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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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White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries

White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries

Chapter:
(p.187) 13. White on White: Twenty-First-Century Norwegian Horror Films Negotiate Masculinist Arctic Imaginaries
Source:
Films on Ice
Author(s):

Sabine Henlin-Strømme

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748694174.003.0014

Identifying how the appropriation of Hollywood horror films engage with the notion of an Arctic sublime, this chapter examines how contemporary Norwegian horror films are mobilised partly to subvert the gender and ethnicity hierarchies predominant in the Heroic Polar Exploration narratives of Norway, established by Nansen, Amundsen, and others. Foregrounding feminist critiques of the horror genre by Carol J. Clover and Barbara Creed and identifying the rise in Norwegian popular genre films such as ‘skrekkfilm’ (horror and gore), Henlin-Strømme focuses the discussion on films such as Roar Uthaug Cold Prey (2006) and Tommy Wirkola Dead Snow (2009). The chapter addresses how dominant historical narratives of the Arctic can begin to be renegotiated through forms of popular global culture.

Keywords:   horror film, Norwegian film, Norweganization, Masculinity, Cold Prey, Dead Snow, Tommy Wirkola, feminist critiques

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