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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: 17 September 2021

Transnational Cinefeminism of the 1970s and Mai Zetterling’s documentary elsewheres

Transnational Cinefeminism of the 1970s and Mai Zetterling’s documentary elsewheres

Chapter:
(p.327) 25. Transnational Cinefeminism of the 1970s and Mai Zetterling’s documentary elsewheres
Source:
Nordic Film Cultures and Cinemas of Elsewhere
Author(s):

Mariah Larsson

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474438056.003.0025

This chapter investigates one phase of Mai Zetterling’s directorial career. Although she is often described as a Swedish woman director, Zetterling’s films were made in several different countries. She lived the majority of her life abroad, mainly in the UK and France, and had a career independent of national borders. Through brief case studies of three films – The Prosperity Race (1962), “The Strongest” (segment of Visions of Eight, 1973), and Scrubbers (1982) – this chapter explores both how Zetterling negotiated her own (trans)nationality in order to find opportunities for filmmaking and how these three films in different ways make use of space and place. As an expatriate Swedish woman, she explains Swedish welfare society to British citizens; elects to focus her segment of the Olympics documentary on weightlifters rather than “feminine” sports; and aligns herself with British film traditions to create an intense mix of savage realism and hallucinatory surrealism in Scrubbers.

Keywords:   Zetterling, documentary, Sports, Munich Olympics, Sweden, welfare state, cinefeminism, borders

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