Canonical voices and innocent eyes: Defining the cinematographic North
In the young Nordic countries, where nature clearly predominates over monuments, the first scripts were sought from among the canonical literary texts of their various languages, on the assumption that literature had already inscribed the social development of the countries concerned. Well into the...
| Published in: | Arbor |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | Spanish |
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Consejo Superior de Investigaciones Científicas
2012
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| Subjects: | |
| Online Access: | https://arbor.revistas.csic.es/index.php/arbor/article/view/1536 https://doi.org/10.3989/arbor.2012.758n6015 |
| Summary: | In the young Nordic countries, where nature clearly predominates over monuments, the first scripts were sought from among the canonical literary texts of their various languages, on the assumption that literature had already inscribed the social development of the countries concerned. Well into the 20th century, when their cultural identities had been defined, film directors turned to the construction of individual identities, hence choosing children and adolescents as their preferred protagonists. In the last third of the century, aided by the corresponding Film Academies, many women embarked on careers as directors. A number of them are discussed here, together with their most significant films. Particular attention is paid to Mai Zetterling and Liv Ullmann, however, since they were not only fundamental for their own countries, Sweden and Norway respectively, but for the history of cinema in general. Los jóvenes países nórdicos, en los que predomina la naturaleza sobre los monumentos, han buscado sus primeros guiones cinematográficos entre las obras literarias canónicas de sus diferentes lenguas, porque aquellas habían inscrito ya el desarrollo social de los diferentes países. Una vez implementada su identidad histórico-cultural, muy adelantado el siglo XX, el cine nórdico pasa a centrarse en la construcción identitaria individual, siendo la infancia y la juventud protagonistas favoritas de muchas películas. En el último tercio del siglo, al amparo de las diferentes academias de cine, surge un número sustancial de mujeres que dirigen; haré una referencia general a varias de ellas y sus películas y prestaré algo más de atención a dos directoras fundamentales para la historia del cine en general: Mai Zetterling, que supone una clara internacionalización de temas y estilo en el cine sueco, y Liv Ullmann, que nos proporciona la mirada clásica artística del cine noruego. |
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