In the 1970s, Norway had not officially acknowledged their Indigenous population, the Sámi. In the following decade, two activist films, Let the River Live (Greve 1980) and The Taking of Sámiland (Eriksen and Tannvik 1984), focused on the Alta conflict ‐ protests against the construction of a power plant in Sámi territory ‐ Indigenous rights and colonial processes. Inspired by discussions concerning ...

This article explores how Sami Blood (2016), as an Indigenous film, addresses colonialism and its consequences. Sami Blood documents historical injustice, shame and how colonialism is internalized by the colonized, and mechanisms of systemic and individual racism. Based on analyses of the film, reviews and perspectives on colonialism and cinema, it is argued that Sami Blood contributes to ...

Indigenous journalism can facilitate the inclusion of Indigenous voices in the public sphere, thereby contributing to social change. Contemporary Indigenous journalism is in part facilitated by the introduction and diffusion of paradigmatic media innovations, including the Internet, mobile technology, and social media. Based on a literature review, we investigate how media innovations are ...

This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic ...

This article examines approaches to cultural diversity in a global- local axis. Can one talk about local cultural diversity in a film industry that is increasingly global? Cultural diversity is a goal in European film policy and an important rationale behind the support of European films. Geographical location is a key factor when discussing filmmaking because of the assumption that film and television ...