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Where does 'die Asta' belong? The role of national identity in Asta Nielsen's German and Danish reception in the early 1920s.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 13, doi. 10.1386/jsca.2.1.13_1
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Jan Troell's fleeting still moments.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 55, doi. 10.1386/jsca.2.1.55_1
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Frozen style and strong emotions of panic and separation: Trier's prologues to Antichrist and Melancholia.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 47, doi. 10.1386/jsca.2.1.47_1
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Working-class girls in a welfare state: Finnishness, social class and gender in Aki Kaurismäki's Workers' Trilogy (1986-1990).
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 73, doi. 10.1386/jsca.2.1.73_1
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EDITORIAL.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 3, doi. 10.1386/jsca.2.1.3_2
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Asta's ink: The Stockholm letters.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 5, doi. 10.1386/jsca.2.1.5_1
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Bad religion/good spirituality? Explorations of religion in contemporary Scandinavian films.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 33, doi. 10.1386/jsca.2.1.33_1
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Ole Olsen's sense of film.
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- Journal of Scandinavian Cinema, 2012, v. 2, n. 1, p. 27, doi. 10.1386/jsca.2.1.27_1
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- Article