Contents

pp vii-viii

List of Figures

pp ix-xi

Notes on Contributors

pp xii-xiv

Foreword

pp xv-xvi

Introduction: Susanne Bier's Boundary-Crossing Screen Authorship

pp 1-12

Part 1 - Generic and Industrial Fluidity

pp 13-14

Part 1 - Introduction

pp 15-18

1 - Storytelling Schemes, Realism, and Ambiguity: Susanne Bier's Danish Dramas

pp 19-35

2 - Negotiating Special Relationships: Susanne Bier's Comedies

pp 36-55

3 - Susanne Bier's Hollywood Experiments: Things We Lost in the Fire and Serena

pp 56-78

Part 2 - Negotiating Identity

pp 79-80

Part 2 - Introduction

pp 81-82

4 - Beginning with Jewish Survival: Freud's Leaving Home

pp 83-96

5 - Stories with Queer Identities

pp 97-112

6 - Judaism and Danish Directors: The Case of Lars von Trier vs. Susanne Bier

pp 113-133

7 - Gender Equity in Screen Culture: On Susanne Bier, the Celluloid Ceiling, and the Growing Appeal of TV Production

pp 134-148

Part 3 - Authorship and Aesthetics

pp 149-150

Part 3 - Introduction

pp 151-154

8 - Tracing Affect in Susanne Bier's Dramas

pp 155-172

9 - Vision and Ethics in A Second Chance (En chance til)

pp 173-186

10 - The Truth is in the Eyes: Susanne Bier's Use of Close-ups in The Night Manager

pp 187-204

Part 4 - Transnational Reach

pp 205-206

Part 4 - Introduction

pp 207-210

11 - Cinema of the World and Women's Film Culture: Susanne Bier's Transnational Cinema

pp 211-228

12 - From Local to Global: The Bier/Jensen Screenwriting Collaboration

pp 229-242

13 - Danish Privilege and Responsibility in the Work of Susanne Bier

pp 243-260

Postscript: A Conversation with Susanne Bier

pp 261-282

Filmography of Susanne Bier

pp 283-284

Acknowledgments

pp 285-285