ABSTRACT
Three of my four case studies began with a film-related anecdote. Thomas Vinterberg’s It’a All About Love, Michael Moore’s Fahrenheit 9/11 and the Coen Brothers’ Intolerable Cruelty. None of these films were chosen for their artistic qualities or because they had made a particularly deep impression on me. The choice was less cinephilic, and more circumstantial; the specific circumstances surrounding the screenings of these films at the film festivals in Berlin, Cannes, and Venice provided me with the appropriate examples to introduce my case studies.
