This book argues that adaptation is an underrecognized yet constitutive element of Nordic noir. In so doing, it reframes the prevailing critical view. Now celebrated for its global sweep, Nordic noir is equally a transmedial phenomenon. Nordic Noir, Adaptation, Appropriation deploys the tools of current adaptation studies to undertake a wide-ranging transcultural, intermedial exploration, adding an important new layer to the rich scholarship that has arisen around Nordic noir in recent years.

This book argues that adaptation is an underrecognized yet constitutive element of Nordic noir. In so doing, it reframes the prevailing critical view. Now celebrated for its global sweep, Nordic noir is equally a transmedial phenomenon. Nordic Noir, Adaptation, Appropriation deploys the tools of current adaptation studies to undertake a wide-ranging transcultural, intermedial exploration, adding an important new layer to the rich scholarship that has arisen around Nordic noir in recent years.

Digital media-GIFs, films, TED Talks, tweets, and more-have become integral to daily life and, unsurprisingly, to Indigenous people's strategies for addressing the historical and ongoing effects of colonization. In Sami Media and Indigenous Agency in the Arctic North, Thomas DuBois and Coppelie Cocq examine how Sami people of Norway, Finland, and Sweden use media to advance a social, cultural, and political agenda anchored in notions of cultural continuity and self-determination. Beginning in the 1970s, Sami have used Sami-language media-including commercially produced musical recordings, feature and documentary films, books of literature and poetry, and magazines-to communicate a sense of identity both within the Sami community and within broader Nordic and international arenas. In more contemporary contexts-from YouTube music videos that combine rock and joik (a traditional Sami musical genre) to Twitter hashtags that publicize protests against mining projects in Sami lands-Sami activists, artists, and cultural workers have used the media to undo layers of ignorance surrounding Sami livelihoods and rights to self-determination. Downloadable songs, music festivals, films, videos, social media posts, images, and tweets are just some of the diverse media through which Sami activists transform how Nordic majority populations view and understand Sami minority communities and, more globally, how modern states regard and treat Indigenous populations.

Aki Kaurismaki is an enigma, an eminent auteur who claims his films are a joke. Since 1983, Kaurismaki has produced classically-styled films filled with cinephilic references to film history. He has earned an international art-house audience and many prizes, influencing such directors as Jim Jarmusch, Quentin Tarantino, and Wes Anderson. Yet Kaurismaki is often depicted as the loneliest, most nostalgic of Finns (except when he promotes his films, makes political statements, and runs his many businesses). He is also depicted as a bohemian known for outlandish actions and statements. The Cinema of Aki Kaurismaki is the first comprehensive English-language study of this eccentric director. Drawing on revisionist approaches to film authorship, the text links the filmmaker and his films to the stories and issues animating film aesthetics and history, nostalgia, late modernity, politics, commerce, film festivals, and national cinema.

Scandinavian popular novels and films have seen an efflorescence in the last thirty years. In "Crime and Fantasy in Scandinavia", Andrew Nestingen argues that the growth and visibility of popular culture have been at the heart of the development of heterogeneous "publics" in Scandinavia, in opposition to the homogenising influence of the post-World War II welfare state. The book provides significant insight into the changing nature of civil society under the Scandinavian welfare state through the lens of popular culture. Nestingen develops his argument through the examination of genres where the central theme is individual transgression of societal norms. Among the internationally known artists discussed are Henning Mankell, Aki Kaurismaki, Lukas Moodysson, and Lars von Trier.

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 while also vaulting to global prominence. From heritage films like Babette's Feast and Pelle the Conquerer, to the avantgarde Dogma movement led by Lars von Trier (Breaking the Waves, Dancer in the Dark), to the work of Lukas Moodysson and Aki Kaurismaki, a variety of Nordic films now have wide exposure. This collection of essays edited by Andrew Nestingen and Trevor G. Elkington is the first to focus on the globalization of Nordic film, particularly its trend toward transnational production procedures, themes, and actors. Wide in breadth, Nestingen and Elkington's book addresses the comparative cinematic histories of the Nordic countries, the factors that contributed to increased flexibility of national cinematic borders, and the effects of aesthetic and economic trends on the films themselves. To that end, a section of the book is dedicated to analyses of recently influential Nordic films, each piece incorporating transnational influences into its analysis to offer an up-to-date collection of Nordic film criticism. A groundbreaking and much-needed contribution to Nordic film studies, Transnational Cinema in a Global North: Nordic Cinema in Transition provides a unique addition to the growing body of work on transnationalism and globalization.

Digital media-GIFs, films, TED Talks, tweets, and more-have become integral to daily life and, unsurprisingly, to Indigenous people's strategies for addressing the historical and ongoing effects of colonization. In Sami Media and Indigenous Agency in the Arctic North, Thomas DuBois and Coppelie Cocq examine how Sami people of Norway, Finland, and Sweden use media to advance a social, cultural, and political agenda anchored in notions of cultural continuity and self-determination. Beginning in the 1970s, Sami have used Sami-language media-including commercially produced musical recordings, feature and documentary films, books of literature and poetry, and magazines-to communicate a sense of identity both within the Sami community and within broader Nordic and international arenas. In more contemporary contexts-from YouTube music videos that combine rock and joik (a traditional Sami musical genre) to Twitter hashtags that publicize protests against mining projects in Sami lands-Sami activists, artists, and cultural workers have used the media to undo layers of ignorance surrounding Sami livelihoods and rights to self-determination. Downloadable songs, music festivals, films, videos, social media posts, images, and tweets are just some of the diverse media through which Sami activists transform how Nordic majority populations view and understand Sami minority communities and, more globally, how modern states regard and treat Indigenous populations.

Stieg Larsson's darkly violent but irresistibly absorbing and wildly popular crime novels have brought new attention to the work of Nordic crime writers, and "Scandinavian Crime Fiction" is the first English-language study of the genre as practiced in Denmark, Finland, Iceland, Norway, and Sweden. Attending to the work of such popular authors as Henning Mankell, Karin Fossum, and Anne Holt--as well as Larsson--"Scandinavian Crime Fiction"explores every aspect of crime writing in the region, from history to recurrent themes to the ways these books have been adapted for television. Many readers will be familiar with Mankell's "Wallander" series and movies based on Staalesen novels, which are both popular on PBS.

Aki Kaurismaki is an enigma, an eminent auteur who claims his films are a joke. Since 1983, Kaurismaki has produced classically-styled films filled with cinephilic references to film history. He has earned an international art-house audience and many prizes, influencing such directors as Jim Jarmusch, Quentin Tarantino, and Wes Anderson. Yet Kaurismaki is often depicted as the loneliest, most nostalgic of Finns (except when he promotes his films, makes political statements, and runs his many businesses). He is also depicted as a bohemian known for outlandish actions and statements. The Cinema of Aki Kaurismaki is the first comprehensive English-language study of this eccentric director. Drawing on revisionist approaches to film authorship, the text links the filmmaker and his films to the stories and issues animating film aesthetics and history, nostalgia, late modernity, politics, commerce, film festivals, and national cinema.