Discussion of Hollywood film has dominated much of the contemporary dialogue on ecocriticism and the cinema--until now. With "Transnational Ecocinemas," the editors open up the critical debate to look at a larger variety of films from many different countries and cultures. By foregrounding these films with their economic and political contexts, the contributors offer a more comprehensive and nuanced look at the role of place in ecocinema. The essays also interrogate proposed global solutions to environmental issues by presenting an ecocritical perspective on different film cultural considerations from around the globe.

The Rwandan genocide is the second most audio-visually recreated genocide after the Holocaust, with approximately 200 films and documentaries produced in 39 countries between 1994 and 2021. Historical Media Memories of the Rwandan Genocide studies the construction, the development, and the recreation of the transnational historical media memory of the genocide against the Tutsis in Rwanda in 1994. This is the first comprehensive work that traces the international media image and the creation of historical memories of the Rwandan genocide, starting with the day to day television news reporting in 1994, and continuing with analyzes of how the genocide has been used and recreated in film and documentaries on a global level as well on a national level, where Rwanda, as a nation, creates its own images of the genocide in film and television production in order to support a new national identity.

The Politics of Nordsploitation takes a transnational approach to exploring Nordic ‘exploitation’ films in their industrial contexts, viewing them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like They Call Her One Eye (1974), homegrown martial arts films like The Ninja Mission (1984) to contemporary crowd-sourced fan productions like Iron Sky (2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries – emphasized here through the term ‘Nordsploitation’. This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, The Politics of Nordsploitation redefines the concept of ‘exploitation’ and its role in small nation cinemas.

A comparative approach to contemporary popular Nordic genre film'Nordic Genre Film' offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show 'The Bridge' and films like 'Insomnia' (1997) to high concept 'video generation' productions such as 'Iron Sky' (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures' relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond.By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.

The Politics of Nordsploitation takes a transnational approach to exploring Nordic ‘exploitation’ films in their industrial contexts, viewing them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like They Call Her One Eye (1974), homegrown martial arts films like The Ninja Mission (1984) to contemporary crowd-sourced fan productions like Iron Sky (2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries – emphasized here through the term ‘Nordsploitation’. This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, The Politics of Nordsploitation redefines the concept of ‘exploitation’ and its role in small nation cinemas.

Offers a transnational comparative approach to contemporary popular Nordic genre film. Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia to high concept 'video generation' productions such as Iron Sky. Other contributions focus on road movies, the horror film, autobiographical films, historical epics and pornography. These are contextualised by discussions of their position in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, the book combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as comes to production, distribution and reception of popular contemporary genre film. It takes a range of approaches to genre in the Nordic context, from analysing the textual features of individual films to exploring industrial tactics in capitalising on cultural reputations; It analyses the production, distribution and the reception of contemporary genre films and offers academic film studies an alternative model for understanding globalisation from a small nation perspective.