LEADER 03904nam 2200637 a 450 001 9910815119803321 005 20240418050143.0 010 $a0-295-80084-4 024 7 $aheb40264 035 $a(CKB)2560000000071135 035 $a(EBL)3444288 035 $a(OCoLC)932315121 035 $a(SSID)ssj0000471736 035 $a(PQKBManifestationID)11973360 035 $a(PQKBTitleCode)TC0000471736 035 $a(PQKBWorkID)10428651 035 $a(PQKB)10492074 035 $a(OCoLC)704275938 035 $a(MdBmJHUP)muse5094 035 $a(Au-PeEL)EBL3444288 035 $a(CaPaEBR)ebr10456362 035 $a(CaONFJC)MIL810522 035 $a(MiAaPQ)EBC3444288 035 $a(dli)heb40264.0001.001 035 $a(MiU)MIU402640001001 035 $a(EXLCZ)992560000000071135 100 $a20100218d2010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aNordic exposures $eScandinavian identities in classical Hollywood cinema /$fArne Lunde 205 $a1st ed. 210 $aSeattle $cUniversity of Washington Press$d2010 215 $a1 online resource (233 p.) 225 1 $aNew directions in Scandinavian studies 300 $aDescription based upon print version of record. 311 $a0-295-99045-7 320 $aIncludes bibliographical references and index. 327 $aRacializing Vinland: the Nordic conquest of whiteness in technicolor's The viking -- Scandinavian/American whiteface: ethnic whiteness and assimilation in Victor Sjo?stro?m's He who gets slapped -- Hotel Imperial: the border crossings of Mauritz Stiller -- Garbo talks! Scandinavians, the talkie revolution, and the crisis of foreign voice -- Charlie Chan is Swedish: the Asian racial masquerades and Nordic otherness of Warner Oland -- Two-faced women: Hollywood's and Third Reich cinema's war for the Nordic female star. 330 $aNordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema between and during the two world wars. Scandinavian identities could seem mutable and constructed at moments, while at other times they were deployed as representatives of an essential, biological, and natural category. As Northern European Protestants, Scandinavian immigrants and emigres assimilated into the mainstream rights and benefits of white American identity with comparatively few barriers or obstacles. Yet Arne Lunde demonstrates that far from simply manifesting a normative unmarked whiteness, Scandinavianness in mass-immigration America and in Hollywood cinema of the twentieth century could be hyperwhite, provisionally off-white, or not even white at all. Lunde investigates key silent films, such as Technicolor's The Viking (1928), Victor Sjostrom's He Who Gets Slapped (1924), and Mauritz Stiller's Hotel Imperial (1927). The crises of Scandinavian foreign voice and the talkie revolution are explored in Greta Garbo's first sound film, Anna Christie (1930). The author also examines Warner Oland's long career of Asian racial masquerade (most famously as Chinese detective Charlie Chan), as well as Hollywood's and Third Reich Cinema's war over assimilating the Nordic female star in the personae of Garbo, Sonja Henie, Ingrid Bergman, Kristina Soderbaum, and Zarah Leander. 410 0$aNew directions in Scandinavian studies. 606 $aNational characteristics, Scandinavian, in motion pictures 606 $aMotion pictures$zUnited States$xHistory$y20th century 615 0$aNational characteristics, Scandinavian, in motion pictures. 615 0$aMotion pictures$xHistory 676 $a791.43/6529395 700 $aLunde$b Arne Olav$01689254 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910815119803321 996 $aNordic exposures$94064166 997 $aUNINA