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Nordic Film Cultures and Cinemas of Elsewhere$
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Anna Westerstahl Stenport and Arne Lunde

Print publication date: 2019

Print ISBN-13: 9781474438056

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474438056.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 22 September 2021

Aki Kaurismäki’s Finno-French Connections and Other Transcultural Elsewheres

Aki Kaurismäki’s Finno-French Connections and Other Transcultural Elsewheres

(p.182) 14. Aki Kaurismäki’s Finno-French Connections and Other Transcultural Elsewheres
Nordic Film Cultures and Cinemas of Elsewhere

Ana Bento Ribeiro

Edinburgh University Press

This chapter examines how Aki Kaurismäki’s cinema is based on transnational codes. The Finnish filmmaker is mostly known by his unique signature style, where time and spaces are an amalgamate of different decades, while still engendering references to multiple cultures. With an institutional and industrial model that makes it the European hub for arthouse film production, France has been a steady presence on Kaurismäki's films' credits. This chapter discusses how Kaurismäki's French co-productions exemplify the ways in which economic and technical transnationality operate in the successful making of arthouse films, especially through his five collaborations with French production company Pyramide Productions. Focusing on the case studies of La vie de bohème (1992) and Le Havre (2011), two co-productions fully set in France, this chapter foregrounds how the films’ transnational qualities speak both to funding and production technicalities particular to the European film industry, while analyzing narrative and aesthetic components as well.

Keywords:   Kaurismäki, Finland, France, transnational, co-productions

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