Anne Gjelsvik

This is the first book-length academic study of Norwegian auteur Joachim Trier's films. The book, written by an author who has followed his work closely for ten years, offers an introduction to all five feature films, from his debut Reprise (2006) to his recent success The Worst Person in the Word (2021). The book investigates the style and themes of Trier's films through a prologue, nine chapters, and an epilogue. The main section of the book looks closely at selected tropes across Trier's films, such as memory, time, and identity, as well as his style and his innovative use of montage, voice-over and settings. The prologue place Trier in contemporary Norwegian cinema and discuss his different inspirations and collaborations. An interview with Joachim Trier makes up the epilogue of the book.

This is the first book-length academic study of Norwegian auteur Joachim Trier's films. The book, written by an author who has followed his work closely for ten years, offers an introduction to all five feature films, from his debut Reprise (2006) to his recent success The Worst Person in the Word (2021). The book investigates the style and themes of Trier's films through a prologue, nine chapters, and an epilogue. The main section of the book looks closely at selected tropes across Trier's films, such as memory, time, and identity, as well as his style and his innovative use of montage, voice-over and settings. The prologue place Trier in contemporary Norwegian cinema and discuss his different inspirations and collaborations. An interview with Joachim Trier makes up the epilogue of the book.

Cinema has often been seen as a form between media. Early cinema borrowed heavily from traditional performing arts, like theatre and tableau vivant; and the narrative forms of literature, particularly the structure of the novel, have played important roles in shaping narrative cinema. The list of influencing forms goes on, and includes music, architecture, and painting. Following the more recent historical advents of technical media like the VCR and the DVD, and digitalisation and its effects, the notion of cinema as a mixed medium has become even more prominent within film theory. So cinema both has been and is intermedial. However, we argue that the acknowledgement of this has not affected the practice of film analysis to any great extent. This book on cinema and intermediality therefore rethinks both cinema as a form and the practice of film analysis, using concepts and analytical tools derived mainly from the fields of media theory and intermediality.

Mange har et intenst og nært forhold til film. Levende bilder har formet vår forståelse av historien, av kjønnsroller, av samfunnet og av hvem vi selv er. På hvilken måte skjer dette? Og er mediets særpreg i ferd med å endres? «hva er FILM» er en rikholdig introduksjon til filmens verden. Dokumentarfilmen får plass, men det er spillefilmen som inntar hovedrollen i fortellingen. Her diskuterer og analyserer forfatteren blant annet hva som kjennetegner en god film, rikdommen av virkemidler, teknologiens rolle og hvordan film påvirker og oppleves, hele tiden tydeliggjort med gode eksempler fra filmens mangfoldige arkiv.