Locating inter-Scandinavian silent film culture : connections, contentions, configurations

The cover picture represents the Swede Julius Jaenzon shooting anature short for A/S Norsk Kinematograf in Vestvågøy in Lofotenon March 10, 1910. It brings together several threads discussed inthis thesis: geneaologies of ?national cinema?; transnational mobilityof film practitioners within Scandi [...]
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The cover picture represents the Swede Julius Jaenzon shooting anature short for A/S Norsk Kinematograf in Vestvågøy in Lofotenon March 10, 1910. It brings together several threads discussed inthis thesis: geneaologies of ?national cinema?; transnational mobilityof film practitioners within Scandinavia; nature as a trope movingfrom still photography into silent cinema, a practice in whichDanish film production eagerly partook; and in Anders Beer Wilse?sphoto a theoretical backdrop of visual culture and archival issues.One of Jaenzon?s works counts as the first Norwegian fiction film,but he is above all one of the emblematic figures from the Swedishfeature-film successes around 1920. These cornerstones in theconception of Swedish national cinema often staged and performedScandinavian-nesses and inspired or provoked production practicesin both Norway and Denmark. In the thesis, I will return onoccasion to Lofoten and other geographical sites used to embodya particularly resonant specificity and topographic authenticity onmultiple, concurrent levels: local, national and Scandinavian.