Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions
After having been a Danish colony since 1721, Greenland obtained Home Rule in 1979, extended in 2009, and since then it has set the course for a full independence. Despite the fact that Greenlandic independent film production does not have a long genealogy, Greenlanders have been a very keen object...
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ftunivgdanskojs:oai:ojsug.pkp.sfu.ca:article/139 2023-05-15T16:26:36+02:00 Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions Grenlandia i kinematografia – przedstawienia Grenlandczyków w filmie europejskim kontra grenlandzkie produkcje filmowe Lubowicka, Agata 2017-02-07 application/pdf https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139 pol pol Uniwersytet Gdański https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139/708 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139 Panoptikum; No. 17 (2017): Mapping the North; 170-190 Panoptikum; Nr 17 (2017): Mapowanie Północy; 170-190 1730-7775 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2017 ftunivgdanskojs 2022-09-03T16:54:40Z After having been a Danish colony since 1721, Greenland obtained Home Rule in 1979, extended in 2009, and since then it has set the course for a full independence. Despite the fact that Greenlandic independent film production does not have a long genealogy, Greenlanders have been a very keen object of film representations since the very beginning of the history of cinematography, at least in the Danish context. Drawing on the theory of representation within critical discourse analysis of a.o. Edward Said and Homi Bhabha, the article presents an analysis of representations of Greenland in the European cinematography (with a special focus on Danish film productions) as well as the Greenlandic self-representations in the independent Greenlandic film productions. While Greenlanders in the early European films were primarily construed as less civilised, childlike and therefore needing to be protected and educated in order to reach a higher level of cultural and technical development, with the indigenous movements in the ’70s and the Greenlandic fight for home rule, they began to be represented as victims of the Danish colonization and its post-war policy of accelerated modernization. Contrary to those images, Greenland’s own film productions mostly focus on radically different issues mostly concerned with youth urban identities and local attachment rather than the colonial past and its aftermath. After having been a Danish colony since 1721, Greenland obtained Home Rule in 1979, extended in 2009, and since then it has set the course for a full independence. Despite the fact that Greenlandic independent film production does not have a long genealogy, Greenlanders have been a very keen object of film representations since the very beginning of the history of cinematography, at least in the Danish context. Drawing on the theory of representation within critical discourse analysis of a.o. Edward Said and Homi Bhabha, the article presents an analysis of representations of Greenland in the European cinematography (with a ... Article in Journal/Newspaper Greenland greenlander* greenlandic University Scientific Journals University of Gdansk (UGN) Greenland |
institution |
Open Polar |
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University Scientific Journals University of Gdansk (UGN) |
op_collection_id |
ftunivgdanskojs |
language |
Polish |
description |
After having been a Danish colony since 1721, Greenland obtained Home Rule in 1979, extended in 2009, and since then it has set the course for a full independence. Despite the fact that Greenlandic independent film production does not have a long genealogy, Greenlanders have been a very keen object of film representations since the very beginning of the history of cinematography, at least in the Danish context. Drawing on the theory of representation within critical discourse analysis of a.o. Edward Said and Homi Bhabha, the article presents an analysis of representations of Greenland in the European cinematography (with a special focus on Danish film productions) as well as the Greenlandic self-representations in the independent Greenlandic film productions. While Greenlanders in the early European films were primarily construed as less civilised, childlike and therefore needing to be protected and educated in order to reach a higher level of cultural and technical development, with the indigenous movements in the ’70s and the Greenlandic fight for home rule, they began to be represented as victims of the Danish colonization and its post-war policy of accelerated modernization. Contrary to those images, Greenland’s own film productions mostly focus on radically different issues mostly concerned with youth urban identities and local attachment rather than the colonial past and its aftermath. After having been a Danish colony since 1721, Greenland obtained Home Rule in 1979, extended in 2009, and since then it has set the course for a full independence. Despite the fact that Greenlandic independent film production does not have a long genealogy, Greenlanders have been a very keen object of film representations since the very beginning of the history of cinematography, at least in the Danish context. Drawing on the theory of representation within critical discourse analysis of a.o. Edward Said and Homi Bhabha, the article presents an analysis of representations of Greenland in the European cinematography (with a ... |
format |
Article in Journal/Newspaper |
author |
Lubowicka, Agata |
spellingShingle |
Lubowicka, Agata Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
author_facet |
Lubowicka, Agata |
author_sort |
Lubowicka, Agata |
title |
Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
title_short |
Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
title_full |
Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
title_fullStr |
Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
title_full_unstemmed |
Greenland and Cinematography – Representations of Greenlanders in European Cinemas versus Greenlandic Film Productions |
title_sort |
greenland and cinematography – representations of greenlanders in european cinemas versus greenlandic film productions |
publisher |
Uniwersytet Gdański |
publishDate |
2017 |
url |
https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139 |
geographic |
Greenland |
geographic_facet |
Greenland |
genre |
Greenland greenlander* greenlandic |
genre_facet |
Greenland greenlander* greenlandic |
op_source |
Panoptikum; No. 17 (2017): Mapping the North; 170-190 Panoptikum; Nr 17 (2017): Mapowanie Północy; 170-190 1730-7775 |
op_relation |
https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139/708 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/139 |
_version_ |
1766015543339384832 |