By Pietari Kääpä
Ecology and modern Nordic Cinemas demanding situations the normal socio-political rhetoric of nationwide cinema via delivering an ecocritical exam of Nordic cinema. the writer makes use of a number of analytical techniques to interrogate how the nationwide paradigm could be rethought via ecosystemic matters, through exploring quite a number Nordic movies as nationwide and transnational, nearby and native texts, all with major worldwide implications. by way of synergizing transnational theories with ecological techniques, the examine considers the planetary implications of nation-based cultural production.
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Additional info for Ecology and Contemporary Nordic Cinemas: From Nation-building to Ecocosmopolitanism
He meets the mysterious Umur and starts a fragile relationship with her. Their relationship is tested by her long absences in the city and it eventually turns out that she has an untreatable disease that has made her disconnect from the world. Poika decides to try to spend as much time with her as possible but her eventual departure will soon come. Poika is left alone in the expansive universe, a connection the ﬁlm makes through two distinct cultural tropes with clear ecological connections. The ﬁrst one concerns the use of Sámi culture as an attempt to expand the thematic scope of the ﬁlm.
I fully acknowledge that this volume presents only an initial exploration into Nordic ecocinema, but these are key steps that need to be taken to ensure the thriving of the ﬁeld not only in ideological readings but studies of their production and consumption cycles. 1 National Cinema as Natural Cinema? The interconnections between nation and nature are a pervasive concern for several areas of ﬁlm studies. Many, if not all, central works on national cinema (see Higson 2003; Galt 2006) suggest that the landscape forms an important iconographic and aﬀective element in consolidating nationhood.
It received substantial critical attention and surprising commercial 38 Ecology and Contemporary Nordic Cinemas success in Finland with its frank depiction of Finnish men revealing their emotional core while encased in the steamy privacy of the sauna. Whereas other documentaries such as Joutilaat/The Idle Ones (Helke and Suutari 2001), focusing on unemployed, idle men in backward communities, are content with showing a more typical depiction of Finnish masculinity (based on realistic surroundings nonetheless), the approach of Steam of Life enables a more ecocritical assertion of natural masculinity, both as an aﬀective and a reinvigorative phenomenon to rethinking the Finnish male.