Genh r med dogme 95 [Dogme 95 reheard] Genh r med dogme 95

Med udgangspunkt i antagelsen af, at de 10 danske dogmefilm kan forst s som genrefilm, analyserer artiklen, hvordan lyd og musik blev anvendt i disse film. Dogmeinstrukt rernes Kyskhedsl fte specificerer, at lyd og billede aldrig m produceres adskilt fra hinanden, og artiklen inddrager s vel produktionsm ssige som stetiske forhold i analysen. Den viser med eksempler fra de f rdige film, hvordan den kunstneriske intention, der var nedf ldet i regels ttet, blev h ndteret i produktionen og, ikke mindst, hvilke resultater den fik i de f rdige film. De enkelte dogmefilm var auditivt ganske forskellige, men blandt de auditive s rtr k, flere af dem udviste, var lydspringet og oph velsen af den traditionelle dikotomi mellem diegetisk og ikke-diegetisk musik. Assuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of productions practice as well as aesthetic considerations. Using examples from the finished films, it demonstrates how the artistic intention formulated in the set of rules was handled during production and how it influenced the finished films. The individual Dogma films were quite different from an auditory point of view, but among the auditory characteristics of the films were the auditory jump cut and the abolition of the traditional dichotomy between diegetic and non-diegetic music.