Call for Contributions: 'Art and film interrelations on Nordic Screens'

deadline for submissions: 
April 1, 2025
full name / name of organization: 
Journal of Scandinavian Cinema

Call for Contributions: Journal of Scandinavian Cinema

In Focus section on: 'Art and film interrelations on Nordic Screens'

View the full call here>>

https://www.intellectbooks.com/journal-of-scandinavian-cinema#call-for-papers

This is a call for short subject contributions (2000-3500 words) focusing on the various ways film and television are related to art. As explored by scholars such as Angela Dalle Vacche in Cinema and Painting: How Art Is Used in Film (1996), Steven Jacobs in Framing Pictures: Film and the Visual Arts (2011) and Ivo Blom in Reframing Luchino Visconti: Film and Art (2017), this interrelation takes many forms but remains severely underdiscussed, especially in a Nordic context.

Most obvious examples are perhaps biopics on artists. Recent years have seen a fair number of works on women painters – such as Marie [Krøyer] (Bille August, 2012), Hilma [af Klint] (Lasse Hallström, 2022) and Helene [Schjerfbeck] (Antti J. Jokinen, 2020) – complementing earlier depictions of male artists such as [Anders] Zorn (Gunnar Hellström, 1994) and Edvard Munch (Peter Watkins, 1974). Each film places particular emphasis on the personal and artistic journey. Other works offer representations of different aspects of the creation and exhibition of art, involving (fictional) artists, as in The Painter (Göran du Rées and Christina Olofson, 1982), the work of art dealers, as in A Last Deal (Klaus Härö, 2018), or curators and museum directors, as in The Square (Ruben Östlund, 2017), or a combination of all of these, as in Gabriela Pichler’s series Painkiller (2024).

There is also a long tradition of using art, and specific artworks, as inspiration and reference in films. This includes silent era classics using mise en scène to resemble works of art or illustrations to published books, such as Terje Vigen (Victor Sjöström, 1917), inspired by Christian Krogh’s illustrations of the 1905 edition of Ibsen’s poem, or Synnöve Solbakken (John W. Brunius, 1919), which incorporated elements from nineteenth-century national romanticist paintings such as Adolf Tidemand’s The Haugians (1848). This practice continues today; for example, Aki Kaurismäki’s The Man Without a Past (2002) includes a passing reference to Hugo Simberg’s The Wounded Angel (1903), Arnold Böcklin’s Isle of the Dead (1880) is thematized in Óskar Þór Axelsson’s I Remember You (2017), and Caspar David Friedrich's Woman Before the Rising Sun (1818) suggests a parallel to the protagonist’s mother in Evil (Mikael Håfström, 2003). Films often include works of art as part of the setting – sometimes well-known, but often more difficult or impossible to recognize – adding another layer of meaning. Sometimes, these artworks are used more extensively in the story, as with the framed print of an angel in Lilya 4-ever (Lukas Moodysson, 2002).

As implied throughout Gillian McIver's Art History for Filmmakers: The Art of Visual Storytelling (2019), art can help establish period detail, composition, colour, lighting and many other aspects. Consequently, film workers in various roles draw inspiration from art in their work. Directors, production designers and cinematographers use art to visualize scenes, ensuring a cohesive visual style and emotional tone. Costume designers, makeup artists and visual effects (VFX) artists draw from paintings, sculptures and drawings to design sets, props and costumes, transform actors and create immersive environments and authentic period details. For example, in contemporary global streaming culture, the Norwegian film Troll (Roar Uthaug, 2022), Netflix's most popular non-English film, draws inspiration from Norwegian folklore and classic works such as Theodor Severin Kittelsen’s Troll at the Karl Johan Street (1892). Similarly, Simon Stålenhag's retro-futuristic digital art has been reworked into Amazon’s Tales from the Loop (2020) and Netflix’ upcoming The Electric State (2025), showcasing how visual art can inspire and shape narrative storytelling in new media formats.

As can be seen, there is a plentitude of possible topics, including:

  • Artist biopics and their portrayal of artistic journeys

  • The use of art and artworks as sources of inspiration for filmmakers

  • Diegetic works of art and their varied thematic and narrative functions

  • The influence of visual art on aesthetic choices in Nordic cinema

  • The role of art in the work of specific filmmaking professionals (e.g., directors, production designers, cinematographers)

  • Comparative studies of art references in Nordic and non-Nordic films

Please pull together your creative thoughts and send a brief abstract to anders.marklund@litt.lu.se by 1 April 2025. Finished short subjects are expected no later than 15 September. Make sure that you follow the most recent Notes for Contributors:

https://www.intellectbooks.com/asset/90210/1/JSCA_NFCs_December_2024.pdf

Additional note: Part of the 2025 Lübeck Film Studies Colloquium (7-8 November) will be dedicated to Film and Art, as will the Lübeck Nordic Film Days’ retrospective film series. Contributors to this In Focus section are welcome to participate. Please communicate your (preliminary) interest when you submit your proposal.

Call for Contributions: Journal of Scandinavian Cinema

In Focus section on: 'Art and film interrelations on Nordic Screens'

View the full call here>>

https://www.intellectbooks.com/journal-of-scandinavian-cinema#call-for-papers

This is a call for short subject contributions (2000-3500 words) focusing on the various ways film and television are related to art. As explored by scholars such as Angela Dalle Vacche in Cinema and Painting: How Art Is Used in Film (1996), Steven Jacobs in Framing Pictures: Film and the Visual Arts (2011) and Ivo Blom in Reframing Luchino Visconti: Film and Art (2017), this interrelation takes many forms but remains severely underdiscussed, especially in a Nordic context.

Most obvious examples are perhaps biopics on artists. Recent years have seen a fair number of works on women painters – such as Marie [Krøyer] (Bille August, 2012), Hilma [af Klint] (Lasse Hallström, 2022) and Helene [Schjerfbeck] (Antti J. Jokinen, 2020) – complementing earlier depictions of male artists such as [Anders] Zorn (Gunnar Hellström, 1994) and Edvard Munch (Peter Watkins, 1974). Each film places particular emphasis on the personal and artistic journey. Other works offer representations of different aspects of the creation and exhibition of art, involving (fictional) artists, as in The Painter (Göran du Rées and Christina Olofson, 1982), the work of art dealers, as in A Last Deal (Klaus Härö, 2018), or curators and museum directors, as in The Square (Ruben Östlund, 2017), or a combination of all of these, as in Gabriela Pichler’s series Painkiller (2024).

There is also a long tradition of using art, and specific artworks, as inspiration and reference in films. This includes silent era classics using mise en scène to resemble works of art or illustrations to published books, such as Terje Vigen (Victor Sjöström, 1917), inspired by Christian Krogh’s illustrations of the 1905 edition of Ibsen’s poem, or Synnöve Solbakken (John W. Brunius, 1919), which incorporated elements from nineteenth-century national romanticist paintings such as Adolf Tidemand’s The Haugians (1848). This practice continues today; for example, Aki Kaurismäki’s The Man Without a Past (2002) includes a passing reference to Hugo Simberg’s The Wounded Angel (1903), Arnold Böcklin’s Isle of the Dead (1880) is thematized in Óskar Þór Axelsson’s I Remember You (2017), and Caspar David Friedrich's Woman Before the Rising Sun (1818) suggests a parallel to the protagonist’s mother in Evil (Mikael Håfström, 2003). Films often include works of art as part of the setting – sometimes well-known, but often more difficult or impossible to recognize – adding another layer of meaning. Sometimes, these artworks are used more extensively in the story, as with the framed print of an angel in Lilya 4-ever (Lukas Moodysson, 2002).

As implied throughout Gillian McIver's Art History for Filmmakers: The Art of Visual Storytelling (2019), art can help establish period detail, composition, colour, lighting and many other aspects. Consequently, film workers in various roles draw inspiration from art in their work. Directors, production designers and cinematographers use art to visualize scenes, ensuring a cohesive visual style and emotional tone. Costume designers, makeup artists and visual effects (VFX) artists draw from paintings, sculptures and drawings to design sets, props and costumes, transform actors and create immersive environments and authentic period details. For example, in contemporary global streaming culture, the Norwegian film Troll (Roar Uthaug, 2022), Netflix's most popular non-English film, draws inspiration from Norwegian folklore and classic works such as Theodor Severin Kittelsen’s Troll at the Karl Johan Street (1892). Similarly, Simon Stålenhag's retro-futuristic digital art has been reworked into Amazon’s Tales from the Loop (2020) and Netflix’ upcoming The Electric State (2025), showcasing how visual art can inspire and shape narrative storytelling in new media formats.

As can be seen, there is a plentitude of possible topics, including:

  • Artist biopics and their portrayal of artistic journeys

  • The use of art and artworks as sources of inspiration for filmmakers

  • Diegetic works of art and their varied thematic and narrative functions

  • The influence of visual art on aesthetic choices in Nordic cinema

  • The role of art in the work of specific filmmaking professionals (e.g., directors, production designers, cinematographers)

  • Comparative studies of art references in Nordic and non-Nordic films

Please pull together your creative thoughts and send a brief abstract to anders.marklund@litt.lu.se by 1 April 2025. Finished short subjects are expected no later than 15 September. Make sure that you follow the most recent Notes for Contributors:

https://www.intellectbooks.com/asset/90210/1/JSCA_NFCs_December_2024.pdf

Additional note: Part of the 2025 Lübeck Film Studies Colloquium (7-8 November) will be dedicated to Film and Art, as will the Lübeck Nordic Film Days’ retrospective film series. Contributors to this In Focus section are welcome to participate. Please communicate your (preliminary) interest when you submit your proposal.