Jack Stevenson – författare

In 1995 Danish filmmaker Lars Von Trier and three other compatriots swore a vow of chastity', aimed at jolting the the movie industry around the world who had become stuck in the mire of slick, emotionally manipulative, high concept and bombastic film production. Their DIY approach, using handheld cameras, natural lighting and no soundtrack, spawned such films as Festen, The Idiots and Mifune, that shocked and inspired audiences everywhere. Penned in a lively, jargon-free style, this is a richly illustrative survey of the entire Dogme canon. B/w photos.'

This book traces the development of modern Scandinavian erotic cinema as it evolved in Denmark and Sweden, from the gentle Swedish naturalist films, starting with One Summer of Happiness in the 50s, to the controversial groundbreakers like I Am Curious (Yellow) of the 60s and on through to the dawn of "Liberated Denmark," where, in the early 70s, the abolition of censorship was celebrated in films like 24 Hours with Ilse and the production of a number of other films that were blatantly pornographic.Also considered is the influence of these films on other countries, particularly the United States, where Scandinavian erotic cinema helped to set in motion the sexual revolution and contributed to the end of film censorship.

1.One day while driving a farm tractor cultivating in a field close to [what is called] the Smokey River Valley in southern Logan county of mid-western Kansas it was there that I came upon the biggest surprise of my life. The tractor or farm land or equipment did not belong to me. I was a fill in Operator my son Todd when he needed me, because I had 50 years experience in farming. The Land Lord was my sons father in law. They both knew I always enjoyed running a tractor or a combine ever since my dad thought me when I was just a kid. I was born in 1930s called the Dust Bowl Years and also called the Great DepressionThis piece of farm land I had never farmed before. It was my first time i had even seen the piece of land that close. It was the last peace of cultivated farm land next to the River and valley, about 300 feet below. So it was a new adventure for me. The view, and scenery, of the [Smokey River valley) was very fantastic that early spring day. Just to look at the river valley with trees of all shapes and sizes, cattle grazing the grass land approaching three-hundred feet below the ground I was to farm. I could see a long view both up and down the valley which gave me more pleasure.The first round around the field in the tractor, you had to be sure to stay within the legal bounders and not to hit the fence post with the implement the tractor was pulling to cultivate the ground, or you would have some major problems.The second time around the field my eyes where more free to notice my surroundings and able to observe the scenery I had never seen. What a pleasure it was to see. While going the second time around the field I noticed the sweeps of the implement was bringing up odd looking pieces of rock to the surface in a small given area, and the third round at the same location I had seen a few sparkles of sun glitters glittering off of small objects where the small rocks were laying.At this point I decided to stop the tractor and investigate. I guess I did this because when I was a young boy, I always did like to explore things and the countryside. Crawling down off the tractor I began to walk around looking at some the different shaped rocks and pieces of broken glass which helped me decide why I was seeing sparkles from the sun rays. Thats when I began to realize there used to be a old rock house or an early day homestead, or old early day School House, located there. It was normal during the early days of homesteaders to use chock rocks to build their homes because it was easy to find along the Smoky Hill River. They could cut and shape the size of the rock they needed. Also in the early Homestead Days, their was wagon trail known as the Butterfield Overland Trail which also was used by the cavalry to reach the Forts which protected armed soldiers and civilians from Indians.

In 1995, Danish filmmaker Lars von Trier (Breaking the Waves, Dancer in the Dark, Dogville) and three fellow Danish directors swore allegiance to a “vow of chastity” aimed at jolting filmmakers around the world who had become stuck in the mire of slick, emotionally manipulative, high-concept, and bombastic movie productions. They named their philosophy “Dogme95,” and its tenets demanded a return to the basic core of filmmaking: the use of natural lighting and a hand-held camera, and the refusal to use special effects, a soundtrack of any kind (only natural sounds found on location were acceptable), and movie sets (all shooting was to take place on location).Like the French New Wave and 1960s American Underground film movements, Dogme had a profound affect on filmmaking around the world, including the sacred cow known as “Hollywood.” In part because of the proliferation of relatively inexpensive digital cameras and technology, the movement resonated with young and independent filmmakers, creating a surge in back-to-the-basics, guerilla filmmaking. It also had a profound influence on everything from Hollywood filmmakers to dance choreographers to computer game manufacturers.The list of films and filmmakers to come out of the Dogme movement reads like a who’s who of art-house cinema from the late-1990s and early-2000s: the aforementioned Lars von Trier, Thomas Vinterberg (The Celebration), Harmony Korine (Julien Donkey-Boy), Lone Scherfig (Italian for Beginners), and Susanne Bier (Open Hearts), among many others.Dogme Uncut is written by film journalist and historian Jack Stevenson, who, while living in Demark for the past decade, has had a true insider’s view of the Dogme movement from its conception to its early triumphs to its current incarnation. With a good deal of humor and fascinating insights, Stevenson brings a mixture of history, analysis, and reportage to bear on the eight-year-old film movement, examining the subject from multiple perspectives. Dogme’s debt to previous film “waves” is explored, as is the impact Dogme itself has had on current trends in cinema and on today’s young filmmakers. Penned in a lively, accessible, and jargon-free style, Dogme Uncut is a richly illustrated survey of the entire Dogme canon that is both entertaining and hugely informative.

With the international success of Breaking the Waves (1996) and Dancer in the Dark (2000), Lars von Trier has established himself as a one of the most provocative and daring film directors working today. The founding father of Dogma 95, he made the movement''s most controversial film, The Idiots (1998), and has played a leading role in the recent resurgence of Danish cinema. Yet despite his success, von Trier remains something of an polarising and enigmatic figure hailed as the new Godard by some and a charlatan by others. In this new study, Jack Stevenson explores the achievements as well as the paradoxes of Lars von Trier, assessing his life, work, and critical reception. The book follows von Trier from his early life as a troubled son of ''Cultural Radical'' parents through to his student days at the Danish Film School, diligently spent making films that were as innovative and disturbing as his later features have proved to be. These films (consisting of the Europa and Gold-Hearted trilogies) are fully examined together with considerations of his creative detours into other media and his current work in progress, Dogville. Based in Denmark, the author brings a unique perspective to Lars von Trier creating a multi-dimensional portrait of the director. Utilising sources heretofore unavailable in English, Stevenson''s lively yet fact-filled narrative is accessible to students and film enthusiasts alike. The book is indispensable to anyone interested in Lars von Trier and the broader issues that surround modern Danish film and its current renaissance.

With the international success of Breaking the Waves (1996) and Dancer in the Dark (2000), Lars von Trier has established himself as a one of the most provocative and daring film directors working today. The founding father of Dogma 95, he made the movement''s most controversial film, The Idiots (1998), and has played a leading role in the recent resurgence of Danish cinema. Yet despite his success, von Trier remains something of an polarising and enigmatic figure hailed as the new Godard by some and a charlatan by others. In this new study, Jack Stevenson explores the achievements as well as the paradoxes of Lars von Trier, assessing his life, work, and critical reception. The book follows von Trier from his early life as a troubled son of ''Cultural Radical'' parents through to his student days at the Danish Film School, diligently spent making films that were as innovative and disturbing as his later features have proved to be. These films (consisting of the Europa and Gold-Hearted trilogies) are fully examined together with considerations of his creative detours into other media and his current work in progress, Dogville. Based in Denmark, the author brings a unique perspective to Lars von Trier creating a multi-dimensional portrait of the director. Utilising sources heretofore unavailable in English, Stevenson''s lively yet fact-filled narrative is accessible to students and film enthusiasts alike. The book is indispensable to anyone interested in Lars von Trier and the broader issues that surround modern Danish film and its current renaissance.