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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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Whose Repressed Memories? Max Manus: Man of War and Flame & Citron (from a Swede’s Point of View)

Whose Repressed Memories? Max Manus: Man of War and Flame & Citron (from a Swede’s Point of View)

(p.33) 2. Whose Repressed Memories? Max Manus: Man of War and Flame & Citron (from a Swede’s Point of View)
Nordic Genre Film

Erik Hedling

Edinburgh University Press

In 2008, both Norway and Denmark delivered major contributions to the cinematic genre of the ‘occupation drama’ (Norwegian), or ‘occupation film’ (Danish): the Norwegian film was Max Manus: Man of War (Max Manus, Joachim Rønning and Espen Sandberg, 2008) and the Danish Flame & Citron (Flammen og citronen, Ole Christian Madsen, 2008). In Scandinavia, these generic markers refer to many films set during the Second World War and depicting the fates of Danes and Norwegians in the years 1940–5, when their respective countries were occupied by Nazi Germany. Thus, both Norway and Denmark eventually came to be on the victorious allied side of the war. The other Nordic countries had different obligations. Sweden, most importantly in the present context, was neutral and kept its independence throughout the war. This chapter will study how Max Manus: Man of War and Flame & Citron can be understood in a Swedish context, referring to Swedish history during the war, textual analyses of mainly the scenes from Sweden in the films, and the reception of the films in Sweden. That is, I analyse Norwegian and Danish perceptions of Sweden during the war, but strictly from a Swede’s point of view.

Keywords:   occupation drama, occupation film, Max Manus: Man of War, Popular historical narrative, heritage industry, Flame & Citron, Sweden, Second World War, Norwegian war hero, Biopic, historical accuracy

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