Films are integral to national imagination. Promotional publicity markets “domestic films” not only as entertaining, exciting, or moving, but also as topical and relevant in different ways. Reviewers assess new films with reference to other films and cultural products as well as social and political issues. Through such interpretive framings by contemporaries and later generations, popular cinema is embedded both in national imagination and endless intertextual and intermedial frameworks. Moreover, films themselves become signs to be cited and recycled as illustrations of cultural, social, and political history as well as national mentality. In the age of television, “old films” continue to live as history and memory. In Performative Histories, Foundational Fictions, Anu Koivunen analyzes the historicity as well as the intertextuality and intermediality of film reception by focusing on a cycle of Finnish family melodrama and its key role in thinking about gender, sexuality, nation, and history. Close-reading posters, advertisements, publicity-stills, trailers, review journalism, and critical commentary, she demonstrates how The Women of Niskavuori (1938 and 1958), Loviisa (1946), Heta Niskavuori (1952), Aarne Niskavuori (1954), Niskavuori Fights (1957), and Niskavuori (1984) have operated as sites for imagining “our agrarian past”, our Heimat and heritage as well as “the strong Finnish woman” or “the weak man in crisis”. Based on extensive empirical research, Koivunen argues that the Niskavuori films have mobilized readings in terms of history and memory, feminist nationalism and men’s movement, left-wing allegories and right-wing morality as well as realism and melodrama. Through processes of citation, repetition, and re-cycling the films have acquired not only a heterogeneous and contradictory interpretive legacy, but also an affective force.

Ideas in History is the result of collaborative efforts among nearly a dozen universities and colleges throughout the Nordic countries. The purpose of these initiatives is to further awareness of research, resources, and activities in the field of intellectual history in the Nordic countries as well as internationally. The journals introduces Nordic and international readerships to some of the finest work in intellectual history by Nordic-based scholars as well as international authors. The purpose of the journal is to create a meeting ground for the study of ideas in historical context across disciplinary, geographical and institutional boundaries. Ideas in History welcomes interdisciplinary approaches to intellectual history at the same time it acknowledges specific traditions in the field. Ideas in History seeks a pluralism of methodological approaches to intellectual history: reflections on the field, historical contexts studied, subject matter for intellectual-historical investigation, critical understandings of relations between the intellectual past and present as well as the comprehension of culturally, politically and geographically diverse intellectual traditions.

This open access book uses Finland in the nineteenth and twentieth centuries as an empirical case in order to study the emergence, shaping and renewal of a nation through histories of experience and emotions. It revolves around the following questions: What kinds of experiences have engendered national mobilization and feelings of national belonging? How have political and societal conflicts turned into new communities of experience and emotion? What kinds of experiences have been integrated into, or excluded from, the national context in different instances? How have people internalized or contested the nation as a context for their personal, family and minority-group experiences? In what ways has the nation entered and affected people’s intimate spheres of life? How have “national” experiences been transmitted to children in the renewal of the nation? This edited collection points to the histories of experience and emotions as a novel way of studying nations and nationalism. Building on current debates in nationalism studies, it offers a theoretical framework for analyzing the historical construction of “lived nations,” and introduces a number of new methodological approaches to understand the experiences of the nation, extending from the investigation of personal reminiscences and music records to the study of dreams and children’s drawings.

Using feminist theory and examining films that describe women artists who see others through the lens of feminist theology, this book puts forward an original view of the act of seeing as an ethical activity - a gesture of respect for and belief in another person's visible and invisible sides, which guarantees the safekeeping of the Other's memory.

Made in Finland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, culture, and musicology of twentieth and twenty-first century popular music in Finland. The volume consists of essays by leading scholars in the field, and covers the major figures, styles, and social contexts of popular music in Finland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book is organized into five thematic sections: Emerging Foundations of Popular Music in Finland; Environments, Borderlines, Minorities; Transnationalisms; Sounds from the Underground; and Redefining Finnishness.

Scandinavian popular novels and films have flourished in the last thirty years. In Crime and Fantasy in Scandinavia, Andrew Nestingen argues that the growth and visibility of popular culture have been at the heart of the development of heterogeneous �publics� in Scandinavia, in opposition to the homogenizing influence of the post-World War II welfare state. Novels and films have mobilized readers and viewers, serving as a preeminent site for debates over individualism, collectivity, national homogeneity, gender, and transnational relations. Crime and Fantasy in Scandinavia provides insight into the changing nature of civil society in Scandinavia through the lens of popular culture. Nestingen develops his argument through the examination of genres where the central theme is individual transgression of societal norms: crime films and novels, melodramas, and fantasy fiction. Among the internationally known writers and filmmakers discussed are Henning Mankell, Aki Kaurism�ki, Lukas Moodysson, and Lars von Trier.

In this lively, provocative collection, some of Australia's leading historians - and a Miles Franklin shortlisted historical novelist - challenge established myths, narratives and 'beautiful lies' about South Australia's past. Some are unmasked as false stories that mask brutal realities, like colonial violence - while others are revealed as simplistic versions of more complex truths. 'Each generation writes history that speaks to its own interests and concerns,' write historians Paul Ashton and Anna Clark. In Foundational Fictions in South Australian History, which grew out of a series of public lectures at the University of Adelaide, an impressive range of contributors suggest different ways in which familiar narratives of South Australia can be interpreted. These essays tap into wider debates, too, about the nature and purpose of history - and the 'history wars' first flamed by John Howard. Stuart Macintyre highlights South Australia's central role in several national events. Humphrey McQueen questions the origins and influence of the money behind South Australia's so-called progressive founding. Lucy Treloar suggests historians can learn from novelists when it comes to understanding the past. Steven Anderson argues that Don Dunstan's achievement in abolishing capital punishment owed much to a historical movement. And Carolyn Collins highlights the role of anti-conscription group Save Our Sons (SOS) in not just ending the Vietnam War, but broadening the appeal of the anti-war movement.