Notes on Nordic Noir as European Popular Culture (original) (raw)
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Lund University, 2022
Swedish contemporary cinema is full of different attempts to present the Swedish culture and landscape through different genres. many of those films found their way to European and even the global market. However, the majority remains under local or regional exposure especially since they are not targeting a global audience and using the Swedish language which makes them less appealing to the international audience except in some cases. In this essay, I will discuss how three different films were perceived differently at the global and local box offices and what are the mutual elements that can be found in these films. And what are the differences when it comes to the representations of society?
Focusing away from determining a film's allegiance to the original source and redirects the conversation to the industrial choices, audience responses, national and cultural factors that contribute to the construction of the cinematic text. This paper analyses the national, adaptation and cultural values of Swedish thriller based on the worldwide known Stieg Larsson's novel and it was directed in 2009 by the Danish director Niels Arden Oplev, and in 2011 by the American director David Fincher The Girl with the Dragon Tattoo (Män som hatar kvinnor) has been considered how international audience in other cultures and territories know and communicate about Swedish culture. The aim of this paper is to analyze in depth the significance of the Hollywood adaptation in David Fincher's The Girl with the Dragon Tattoo, and through it how to remake "Swedish Cinema" can be international and reach a worldwide audience through the Hollywood adaptation, to better perceive the importance of English-language films.
2019
In this article, the authors argue that Nordic noir constitutes a set of production values utilised and conceptualised to make Danish television series attractive in the international market. The idea of production values is embedded in a media industrial context where market principles of target groups, sales, funding and marketing/branding are as important as aesthetic principles. The Killing and The Bridge are used to illustrate how features such as setting, climate, light and language serve strategic as well as aesthetic purposes in the production process. The authors conclude by relating the specific Nordic noir production values present in the two series to changing conditions in Danish television drama production, in particular the internationalisation of DR Drama Division.
Conclusion: Nordic Noir Beyond the Nordic
2017
In the Conclusion the authors sum up their findings with reference to different factors at play in the conceptual development of Nordic Noir and claim that four primary perspectives are necessary to decode the conceptual content of Nordic Noir: (a) a common press reference, (b) a brand name, (c) stylistic and narrative content, and (d) a locative concept. By referring to two recent television dramas, Valkyrien and Marcella, the authors conclude that the ‘Nordic’ in Nordic Noir is a very negotiable term which, when Nordic Noir travels as a style, has very little to do with geography and much more with stylistic content. They sum up by suggesting that an emotional turn of the spatial turn of media studies might inspire the further development of location studies.
Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes
Journal of Film and Video, 2023
Transcultural film remakes can offer insight into how distinct cultures have different ideals for the heroic. A protagonist who appears admirable in Scandinavia can have values, traits, or skills that are perceived as less appealing, on average, to audiences in other regions of the world. Screenwriters and directors who want to import a story from a different culture must therefore consider how their main character should be adapted in order to maximize a remake’s chance of artistic and commercial success (Singh). Such character adjustment, when informed by the expectations of a new film market, is part of the process Linda Hutcheon refers to as transculturation (141–48). In this article, I examine eighteen American remakes of fifteen Scandinavian films, from the 1930s to the 2010s. These case studies comprise nearly all Norwegian, Danish, and Swedish films that have been remade in America, with the exception of a handful of films I was unable to acquire access to with reasonable effort. Through an analysis of protagonists in these thirty-three films, I illustrate important cultural differences in respect to the heroic in Scandinavia juxtaposed with the United States. By heroic I refer to the range of values, traits, and skills that a culture promotes as worthy of emulation. While both Scandinavia and the US are Western cultures with a predominantly Protestant background, distinct environments and histories inform significant differences with regard to what their current populations consider to be good and bad.
The Journal of Popular Television, 2013
teaches media aesthetics, production and marketing. Her research focuses on mediated places, for example, location in television production, film tourism, place branding, landscape/cartographic aesthetics in travel series and travel journalism, and paradise as a concept in commercials. She has published several articles and books within the field, including 'Armchair tourism: the travel series as a hybrid gen
Lund University, 2023
Bergman's Persona Swedish cinema was successful to reach local and international audiences and give a good reputation to Swedish films and filmmakers since the silent era. But later and after the second world war, Sweden's film industry tries to establish its artistic identity and many of the themes of that time shifted from postwar reflections to start examining the psychology of individuals.