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This article analyses three recent and very successful Scandinavian films – Niels Arden Oplev’s Män som hatar kvinnor/The Girl with the Dragon Tatoo (Sweden), Susanne Bier’s Hævnen/In a Better World (Denmark) and Sara Johnsen’s Upperdog (Norway) – in order to understand how the relationship between the national and the international is articulated. Focus is on the scenes taking place abroad and on
