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The language of the complex image: Roy Andersson’s political aesthetics

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Departing from the opening scene of Roy Andersson’s 1991 short Härlig är jorden/World of Glory, the article gives an overview of the director’s political aesthetics outlined in his book Vår tids rädsla för allvar. Through the use of static long shots, stylization and the condensation of time and space Andersson attempts to activate reflection upon existential questions such as solidarity and the individual’s responsibility. In this scene from World of Glory Andersson links these ideas with a critique of Swedish passivity during the Holocaust.

Keywords: André Bazin; Holocaust; Martin Buber; Roy Andersson; film style; political aesthetics

Document Type: Research Article


Affiliations: Halmstad University/Hamburg University

Publication date: October 15, 2010

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  • The Journal of Scandinavian Cinema is a new scholarly journal devoted to film in the Scandinavian countries. It aims to become the prime site for excellent research and engaging discussions on cinema in Scandinavia, both within the national context of Denmark, Finland, Iceland, Norway and Sweden, and as a region existing in a globalized world.
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