Danish Film .1990 Internationalization Strategy

Since the 1990s, Danish film has sprung up again, and gradually entered the internationalization development track. It has made tentative breakthrough in aspects of the film technical means, the art of movies in content and form, and the film industry planning, successfully established the way of transmission in the universal value of culture modernization. The development path of niche-market films provides a new strategy for reference to the national movie breakthrough and cross-cultural communication in the process of globalization."Globalization" and "network" have been the two themes since the 1990s. In economic waves of globalization, national film creation has separated from pure art cinema, and entered the industrialization orbit of mass media. Hollywood culture industries mode becomes the main industry model in films development, and the largest popular consumption structure in global movie competitive market. Moreover the development of network information society, not only directly produces the digital communication channels to disseminate and personal spaces, but also opens up new survival and development opportunities in the long tail of the film niche-market.This paper is at the core of the interaction in the context of globalization from culture economics, between national films in the relatively vulnerable position and Hollywood film in mainstream consumer culture, and the new international path of national films. Aimed at the binary context of artificial construction about Hollywood production in the study of national films'strategy, this paper analyzes from the entertainment products to the mass customization production by quoting the long tail theory from economics, tries to go further into the characteristic culture industries path sharing the market with the mainstream. Therefore, it is disenchantment to Hollywood culture hegemony, and an interpretation to the "intertexts" of the development about national film culture industries.This paper chooses Danish film as the research object:1. It is because the world culture and economy has present the coexistence of a popular culture and a small field culture by "long tail distribution". Like most national films, Danish film in the global film market tail, oneself cannot occupy the popular position, and will continue to dissociate from the mainstream with the strong individual image style; 2. It is because its highly consciousness in keeping the culture independence has marked what the multiple, fragmental "globalization" really means.The main part of this paper is divided into four chapters, by a progression from the microscopic view to the macroscopic view, and an extension from the movie ontology representation to the film industry's essence, tries to construct the basic path of Danish film internationalization in "long tail" development mode. The first chapter systematically describes that the Danish films open the door of filmmaking by simplified practice techniques for grassroots filmmakers, and brings about mass communication of the niche-market film with the new media means. When these "amateur artists" have devoted themselves into film creation, the long tail taking no more investment risks has become a large imaginative forge. The second chapter focuses on the moulding map and visual fancy under the ethnography writing paradigm:the ethnographic theme type, the national role connotation and the cultural atmosphere of "the niche counters the popular, the amateur challenges the elite" drawn by free form of art sketch. The third chapter deeply analyses how capital flows and government behavior have co-woven the "god blanket" of Danish film's take-off. Its industrial cluster model is a new space economic organization form of the world's film industry. The fourth chapter intensively displays the culture transmission channel of Danish film's universal culture. So far, as a developed country owning an advanced culture ideal and modern life attitude, through the film--"the ambassador packed in iron boxes", Denmark achieves the output of values image.The future movie competition will be turned from a single physical space to a multiple information space, and the rising of Danish film on behalf of a small field culture, is exactly a typical case of new culture economics under the background of "the long tail theory". Its success will provide the most practical reference for other national films belonging to a sub-culture.