based on the Dogme 95 manifesto of ten rules
(known as “The Vow of Chastity”), with which par-
ticipating directors were required to affirm their
compliance. These are
- Shooting must be done on location.
Props and sets must not be brought in (if a
particular prop is necessary for the story, a
location must be chosen where this prop is
to be found). - The sound must never be produced apart
from the images or vice versa. (Music must
not be used unless it occurs where the
scene is being shot). - The camera must be hand-held. Any move-
ment or immobility attainable in the hand
is permitted. (The film must not take place
where the camera is standing; shooting
must take place where the film takes
place). - The film must be in colour. Special lighting
is not acceptable. (If there is too little light
for exposure the scene must be cut or a
single lamp be attached to the camera). - Optical work and filters are forbidden.
- The film must not contain superficial
action. (Murders, weapons, etc. must not
occur.) - Temporal and geographical alienation are
forbidden. (That is to say that the film
takes place here and now.) - Genre movies are not acceptable.
- The film format must be Academy 35mm.
- The director must not be credited.^13
This statement of principles brought consider-
able attention to the country’s cinema with such
movies as von Trier’s The Idiots(1998), Breaking the
Waves(1996), Dancer in the Dark(2000), Dogville
(2003), and The Five Obstructions (2003). These
rules were rigid, and directors often broke their
vows, as seen in such Dogme films as Harmony
Korine’s Julien Donkey-Boy(1999), Lone Scherfig’s
Italian for Beginners(2000), Martin Rengel’s Joy
Ride(2001), and Susanne Bier’s Open Hearts(2002).
The Dogme movement—clearly as bold, if not as
significant, as the French New Wave—influenced
some avant-garde directors in Europe and the
United States, and its emphasis on freedom is rele-
vant to filmmakers with access to digital video,
home computers, and advanced editing software.Germany and Das neue Kino
Following the Second World War and until 1990
(when it was reunified as the German Democratic
Republic), Germany was split into a western and
eastern part. In West Germany, the Federal Repub-
lic reestablished independent film production,
even though German audiences preferred Holly-
wood movies; in East Germany, film production
remained under Soviet control, and little of signifi-
cance was produced.
In 1962, a movement called das neue Kino(the(^13) http://www.dogme95.dk/the_vow/vow.html. New German Cinema) was born, flourishing until
Breaking the rules in Breaking the WavesEven
though the Dogme rules are rigid, Lars von Trier’s Breaking
the Waves(1996) demonstrates that a director can subvert
them to facilitate production. Although the cinematographer
used the requisite handheld camera, many of the scenes
were shot not in real locations, but in studio settings. The
story takes place in the past, not the here and now, and
contrary to Dogme rules, contains nondiegetic music.
Furthermore, von Trier takes full credit for his role as
director. Nonetheless, a major reason for seeing it is the
astonishing performance by Emily Watson as Bess, a simple,
childlike woman. When her husband, seriously injured in an
oil-rig accident, fears that their sex life has ended, he
encourages her to have sexual relations with other men.
However, she believes, from voices that she hears, that what
she is doing is God’s wish. These voices—if, indeed, she
hears them—often come to her in a deserted church.
1947—PRESENT: NEW CINEMAS IN GREAT BRITAIN, EUROPE, AND ASIA 463