Nordic Film Cultures and Cinemas of Elsewhere

Anna Westerstahl Stenport is Professor and Chair of the School of Modern Languages at Georgia Institute of Technology. She has written extensively about Nordic cinema, media, visual cultures, culture, drama, and literature. She is the author of Nordic Film Classics: Lukas Moodysson’s ‘Show Me Love’ (Washington, 2012) and co-editor of Films on Ice: Cinemas of the Arctic (with Scott MacKenzie, Edinburgh, 2015) and Arctic Cinemas and the Documentary Ethos (with Lilya Kaganovsky and Scott MacKenzie, Indiana, 2019). Arne Lunde is Associate Professor in the Scandinavian Section and in Cinema and Media Studies at UCLA. His book Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema (U. of Washington Press, 2010) explores Scandinavian whiteness and ethnicity in Hollywood cinema between and during the two world wars. He has published in Journal of Scandinavian Cinema, Film International, Film Quarterly, The Moving Image, Scandinavian Studies, Scandinavica, and Comparative Literature.

This rich book on Nordic film cultures explores various cross-cultural contact zones through the prism of cinematic ‘elsewheres’. Ranging from stylistic specificities to socio-historical contexts, and from media archeological excavations to current, transnational flows of media culture, it brilliantly illuminates marginalized spaces and lost horizons, while at the same time boldly proposing to modify the very coordinates of Nordic film culture.

• Acknowledgments List of Illustrations and Captions Contributor Biographies1. Introduction: Nordic Film Cultures and Cinemas of Elsewhere; Patrick Ellis, Arne Lunde, and Anna Westerstahl Stenport PART I: TRACES AND ERASURES2. Mapping Cinema’s Ghosts: Reconstructing the Circulation of Nordic Silent Film in Australia; Julie K. Allen 3. Charlie Chan’s Last Mystery, or the Transcultural Disappearance of Warner Oland; Kim Khavar Fahlstedt4. Karin Fock Göring’s Gravestone: Tracing the Legacy of the Swedish First Lady of the Third Reich; Patrick Wen 5. Mobility and Marginalization: Arne Sucksdorff’s Documentary Authorship in India and Brazil; Emil Stjernholm6. "Let’s Get a Swede!" Peter Goldmann, The Beatles, and the Origins of the Music Video; Scott MacKenzie 7. Out of the Margins of Feminist Filmmaking: Vibeke Løkkeberg and the Film Cultures of 1970s West Berlin; Ingrid S. Holtar8. The Gothenburg International Exile Film Festival in Context; Boel Ulfsdotter and Mats Björkin　PART II: INTERMEDIARIES 9. Opening up the Post-War World in Color: 1950s Geopolitics and Spectacular Nordic Colonialism in the Arctic and in Africa; Anna Westerstahl Stenport10. The Diasporic and Polyglot Works of Ingrid Bergman; Scott MacKenzie11. "Here is my home": Voiceover and Foreign-language Versions in Post-war Danish informational film; C. Claire Thomson12. A Sámi in Hollywood: Nils Gaup’s Transnational and Generic Negotiations; Gunnar Iversen13. "There is no Elsewhere!" Stories of Race, Decolonization, and Global Connectivity in Göran Hugo Olsson’s Documentaries; Lill-Ann Körber14. Aki Kaurismäki’s Finno-French Connections and Other Transcultural Elsewheres; Ana Bento Ribeiro15. Nordic Noir as a Calling Card: The International Careers of Danish Film and Television Talent in the 2010s; Eva N. RedvallPART III: CONTACT ZONES 16. Paris Looks to the North: Swedish Silent Film and the Emergence of Cinephilia; Annie Fee17. Celebrated, Contested, Criticized: Anita Ekberg, a Swedish Sex Goddess in Hollywood; Ann-Kristin Wallengren 18. The Finnish Cinema Colony in North America, 1938−1941; Anneli Lehtisalo19. The Transnational Politics of Lars von Trier’s and Thomas Vinterberg’s "Amerika"; Linda Badley20. The Globalization of Danish Documentary: Creative Collaboration and Modes of Global Documentaries; Ib Bondebjerg21. Elsewheres of Healing: Trans-Indigenous Spaces in Elle-Máijá Apiniskim Tailfeathers’ Bihttoš; Troy Storfjell (Sámi)22. Denmark beyond Denmark: Soft Power, Talent Development, and Filmmaking in the Middle East; Mette Hjort　PART IV. REVISITATIONS 23. Cinephiliac and Political Passions of the Parisian 1950s: Dreyer’s Jeanne d’Arc and the Cinéma d’Essai; Casper Tybjerg24. I Am Curious (Yellow) as Sex Education in the United States; Saniya Lee Ghanoui25. Transnational Cinefeminism of the 1970s and Mai Zetterling’s Documentary Elsewheres; Mariah Larsson26. The Serpent’s Egg: Ingmar Bergman’s Exilic Elsewheres in 1970s New German and New Hollywood Cinema; Anna Westerstahl Stenport and Arne Lunde27. Bridging Places, Media, and Traditions: Lasse Hallström’s Chronotopes; Lynn R. Wilkinson28. Criminal Undertakings: Nicolas Winding Refn, European Film Aesthetics and Hollywood Genre Cinema; Björn Nordfjörd29. The Cinematic Kon-Tiki Expeditions: Realism, Spectacle, and the Migration of Nordic Cinema; Benjamin Bigelow