| Summary: | Icelandic feature films shot in the Twenty-First century often contain an ironic critique of postmodern models of masculinity. The fictional figures that appear in those movies are often at odds with the traditional perception of national identity and suffer so-called “Peter Pan syndrome”. Moreover, many images created in Iceland after the year 2000 also include a witty reinterpretations of the media’s “generation X” model and suggestive commentaries on life in the liquid modernity. All these features of the male film figures can be seen as the personification of the changes taking place in Icelandic culture and the local community. These issues are associated with the processes of the collision of traditional values, linked with the older generation of Icelanders, with the globalized perception of the younger generations who are open to “pop-cultural outlook” on their country and identity. Icelandic feature films shot in the Twenty-First century often contain an ironic critique of postmodern models of masculinity. The fictional figures that appear in those movies are often at odds with the traditional perception of national identity and suffer so-called “Peter Pan syndrome”. Moreover, many images created in Iceland after the year 2000 also include a witty reinterpretations of the media’s “generation X” model and suggestive commentaries on life in the liquid modernity. All these features of the male film figures can be seen as the personification of the changes taking place in Icelandic culture and the local community. These issues are associated with the processes of the collision of traditional values, linked with the older generation of Icelanders, with the globalized perception of the younger generations who are open to “pop-cultural outlook” on their country and identity.
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