Trapped in clichés: masculinity, films and tourism in Iceland
Trapped in clichés: masculinity, films and tourism in Iceland
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陷入陈词滥调：冰岛的男子气概、电影和旅游业
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发表时间：
2017
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影响因子：
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通讯作者：
K. Lund
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文献类型：
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作者：
Kristín Loftsdóttir;Katla Kjartansdóttir;K. Lund
当冰岛电视剧《被困》播出时，立刻引起了全世界的关注。主角是一个粗犷的冰岛人，他与严酷的寒冷景观融为一体。这篇文章展示了像“被困”这样的视觉材料在向外界展示冰岛以及将冰岛作为旅游目的地的过程中是如何变得极其重要的。此外，我们证明了《被困》是如何与北欧黑色流派相一致的。我们的分析表明，《被困》系列和最近的冰岛电影都是基于冰岛人与男性之间强烈而根深蒂固的联系，同时也反映了对冰岛和冰岛人的固有成见，这两种成见都通过旅游业重新焕发了活力。因此，像“被困”这样的视觉材料构成了冰岛反复出现的男子气概的一部分，并成为其本身的象征。我们的分析强调了国家和商业行业将旅游目的地的“官方”生产与其他文化产品的关系的重要性，这些文化产品通常也与移动历史刻板印象和国家品牌的商业尝试有关。
Abstract When the Icelandic television series ‘Trapped’ was aired it instantly garnered worldwide attention. The main character, a rugged Icelandic man, is presented as being one with the harsh cold landscape. This article demonstrates how visual materials, like ‘Trapped,’ have become extremely important in the presentation of Iceland to the outside world, as well as working to present Iceland as a tourism destination. Furthermore, we evidence how ‘Trapped’ identifies with the Nordic noir genre. Our analysis shows that the series ‘Trapped’ and recent Icelandic films rest on the strong and entrenched association of Icelandicness with maleness, while also reflecting on existing stereotypes about Iceland and the Icelandic people as being exotic, both of which have become reanimated through the tourism industry. Thus, visual material such as ‘Trapped’ constitutes a part of, and becomes in and of itself symbolic of recurrent masculinity in Iceland. Our analysis emphasizes the importance of framing the ‘official’ production of locations as tourism destinations by both state and commercial industries in relation to other cultural productions that often also engage with mobile historical stereotyping and commercial attempts at nation branding.