
	Where results make sense

Topic: Dogme 95

Related Topics

Dogme95

Mifune

Kristian Levring

Idioterne

The 400 Blows

Breaking the Waves

Lars von Trier

French New Wave

Ingmar Bergman

Manderlay

Roberto Rossellini

Dogville

Polish Film School

Robert Bresson

Cinema of France

In the News (Fri 11 Dec 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Dogme 95 - Wikipedia, the free encyclopedia
		Dogme 95 (in English: Dogma 95) is an avant-garde filmmaking movement started in 1995 by the Danish directors Lars von Trier, Thomas Vinterberg, Kristian Levring, and Søren Kragh-Jacobsen.
		This movement is sometimes known as the Dogme 95 collective or the Dogme brethren.
		The Dogme movement was announced on March the 22nd 1995 at the Le cinéma vers son deuxième siècle conference in Paris, where the cinema world’s elite gathered to celebrate the first century of motion pictures and contemplate the uncertain future of commercial cinema.
	en.wikipedia.org /wiki/Dogme_95 (886 words)

	dogme 95 (Site not responding. Last check: 2007-11-03)
		DOGME 95 has the expressed goal of countering “certain tendencies” in the cinema today.
		DOGME 95 counters the individual film by the principle of presenting an indisputable set of rules known as THE VOW OF CHASTITY.
		DOGME 95 counters the film of illusion by the presentation of an indisputable set of rules known as THE VOW OF CHASTITY.
	www.geocities.com /lars_von_trier2000/dogme_95.html (617 words)

	EducationGuardian.co.uk \| TEFL \| Dogme still able to divide ELT
		Dogme 95 (spearheaded by Lars von Trier) vowed to rescue cinema from its slavish allegiance to a Hollywood model of film-making, with its addiction to fantasy and special effects.
		Dogme means taking time off from the coursebook to talk with your learners, making that talk the content of the teaching moment.
		Dogme moments, Dogme lessons: the next stage is a Dogme classroom - an open one, to which the learners are bringing in their own material because they know they can, and one where nobody knows precisely what will happen when they walk through the door.
	education.guardian.co.uk /tefl/story/0,5500,937984,00.html (1065 words)

	K A B I N E T (Site not responding. Last check: 2007-11-03)
		The criticisms leveled at Dogme 95 -- "They're too sloppy!" "Too difficult!" "Their characters are strange or distressed!" "They're having a laugh at our expense!" "They're too political (or not political enough)!" -- are precisely the sorts of things that people said about Godard 40 years ago.
		I'd argue that the most important aspect of the Dogme ethos is something that's never explicitly expressed in their "Vow of Chastity." Dogme 95 echoes the French New Wave in its dedication to handheld cameras and natural lighting.
		Dogme 95 does not require its films to be shot on digital video (in fact, Dogme #3 - Mifune was filmed in 35mm) but their work has been crucial to the acceptance of DV as a filmmaking alternative.
	www.kabinet.org /magazine/issue7/digital4.html (625 words)

	The Film Journal...Passionate and informed film criticism from an auteurist perspective.
		Nonetheless, Dogme 95 has produced-appropriated, evolved, even recapitulated-the latest code of cinematic "realism," a substantially poignant feat that must be considered in all its ramifications, beginning with its position along the genealogy of cinematic realism and the ideology of the photographic code.
		The Dogme 95 manifesto and its adherents, by appropriating numerous conventions of classical cinema and alternate codes of cinematic "realism," and by transforming them to meet the cultural standards of Realism posited by our technological praxis, have placed themselves in the contextual history of cinematic realism and in rejection of cinematic aesthetics.
		Dogme 95 itself, the manifesto and movement, can be nothing more than it is: an ephemeral movement, a fleeting political statement that provided the artistic atmosphere for the creation of the films that combine ensemble methodology into the scope of auteurism, that plead anti-genre even in from the cesspool of agreed-upon rules.
	www.thefilmjournal.com /issue9/dogme95.html (3320 words)

	Epinions.com - De Lutrede (The Purified): An Introduction to Dogme 95
		In 2002, Danish filmmaker Jesper Jargil released a documentary on the Dogme 95 movement entitled “De Lutrede (The Purified)” about the movement of Dogme 95 founded by Danish filmmakers Thomas Vinterberg and European bad boy Lars von Trier, who was the one announcing the movement at the Paris press conference.
		Dogme 95 is a collective of filmmakers founded in Copenhagen in spring 1995.
		Dogme 95 has proved to be influential in some cases, notably with filmmakers.
	www.epinions.com /content_4020215940 (1938 words)

	Bright Lights Film Journal \| Dogme / Dogma
		Having the characters' inner lives justify the plot is too complicated [ … ] the superficial movies are receiving all the praise." The Manifesto of the Dogme 95 brotherhood (mainly Lars Von Trier and Thomas Vinterberg) is both Ludditical and puritanical, a northern reformation unimaginable in the sunny, catholic south (including Southern California).
		Dogme technique, a certain process to produce a certain result, is by all means art, because it is when unveiling and not fabricating that art is production, in a sense that something hidden appears, is produced in the nonhidden.
		Dogme films succeed because the three elements on which they are built — characters, places, story (a mixture of "you can't lie your way out of your past" and "you can't escape your inner self") — combine seamlessly with the filmmaking technique.
	www.brightlightsfilm.com /28/dogme1.html (1535 words)

	DVD Times - Dogme 95 (Site not responding. Last check: 2007-11-03)
		Released as part of the Danish ‘Dogme Kollektion’, Søren Kragh-Jacobsen’s Mifune is perhaps the most untypical of Dogme films - a simple love-story of an upwardly mobile businessman and a prostitute who reluctantly leave the city to meet and find peace in the unlikely setting of a run-down farm in the country.
		The fourth Dogme film made in 2000 by Kristian Levring is released in Scandinavia by Electric Parc as part of their 10th Anniversay ‘Dogme Kollektion’.
		The first four Dogme 95 films proved to be very influential on world and independent filmmaking and have now been collected in a Scandinavian 10th Anniversary edition from Electric Parc, with copious commentaries, documentaries and extra features.
	www.dvdtimes.co.uk /content.php?contentid=57606 (506 words)

	How can film art proceed? - Festen (Celebration), a film by Thomas Vinterberg, and the Dogme 95 event at the London ... (Site not responding. Last check: 2007-11-03)
		Dogme 95 is a group of Danish directors, pre-eminently Lars von Trier and Vinterberg.
		At the moment, however, the Dogme group is using the Vow as a means to an end, and is quite clear on the differences between their rules and the films that result.
		Dogme 95, because of the limits to its ambitions, need not necessarily ever have had good results.
	www.wsws.org /arts/1998/nov1998/vin-n28.shtml (1815 words)

	txreviews.com - commentary by Curtis Edmonds (Site not responding. Last check: 2007-11-03)
		Dogme 95 sets up what it calls "The Vow of Chastity" (you just know that one's going to go over well in Hollywood) which consists of various arbitrary rules for wannabe Dogme 95 filmmakers.
		Dogme 95 films (there are some, allegedly, though few people this side of Roger Ebert have seen them) have to live up to a complex creed.
		Dogme 95 films must not use outside props; all items used in films must be already on location.
	www.txreviews.com /reviews/romeo.html (947 words)

	CityBeat: Understanding Dogme (2000-04-20)
		Dogme 95 arrives like some spiritual update of the French New Wave and its school of low-budget, realist filmmaking.
		It was not a Dogme 95 film, but its influence was already apparent to her.
		Dogme 95 is a movement that aspires to become a school of filmmaking.
	www.citybeat.com /2000-04-20/film3.shtml (1243 words)

	Gamasutra - Features - "Dogma 2001: A Challenge to Game Designers" [2.02.01]
		The Dogme Manifesto was written in a very tongue-in-cheek style, and it was difficult to tell whether the authors were serious or just pulling the industry's leg.
		Although the Dogme 95 rules don't translate directly to interactive entertainment - film is, after all, a different medium - my objective is similar: to reduce the process of game design to its fundamentals, to encourage designers to concentrate on nothing but the vital elements of a game.
		Dogme 95's goals were twofold: first, to uncouple filmmaking from technology (by denying it its technological tools), and second, to remind the director that he or she is not a demi-god (or demagogue), but part of a collaborative process whose primary aim is drama, not the aesthetics of film itself.
	www.gamasutra.com /features/20010129/adams_01.htm (1170 words)

	Dogme and the Reality of Fiction
		The entire irony of the Dogme’s claim: “a Dogme movie is not an illusion” is that Dogme 95 falsely assumes that there is a filmed “human fact” that exists that is not itself fictionally devised and contrived.
		Dogme’s theoretical exposition of its newly invented realism involves a technological dilemma that touches upon the paradoxical tension between the fictional and the factual bipolarity inherent in cinema.
		Therefore, the irony inherent in Dogme 95 as it tries to separate itself from the illusion of the mainstream cinema, is that it attempts to capture a completely “natural” scenario and drama (i.e., a factual event) by “artificially” (i.e., a fictional contrivance) viewing it through a man-made lens.
	www.kinema.uwaterloo.ca /gira032.htm (3605 words)

	Is there anything to the Dogme 95 group? Open Hearts, directed by Susanne Bier, written by Bier and Anders Thomas ... (Site not responding. Last check: 2007-11-03)
		The Dogme 95 group of filmmakers and film could easily turn out to be such a phenomenon.
		The original Dogme 95 manifesto ranted against the slogans of “individualism and freedom” and the “anti-bourgeois cinema” which had itself become “bourgeois,” but what it was arguing for was far less clear.
		Bier’s method, and it is the method of the Dogme filmmakers in general, is to ignore causality, i.e., history (the infamous “whole”), and concentrate entirely on the immediacy of disaster.
	www.wsws.org /articles/2003/mar2003/dogm-m17.shtml (1678 words)

	Guardian Unlimited Film \| Features \| Keep it real
		Dogme called for films to be shot on real locations, in the here and now, with hand-held cameras and no added sound, music or optical effects.
		The first four Dogme films, presented by the original Dogme "brethren" - Thomas Vinterberg's Festen, von Trier's The Idiots, Soren Kragh-Jacobsen's Mifune and Kristian Levring's The King Is Alive - made an immediate impact on the festival circuit and the global box office.
		Dogme was like a spontaneous revolution that would have happened one way or another - just because the technology was there.
	film.guardian.co.uk /features/featurepages/0,4120,1446742,00.html (1269 words)

	GreenCine \| Dogme95
		Dogme #1 (they were numbered as they appeared), Vinterberg's The Celebration, seems to surreptitiously capture the intrigues, backstabbings and alliances at a big Danish family gathering.
		Dogme films were flying out of DV cameras at this point and most were slipping under the radar -- until Dogme #12.
		Most of all, the widely varied forms of creativity displayed by the first round of Dogme directors using exactly the same means is definitely an encouragement to any rookie filmmaker with a new DV camera in hand.
	www.greencine.com /static/primers/dogme95.jsp (959 words)

	ZA@Play - Movies: Well, is it a new wave or isn't it? 06/01/00
		This is the story of Dogme 95, a putative wave which crashes on South African shores this week with the art-house release of Thomas Vinterberg's Festen (Celebration).
		Sure enough, while the third Dogme director, Soren Jacobsen, has described how his "sadness" at the sameness of international films prompted his participation in Dogme 95, the movement's regulations coincidentally inspired his best film: Mifune's Last Song was the subject of a fierce bidding war at the Berlin Festival last year.
		Dogme may be more easily regarded as a technical than a political crusade.
	www.chico.mweb.co.za /art/film/0001/000106-dogme.html (1361 words)

	DVD Times - Dogme Kollektion #1-4 (Site not responding. Last check: 2007-11-03)
		To call the Dogme 95 Manifesto a stunt however is to make light of the considerable impact it has had on both independent cinema and world filmmaking.
		Although the Dogme 95 Manifesto was signed and proclaimed in Spring 1995, it wasn’t until 1998 that the first two films were made by the co-signatories.
		The sound in Dogme films is restricted to only allow sound that is recorded at the same time as the images are filmed, so the quality is likewise restricted to what was captured at the time with no option to overdub in post-production.
	www.dvdtimes.co.uk /content.php?contentid=59692 (2588 words)

	Movies \| Dogme days (Site not responding. Last check: 2007-11-03)
		The charitable thing would be to pretend the Dogme 95 “Vow of Chastity” was a joke.
		Yet Dogme 95 has been discussed as if it were some kind of breakthrough.
		Lear is a logical choice of text for Dogme 95 — the Dogme people might say, with Gloucester: “Our means secure us, and our mere defects/Prove our commodities.” But Levring is not interested in Shakespeare’s play or in the parallels between its characters and his.
	www.bostonphoenix.com /boston/movies/documents/01674394.htm (689 words)

	Dogme 95: The Vow of Chastity (abridged)
		Before the title sequence the Dogme manifesto certificate is showed with the number of the film.
		The movie seems to break with the Dogme rules, as film music appears, but von Trier reveals in an interview that the source of the music - the harmonica player - was located behind the camera while shooting.
		However strictly the filmmakers really follow their own rules, the existence of Dogme 95 led to increased public interest in Danish cinema and provoked debate.
	cinetext.philo.at /reports/dogme_ct.html (612 words)

	photo.net Forum: Does photography need a 'dogme 95'?
		Dogme 95 is a way to sort of prove you can do a lot with not much, and fight the "big money" movie industry bent on low content and big bangs.
		So to get closest to Dogme 95 (in 35mm photography) is to use colour slide film with natural properties, (no Velvia!) use 43 or 45mm lens (both available.) use no filters and handhold at all times(!) and never used props that were not already to hand at the location.
		Dogme 95 films are quite popular in Europe to counter some of the uninformed 'arthouse fringe films' comments here.
	www.photo.net /bboard/q-and-a-fetch-msg?msg_id=001dW0 (5173 words)

	Turns of Phrase: Dogme 95
		Dogme is still mainly a term of European art-house cinema, but it’s becoming known through feature films made under these rules, such as Lars von Trier’s Idiots and Thomas Vinterberg’s Festen (The Celebration), which won the Special Jury Prize at Cannes in 1998.
		Because of this style, there were no props or fake blood, so when it came to physical fights, everyone had to take one for the team.
		Rules are there to be broken and for this third outing under the Dogme 95 banner, director Kragh-Jacobsen has embraced the sacred vow of cinematic chastity with anything but monastic rigour.
	www.worldwidewords.org /turnsofphrase/tp-dog1.htm (255 words)

	[No title] (Site not responding. Last check: 2007-11-03)
		We would argue that Dogme ELT also reaches those parts of teaching that a conventional, drip- feed pedagogy does not.
		Deep Dogme Try making Dogme time the basis of a whole lesson, as you explore language with your learners, rediscovering the "subject" each time you encounter it through their eyes.
		Full Dogme Dogme moments, Dogme lessons: the next stage is a Dogme classroom -- an open one, to which the learners are bringing in their own material because they know they can, and one where nobody knows precisely what will happen when they walk through the door.
	www.asu.edu /educ/epsl/LPRU/newsarchive/Art2035.txt (985 words)

	kamera.co.uk - book review - Purity and Provocation: Dogme 95 by Scott MacKenzie and Mette Hjort (editors) - ...
		'Dogma 95 has to do in large measure with a realisation that marginality of various kinds need not be synonymous with the impossibility of participation', she argues.
		Scott MacKenzie states in his article 'Dogma 95 and the Future of the Film Manifesto' that Dogma differs from previous manifesto movements because of its international appeal and sense of irony, which, it must be added, is not its finest attribute.
		Meanwhile, Bondebjerg's 'Dogma 95 and the New Danish Cinema' contextualises the moment within the country where it was born in an informative and original way.
	www.kamera.co.uk /books/purity_and_provocation_dogme_95.php (629 words)

	washingtonpost.com: Dogme 95's Danish Winter Light (Site not responding. Last check: 2007-11-03)
		Forever banished from Dogme's cinematic lexicon would be such corrupt manipulations as lighting, special effects, soundtracks and even makeup.
		Imagine Dogme fans' surprise, then, with the release of the delightful "Italian for Beginners," as unabashed a romance as the frothiest foam Hollywood has turned out.
		Part of the charm of Dogme movies is, to be absolutely blunt about it, their ugliness.
	www.washingtonpost.com /ac2/wp-dyn/A49451-2002Feb21?language=printer (675 words)

	Movie Forums - Dogme 95. Good? Bad? Quite possibly ugly.
		AS we speak, purist filmmakers are lurking in the shadows, having signed the Dogme 95 vow of chastity (I swear to god, there is one) they are prepared to make films, and be even more pretentious than the average arthouse auteur.
		The basic concept, is that Dogme 95 is filmmaking, with rules.
		Dogme 95 is an experiment, so experiment away.
	www.movieforums.com /community/printthread.php?t=2802 (1432 words)

Try your search on: Qwika (all wikis)