   long-­‐term   plans   the   school   has   helped   make   the   country   cinematically   successful   in   a   myriad   of   ways.   This   type   of   approach   to   education  has  stopped  the  school,  and  to  a  large  extent  the  Danish  film  industry   from  becoming  too  prescriptive.    

The   common   perception   of   film   practice   education   is   dominated   by   the   film   school   model   which   historically   has   approached   film   education   from   a   largely   Auteurist   perspective   both   in   the   U.S.   and   across   Europe.   As   a   result   this   has   become   an   all   too   common   touchstone   for   how   film   should   be   taught.   A   key   reason   for   using   Denmark   as   a   case   study   is   that   the   country   has   sought   an   alternative  perspective.    

Whilst  it  is  important  to  acknowledge  that  Denmark  is  a  much  smaller  country   and  has  a  very  different  industrial  structure  to  the  UK,  it  provides  an  excellent   example  of  a  system  that  is  flexible  and  adaptive.  The  NFSD  has  a  commitment   to   forward   progression   and   has   historically   changed   and   adapted   to   try   and   deliver   graduates   who   will   sculpt   a   successful   film   industry   and   culture   both   indigenously   and   globally.   It   is   ambitious   and   self-­‐critical.   It   has   acknowledged   national  patterns  and  strategies  but  never  been  reactionary  in  its  developmental   stance.  Instead  it  has  remained  committed  to  core  ideas  and  introduced  gentle   ripples  of  change  that  have  created  waves  both  in  the  homegrown  box  office  and   the   wider   cinematic   landscape,   most   famously   in   the   case   of   the   Dogme   95   movement.  Mette  Hjort  (2003)  says:  

Dogma   95   demonstrates   that   the   local   need   not   be   framed   in   terms   of   primordial   belonging   or   heritage.   It   establishes   that   if   the   goal   is   to   develop   a   distinctive   voice   and   vision   that   will   be   met,   not   with   indifference,  but  with  recognition,  within  the  larger  sphere  of  things,  then   an   important   first   step   may   well   be   to   understand   and   embrace   the   limitations   of   the   local   as   a   kind   of   inevitable   standpoint   or   starting   framework.  To  do  so,  it  would  appear,  might  well  be  to  allow  the  power   of   practice   and   discourse   to   work   its   magic,   to   produce   conditions   that   ultimately  enable,  because  they  limit  (Hjort,  2003:  45).  

Hjort’s   words   highlight   the   importance   of   introspection   and   honesty   in   a   way   that   is   not   overly   self-­‐involved   or   self-­‐important.   There   is   pride   in   the   cultural   fabric  that  underpins  indigenous  filmmaking  and  it  is  used  as  a  foundation  from   which  to  be  ambitious.    

Denmark  is  emblematic  of  the  situation  as  a  whole  in  Scandinavian  and  Nordic   film   culture.   The   region   is   interesting   in   its   fundamental   paradoxes.   The   three   countries  that  make  up  Scandinavia,  together  with  their  Northernmost  European   neighbours   Finland   and   Iceland,   exist   in   ‘fierce   competition   with   each   other,   eager   to   stake   their   own   independence’   whilst   simultaneously   co-­‐existing   and   collaborating   closely   with   each   other,   in   the   film   industry,   and   beyond   (Neiiendam,   2005:   xii).   They   are   both   competitive   and   collaborative.   Each   country   fiercely   protects   its   national   identity   both   culturally   and   cinematically   whilst  balancing  a  pragmatism  regarding  funding,  resources  and  local  audience.  

Neiiendam   adds   that,   ‘though   foreigners   often   have   a   hard   time   distinguishing   one  from  the  other  the  national  differences  are  bigger  than  they  appear’  (2005:  

xii)   before   confirming   the   picture   in   the   region.   Due   to   decreases   in   localised   state   support   there   has   been,   through   necessity,   a   need   to   co-­‐finance   and   co-­‐

produce  films  as  well  as  sharing  crew  and  cast  across  each  national  industry.  The   whole  region  survives  on  a  strong  mix  of  government  support  and  cross-­‐regional   collaboration.   Despite   this   local   audiences   are   very   different,   with   Swedish   audiences   most   likely   to   watch   films,   particularly   art-­‐house   films,   from   other   Scandinavian  countries  whereas  ‘Danish  cinemagoers  are  the  least  receptive  to   art-­‐house  films  from  anywhere  in  the  world’  (Neiiendam,  2005:  xiv).  A  factor  in   this  may  be  the  strength  of  the  commercial  box-­‐office  within  Denmark  and  the   relationship  between  the  country  and  its  filmmaking,  which  is  discussed  later  on   in  this  chapter  (section  3.2.3).  

This   highlights   another   key   reason   to   focus   on   Denmark   and   not   on   other   Scandinavian   countries   or   the   collective   output   of   the   region.   It   is   one   of   a  

variety  of  factors  that  predominantly  revolves  around  the  NFSD  and  its  approach   to  story  that  has  created  a  strong  commercial  film  industry  within  Denmark.  This   in  turn  has  led  to  television  programmes  such  as  Forbrydelsen  (The  Killing)  and