Nordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema among and through the 2 global wars. Scandinavian identities may seem mutable and built at moments, whereas at different occasions they have been deployed as representatives of an important, organic, and common class. As Northern eu Protestants, Scandinavian immigrants and emigres assimilated into the mainstream rights and advantages of white American id with relatively few boundaries or hindrances. but Arne Lunde demonstrates that faraway from easily manifesting a normative unmarked whiteness, Scandinavianness in mass-immigration the USA and in Hollywood cinema of the 20th century will be hyperwhite, provisionally off-white, or no longer even white at all.
Lunde investigates key silent motion pictures, reminiscent of Technicolor's The Viking (1928), Victor Sjostrom's He Who will get Slapped (1924), and Mauritz Stiller's resort Imperial (1927). The crises of Scandinavian overseas voice and the talkie revolution are explored in Greta Garbo's first sound movie, Anna Christie (1930). the writer additionally examines Warner Oland's lengthy profession of Asian racial masquerade (most famously as chinese language detective Charlie Chan), in addition to Hollywood's and 3rd Reich Cinema's conflict over assimilating the Nordic girl megastar within the personae of Garbo, Sonja Henie, Ingrid Bergman, Kristina Soderbaum, and Zarah Leander.