Call for Papers: Contemporary Scandinavian Art Cinema and Screen Cultures in Transition

Call for Papers: Journal of Scandinavian Cinema

Special Issue: ‘Contemporary Scandinavian Art Cinema and Screen Cultures in Transition’

Please submit an abstract of 250–300 words for short subjects (3000 words) or feature articles (6000 words) before 15 August 2022to the Special Issue editors, Joel Frykholm ((joel.frykholm /at/ ) and Anna Mrozewicz ((anna.mrozewicz /at/ ), together with a brief bio and select references. Final submissions are due on 2 January 2023. Only submissions that follow Journal of Scandinavian Cinema’s Notes for Contributors will be accepted.

‘Art cinema’, ‘art film’ and ‘arthouse’ are notoriously tricky concepts to pin down with any exactitude. Yet such locutions remain key to scholarly, critical, popular and governmental imaginaries of Scandinavian cinema –they inform the ways in which a wide range of actors talk and think about Scandinavian cinema and bring Scandinavian films into existence and circulation. Or do they? How relevant are notions such as ‘arthouse’ and ‘art film’ to the conceptual and practical anchoring of Scandinavian cinema today? In this Special Issue we aim to take stock and make an effort to position contemporary Scandinavian art cinema in terms of institutional arrangements, formal aesthetic aspects, production cultures and creative practices, and the production and circulation of cultural value.

We raise the issue at a doubly opportune moment. On the one hand, a slew of widely acclaimed Scandinavian films of recent date attest to the persistence of art cinema and the figure of the auteur as core elements of the identity and international reputation of Scandinavian cinema – examples include Sami Blood(Amanda Kernell, 2017); Holiday (Isabella Eklöf, 2018); Aurora (Miia Tervo, 2019); Queen of Hearts(May el-Toukhy, 2019); Sons of Denmark(Ulaa Salim, 2019); Another Round(Thomas Vinterberg, 2020); Compartment No 6(Juho Kuosmanen, 2021); Flee(Jonas Poher Rasmussen, 2021); The Worst Person in the World(Joachim Trier, 2021); Godland(Hlynur Pálmason, 2022); Holy Spider(Ali Abbasi, 2022); and Triangle of Sadness(Ruben Östlund, 2022). On the other hand, Scandinavian screen cultures and film industries are undergoing an intense and multifaceted process of change, epitomized by the breakthrough of streaming as the

default mode of engaging with media content – including film and television. What is the location of Scandinavian arthouse in an increasingly streaming based screen culture? In what ways do Scandinavian auteurs and art film producers and distributors navigate a media landscape increasingly geared towards nichification of media content, individualization of media practices, and 24/7 digital connectivity? What are the possible conditions for tapping

into new sources of funding (e.g. those provided by streaming giants such as Netflix)? What are the cultural, economic and technological factors that underpin some Scandinavian auteurs’ transition from film to television (or their shuttling back and forth between the two)? What are the ramifications of media convergence for film schools and other sites of talent development? In what ways will national film policy adapt to new conditions? Can it sustain its role as a main source of support for Scandinavian arthouse? These are the kinds of questions that we hope articles submitted to this Special Issue will help answer.

We welcome submissions on any topic related to contemporary Scandinavian art cinema, but as indicated above, we are particularly interested in the following issues and areas of inquiry:

  • Case studies of arthouse projects and auteur practices on/for streaming platforms
  • Institutional perspectives (e.g. the role of film policy/cultural policy, the film festival circuit, the economy of prestige, etc.)
  • Production cultures (e.g. modes of authorship, creative collaborations, etc.)
  • Critical analysis of the notion of the Scandinavian auteur (e.g. with regard to gendered, ethnic or class-related aspects of the idea of the auteur)
  • The role of film schools and other institutions for talent development in the formation of contemporary Scandinavian arthouse
  • Style and storytelling in contemporary Scandinavian art films
  • Reception and audience research
  • The discursive positioning of contemporary Scandinavian art cinema
  • Contemporary Scandinavian arthouse and the production and circulation of cultural value

For general information or questions regarding Journal of Scandinavian Cinema, please contact primary editor Anders Marklund ((anders.marklund /at/ ), editors Mette Hjort, Gunnar Iversen and Pietari Kääpä, or managing editor Rochelle Wright.