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Exposing Vulnerability: Self-Mediation in Scandinavian Films by Women by Adriana Margareta Dancus (review)

Exposing Vulnerability: Self-Mediation in Scandinavian Films by Women by Adriana Margareta Dancus... Reviews Adriana Margareta Dancus Exposing V . ulnerability: Self- Mediation in Scandinavian Films by Women. Bristol, UK: Intellect, 2019. Pp. 148. The slender measure of Adriana Margareta Dancus’s new monograph Exposing Vulnerability: Self- Mediation in Scandinavian Films by Women belies the ambitious project presented between its two covers Exposing. Vulnerability opens by taking aim at recent perceptions of Scandinavia as predominantly a place of hygge, a misconception that either implicitly or explicitly bolsters utopian notions of Scandinavian exceptionalism. Dancus analyzes seven Norwegian and Swedish feature films from 2009 to 2016, all directed by or featuring women filmmakers who paint a more nuanced, if darker picture of the region. These films ar Flink pike e (2014; Good Girl) by Solveig Melkeraaen Brødr ; e (2015; Brothers) by Aslaug Holm; Återträffen (2013; The Reunion) by Anna Odell Idas dagbok ; (2014; Ida’s Diary) by August Hanssen Min mors hemmelighet ; (2009; Suddenly Sami) by Ellen Astri Lundby; - Familiebildet (2013; My Family Portrait) by Yvonne Thomassen; and Skörheten (2016; Fragility) by Ahang Bashi. These films revolve around different practices of self representation - , highlight - ing mental health issues, structural racism, the traumas of migration, and bullying, as well as http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Scandinavian Studies Society for the Advancement of Scandinavian Study

Exposing Vulnerability: Self-Mediation in Scandinavian Films by Women by Adriana Margareta Dancus (review)

Scandinavian Studies , Volume 92 (4) – Oct 22, 2020

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Publisher
Society for the Advancement of Scandinavian Study
Copyright
Copyright © Society for the Advancement of Scandinavian Study
ISSN
2163-8195

Abstract

Reviews Adriana Margareta Dancus Exposing V . ulnerability: Self- Mediation in Scandinavian Films by Women. Bristol, UK: Intellect, 2019. Pp. 148. The slender measure of Adriana Margareta Dancus’s new monograph Exposing Vulnerability: Self- Mediation in Scandinavian Films by Women belies the ambitious project presented between its two covers Exposing. Vulnerability opens by taking aim at recent perceptions of Scandinavia as predominantly a place of hygge, a misconception that either implicitly or explicitly bolsters utopian notions of Scandinavian exceptionalism. Dancus analyzes seven Norwegian and Swedish feature films from 2009 to 2016, all directed by or featuring women filmmakers who paint a more nuanced, if darker picture of the region. These films ar Flink pike e (2014; Good Girl) by Solveig Melkeraaen Brødr ; e (2015; Brothers) by Aslaug Holm; Återträffen (2013; The Reunion) by Anna Odell Idas dagbok ; (2014; Ida’s Diary) by August Hanssen Min mors hemmelighet ; (2009; Suddenly Sami) by Ellen Astri Lundby; - Familiebildet (2013; My Family Portrait) by Yvonne Thomassen; and Skörheten (2016; Fragility) by Ahang Bashi. These films revolve around different practices of self representation - , highlight - ing mental health issues, structural racism, the traumas of migration, and bullying, as well as

Journal

Scandinavian StudiesSociety for the Advancement of Scandinavian Study

Published: Oct 22, 2020

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