By Arne Lunde
Nordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema among and through the 2 international wars. Scandinavian identities could appear mutable and built at moments, whereas at different instances they have been deployed as representatives of a necessary, organic, and typical classification. As Northern ecu Protestants, Scandinavian immigrants and emigres assimilated into the mainstream rights and advantages of white American id with relatively few obstacles or stumbling blocks. 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 20th century might be hyperwhite, provisionally off-white, or no longer even white at all.
Lunde investigates key silent motion pictures, resembling 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 international 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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Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema
Nordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema among and through the 2 international wars. Scandinavian identities could appear mutable and developed at moments, whereas at different instances they have been deployed as representatives of a necessary, organic, and common type.
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Extra resources for Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema
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Grant’s leading disciple, meanwhile, was Lothrop Stoddard, a lawyer in Brookline, Massachusetts, with a Harvard PhD in history. 14 Through the ramblings of Tom Buchanan to Nick Carraway in his 1925 novel The Great Gatsby, F. Scott Fitzgerald critiqued the pseudoscience of genetics and parodied the nervousness about race war that had captured a share of the public imagination by the twenties. Fitzgerald conflates Grant and Stoddard into “this man Goddard,” the author of The Rise of the Coloured Empires.
Once Helga is discovered on board, Leif reveals that he has long intended to marry her (not realizing she does not love him but is secretly in love with Alwin). During a shipboard marriage ceremony between Leif and Helga, Alwin thwarts a mutiny and murder plot by Egil against Leif. Suddenly land is sighted. Leif and his crew claim the new world they’ve discovered for king, country, and Christianity. After a fort is built and Leif has converted the local Indians to Christianity, Alwin and Helga are left behind with a small colony of Vikings.
4 Baldwin argues that once they arrived in nineteenth-century America, Europeans became white only by deciding they were white—in order to distance themselves from “nonwhites” and to position themselves on the beneficial “white” side of a brutally enforced and socially real color line. In exposing the social and institutional construction of American whiteness, he suggests that even immigrants from the presumably white European north had defined themselves primarily in national terms as Norwegians back in Norway, and then had to quickly learn to redefine themselves in racial terms as part of the bargain of becoming American.