Making Blockbusters in Sweden: The Scandinavian vs. the Hollywood Approach
(2012) NECS The Lisbon Conference “Time Networks: Screen Media and Memory” ,- Abstract
- Abstract in Undetermined
Making Blockbusters in Sweden: The Scandinavian vs. the Hollywood Approach
The first film installment of Stieg Larsson’s Millennium trilogy, Män som hatar kvinnor (The Girl with the Dragon Tattoo, 2009) is most probably the single most successful Scandinavian feature ever in attracting audiences to the global box office. Paradoxically, however, it can be argued that the film comes out of a domestic production environment that – with the exception of the boom in the production of crime film serials during the last two decades – has been in decline ever since the introduction of television in the 1950s and film support in the 1960s. In this paper, the industrial, infrastructural and financial background... (More) - Abstract in Undetermined
Making Blockbusters in Sweden: The Scandinavian vs. the Hollywood Approach
The first film installment of Stieg Larsson’s Millennium trilogy, Män som hatar kvinnor (The Girl with the Dragon Tattoo, 2009) is most probably the single most successful Scandinavian feature ever in attracting audiences to the global box office. Paradoxically, however, it can be argued that the film comes out of a domestic production environment that – with the exception of the boom in the production of crime film serials during the last two decades – has been in decline ever since the introduction of television in the 1950s and film support in the 1960s. In this paper, the industrial, infrastructural and financial background to both the abovementioned film, as well as David Fincher’s Hollywood version The Girl with the Dragon Tattoo (2011), shot on somewhat the same locations and with a partly Swedish crew and cast, will be briefly conferred and examined. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/2835880
- author
- Hedling, Olof LU
- organization
- publishing date
- 2012
- type
- Contribution to conference
- publication status
- unpublished
- subject
- keywords
- The Girl with the Dragon Tattoo (2009), Scandinavian film production, blockbusters, filmed literature, Scandinavian crime
- pages
- 8 pages
- conference name
- NECS The Lisbon Conference “Time Networks: Screen Media and Memory” ,
- conference dates
- 2012-06-21 - 2012-06-23
- project
- Europeisk, skandinavisk och regional film och filmproduktion
- language
- English
- LU publication?
- yes
- id
- 724a15ee-e85c-4a5a-af1f-571b1534cc34 (old id 2835880)
- date added to LUP
- 2016-04-04 13:54:46
- date last changed
- 2021-03-23 23:02:57
@misc{724a15ee-e85c-4a5a-af1f-571b1534cc34,
abstract = {{Abstract in Undetermined<br/>Making Blockbusters in Sweden: The Scandinavian vs. the Hollywood Approach<br/><br/>The first film installment of Stieg Larsson’s Millennium trilogy, Män som hatar kvinnor (The Girl with the Dragon Tattoo, 2009) is most probably the single most successful Scandinavian feature ever in attracting audiences to the global box office. Paradoxically, however, it can be argued that the film comes out of a domestic production environment that – with the exception of the boom in the production of crime film serials during the last two decades – has been in decline ever since the introduction of television in the 1950s and film support in the 1960s. In this paper, the industrial, infrastructural and financial background to both the abovementioned film, as well as David Fincher’s Hollywood version The Girl with the Dragon Tattoo (2011), shot on somewhat the same locations and with a partly Swedish crew and cast, will be briefly conferred and examined.}},
author = {{Hedling, Olof}},
keywords = {{The Girl with the Dragon Tattoo (2009); Scandinavian film production; blockbusters; filmed literature; Scandinavian crime}},
language = {{eng}},
title = {{Making Blockbusters in Sweden: The Scandinavian vs. the Hollywood Approach}},
year = {{2012}},
}