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Nordic Genre FilmSmall Nation Film Cultures in the Global Marketplace$
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Tommy Gustafsson and Pietari Kääpä

Print publication date: 2015

Print ISBN-13: 9780748693184

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9780748693184.001.0001

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Introduction: Nordic Genre Film and Institutional History

Introduction: Nordic Genre Film and Institutional History

(p.1) Introduction: Nordic Genre Film and Institutional History
(p.iii) Nordic Genre Film

Tommy Gustafsson

Pietari Kääpä

Edinburgh University Press

The demand for all areas of Nordic film and television culture outside the borders of the Nordic countries may come as no surprise. The popularity of television shows such as The Killing (Forbrydelsen, 2007) and The Bridge (Bron|Broen, 2011) both domestically and internationally have increased the profile of Nordic media while the crime novels of Henning Mankell and Stieg Larsson have penetrated the American market – the barometer for global Commercial ‘relevance’. The Guardian in the UK has published several articles on the craze, noting how the protagonist of the original Danish version of The Killing, detective Sarah Lund, has become an unlikely fashion icon with her knitted sweaters. While a certain type of Nordic film – the existential artistry of a Dreyer, a Bergman or a Kaurismäki – has existed at the periphery of this global consciousness, such perceptions are clearly shifting as the contemporary situation seems to be more characterised by Nordic contributions to global popular culture instead of the more traditional frameworks of artistic or experimental relevance. How did we get to this situation? In short, how did the media products of this small region of the world become part of global popular culture?

Keywords:   Comedy and Nordic Cultural Closeness, Nordic genre productions, Action Film in the Global North, Synergies of Art and Genre, Small Nation Film Cultures in the Global Marketplace

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