CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY
Since its inception the Icelandic film industry has used the strategy of combining telluric elements with national- istic narratives. In many films one may also find visual structures that can be linked with the ‘tourist gaze’ – the term as we know it from the texts of John Urry. Despite a focus on...
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Online Access: | https://doi.org/10.7494/human.2014.13.3.61-79 https://doaj.org/article/f1f7f1f920ad448f876525bde8e051e5 |
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fttriple:oai:gotriple.eu:oai:doaj.org/article:f1f7f1f920ad448f876525bde8e051e5 2023-05-15T16:50:09+02:00 CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY Jakub Sebastian Konefał 2015-03-01 https://doi.org/10.7494/human.2014.13.3.61-79 https://doaj.org/article/f1f7f1f920ad448f876525bde8e051e5 en pl eng pol Wydawnictwa AGH 2084-3364 doi:10.7494/human.2014.13.3.61-79 https://doaj.org/article/f1f7f1f920ad448f876525bde8e051e5 undefined Studia Humanistyczne AGH, Vol 13, Iss 3, Pp 61-79 (2015) city countryside nationalism national identity Iceland art socio Journal Article https://vocabularies.coar-repositories.org/resource_types/c_6501/ 2015 fttriple https://doi.org/10.7494/human.2014.13.3.61-79 2023-01-22T19:08:00Z Since its inception the Icelandic film industry has used the strategy of combining telluric elements with national- istic narratives. In many films one may also find visual structures that can be linked with the ‘tourist gaze’ – the term as we know it from the texts of John Urry. Despite a focus on some unique qualities of Icelandic nature and its cultural heritage (that can be attractive to foreign viewers) the specificity of cinematic production processes on the island belong to the structure of local, national cinema. Moreover, the 1980s, considered as the time of the rebirth of the Icelandic film industry and its rapid modernization, are full of films containing conservative or leftist telluric topics which are difficult for foreign audiences to understand. A new, transnational quality of Icelandic film features began with the film debut of Friðrik Þór Friðriksson in 1987. His fusion of modernist and postmodernist plots has encouraged other filmmakers to start the process of re-interpretation of the classic narrative structures, and to render the ironic demystification of some nationalistic themes. Article in Journal/Newspaper Iceland Unknown |
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language |
English Polish |
topic |
city countryside nationalism national identity Iceland art socio |
spellingShingle |
city countryside nationalism national identity Iceland art socio Jakub Sebastian Konefał CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
topic_facet |
city countryside nationalism national identity Iceland art socio |
description |
Since its inception the Icelandic film industry has used the strategy of combining telluric elements with national- istic narratives. In many films one may also find visual structures that can be linked with the ‘tourist gaze’ – the term as we know it from the texts of John Urry. Despite a focus on some unique qualities of Icelandic nature and its cultural heritage (that can be attractive to foreign viewers) the specificity of cinematic production processes on the island belong to the structure of local, national cinema. Moreover, the 1980s, considered as the time of the rebirth of the Icelandic film industry and its rapid modernization, are full of films containing conservative or leftist telluric topics which are difficult for foreign audiences to understand. A new, transnational quality of Icelandic film features began with the film debut of Friðrik Þór Friðriksson in 1987. His fusion of modernist and postmodernist plots has encouraged other filmmakers to start the process of re-interpretation of the classic narrative structures, and to render the ironic demystification of some nationalistic themes. |
format |
Article in Journal/Newspaper |
author |
Jakub Sebastian Konefał |
author_facet |
Jakub Sebastian Konefał |
author_sort |
Jakub Sebastian Konefał |
title |
CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
title_short |
CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
title_full |
CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
title_fullStr |
CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
title_full_unstemmed |
CITY, COUNTRYSIDE AND NATURE AS DISCURSIVE DEVICES USED TO STRENGTHEN THE NATIONAL IDENTITY IN ICELANDIC CINEMATOGRAPHY |
title_sort |
city, countryside and nature as discursive devices used to strengthen the national identity in icelandic cinematography |
publisher |
Wydawnictwa AGH |
publishDate |
2015 |
url |
https://doi.org/10.7494/human.2014.13.3.61-79 https://doaj.org/article/f1f7f1f920ad448f876525bde8e051e5 |
genre |
Iceland |
genre_facet |
Iceland |
op_source |
Studia Humanistyczne AGH, Vol 13, Iss 3, Pp 61-79 (2015) |
op_relation |
2084-3364 doi:10.7494/human.2014.13.3.61-79 https://doaj.org/article/f1f7f1f920ad448f876525bde8e051e5 |
op_rights |
undefined |
op_doi |
https://doi.org/10.7494/human.2014.13.3.61-79 |
_version_ |
1766040320435290112 |