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European Cinemas in the Television Age$
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Dorota Ostrowska and Graham Roberts

Print publication date: 2007

Print ISBN-13: 9780748623082

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623082.001.0001

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Denmark: The Element of Childhood from Children’S Television to Dogme 95

Denmark: The Element of Childhood from Children’S Television to Dogme 95

Chapter:
(p.87) 7. Denmark: The Element of Childhood from Children’S Television to Dogme 95
Source:
European Cinemas in the Television Age
Author(s):

Dorota Ostrowska

Gunhild Agger

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748623082.003.0007

The former military barracks in the suburbs of Copenhagen, Aved øre, are home to not only Lars von Trier's film company Zentropa, but also to the Film School for Children and Youth: ‘Station Next’. The old fencing hall for soldiers is a greenhouse for young film-makers housing professional editing suites, studios, and decoration sets, and is a place for children to learn about visual media, to become aware of the complexity of the film-making process and production, and to gain some professional training. In the corner of a projection room, which looks like a church, right next to the screen, which takes place of an altar, there are life-size cut-outs of the Dogme 95 ‘trinity’: Lars von Trier in a kilt, a smiling Thomas Vinterberg, and Peter Aalb æk Jensen, the godfathers of this cinematic playground for Danish children and youth. This idea of children and teenagers playing film-makers, editors, directors, and producers bears an uncanny resemblance to Dogme 95, which put film-making in the strait-jacket of ten rules with the expectation that discipline and transgression would lead to the rediscovery of the joy, purity, and innocence of film-making.

Keywords:   Danish cinema, Lars von Trier, Station Next, Dogme 95, film-making

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