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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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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 27 June 2022

Powered by Music: Contemporary Film Musicals, Nordic Style

Powered by Music: Contemporary Film Musicals, Nordic Style

Chapter:
(p.173) 12. Powered by Music: Contemporary Film Musicals, Nordic Style
Source:
Nordic Genre Film
Author(s):

Ann-Kristin Wallengren

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748693184.003.0013

When thinking about Nordic cinema, the musical is not the first genre to come to mind. This holds true for the global audiences as well as for Nordic ones, nowadays and in retrospect. The film musical, in some kind of down-to-earth classical generic sense, is for a Western audience most probably associated with Hollywood films from the 1930s and onwards, with an obvious decline after the successful productions Mary Poppins (1964) and The Sound of Music (1965). Some European musicals are probably also well-known to the nonspecialist public, such as Jacques Demy’s Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) and Les Demoiselles de Rochefort (The Young Girls of Rochefort, 1967). Since then musicals have changed or transformed. Even if some characteristics usually connected with the genre are still in use, they are now often utilised in an excessive or transformed way (Altman 1987; Grant 2012).

Keywords:   Music, Musical, Migration, Identity, Song power, Nordic Musicals

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