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ReFocus: The Films of Susanne Bier$
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Missy Molloy, Mimi Nielsen, and Meryl Shriver-Rice

Print publication date: 2018

Print ISBN-13: 9781474428729

Published to Edinburgh Scholarship Online: January 2019

DOI: 10.3366/edinburgh/9781474428729.001.0001

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Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema

Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema

Chapter:
(p.211) Chapter 11 Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema
Source:
ReFocus: The Films of Susanne Bier
Author(s):

Belinda Smaill

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474428729.003.0011

Chapter 11 employs a feminist lens to situate women filmmakers within a wider global context in which all women’s cinema can be considered to be “world cinema,” set apart from local contexts that fail to encompass women’s film practices in terms of resources, space, and mobility. Advocating a perspective advanced by Patricia White in Women’s Cinema, World Cinema, Belinda Smaill proposes that women filmmakers should be viewed within “whole world approaches” that comprehensively address the context of production, circulation, representation, and image of each director. While tracking the mobility of female directors, Smaill points out that while it is difficult for women to achieve employment as feature directors in the U.S., it is even more difficult to gain access to the industry from outside the U.S. Hollywood is an exclusive domain, making Bier’s transnational American work a critical site for investigation. With Serena, Smaill contends, Bier cements her place as a director who takes on the world by lending her authorial signature to a complex manifestation of world cinema.

Keywords:   Susanne Bier, Danish cinema, Women’s Cinema, World Cinema, Women filmmakers

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