Abstract
As with many small film nations, Denmark’s creative and economic approach to filmmaking diverges from the dominant Hollywood paradigm. With a focus on writer/director partnerships and story collaboration, the country’s script development practices are framed by an egalitarian sensibility. This chapter explores the script development process undertaken for the Danish feature film En du elsker/Someone You Love (2014), written by one of country’s most successful screenwriters Kim Fupz Aakeson. As a case study, the screenplay’s narrative provides an example of Danish transnational storyworld building, specifically in regard to how ideas on foreignness and home are incorporated into the text. I also analyse the screenplay with regard to the application of genre and theme as transnational mechanisms of engagement and analyse representations of family as a transcultural narrative device. Using practitioner interviews this chapter explores the writer/director interplay between Aakeson and the film’s director Pernille Fisher Christensen, in conjunction with how industrial sensibilities impact creative mobility within the development space.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
A constraint-based manifesto, the movement was established in 1995 embracing traditional values of natural storytelling such as character and a focus on acting technique without the artifice of technology or special effects.
- 2.
This chapter builds upon Redvall’s (2009) illuminating case study on the unfolding scriptwriting process on Lille Soldat (2008), an instructive analysis of ‘integrative collaboration’ where both writer and director collectively navigate a transactional problem finding and problem solving methodology throughout the scriptwriting process.
- 3.
Synopsis written by Sisse Graum Jorgensen. Website. Available at: http://www.imdb.com/title/tt2659512/plotsummary?ref_=tt_ov_pl (12th October 2020).
References
1:1 (2006), wr: Kim Fupz Aakeson, dir: Annette K Olesen, Denmark, 92 mins.
Aakeson, K. F. (2015). In-person Interview in Copenhagen on 17 November 2015.
Appadurai, A. (1996). Modernity at large—Cultural dimensions of globalisation. University of Minnesota Press.
Batty, C., Louise, S., & Stayci, T. (2016). Thinking through the screenplay: The academy as a site for research-based script development. Journal of Writing in Creative Practice, 9(1–2), 149–162. https://doi.org/10.1386/jwcp.9.1-2.149_1
Berghahn, D. (2013). Far-flung families in film: The diasporic family in contemporary European cinema. Edinburgh University Press.
Boltz, M. G. (2001). In Hoeckner, Berthold, Wyatt, Emma W., Decety, Jean and Nusbaum, Howard (2011)‚ ‘film music influences’. Psychology of Aesthetics, Creativity and the Arts, 5(2), pp. 146–153. https://doi.org/10.1037/a0021544
Bondebjerg, I. (2005). The Danish way: Danish film culture in a European and global perspective. In A. Nestigen & T. Elkington (Eds.), Transnational cinema in a global North (pp. 111–140). Wayne State University.
Bondebjerg, I. (2016). Regional and global dimensions of Danish film culture and film policy. In M. Hjort & U. Lindqvist (Eds.), A companion to Nordic cinema (pp. 19–40). Wiley Blackwell.
Bordwell, D. (1998), cited in Hjort, M. (Ed.). (2012). Film and risk. Wayne State University Press.
Butler, D. (2006). The days do not end: Film music, time and Bernard Herrmann. Film Studies‚ 9(Winter), 51–63.
Chion, M. (1994). Audio-vision: Sound on screen. University of Columbia Press.
Christensen, P. F. (2015). In-person Interview in Copenhagen on 19 September 2015.
Den skaldede frisor/Love is all you Need (2012), wr: Anders Thomas Jensen, dir: Susanne Bier, Denmark, 116 minutes.
Druk/Another Round (2020), wr: Thomas Vinterberg & Tobias Lindholm, dir: Thomas Vinterberg, Denmark, 115 minutes.
Efter brylluppet/After the Wedding (2006), wr: Anders Thomas Jensen, dir: Susanne Bier, Denmark, 120 minutes.
En chance til/A Second Chance (2014) wr: Anders Thomas Jensen, dir: Susanne Bier (2014), Denmark, 105 minutes.
En du elsker Someone you Love (2014), wr: Kim Fupz Aakeson and Pernille Fisher Christensen, dir: Pernille Fisher Christensen, Denmark, 95mins.
En Familie/A Family (2010), wr: Kim Fupz Aakeson and Pernille Fisher Christensen, dir: Pernille Fisher Christensen, Denmark, 102 minutes.
En Kongelig Affaere/A Royal Affair (2012), wr: Rasmus Heisterberg & Nikolaj Arcel, dir: Nikolaj Arcel, Denmark, 128 minutes.
Forbrydelser/In Your Hands (2004), (2006) wr: Kim Fupz Aakeson and Annette K Olesen, dir: Annette K Olesen, Denmark, 101 minutes.
Goldsmith, B., Ward, S., & O’Regan, T. (2012). Global and local hollywood: Global and television industries today. The French Journal of Media Studies, 1. https://journals.openedition.org/inmedia/114. Accessed on 12 February 2020.
Haevnen/In a Better World (2010), wr: Anders Thomas Jensen, dir: Susanne Bier Denmark, 118 minutes.
Harper, S. (2004). Melodrama: Torrid passions and doomed desires. BFI Screen Online. http://www.screenonline.org.uk/film/id/446129/index.html. Accessed on 12 January 2020.
Hjort, M. (2005). Small nation, global cinema. University of Minneapolis Press.
Hjort, M. (Ed.). (2012). Film and risk (pp. 1–30). Wayne State University Press.
Hjort, M., & Bondebjerg, I. (Eds.). (2003). The Danish directors: Dialogues on a contemporary Danish cinema. Intellect.
Hjort, M., Jorholt, E., & Redvall, E. N. (Eds.). (2010). The Danish directors 2. Intellect.
Hoeckner, B., Wyatt, E. W., Decety, J., & Nusbaum, H. (2011). Film music influences psychology of aesthetics. Creativity and the Arts, 5(2), 146–153. https://doi.org/10.1037/a0021544
In Your Hands (2004), wr: Kim Fupz Aakeson, dir: Annette K. Olesen, Denmark, 101 minutes.
Jagten/The Hunt (2013), wr: Thomas Vinterberg & Tobias Lindholm, dir: Thomas Vinterberg, Denmark, 111 minutes.
Jorgensen, S. G. (2010). Someone you love plot. IMDB. http://www.imdb.com/title/tt2659512/plotsummary?ref_=tt_ov_pl). Accessed on 13 January 2018.
Jorgensen, S. G. (2015). In-person Interview. Conducted in Copenhagen on 11th May 2015.
Kaplan, A. (2001). Melodrama, cinema and trauma. Screen, 42(2), 201–205. https://doi.org/10.1093/screen/42.2.201
Kollektivet/The Commune (2016), wr: Thomas Vinterberg & Tobias Lindholm, dir: Thomas Vinterberg, Denmark, 110 minutes.
Lille Soldat (2008), wr: Kim Fupz Aakeson, dir: Annette K Olesen, Denmark, 100 minutes.
MacDonald, I. (2004). Disentangling the screen idea. Journal of Media Practice, 5(2), 89–99. https://doi.org/10.1386/jmpr.5.2.89/0
Man som hatar Kvinnor/The Girl with the Dragon Tattoo (2009). wr: Nikolaj Arcel & Rasmus Heisterberg, dir: Niels Arden Oplev, Sweden, 153 minutes.
Maras, S. (2011). Some attitudes and trajectories in screenwriting research. Journal of Screenwriting, 2(2), pp. 275–286. https://www.intellectbooks.co.uk/journals/view-Article,id=10833/. Accessed on 11 January 2018.
Mercer, J., & Shingler, M. (Eds.). (2004). Melodrama: Genre, style and sensibility. Wallflower Press.
Minor Mishaps (2002), wr: Kim Fupz Aakeson, dir: Annette K Olesen, Denmark, 109 minutes.
Mintzer, J. (2014, November 2). Someone you love (En du elsker): Berlin review. Hollywood Reporter. https://www.hollywoodreporter.com/review/someone-you-love-en-du-679102. Accessed on 16 February 2020.
Nash, M. (2013). Unknown spaces and uncertainty in film development. Journal of Screenwriting, 4(2), 149–162. https://doi.org/10.1386/josc.4.2.149_1
Peirse, A. (Ed.). (2020). Women make horror: Filmmaking, feminism and genre. Rutgers.
Redmond, S. (2015). Sounding loneliness. CTS Online. https://cstonline.net/sounding-loneliness-by-sean-redmond/. Accessed on 14 March 2018.
Redvall, E. (2009). Scriptwriting as a creative, collaborative learning process of problem finding and problem solving. Mediekultur, Journal of Media and Communication Research, 25(46), 22–55. http://ojs.statsbiblioteket.dk/index.php/mediekultur/article/view/1342. Accessed on 11 January 2018.
Redvall, E. (2010). Teaching screenwriting in a time of storytelling blindness: The meeting of the auteur and the screenwriting tradition in Danish film-making. Journal of Screenwriting, 1(1), 59–81. https://doi.org/10.1386/josc.1.1.59/1
Redvall, E. (2012). A systems view of film making as creative practice. Northern Lights: Film and Media Studies Yearbook, 10, 1. http://www.intellectbooks.co.uk/journals/view-Article,id=13218/. Accessed on 10 January 2020.
Schuerer, T. E. (2008). Music and mythmaking in film: Genre and the role of the composer. Heldref.
Selbo, J. (2014). Film genre for the screenwriter. Routledge.
Spiegal, L. (1998). Seducing the innocent: Childhood and television in Postwar America. In H. Jenkins (Ed.), The children’s culture reader (pp. 110–135). New York University Press.
Submarino (2010), wr: Thomas Vinterberg & Tobias Lindholm, dir: Thomas Vinterberg, Denmark, 110 minutes.
Truby, J. (2007). The anatomy of story: 22 Steps to becoming a master storyteller. Faber and Faber.
Van der Heide, B. (1995). Boundary riding: Cross cultural analysis, national cinema and genre. Journal of Social Semiotics, 5(2), 213–237. http://www.tandfonline.com/doi/abs/10.1080/10350339509384451. Accessed on 10 January 2020.
Waldeback, Z., & Batty, C. (2012). The creative screenwriter. Bloomsbury.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG
About this chapter
Cite this chapter
Moore, C. (2021). Textual Manifestations of Collaborative Screen Idea and Story Development: A Danish Case Study. In: Taylor, S., Batty, C. (eds) The Palgrave Handbook of Script Development. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-82234-7_20
Download citation
DOI: https://doi.org/10.1007/978-3-030-82234-7_20
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-82233-0
Online ISBN: 978-3-030-82234-7
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)