Hollywood Does Iceland: Authenticity, Genericity and the Picturesque
This chapter addresses the use of location substitution by Hollywood in Iceland. Ranging from films as diverse as Ridley Scott’s Alien prequel Prometheus (2012) and Lee Tamihori’s James Bond vehicle Die Another Day (2002), Nordfjörd considers how the landscape of Iceland is configured as beautiful,...
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2015
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Online Access: | http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0013 |
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credinunivpr:10.3366/edinburgh/9780748694174.003.0013 2023-06-18T03:39:20+02:00 Hollywood Does Iceland: Authenticity, Genericity and the Picturesque Norðfjörð, Björn 2015 http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0013 unknown Edinburgh University Press Films on Ice book-chapter 2015 credinunivpr https://doi.org/10.3366/edinburgh/9780748694174.003.0013 2023-06-08T13:40:44Z This chapter addresses the use of location substitution by Hollywood in Iceland. Ranging from films as diverse as Ridley Scott’s Alien prequel Prometheus (2012) and Lee Tamihori’s James Bond vehicle Die Another Day (2002), Nordfjörd considers how the landscape of Iceland is configured as beautiful, sublime, and fantastical. At the same time, he shows, they become generic background fodder for Hollywood cinema, precisely because of their seemingly otherworldy characteristics. By way of comparison, Nordfjörd argues that these ‘otherworldy’ Arctic environments are rarely mobilized as local sites in icelandic film production, and when they are used in films such as Dagur Kári’s Nói the Albino (2003) and Fridrik Thor Fridriksson’s Cold Fever (1995) they are aesthetically far away from realism. Book Part Arctic Iceland Edinburgh University Press (via Crossref) Arctic Ridley ENVELOPE(-130.315,-130.315,54.250,54.250) |
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Open Polar |
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Edinburgh University Press (via Crossref) |
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credinunivpr |
language |
unknown |
description |
This chapter addresses the use of location substitution by Hollywood in Iceland. Ranging from films as diverse as Ridley Scott’s Alien prequel Prometheus (2012) and Lee Tamihori’s James Bond vehicle Die Another Day (2002), Nordfjörd considers how the landscape of Iceland is configured as beautiful, sublime, and fantastical. At the same time, he shows, they become generic background fodder for Hollywood cinema, precisely because of their seemingly otherworldy characteristics. By way of comparison, Nordfjörd argues that these ‘otherworldy’ Arctic environments are rarely mobilized as local sites in icelandic film production, and when they are used in films such as Dagur Kári’s Nói the Albino (2003) and Fridrik Thor Fridriksson’s Cold Fever (1995) they are aesthetically far away from realism. |
format |
Book Part |
author |
Norðfjörð, Björn |
spellingShingle |
Norðfjörð, Björn Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
author_facet |
Norðfjörð, Björn |
author_sort |
Norðfjörð, Björn |
title |
Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
title_short |
Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
title_full |
Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
title_fullStr |
Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
title_full_unstemmed |
Hollywood Does Iceland: Authenticity, Genericity and the Picturesque |
title_sort |
hollywood does iceland: authenticity, genericity and the picturesque |
publisher |
Edinburgh University Press |
publishDate |
2015 |
url |
http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0013 |
long_lat |
ENVELOPE(-130.315,-130.315,54.250,54.250) |
geographic |
Arctic Ridley |
geographic_facet |
Arctic Ridley |
genre |
Arctic Iceland |
genre_facet |
Arctic Iceland |
op_source |
Films on Ice |
op_doi |
https://doi.org/10.3366/edinburgh/9780748694174.003.0013 |
_version_ |
1769004089025232896 |