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Films on IceCinemas of the Arctic$
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Scott MacKenzie and Anna Westerstahl Stenport

Print publication date: 2015

Print ISBN-13: 9780748694174

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9780748694174.001.0001

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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: 05 July 2022

Hollywood Does Iceland: Authenticity, Genericity and the Picturesque

Hollywood Does Iceland: Authenticity, Genericity and the Picturesque

Chapter:
(p.176) 12. Hollywood Does Iceland: Authenticity, Genericity and the Picturesque
Source:
Films on Ice
Author(s):

Björn Norðfjörð

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748694174.003.0013

This chapter addresses the use of location substitution by Hollywood in Iceland. Ranging from films as diverse as Ridley Scott’s Alien prequel Prometheus (2012) and Lee Tamihori’s James Bond vehicle Die Another Day (2002), Nordfjörd considers how the landscape of Iceland is configured as beautiful, sublime, and fantastical. At the same time, he shows, they become generic background fodder for Hollywood cinema, precisely because of their seemingly otherworldy characteristics. By way of comparison, Nordfjörd argues that these ‘otherworldy’ Arctic environments are rarely mobilized as local sites in icelandic film production, and when they are used in films such as Dagur Kári’s Nói the Albino (2003) and Fridrik Thor Fridriksson’s Cold Fever (1995) they are aesthetically far away from realism.

Keywords:   location substitution, Iceland, Picturesque, Die Another Day, Prometheus, Ridley Scott, Hollywood, runaway production, James Bond

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