Memorable stills from great cinematic tradition — Ingeborg Holm (1913) to Wild Strawberries (1957). Complete credits, synopsis, commentary for each film. Introduction, critical biographies of directors.
Is there a distinctly Swedish national character? Are Swedes truly shy, unemotional, conflict-avoiding, melancholy, and dour? Swedish Mentality, the English translation of the hugely successful book published in Sweden in 1989, considers the reality behind the myth. The author, Åke Daun, is a respected ethnologist who is sometimes referred to as the "guru" of Swedish character. In recent years, it has become popular to discuss Swedishness and Swedish identity. The advent of the European Union and the increasing presence of immigrant refugees in Sweden have fueled public debate on the distinctiveness of Swedish culture. Daun, however, goes beyond stereotype, drawing upon statistics gathered over more than a decade of research. The result is an entertaining and engagingly written book. Throughout, Daun quotes from interviews with native Swedes and immigrants as well as from travel accounts, folklore, and proverbs. We learn why some Swedes might prefer to walk up a flight of stairs rather than share an elevator with a neighbor and why some gain satisfaction from walking alone in the woods or going fishing. Daun describes a range of factors influencing Swedish character, including population composition, rural background, and even climate. He recognizes behavioral variations related to gender, age, class, and region, and he considers subtleties of individual character as well. Swedish Mentality should interest a wide array of readers, whether of Swedish descent or not.
When The Silence was released in 1963, Bergman's stature allowed the film's depiction of sexuality to challenge the boundaries of the censorship boards in Sweden and the U.S. Yet, Swedish film critic Maaret Koskinen - one of the first scholars given access to Bergman's private papers - found his notebooks revealed his tendency to self-censorship, as well as the difficulties he experienced in writing for the medium of moving images. She draws a picture of Berman that reveals his attempts to make his work relevant to a new generation of filmgoers.
Danish filmmaker Thomas Vinterberg's searing film Festen (“The Celebration”) was the first film from the Dogme 95 stable. Adhering to Dogme's cinematic purity — no artificial lighting, no superficial action, no credit for the director, and only handheld cameras for equipment — Festen was a commercial and critical success, winning the Jury Prize at Cannes in 1998 and garnering worldwide attention. The film is set at the sixtieth birthday party of Helge, the wealthy patriarch of a large Danish family. The birthday festivities take a turn when Helge’s son Christian raises a toast and denounces Helge for having raped and abused him as a child, along with his twin sister, who recently committed suicide. The film explores the escalating consequences of Christian’s announcement, from the stunned dinner party’s collective denial, to violence, to an unexpected catharsis.
Focusing on films produced in Sweden for primarily Swedish audiences, Wright analyzes how the portrayal of the relatively small Jewish minority has evolved over the years. She also compares the images of Jews in Swedish film with those of other ethnic subcultures: long-term resident communities such as tattare ('travelers', an indigenous pariah group often confused with gypsies), Finns, the Sami, and recent immigrant populations such as Greeks, Italians, Turks, and Yugoslavians. She is also the first scholar to discuss Ingmar Bergman's presentation of Jewish characters. Wright confronts important - and exceedingly difficult - social questions. She deals head-on with xenophobia, anti-Semitism, immigration, assimilation, ethnicity, multiculturalism, and the national self-image of Swedes as reflected in their cinema. She also analyzes the manner in which Swedish film represents the persecution of Jews in Nazi-dominated Europe.
By and large, Sweden's place in film history is secure and prominent. Swedish films are associated with Ingmar Bergman's successful and high-quality works. However, another breed of Swedish film is notorious for its laissez-faire attitude towards nudity and relaxed sexuality. Produced in the back yard of the Swedish film industry, these sexually daring films join countless sensational movies that deal with shocking or taboo subjects - street punks, space aliens, hard drugs and drunken Vikings. Ekeroth delves into Swedish culture and returns with an overview of 'Sensationsfilms'.
Dagur Kari’s Noi the Albino (Noi albinoi, 2003) succeeded on the international festival circuit as a film that was both distinctively Icelandic and appealingly universal. Noi the Albino taps into perennial themes of escapism and existential angst, while its setting in the Westfjords of Iceland provided an almost surreal backdrop whose particularities of place are uniquely Icelandic. Bjorn Nordfjord’s examination of the film integrates the broad context and history of Icelandic cinema into a close reading of Noi the Albino’s themes, visual style, and key scenes. The book also includes an interview with director Dagur Kari. Noi the Albino’s successful negotiation of the tensions between the local and the global contribute to the film’s status as a contemporary classic. Its place within the history of Icelandic cinema highlights the specific problems this small nation faces as it pursues its filmmaking ambitions, allowing us to appreciate the remarkable success of Kari’s film in relation to the challenges of transnational filmmaking.
Lagom: n. just the right amount, balanced, harmonious. This beautiful, fresh cookbook offers genuine insight into how Swedes eat and cook – with recipes that fit around the seasons, occasions, times of day, and appetite. Eating and cooking in tune with 'lagom' means embracing food that is good for body and soul, unfussy, delicious and sustaining, and all in harmony. The Swedes understand that balance is everything – that you crave comforting food when a bitter wind is howling outside, that refreshing, lighter meals suit hot, hazy days, that a mid-morning bun is good for morale, and that a long, sociable lunch with friends and family on a Sunday is the most rewarding way to end the weekend. There is a time and place for every kind of food, and when everything is in equilibrium, you will be content and satisfied. Steffi Knowles-Dellner is a Swedish food stylist and blogger who will introduce you to the unique Swedish concepts that encapsulate lagom, in this her debut book. From the well-known smörgåsbord table of open sandwiches, and Fredags mys ("cosy Fridays") when hunkering down on a cosy sofa and tucking into tacos is a must, all the way to the irresistible idea of lördagsgodis – a single day for eating sweets to satisfy even the sweetest tooth.
Films and Dreams considers the essential link between films and the world of dreams. To discuss dream theory in the context of film studies means moving from the original, clinical context within which dream theory was originally developed to an environment established by primarily aesthetic concerns. Botz-Bornstein deals with dreams as "self-sufficient" phenomena that are interesting not because of their contents but because of the "dreamtense" through which they deploy their being. A diverse selection of films are examined in this light: Tarkovsky's anti-realism exploring the domain of the improbable between symbolization, representation and alienation; Sokurov's subversive attacks on the modern image ideology; Arthur Schnitzler's shifting of the familiar to the uncanny and Kubrick's avoidance of this structural model in Eyes Wide Shut; and Wong Kar-Wai's dreamlike panorama of parodied capitalism.
The Historical Dictionary of Scandinavian Cinema covers the history of the Nordic countries through a chronology, introductory essays on each country, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major persons and films, pan-Sc...