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This book offers a diverse and groundbreaking account of the
intersections between modernities and environments in the
circumpolar global North, foregrounding the Arctic as a critical
space of modernity, where the past, present, and future of the
planet's environmental and political systems are projected and
imagined. Investigating the Arctic region as a privileged site of
modernity, this book articulates the globally significant, but
often overlooked, junctures between environmentalism and
sustainability, indigenous epistemologies and scientific rhetoric,
and decolonization strategies and governmentality. With
international expertise made easily accessible, readers can observe
and understand the rise and conflicted status of Arctic
modernities, from the nineteenth century polar explorer era to the
present day of anthropogenic climate change.
This book offers a diverse and groundbreaking account of the
intersections between modernities and environments in the
circumpolar global North, foregrounding the Arctic as a critical
space of modernity, where the past, present, and future of the
planet's environmental and political systems are projected and
imagined. Investigating the Arctic region as a privileged site of
modernity, this book articulates the globally significant, but
often overlooked, junctures between environmentalism and
sustainability, indigenous epistemologies and scientific rhetoric,
and decolonization strategies and governmentality. With
international expertise made easily accessible, readers can observe
and understand the rise and conflicted status of Arctic
modernities, from the nineteenth century polar explorer era to the
present day of anthropogenic climate change.
Nordic Film Cultures and Cinemas of Elsewhere introduces a new
concept to Nordic film studies as well as to other small national,
transnational and world cinema traditions. Examining overlooked
'elsewheres', the book presents Nordic cinemas as international,
cosmopolitan, diasporic and geographically dispersed, from their
beginnings in the early silent period to their present 21st-century
dynamics. Exploring both canonical works by directors like Ingmar
Bergman and Lars von Trier, as well as a wide range of unknown or
overlooked narratives of movement, synthesis and resistance, the
book offers a new model of inquiry into a multi-varied Scandinavian
cultural lineage, and into small nation and pan-regional world
cinemas.
Beginning with Robert Flaherty's Nanook of the North (1922), the
majority of films that have been made in, about, and by filmmakers
from the Arctic region have been documentary cinema. Focused on a
hostile environment that few people visit, these documentaries have
heavily shaped ideas about the contemporary global Far North. In
Arctic Cinemas and the Documentary Ethos, contributors from a
variety of scholarly and artistic backgrounds come together to
provide a comprehensive study of Arctic documentary cinemas from a
transnational perspective. This book offers a thorough analysis of
the concept of the Arctic as it is represented in documentary
filmmaking, while challenging the notion of "The Arctic" as a
homogenous entity that obscures the environmental, historical,
geographic, political, and cultural differences that characterize
the region. By examining how the Arctic is imagined, understood,
and appropriated in documentary work, the contributors argue that
such films are key in contextualizing environmental, indigenous,
political, cultural, sociological, and ethnographic understandings
of the Arctic, from early cinema to the present. Understanding the
role of these films becomes all the more urgent in the present day,
as conversations around resource extraction, climate change, and
sovereignty take center stage in the Arctic's representation.
This is a comprehensive study of films made in and about one of the
world's most breathtaking landscapes - the Arctic. The first book
to address the vast diversity of Northern circumpolar cinemas from
a transnational perspective, Films on Ice: Cinemas of the Arctic
presents the region as one of great and previously overlooked
cinematic diversity. With chapters on polar explorer films, silent
cinema, documentaries, ethnographic and indigenous film, gender and
ecology, as well as Hollywood and the USSR's uses and abuses of the
Arctic, this book provides a groundbreaking account of Arctic
cinemas from 1898 to the present. Challenging dominant notions of
the region in popular and political culture, it demonstrates how
moving images (cinema, television, video, and digital media) have
been central to the very definition of the Arctic since the end of
the 19th century. Bringing together an international array of
European, Russian, Nordic, and North American scholars, Films on
Ice radically alters stereotypical views of the Arctic region, and
therefore of film history itself. It transforms the study,
reception, and reach of Arctic cinema, film, and moving image
culture. It establishes the significance of the term Global North
in relation to film studies. It brings together an international
array of European, Russian, Nordic, and North America of scholars
and researchers, with content expertise transcending limited
national or regional boundaries. Editors are planning to build a
companion website with complimentary images and videos.
For centuries, the Arctic was visualized as an unchanging, stable,
and rigidly alien landscape, existing outside twenty-first-century
globalization. It is now impossible to ignore the ways the climate
crisis, expanding resource extraction, and Indigenous political
mobilization in the circumpolar North are constituent parts of the
global present. New Arctic Cinemas presents an original,
comparative, and interventionist historiography of film and media
in twenty-first-century Scandinavia, Greenland, Russia, Canada, and
the United States to situate Arctic media in the place it
rightfully deserves to occupy: as central to global environmental
concerns and Indigenous media sovereignty and self-determination
movements. The works of contemporary Arctic filmmakers, from
Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and
Inuk Silis Høegh, reach worldwide audiences. In examining the
reach and influence of these artists and their work, Scott
MacKenzie and Anna Westerstahl Stenport reveal a global media
system of intertwined production contexts, circulation
opportunities, and imaginaries—all centering the Arctic North.
The first book to address the vast diversity of Northern
circumpolar cinemas from a transnational perspective, Films on Ice
presents the region as one of great and previously overlooked
cinematic diversity. With chapters on polar explorer films, silent
cinema, documentaries, ethnographic and indigenous film, gender and
ecology, as well as Hollywood and the USSR's uses and abuses of the
Arctic, this book provides a groundbreaking account of Arctic
cinemas from 1898 to the present and radically alters stereotypical
views of the Arctic region.
Beginning with Robert Flaherty's Nanook of the North (1922), the
majority of films that have been made in, about, and by filmmakers
from the Arctic region have been documentary cinema. Focused on a
hostile environment that few people visit, these documentaries have
heavily shaped ideas about the contemporary global Far North. In
Arctic Cinemas and the Documentary Ethos, contributors from a
variety of scholarly and artistic backgrounds come together to
provide a comprehensive study of Arctic documentary cinemas from a
transnational perspective. This book offers a thorough analysis of
the concept of the Arctic as it is represented in documentary
filmmaking, while challenging the notion of "The Arctic" as a
homogenous entity that obscures the environmental, historical,
geographic, political, and cultural differences that characterize
the region. By examining how the Arctic is imagined, understood,
and appropriated in documentary work, the contributors argue that
such films are key in contextualizing environmental, indigenous,
political, cultural, sociological, and ethnographic understandings
of the Arctic, from early cinema to the present. Understanding the
role of these films becomes all the more urgent in the present day,
as conversations around resource extraction, climate change, and
sovereignty take center stage in the Arctic's representation.
Nordic Film Cultures and Cinemas of Elsewhere introduces a new
concept to Nordic film studies as well as to other small national,
transnational and world cinema traditions. Examining overlooked
'elsewheres', the book presents Nordic cinemas as international,
cosmopolitan, diasporic and geographically dispersed, from their
beginnings in the early silent period to their present 21st-century
dynamics. Exploring both canonical works by directors like Ingmar
Bergman and Lars von Trier, as well as a wide range of unknown or
overlooked narratives of movement, synthesis and resistance, the
book offers a new model of inquiry into a multi-varied Scandinavian
cultural lineage, and into small nation and pan-regional world
cinemas.
For centuries, the Arctic was visualized as an unchanging, stable,
and rigidly alien landscape, existing outside twenty-first-century
globalization. It is now impossible to ignore the ways the climate
crisis, expanding resource extraction, and Indigenous political
mobilization in the circumpolar North are constituent parts of the
global present. New Arctic Cinemas presents an original,
comparative, and interventionist historiography of film and media
in twenty-first-century Scandinavia, Greenland, Russia, Canada, and
the United States to situate Arctic media in the place it
rightfully deserves to occupy: as central to global environmental
concerns and Indigenous media sovereignty and self-determination
movements. The works of contemporary Arctic filmmakers, from
Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and
Inuk Silis Høegh, reach worldwide audiences. In examining the
reach and influence of these artists and their work, Scott
MacKenzie and Anna Westerstahl Stenport reveal a global media
system of intertwined production contexts, circulation
opportunities, and imaginaries—all centering the Arctic North.
Lukas Moodysson is one of the most accomplished and unconventional
filmmakers of his generation in Sweden. Moodysson, now well known
for his English-language film Mammoth (2009) as well as his
heartbreaking indictment of sex-trafficking in Sweden, Lilya 4-Ever
(2002), debuted as a writer and director while still in his
twenties with Show Me Love (1998). The film received four
Guldbaggar--the Swedish equivalent of the Academy Awards--including
best film, best director, best screenplay, and best actresses. A
coming-of-age and coming out film about two young women in a
stiflingly oppressive small town, Show Me Love is widely considered
a youth film classic and was called a "masterpiece" by Ingmar
Bergman. This book, which is the first study of Moodysson in any
language, includes discussions of the film's genre, aesthetics, and
style, and situates the film in both contemporary Swedish cinema
and broader Swedish culture. It includes sequence and dialogue
analysis and discusses how and why this particular film became so
important: its queer significance, its unusually realistic
depiction of youth, and its critical reception. Anna Stenport
conducted extensive interviews with the cast and crew, including
several enlightening discussions with Moodysson himself. Lukas
Moodysson's Show Me Love offers an incisive introduction to
Moodysson for readers interested in contemporary film, as well as a
history and close analysis of changes in the Swedish film industry.
August Strindberg and Visual Culture addresses the multiplicity of
Strindberg's artistic and literary output. The book charts the
vital intersections between theatre, aesthetic theory, and visual
elements in his work that have been left largely unexplored. Rather
than following traditional genre-bound critical approaches, this
book focuses on the intermediality of individual works, the corpus
as a whole, and their connections to a wide array of historical and
contemporary artists, writers, photographers, film, theatre and
museum practitioners. The book is beautifully illustrated, with
many never-before-seen images from Strindberg's work, and includes
contributions from actress Liv Ullmann, director Robert Wilson, and
curator and museum director Daniel Birnbaum.
Lukas Moodysson is one of the most accomplished and unconventional
filmmakers of his generation in Sweden. Moodysson, now well known
for his English-language film Mammoth (2009) as well as his
heartbreaking indictment of sex-trafficking in Sweden, Lilya 4-Ever
(2002), debuted as a writer and director while still in his
twenties with Show Me Love (1998). The film received four
Guldbaggar -- the Swedish equivalent of the Academy Awards --
including best film, best director, best screenplay, and best
actresses. A coming-of-age and coming out film about two young
women in a stiflingly oppressive small town, Show Me Love is widely
considered a youth film classic and was called a "masterpiece" by
Ingmar Bergman. This book, which is the first study of Moodysson in
any language, includes discussions of the film's genre, aesthetics,
and style, and situates the film in both contemporary Swedish
cinema and broader Swedish culture. It includes sequence and
dialogue analysis and discusses how and why this particular film
became so important: its queer significance, its unusually
realistic depiction of youth, and its critical reception. Anna
Stenport conducted extensive interviews with the cast and crew,
including several enlightening discussions with Moodysson himself.
Lukas Moodysson's Show Me Love offers an incisive introduction to
Moodysson for readers interested in contemporary film, as well as a
history and close analysis of changes in the Swedish film industry.
August Strindberg and Visual Culture addresses the multiplicity of
Strindberg's artistic and literary output. The book charts the
vital intersections between theatre, aesthetic theory, and visual
elements in his work that have been left largely unexplored. Rather
than following traditional genre-bound critical approaches, this
book focuses on the intermediality of individual works, the corpus
as a whole, and their connections to a wide array of historical and
contemporary artists, writers, photographers, film, theatre and
museum practitioners. The book is beautifully illustrated, with
many never-before-seen images from Strindberg's work, and includes
contributions from actress Liv Ullmann, director Robert Wilson, and
curator and museum director Daniel Birnbaum.
This fine collection of essays offers a wide range of new and
original perspectives on Strindberg and his relation to modern and
contemporary literature. By using Strindberg as a fulcrum or spring
board, the volume opens a unique and unusual historical perspective
on Europe and European literature. One of the important values of
"The International Strindberg" is that it will appeal to a variety
of readers, since the essays cover such a diverse range of
approaches. The introduction is particularly impressive because it
both sets up the value of looking at Strindberg from a twenty-first
century perspective and suggests how that can and should be done.
The volume demonstrates the variety of ways in which Strindberg's
work can be seen and discussed in light of twentieth and even
twenty-first century literature.
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