This is the first English-language collection on this innovative director, exploring Tulio's unique style and the extent and effect of his obsessive recirculation of story elements and stylistic ...patterns in his work.
Nordic Genre Film Gustafsson, Tommy; Kääpä, Pietari; Hakola, Outi ...
05/2015
eBook, Book
A transnational comparative approach to contemporary popular Nordic genre film. Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It ...discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia to high concept 'video generation' productions such as Iron Sky . Other contributions focus on road movies, the horror film, autobiographical films, historical epics and pornography. These are contextualized by discussion of their position in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, the book combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as comes to production, distribution and reception of popular contemporary genre film.
Elokuvasäätiön tuella ja vähän ilmankin Laine, Kimmo
Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu,
09/2021, Letnik:
34, Številka:
2-3
Journal Article
The popular Finnish biopic film Sibelius (Timo Koivusalo, 2003) about the composer Jean Sibelius (1865–1957) is a textbook example of a biopic – so obvious, in fact, that there is a touch of banality ...involved. There seems to be very little in the film we do not already know – ‘we’ referring here primarily to Finnish audiences or experts on biographies of classical composers. Despite the fact that parts of the film were shot in Latvia and Italy, the film is quite clearly targeted at domestic markets, as it relies on a nationally oriented and nationally limited knowledge of the past. Every element we may expect to be in the film is there: every character involved in cultural life around the fin de siecle, every piece of music, every political event.Up to a point, this is typical of many historical films. In her book Cinematic Uses of the Past Marcia Landy (1996: 19) stresses the element of foreseeability in the genre: ‘Melodrama and history feed on familiarity, ritualization, repetition, and overvaluation of the past to produce a deja vu sense of “Yes, that is the way it was and is”.’ Further, we might see here a connection to the notion of banal nationalism as introduced by Michael Billig (1995), nationalism as conscious and unconscious everyday practices and habitual patterns of social life that likewise rely on familiarity and unending repetition.And yet, in all its banality Sibelius does tell us about the past and it does resonate with what we think about certain aspects of Finnish, Russian and European history. The aim of this chapter is to consider Sibelius as a popular historical narrative, discussing it in relation to the mechanisms of historical explanation as well as the mode of argument and address used in the film. As reference points I shall discuss certain other Nordic biopics made during the last few years. Biopic seems to be one of the prominent genres in Scandinavia in the 2000s. Monica Z (2013), for example, has been a huge success in Sweden, and Kon-Tiki (2012) – on the Norwegian explorer Thor Heyerdahl – broke into international markets and became a Norwegian Academy Award nominee.
In this chapter, Tulio’s surviving films are discussed in thematic pairs. The themes emerge from his basic obsessions: temptation, loss of innocence, jealousy, passion and female decadence. Finally, ...Tulio’s only comedy and one fragment which he actually disowned are discussed under the heading Anomalous Tulio. Many of these themes appear in most of his films, but this structure allows for the highlighting of Tulio’s basic concerns through a thorough treatment of each of the themes in connection with the films that best exemplify them. The structure does not allow for fully chronological treatment of the films, and in some cases
Biography of an Outsider Bacon, Henry; Laine, Kimmo; Seppälä, Jaakko
ReFocus,
07/2020
Book Chapter
Teuvo Tulio was born in 1912 as Theodor Tugai. His family roots were internationally entangled and extended as far as Turkey. His maternal grandmother appears to have come from Poland.² His mother ...Helena married three times, and Theodor was the son of her first husband, Aleksander Tugai. Soon Theodor’s surname changed to that of Helene’s second husband, Peter Derodzinsky, who, Tulio emphasises, did not have a drop of blue blood in his veins, despite such speculations in Finland at the time when Tulio began to make a career in the budding film industry.
Tulio assumed that his parents’ marriage was
Art of Repetition Bacon, Henry; Laine, Kimmo; Seppälä, Jaakko
ReFocus,
07/2020
Book Chapter
‘Here I am, just the way you wanted me’, the prostitute named Gazelle remarks with a hefty dose of cynicism in her voice to the man who once loved and then abandoned her. The film in question is The ...Song of the Scarlet Flower, which Teuvo Tulio directed in 1938. The film is based on a novel of the same name by Johannes Linnankoski, but the quoted line does not appear in the book. Six years later, a film titled The Way You Wanted Me (1944 ) premiered. It, too, tells the story of an innocent woman who succumbs to
Elokuvahistoriaa (melkein) ilman elokuvaa Laine, Kimmo
Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu,
07/2019, Letnik:
32, Številka:
2
Journal Article
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