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 | Acknowledgements |
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9 | |
| Introduction Starry Constellations and Icy Fractals: Reading Nordic Films Past and Present |
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1 | |
| Spaces, Bodies, Skin |
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Mastering the House: Performative Inhabitation in Carl Th. Dreyer's The Parson's Widow |
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23 | |
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On the Transmigration of Images: Flesh, Spirit and Haptic Vision in Dreyer's Jeanne d'Arc and von Trier's Golden Heart Trilogy |
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43 | |
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Bodies in Elevators: The Conveyance of Ethnicity in Recent Swedish Films |
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59 | |
| Local, National, Global |
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Local Cinema: Indexical Realism and Thirdspace in Blue Collar White Christmas by Max Kestner |
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81 | |
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Personal Ideology and Collective Cinema: Folk flest bor i Kina and Contemporary Norwegian Political Consciousness |
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97 | |
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Gifts, Games, and Cheek: Counter-Globalisation in a Privileged Small-Nation Context. The Case of The Five Obstructions |
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111 | |
| Memory, Reality, History |
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'Do You Remember Monrépos?': Melancholia, Modernity and Working-Class Masculinity in The Man Without A Past |
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133 | |
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Incense in the Snow: Topologies of Intimacy and Interculturality in Frioriksson's Cold Fever and Gondry's Jóga |
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149 | |
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The Old Wave: Material History in Cool and Crazy and the New Norwegian Documentary |
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175 | |
| Auteur, Authority, Subjectivity |
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Ibsen, Lagerlöf, Sjöström and Terje Vigen: (Inter)nationalism, (Inter)subjectivity and the Interface between Swedish Silent Cinema and Scandinavian Literature |
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193 | |
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The Passions of Lars von Trier: Madness, Femininity, Film |
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205 | |
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Politics of the Auteurial Subject: Time, Narrative and Intertextuality in Scenes From a Marriage and Faithless |
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217 | |
| Notes on Contributors |
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231 | |
| Index |
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235 | |
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