Nordic Exposures: Scandinavian Identities in Classical by Arne Lunde

By Arne Lunde

Nordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema among and through the 2 global wars. Scandinavian identities may seem mutable and built at moments, whereas at different occasions they have been deployed as representatives of an important, organic, and traditional classification. As Northern ecu Protestants, Scandinavian immigrants and emigres assimilated into the mainstream rights and advantages of white American identification with relatively few obstacles or hindrances. but Arne Lunde demonstrates that faraway from easily manifesting a normative unmarked whiteness, Scandinavianness in mass-immigration the USA and in Hollywood cinema of the 20 th century should be hyperwhite, provisionally off-white, or now not even white at all.

Lunde investigates key silent motion pictures, reminiscent of Technicolor's The Viking (1928), Victor Sjostrom's He Who will get Slapped (1924), and Mauritz Stiller's inn Imperial (1927). The crises of Scandinavian overseas voice and the talkie revolution are explored in Greta Garbo's first sound movie, Anna Christie (1930). the writer additionally examines Warner Oland's lengthy profession of Asian racial masquerade (most famously as chinese language detective Charlie Chan), in addition to Hollywood's and 3rd Reich Cinema's battle over assimilating the Nordic woman famous person within the personae of Garbo, Sonja Henie, Ingrid Bergman, Kristina Soderbaum, and Zarah Leander.

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In the colonial America of at least one of the republic’s subsequent founding fathers, Scandinavian whiteness was by no means an unproblematic and essential category. The period of Scandinavian mass immigration in the nineteenth and early twentieth centuries was part of a vast demographic that brought some 35 million Europeans to the United States through the 1920s. S. S. population of 92 million. In the early and mid-nineteenth century, Norwegian and Swedish immigrants tended to come to places like Wisconsin, Minnesota, and Nebraska directly from overpopulated rural districts in Scandinavia.

The stone ruin proved ultimately to be merely a seventeenth-century colonial windmill. ”37 The “vanishing” of the Newport colony in The Viking poses an interesting riddle at the end of the film. The intertitle states “What became of the little Viking colony no one knows,” temporarily triggering associations with the unsolved historical fate of Sir Walter Raleigh’s Lost Colony of Roanoke Island during the 1580s. Whether the vanished 118 members of that first English colony in America were assimilated into the Native American population, died of starvation or illness, or were massacred, still remains a mystery.

The stone ruin proved ultimately to be merely a seventeenth-century colonial windmill. ”37 The “vanishing” of the Newport colony in The Viking poses an interesting riddle at the end of the film. The intertitle states “What became of the little Viking colony no one knows,” temporarily triggering associations with the unsolved historical fate of Sir Walter Raleigh’s Lost Colony of Roanoke Island during the 1580s. Whether the vanished 118 members of that first English colony in America were assimilated into the Native American population, died of starvation or illness, or were massacred, still remains a mystery.

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