- Title Pages
- Figures
- Notes on Contributors
- Foreword by Andrew Nestingen
- Works Cited
-
Introduction: Susanne Bier’s Boundary-crossing Screen Authorship -
Part 1 Generic and Industrial Fluidity -
Chapter 1 Storytelling Schemes, Realism, and Ambiguity: Susanne Bier’s Danish Dramas -
Chapter 2 Negotiating Special Relationships: Susanne Bier’s Comedies -
Chapter 3 Susanne Bier’s Hollywood Experiments: Things We Lost in the Fire and Serena -
Part 2 Negotiating Identity -
Chapter 4 Beginning with Jewish Survival: Freud’s Leaving Home -
Chapter 5 Stories with Queer Identities -
Chapter 6 Judaism and Danish Directors: The Case of Lars von Trier vs. Susanne Bier -
Chapter 7 Gender Equity in Screen Culture: On Susanne Bier, the Celluloid Ceiling, and the Growing Appeal of TV Production -
Part 3 Authorship and Aesthetics -
Chapter 8 Tracing Affect in Susanne Bier’s Dramas -
Chapter 9 Vision and Ethics in A Second Chance (En chance til) -
Chapter 10 The Truth is in the Eyes: Susanne Bier’s Use of Close-ups in The Night Manager -
Part 4 Transnational Reach -
Chapter 11 Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema -
Chapter 12 From Local to Global: The Bier/Jensen Screenwriting Collaboration -
Chapter 13 Danish Privilege and Responsibility in the Work of Susanne Bier -
Postscript A Conversation with Susanne Bier - Filmography of Susanne Bier
- Acknowledgments
- Index
Beginning with Jewish Survival: Freud’s Leaving Home
Beginning with Jewish Survival: Freud’s Leaving Home
- Chapter:
- (p.83) Chapter 4 Beginning with Jewish Survival: Freud’s Leaving Home
- Source:
- ReFocus: The Films of Susanne Bier
- Author(s):
Maureen Turim
- Publisher:
- Edinburgh University Press
“Beginning with Jewish Survival: Freud’s Leaving Home” is a close reading of the complex references to Jewish heritage in Bier’s first feature-length film. Maureen Turim employs a psychological lens to assess the film’s distinct blend of comedy and tragedy, most particularly in its evocations of Freud’s delayed maturation, Rosha’s impending death, and their intense, ambivalent mother-daughter bond. The chapter further situates Freud’s Leaving Home in the context of contemporaneous films by Jewish directors that represent diasporic Jewish families in cultural transition.
Keywords: Susanne Bier, Danish cinema, Swedish Cinema, Women’s cinema, Jewish film directors
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- Title Pages
- Figures
- Notes on Contributors
- Foreword by Andrew Nestingen
- Works Cited
-
Introduction: Susanne Bier’s Boundary-crossing Screen Authorship -
Part 1 Generic and Industrial Fluidity -
Chapter 1 Storytelling Schemes, Realism, and Ambiguity: Susanne Bier’s Danish Dramas -
Chapter 2 Negotiating Special Relationships: Susanne Bier’s Comedies -
Chapter 3 Susanne Bier’s Hollywood Experiments: Things We Lost in the Fire and Serena -
Part 2 Negotiating Identity -
Chapter 4 Beginning with Jewish Survival: Freud’s Leaving Home -
Chapter 5 Stories with Queer Identities -
Chapter 6 Judaism and Danish Directors: The Case of Lars von Trier vs. Susanne Bier -
Chapter 7 Gender Equity in Screen Culture: On Susanne Bier, the Celluloid Ceiling, and the Growing Appeal of TV Production -
Part 3 Authorship and Aesthetics -
Chapter 8 Tracing Affect in Susanne Bier’s Dramas -
Chapter 9 Vision and Ethics in A Second Chance (En chance til) -
Chapter 10 The Truth is in the Eyes: Susanne Bier’s Use of Close-ups in The Night Manager -
Part 4 Transnational Reach -
Chapter 11 Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema -
Chapter 12 From Local to Global: The Bier/Jensen Screenwriting Collaboration -
Chapter 13 Danish Privilege and Responsibility in the Work of Susanne Bier -
Postscript A Conversation with Susanne Bier - Filmography of Susanne Bier
- Acknowledgments
- Index
