Transnational Cinema in a Global North
Nordic Cinema in Transition
Herausgeber: Nestingen, Andrew
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Scholarly writing on Nordic cinema has historically focused on such auteurs as Carl Dreyer and Ingmar Bergman. Recent work has neglected to contextualize contemporary Nordic film within the increasingly global climate of the five Nordic countries. While each country retains idiosyncratic themes and cinematic identity, Nordic cinema also shows increasing homogenization in production strategies, aesthetics, and audience taste. At the same time, contemporary Nordic films have enjoyed renewed popularity at home and have at the same time vaulted to global prominence. From heritage films like Babett...
Scholarly writing on Nordic cinema has historically focused on such auteurs as Carl Dreyer and Ingmar Bergman. Recent work has neglected to contextualize contemporary Nordic film within the increasingly global climate of the five Nordic countries. While each country retains idiosyncratic themes and cinematic identity, Nordic cinema also shows increasing homogenization in production strategies, aesthetics, and audience taste. At the same time, contemporary Nordic films have enjoyed renewed popularity at home and have at the same time vaulted to global prominence. From heritage films like Babette’s Feast and Pelle the Conquerer to the avant-garde Dogma movement led by Lars von Trier (Breaking the Waves, Dancer in the Dark), to the work of Lukas Moodysson and Aki Kaurismäki, a variety of Nordic films now have wide exposure.
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