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Beyond Eastern NoirReimaging Russia and Eastern Europe in Nordic Cinemas$
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Anna Estera Mrozewicz

Print publication date: 2018

Print ISBN-13: 9781474418102

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9781474418102.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 03 April 2020

The Iron Curtain Effect: Nordic Eastern Noir

The Iron Curtain Effect: Nordic Eastern Noir

Chapter:
(p.1) Introduction The Iron Curtain Effect: Nordic Eastern Noir
Source:
Beyond Eastern Noir
Author(s):

Anna Estera Mrozewicz

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474418102.003.0001

The introduction looks at the importance of geopolitical borders for Nordic cinematic constructions of the neighbouring countries that lay behind the Iron Curtain. Offering an overview of rich depictions of Russia and Eastern Europe from the silent film era to the end of the Cold War, the chapter traces anti-Russian and anti-Soviet sentiment in early Nordic films. The chapter elaborates on the definition of Eastern noir, within the discourse of which Russia is constructed as a crime scene and Russians (Soviets) as threatening the existence of the Nordic subjects. It draws an important distinction between representations of Russia and the other eastern neighbours in Nordic cinemas. Eastern noir is considered in relation to the currently much discussed genre of Nordic noir. The introduction also elaborates on the conceptual frame of border/boundary underlying the book’s main argument, and discusses the research scope and structure of the book.

Keywords:   Nordic cinemas, silent film, Iron Curtain, Cold War, Eastern noir, Nordic noir, border/boundary, anti-Russian, anti-Soviet

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