The first comprehensive conceptualisation of Russia and neighbouring Eastern Europe in post-1989 Nordic film
Addressing representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, this ground-breaking book investigates their hitherto overlooked transnational dimension. Departing from the dark stereotypes that characterise much of βEastern noirβ, the book presents Russia and Eastern Europe as imagined spaces depicted with a surprisingly rich, but previously neglected cinematic diversity. Cross-disciplinary in its approach, and utilising in-depth case studies of feature films, documentaries and television dramas, such as Lilya 4-ever, A Pigeon Sat on a Branch Reflecting on Existence and Occupied, the book presents a variety of perspectives on Russia and Eastern Europe found in the Nordic audiovisual imagination and considers how increasingly transnational affinities have led to a reimagining of Nordenβs eastern neighbours in contemporary Nordic films.
Case studies include:
- Born American (Renny Harlin, Finland, 1986)
- Orionβs Belt (Ola Solum, Norway, 1985)
- Maximum Penalty (TΓ³mas Gislason, Denmark, 2000)
- Occupied (TV series, Norway 2015-)
- Interrogation (JΓΆrn Donner, Finland, 2009)
- Burnt by Frost (Knut Erik Jensen, Norway, 1997)
- Ice Kiss (Knut Erik Jensen, Norway, 2008)
- Screwed in Tallinn (Tomas Alfredson, Sweden, 1999)
- Take Care of Your Scarf, Tatjana (Aki KaurismΓ€ki, Finland, 1994)
- Lilya 4-ever (Lukas Moodysson, Sweden, 2002)
- Buy Bye Beauty (PΓ₯l Hollender, Sweden, 2001)
- The 3 Rooms of Melancholia (Pirjo Honkasalo, Finland 2004)
- A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, Sweden, 2014)
- The Cuckoo (Alexandr Rogozkhin, Russia, 2002)
- Popular Music (Reza Bagher, Sweden, 2004)
- Upperdog (Sara Johnsen, Norway, 2009)
- Fight for Existence (TV series, Norway, 2014β15)