Guide To The Cinema Of Sweden And Finland

This volume adds Sweden and Finland to the growing list of countries included in Greenwood Press' Reference Guides to the World's Cinema series. Both well known and other important but less known persons and films are included in the reference work which spans the silent film era to the 1990s. The volume is divided into two sections, one devoted to the Swedish entries and the other to the Finnish entries. An introduction to each section overviews the developments and trends in that particular country's film industry. Scholars of European film studies and of Scandinavian studies will appreciate the detailed information compiled in this one volume. Organized by country, the annotated entries are alphabetically arranged and include brief bibliographies and filmographies.

The Historical Dictionary of Scandinavian Cinema covers the history of the Nordic countries through a chronology, introductory essays on each country, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major persons and films, pan-Scandinavian entries on film genres, themes, and subjects such as animation, ethnicity, migration and censorship. This book is an excellent access point for students, researchers, and anyone wanting to know more about Scandinavian cinema.

A compilation of carefully selected articles written by international film scholars, this record provides an in-depth look into the history of Swedish film. This scholarly account covers various phenomena, including the early screenings at the turn of the century, Swedish censorship, the golden age of silent films, 1930s' comedies and melodramas, documentaries, pornography, and experimental films. In addition, this volume examines the work of important contributors, such as Ingmar Bergman, Stefan Jarl, and Peter Weiss, and discusses film policies of the new millennium.

Volume of essays examining the transition from national Nordic cinemas to transnational and global Nordic cinema.

Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism.

The essays in this insightful film-analysis text show cover twenty-one of the best European films made between the coming of World War II and the end of the twentieth century, showing what makes each of them outstanding. These essays are clear and readable—that is, sophisticated and meaty yet not overly technical or jargon-heavy. They will make perfect introductions to their respective films as well as important contributions to the field of film studies in general. Written with university students in mind, these essays cover some of the central films treated—and central issues raised—in today’s cinema courses and provide students with practical models to help them improve their own writing and analytical skills. A list of questions for discussion is included, to trigger further thinking among film buffs and to help educators prepare for class. The book is aimed at students, teachers, and cinephiles with an interest in European cinema in particular and cinema studies in general, as well as at those educated readers with an interest in the practice of film analysis and criticism. The only competition comes from Stanley Kauffmann’s relatively brief Ten Great Films (136 pp., 2012). The current work offers twenty-one illustrated essays (Kauffmann’s book contains no images) and focuses on Europe. (The countries represented are France, Italy, England, Hungary, Belgium, Sweden, Scotland, Denmark, Russia, Spain, Germany, Scotland, and Finland.) Twenty-One Landmark European Films, 1939-1999 overlaps with Kauffmann’s book only in the case of L’avventura, though the two approach this film from vastly different angles. Moreover, the book provides a complete critical apparatus—notes, bibliographies, credits, and filmographies, whereas Kauffmann’s has none. This book could be one of the primary texts for courses in film analysis, to accompany a work like Timothy Corrigan’s A Short Guide to Writing about Film (8th edition, 2011). It would also be a suitable supplementary or secondary text in such courses as 'Introduction to Film' or 'Film Appreciation'; 'Western European Cinema'; 'History of Film' or 'Global Cinema'; and 'Film Directors' or 'Film Style and Imagination.'

Ecology and Contemporary Nordic Cinemas uses a range of analytical approaches to interrogate how the traditional socio-political rhetoric of national cinema can be rethought through ecosystemic concerns, by exploring a range of Nordic films as national and transnational, regional and local texts--all with significant global implications. By synergizing transnational theories with ecological approaches, the study considers the planetary implications of nation-based cultural production.