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Folia Scandinavica Posnaniensia

The Journal of Adam Mickiewicz University, Department of Scandinavian Studies

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Skandinaviska Filmer i Världen

Om Utlandssekvensers Betydelse i Niels Arden Oplevs Män Som Hatar Kvinnor (2009), Susanne Biers Hævnen (2010) Och Sara Johnsens Upperdog (2009)

Anders Marklund
Published Online: 2012-12-28 | DOI: https://doi.org/10.2478/v10252-012-0008-0


This article analyses three recent and very successful Scandinavian films - Niels Arden Oplev’s Män som hatar kvinnor/TheGirl with the Dragon Tatoo (Sweden), Susanne Bier’s Hævnen/In aBetter World (Denmark) and Sara Johnsen’s Upperdog (Norway) - in order to understand how the relationship between the national and the international is articulated. Focus is on the scenes taking place abroad and on the functions that these scenes fill within the films’ overall story and thematic concerns. One conclusion is that scenes set abroad allow the films to divert attention away from otherwise harsh representations of national communities. A brief concluding discussion suggests that such a use of the scenes may facilitate the films’ transnational distribution.

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About the article

Published Online: 2012-12-28

Published in Print: 2012-12-01

Citation Information: Folia Scandinavica Posnaniensia, Volume 14, Issue 1, Pages 77–94, ISSN (Print) 2299-6885, DOI: https://doi.org/10.2478/v10252-012-0008-0.

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