[Commlist] Call for Papers: Journal of Scandinavian Cinema Special Issue

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/ litt.lu.se) 
<mailto:(joel.frykholm /at/ litt.lu.se)>) and Anna Mrozewicz 
((anna.mrozewicz /at/ litt.lu.se) <mailto:(anna.mrozewicz /at/ litt.lu.se)>), 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.


Full call here>>

https://www.intellectbooks.com/asset/66114/1/CfP_Journal_of_Scandinavian_Cinema_May_2022.pdf 
<https://www.intellectbooks.com/asset/66114/1/CfP_Journal_of_Scandinavian_Cinema_May_2022.pdf>


‘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/ litt.lu.se) <mailto:(anders.marklund /at/ litt.lu.se)>), 
editors Mette Hjort, Gunnar Iversen and Pietari Kääpä, or managing 
editor Rochelle Wright.

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