Mainstreaming migrant experience: Examining authorship, commercialism and political engagement in Finnish migrant cinema | Intellect Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Journal of Scandinavian Cinema
  4. Volume 12, Issue 3
  5. Article
Volume 12, Issue 3
  • ISSN: 2042-7891
  • E-ISSN: 2042-7905

Abstract

In many European nations, there have been a significant number of cinematic explorations of the experiences of migrants, a trend often called migrant cinema. By contrast, in Finland, where large-scale immigration is a relatively new phenomenon, there have historically been very few mainstream films that include migrant characters and practically none that explore the circumstances of migrant protagonists. Since the late 2010s, that has slowly begun to change, primarily due to filmmakers of migrant backgrounds who have drawn from their autobiographical experiences when making mainstream migrant cinema in Finland. Their films are important as cinema has a key role in representing divergent social groups and providing spaces for their political engagement. However, in other European countries, mainstream migrant cinema has drawn criticism – even when made by migrant filmmakers – since commercialism is seen to lead to depoliticization and representations that are counterproductive to migrant emancipation. By examining two Finnish examples where the creative impetus came from filmmakers of migrant backgrounds, and taking into account publicly available interviews with them, this article provides more nuance to the discussion of authorship, commercialism and political engagement in migrant cinema.

Funding
This study was supported by the:
  • University of Helsinki
© 2022 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/jsca_00078_1
2022-09-01
2024-04-19
Loading full text...

Full text loading...

References

  1. Aamu Films ( 2022;), ‘ About us. ’, https://aamufilmcompany.fi/about-us. Accessed 15 August 2022.
  2. Aggarwal-Schifellite, Manisha. ( 2014;), ‘ Bend It Like Beckham: A celebration. ’, The Toast, 8 January, https://the-toast.net/2014/01/08/bend-like-beckham-celebration/. Accessed 15 August 2022.
     [Google Scholar]
  3. Ahmed, Sara. ( 2007;), ‘ Multiculturalism and the promise of happiness. ’, New Formations, 63, pp. 121–37.
     [Google Scholar]
  4. Aromaa, Jonni. ( 2017;), ‘ Analyysi: Miten kengännauhabudjetti edistää kotimaista elokuvaa?. ’, YLE, 8 December, https://yle.fi/a/3-9967593. Accessed 15 August 2022.
     [Google Scholar]
  5. Ashby, Justine. ( 2005;), ‘ Postfeminism in the British frame. ’, Cinema Journal, 44:2, pp. 127–33.
     [Google Scholar]
  6. Avola, Pertti. ( 2017;), ‘ Suvaitsevaisuuden ja ymmärryksen lisääminen on Samuli Valkaman ohjaaman Saattokeikan Sanoma. ’, Helsingin Sanomat, 10 March, https://www.hs.fi/kulttuuri/art-2000005120466.html. Accessed 15 August 2022.
     [Google Scholar]
  7. Awad, Isabel. ( 2008;), ‘ What does it take for a newspaper to be Latina/o? A participatory definition of ethnic media. ’, in N. Carpentier, and B. De Cleen. (eds), Participation and Media Production: Critical Reflections on Content Creation, Newcastle upon Tyne:: Cambridge Scholars Publishing;, pp. 83–96.
     [Google Scholar]
  8. Bailey, Cameron. ( 1992;), ‘ What the story is: An interview with Srinivas Krishna. ’, CineAction, 28, pp. 38–47.
     [Google Scholar]
  9. Ballesteros, Isolina. ( 2015), Immigration Cinema in the New Europe, Bristol:: Intellect;.
     [Google Scholar]
  10. Berghahn, Daniela. ( 2010;), ‘ Coming of age in “the hood”: The diasporic youth film and questions of genre. ’, in D. Berghahn, and C. Sternberg. (eds), European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe, Basingstoke:: Palgrave Macmillan;, pp. 235–55.
     [Google Scholar]
  11. Berghahn, Daniela, and Sternberg, Claudia. ( 2010;), ‘ Locating migrant and diasporic cinema in contemporary Europe. ’, in D. Berghahn, and C. Sternberg. (eds), European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe, Basingstoke:: Palgrave Macmillan;, pp. 12–49.
     [Google Scholar]
  12. Berlinale ( 2021;), ‘ Any Day Now | Berlinale meets … Hamy Ramezan | February 2021. ’, YouTube, 1 March, https://youtu.be/bQOSd6IkuBk. Accessed 15 August 2022.
     [Google Scholar]
  13. Coggan, Devan. ( 2018;), ‘ How Bend It Like Beckham bent the rules and became a girl power classic. ’, Entertainment Weekly, 5 April, https://ew.com/movies/2018/04/05/bend-it-like-beckham-oral-history/. Accessed 15 August 2022.
     [Google Scholar]
  14. ECRI ( 2019;), ‘ ECRI report on Finland (fifth monitoring cycle). ’, 10 September, https://rm.coe.int/fifth-report-on-finland/1680972fa7. Accessed 15 August 2022.
  15. Elonet ( 2022;), ‘ Samuli Valkama. ’, https://elonet.finna.fi/Search/Results?filter[]=author2_id_str_mv%3A%22kavi.elonet_henkilo_159704%22. Accessed 15 August 2022.
  16. Elsaesser, Thomas. ( 2005), European Cinema: Face to Face with Hollywood, Amsterdam:: Amsterdam University Press;.
     [Google Scholar]
  17. Eurostat ( 2021;), ‘ Non-national population by group of citizenship, 1 January 2020. ’, 15 March, https://ec.europa.eu/eurostat/statistics-explained/index.php?title=File:Non-national_population_by_group_of_citizenship,_1_January_2020.png. Accessed 15 August 2022.
  18. Feng, Peter X.. ( 2020;), ‘ The burden of representation in Asian American television. ’, in L. Kido Lopez. (ed.), Race and Media: Critical Approaches, New York:: New York University Press;, pp. 79–91.
     [Google Scholar]
  19. Fischer, Paul. ( 2003;), ‘ Gurinder Chadha: Success at last as Beckham finally hits US. ’, Film Monthly, 13 March, http://www.filmmonthly.com/Profiles/Articles/GChadha/GChadha.html. Accessed 15 August 2022.
     [Google Scholar]
  20. Foster, John D.. ( 2016;), ‘ Drifting for Whiteness: Hollywood representations of Asian Americans in the twenty-first century. ’, in J. A. Smith, and B. K. Thakore. (eds), Race and Contention in Twenty-First Century U.S. Media, Abingdon:: Routledge;, pp. 117–30.
     [Google Scholar]
  21. FRA ( 2018;), ‘ Second European Union Minorities and Discrimination Survey: Being Black in the EU. ’, 23 November, https://fra.europa.eu/sites/default/files/fra_uploads/fra-2018-being-black-in-the-eu_en.pdf. Accessed 15 August 2022.
  22. Gedalof, Irene. ( 2011;), ‘ Finding home in Bend It Like Beckham and Last Resort. ’, Camera Obscura, 26:1, pp. 131–57.
     [Google Scholar]
  23. Giardina, Michael D.. ( 2008;), ‘ Consuming difference: Stylish hybridity, diasporic identity, and the politics of youth culture. ’, in N. Dolby, and F. Rizvi. (eds), Youth Moves: Identities and Education in Global Perspective, Abingdon:: Routledge;, pp. 69–84.
     [Google Scholar]
  24. Grassilli, Mariagiulia. ( 2008;), ‘ Migrant cinema: Transnational and guerrilla practices of film production and representation. ’, Journal of Ethnic and Migration Studies, 34:8, pp. 1237–55.
     [Google Scholar]
  25. Hake, Sabine, and Mennel, Barbara. ( 2012;), ‘ Configurations of stereotypes and identities: New methodologies. ’, in S. Hake, and B. Mennel. (eds), Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens, Oxford:: Berghahn Books;, pp. 1–19.
     [Google Scholar]
  26. Hall, Stuart. ( 2003;), ‘ Cultural identity and diaspora. ’, in J. E. Braziel, and A. Mannur. (eds), Theorizing Diaspora: A Reader, London:: Routledge;, pp. 233–46.
     [Google Scholar]
  27. Hashamova, Yana. ( 2010;), ‘ (Re)negotiating identities: Representations of Muslim minorities in Bulgarian film. ’, Film International, 8:3, pp. 49–61.
     [Google Scholar]
  28. Heir, Rajpreet. ( 2018;), ‘ This movie changed me: Bend It Like Beckham. ’, On Being, 18 September, https://onbeing.org/programs/bend-it-like-beckham-rajpreet-heir/. Accessed 15 August 2022.
     [Google Scholar]
  29. Higbee, Will. ( 2013), Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France since 2000, Edinburgh:: Edinburgh University Press;.
     [Google Scholar]
  30. Hiltunen, Kaisa. ( 2016;), ‘ Encounters with immigrants in recent Finnish feature films. ’, Journal of Scandinavian Cinema, 6:3, pp. 235–52.
     [Google Scholar]
  31. Ikonen, Niko. ( 2020;), ‘ Ensilumi. ’, Episodi, 16 October, https://www.episodi.fi/elokuvat/ensilumi/. Accessed 15 August 2022.
     [Google Scholar]
  32. IMDb ( 2022;), ‘ Any Day Now: Awards. ’, https://www.imdb.com/title/tt12574632/awards/?ref_=tt_awd. Accessed 15 August 2022.
  33. Järvi, Antti. ( 2017;), ‘ Suomi-kuvan muuttaja. ’, Veikkaus, 17 February, https://www.veikkaus.fi/fi/yritys#!/article/inhimillisia-uutisia/julkaisut/2017/02/suomi-kuvan-muuttaja. Accessed 15 August 2022.
     [Google Scholar]
  34. Joro, Anna-Sofia. ( 2011;), ‘ Suomalainen menestystarina. ’, Voima, 11 November, https://voima.fi/arkisto-voima/suomalainen-menestystarina/. Accessed 15 August 2022.
     [Google Scholar]
  35. Kellomäki, Ani, and Peltokangas, Leena. ( 2020;), ‘ Elokuvaohjaaja Hamy Ramezan kertoo uutiskuvien taakse kadotetun tarinan ihmisyydestä, joka ei suostu nitistymään. ’, YLE, 9 October, https://yle.fi/aihe/artikkeli/2020/10/09/elokuvaohjaaja-hamy-ramezan-kertoo-uutiskuvien-taakse-kadotetun-tarinan. Accessed 15 August 2022.
     [Google Scholar]
  36. Kelosaari, Artemis. ( 2019;), ‘ Muistatko Suomi-filmien eroottiset heinälatokohtaukset? Niiden takana on tämä. mies. ’, Kotiliesi, 18 April, https://kotiliesi.fi/ihmiset-ja-ilmiot/kulttuuri/muistatko-suomi-filmien-eroottiset-heinalatokohtaukset-niiden-takana-on-tama-mies/. Accessed 15 August 2022.
     [Google Scholar]
  37. Kinnunen, Kalle. ( 2020;), ‘ Hamy Ramezan teki elokuvan kaikesta siitä, mikä kasvatti hänet – Nyt kun Ensilumi on valmis, hän pelkää kadottaneensa identiteettinsä. ’, Apu, 2 October, https://www.apu.fi/artikkelit/hamy-ramezan-ensilumi-elokuvassa-pakolainen-ei-ole-uhri-miksi. Accessed 15 August 2022.
     [Google Scholar]
  38. Koivistolainen, Jani. ( 2017;), ‘ Saattokeikka. ’, Episodi, 8 March, https://www.episodi.fi/elokuvat/saattokeikka/. Accessed 15 August 2022.
     [Google Scholar]
  39. Kuivalahti, Laura. ( 2020;) ‘ Elokuva-arvio: Ensilumi näyttää herkällä otteella, kuinka nelihenkinen perhe elää vastaanottokeskuksessa aivan tavallista arkea odotuksenkeskellä. ’, Maaseudun Tulevaisuus, 16 October, https://www.maaseuduntulevaisuus.fi/arvostelut/artikkeli-1.1217360. Accessed 15 August 2022.
     [Google Scholar]
  40. Landsberg, Alison. ( 2003;), ‘ Prosthetic memory: The ethics and politics of memory in an age of mass culture. ’, in P. Grainge. (ed.), Memory and Popular Film, Manchester:: Manchester University Press;, pp. 144–61.
     [Google Scholar]
  41. Liberato, Ana S. Q.,, Rebollo-Gil, Guillermo,, Foster, John D., and Moras, Amanda. ( 2009;), ‘ Latinidad and masculinidad in Hollywood scripts. ’, Ethnic and Racial Studies, 32:6, pp. 948–66.
     [Google Scholar]
  42. MacDonald, Scott. ( 1992), A Critical Cinema 2: Interviews with Independent Filmmakers, Berkeley, CA and Oxford:: University of California Press;.
     [Google Scholar]
  43. Malik, Sarita. ( 1996;), ‘ Beyond “the cinema of duty”? The pleasures of hybridity: Black British film of the 1980s and 1990s. ’, in A. Higson. (ed.), Dissolving Views: Key Writings on British Cinema, London:: Cassell;, pp. 202–15.
     [Google Scholar]
  44. Malik, Sarita. ( 2010;), ‘ The dark side of hybridity: Contemporary Black and Asian British cinema. ’, in D. Berghahn, and C. Sternberg. (eds), European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe, Basingstoke:: Palgrave Macmillan;, pp. 132–51.
     [Google Scholar]
  45. Marks, Laura U.. ( 2000), The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham, NC:: Duke University Press;.
     [Google Scholar]
  46. May, Claudia. ( 2010;), ‘ What’s love got to do with it? (Un)bending identities and conventions in Gurinda Chadha’s Bend It Like Beckham. ’, Culture and Religion, 11:3, pp. 247–76.
     [Google Scholar]
  47. Mercer, Kobena. ( 1994), Welcome to the Jungle: New Positions in Black Cultural Studies, New York:: Routledge;.
     [Google Scholar]
  48. Naficy, Hamid. ( 2001), An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton, NJ:: Princeton University Press;.
     [Google Scholar]
  49. Nieminen, Milja. ( 2021;), ‘ Diversiteetin kehittäminen kotimaisten elokuvien ja TV-sarjojen roolituksessa. ’, BA thesis, Helsinki:: Metropolia University of Applied Sciences;.
     [Google Scholar]
  50. Niskanen, Eija. ( 2020;), ‘ Taidokkaat tuokiokuvat tuovat Ensilumi-elokuvan iranilaisen pakolaisperheen lähelle meitä. ’, Kulttuuritoimitus, 24 September, https://kulttuuritoimitus.fi/kritiikit/kritiikit-elokuva/taidokkaat-tuokiokuvat-tuovat-ensilumi-elokuvan-iranilaisen-pakolaisperheen-lahelle-meita/. Accessed 15 August 2022.
     [Google Scholar]
  51. Nissinen, Hannes. ( 2020;), ‘ Näin suomalaiseen elokuvaan saatiin maailmantähti Shahab Hosseini – Kuvausten käynnistyttyä ohjaaja luuli, että Ensilumi-elokuvan näyttelijä lähtee kävelemään. ’, YLE, 31 October, https://yle.fi/aihe/artikkeli/2020/10/31/suomalainen-hamy-ramezan-herasi-instagram-viestiin-jonka-seurauksena-ensilumi. Accessed 15 August 2022.
     [Google Scholar]
  52. Nordic Council ( 2022;), ‘ Any Day Now – Finland. ’, https://www.norden.org/en/nominee/any-day-now-finland. Accessed 15 August 2022.
  53. Parkkinen, Pia. ( 2019a;), ‘ Maahanmuuttajien tekemiä elokuvia on Suomessa yhä enemmän – tukipäätökset kaksinkertaistuneet. ’, YLE, 28 October, https://yle.fi/uutiset/3-11008190. Accessed 15 August 2022.
     [Google Scholar]
  54. Parkkinen, Pia. ( 2019b;), ‘ “Yhtäkkiä olin osa valtavaa massaa, joka oli tullut tuhoamaan eurooppalaista elämää” – Suomessa 30 vuotta asunut ohjaaja Hamy Ramezan lannistui pakolaiskriisistä. ’, YLE, 27 October, https://yle.fi/uutiset/3-11035239. Accessed 15 August 2022.
     [Google Scholar]
  55. Ponzanesi, Sandra. ( 2011;), ‘ Europe in motion: Migrant cinema and the politics of encounter. ’, Social Identities, 17:1, pp. 73–92.
     [Google Scholar]
  56. Poussu, Tarmo. ( 2017;), ‘ IS arvioi: Kenialaistaustaisen teinin ja äreän ukon Saattokeikka ei loukkaa eikä innosta. ’, Ilta-Sanomat, 10 March, https://www.is.fi/tv-ja-elokuvat/art-2000005122073.html. Accessed 15 August 2022.
     [Google Scholar]
  57. Raatikainen, Jesse. ( 2017;), ‘ Samuli Valkama ja Saattokeikka. ’, Film-O-Holic, 14 March, https://www.film-o-holic.com/haastattelut/samuli-valkama-saattokeikka/. Accessed 15 August 2022.
     [Google Scholar]
  58. Räsänen, Piritta. ( 2022;), ‘ Nuorena ohjaaja Khadar Ahmed koki, että kaikki nuortensarjat oli tehty teineille, jotka käyttivät päihteitä – Uutuussarja Zone B:hen hän käsikirjoitti tarinan, johon olisi voinut itse samaistua. ’, Helsingin Sanomat, 28 January, https://www.hs.fi/kulttuuri/art-2000008564412.html. Accessed 15 August 2022.
     [Google Scholar]
  59. Rings, Guido. ( 2016), The Other in Contemporary Migrant Cinema: Imagining a New Europe?, Abingdon:: Routledge;.
     [Google Scholar]
  60. Rissanen, Senni,, Grahn, Saga, and Mäkelä, Jenni. ( 2021;), ‘ Diversiteetti suomalaisissa elokuvissa ja TV-sarjoissa 2020-tilasto julkistettu. ’, APFI, 8 October, https://apfi.fi/wp-content/uploads/Diversiteettitilasto_yhteenveto_2020.pdf. Accessed 15 August 2022.
     [Google Scholar]
  61. Sasioglu, Mete. ( 2017;), ‘ Suomen loistava tulevaisuus. ’, AVEK, 5 April, pp. 30–33, https://www.kopiosto.fi/app/uploads/2018/10/23104339/aveklehti_17_1_suoj.pdf. Accessed 15 August 2022.
     [Google Scholar]
  62. Selkokari, Antti. ( 2017;), ‘ Arvio: Kliseinen hyvän mielen elokuva Saattokeikka törmäyttää kenialaistaustaisen Kamalin ja äkäisen Veikon. ’, Satakunnan Kansa, 9 March, https://www.satakunnankansa.fi/kulttuuri/art-2000007085731.html. Accessed 15 August 2022.
     [Google Scholar]
  63. SES (Finnish Film Foundation) ( 2017), Elokuvavuosi 2016, Helsinki:: SES;, https://www.ses.fi/wp-content/uploads/2020/11/Elokuvavuosi_2016_Facts_Figures.pdf. Accessed 15 August 2022.
     [Google Scholar]
  64. SES (Finnish Film Foundation) ( 2018), Elokuvavuosi 2017, Helsinki:: SES;, https://www.ses.fi/wp-content/uploads/2020/11/Elokuvavuosi_Facts_Figures_2017.pdf. Accessed 15 August 2022.
     [Google Scholar]
  65. SES (Finnish Film Foundation) ( 2020), Ensilumi, Helsinki:: SES;, https://www.ses.fi/elokuvat/#/feed&years=2020. Accessed 15 August 2022.
     [Google Scholar]
  66. SES (Finnish Film Foundation) ( 2021), Elokuvavuosi 2020, Helsinki:: SES;, https://www.ses.fi/wp-content/uploads/2021/09/Elokuvavuosi_FactsFigures_2020.pdf. Accessed 15 August 2022.
     [Google Scholar]
  67. Shohat, Ella, and Stam, Robert. ( 1994), Unthinking Eurocentrism: Multiculturalism and the Media, London:: Routledge;.
     [Google Scholar]
  68. Sillanpää, Sami. ( 2021;), ‘ Tässä on Suomen sinnikkäin elokuvaohjaaja. ’, Helsingin Sanomat, 3 July, https://www.hs.fi/kuukausiliite/art-2000008040735.html. Accessed 15 August 2022.
     [Google Scholar]
  69. Solar Films ( 2019;), ‘ Unexpected Journey: A modern road movie about friendship that breaks the borders. ’, https://solarfilms.com/en/portfolio-posts/saattokeikka/. Accessed 15 August 2022.
  70. Solar Films ( 2022;), ‘ Solar Films Inc.. ’, https://solarfilms.com/en/yritys-yhteystiedot/. Accessed 15 August 2022.
  71. Statistics Finland ( 2019;), ‘ Number of persons with foreign background exceeded 400,000. ’, 19 June, https://www.stat.fi/til/vaerak/2018/02/vaerak_2018_02_2019-06-19_tie_001_en.html. Accessed 15 August 2022.
  72. Stokes, Jane. ( 2021), How to Do Media and Cultural Studies, London:: Sage Publications;.
     [Google Scholar]
  73. Tailor, Neelam. ( 2018;), ‘ Why Bend It Like Beckham meant so much to me growing up. ’, Burnt Roti, 2 July, https://www.burntroti.com/blog/why-bend-it-like-beckham-meant-so. Accessed 15 August 2022.
     [Google Scholar]
  74. Talaskivi, Katri. ( 2013;), ‘ “Hyvä mahdollisuus meikäläiselle, joka ei voi ihan kilpailla suomalaisten kanssa”: valtion apurahat monikulttuurisiin taidehankkeisiin: taiteen edistämistä vai kotouttamispolitiikkaa?. ’, MA thesis, Jyväskylä:: University of Jyväskylä;.
     [Google Scholar]
  75. Tervonen, Kaisu. ( 2020;), ‘ Myös pakolainen voi olla onnellinen, muistuttaa ohjaaja Hamy Ramezan elokuvassaan Ensilumi. ’, Voima, 30 September, https://voima.fi/artikkeli/2020/myos-pakolainen-voi-olla-onnellinen-muistuttaa-ohjaaja-hamy-ramezani-elokuvassaan-ensilumi/. Accessed 15 August 2022.
     [Google Scholar]
  76. This Is Finland ( 2007;), ‘ Speed in their genes. ’, https://finland.fi/life-society/speed-in-their-genes/. Accessed 15 August 2022.
  77. Topelius, Taneli. ( 2021;), ‘ Pimeydestä valoon. ’, Ilta-Sanomat, 18 December, https://www.is.fi/tv-ja-elokuvat/art-2000008484121.html. Accessed 15 August 2022.
     [Google Scholar]
  78. Vatka, Miia. ( 2021;), ‘ Elämäntyöpalkinnon saanut Neil Hardwick uskoo ensimmäisen kohtauksen voimaan – Muistatko, miten Tankki täyteen alkaa?. ’, Iltalehti, 29 May, https://www.iltalehti.fi/tv-ja-leffat/a/203b0512-731a-4681-9aee-74a6bd5433b0. Accessed 15 August 2022.
     [Google Scholar]
  79. Viitanen, Kaisa. ( 2012;), ‘ Lahjakas herra Ahmed | Khadar Ahmed. ’, Apu, 5 April, https://www.apu.fi/artikkelit/lahjakas-herra-ahmed-khadar-ahmed. Accessed 15 August 2022.
     [Google Scholar]
  80. Viitanen, Kaisa. ( 2017;), ‘ Käsikirjoittaja Khadar Ahmed sai elokuvakipinän nuoruutensa Jakomäestä – Kirjoittaminen alkoi oppitunneilla, kun opettajan puheesta ei saanut selkoa. ’, Helsingin Sanomat, 25 February, https://www.hs.fi/kulttuuri/art-2000005102049.html. Accessed 15 August 2022.
     [Google Scholar]
  81. Virtanen, Leena. ( 2020;), ‘ Hamy Ramezan ohjasi rakkautta tulvivan elokuvan turvapaikkaa odottavasta perheestä. ’, Helsingin Sanomat, 15 October, https://www.hs.fi/kulttuuri/art-2000006670785.html. Accessed 15 August 2022.
     [Google Scholar]
  82. Yahoo News ( 2016;), ‘ Iranian star Shahab Hosseini wins best actor award at Cannes. ’, 22 May, https://www.yahoo.com/news/iranian-star-shahab-hosseini-wins-best-actor-award-180915662.html. Accessed 15 August 2022.
  83. Young, Iris M.. ( 2000), Inclusion and Democracy, Oxford:: Oxford University Press;.
     [Google Scholar]
  84. Chadha, Gurinder. ( 2002), Bend It Like Beckham, Germany/UK/USA:. DVD, Finland: Parempi kuin Beckham, Sandrew Metronome Distribution Finland Oy, 2003 .
     [Google Scholar]
  85. Ramezan, Hamy. ( 2020), Ensilumi, Finland. DVD, Finland:: Aamu Film/Nordisk Film;, 2021.
     [Google Scholar]
  86. Valkama, Samuli. ( 2017), Saattokeikka, Finland. DVD, Finland:: Solar Films/Nordisk Film;, 2017.
     [Google Scholar]
  87. Malmberg, Mikko. ( 2022;), ‘ Mainstreaming migrant experience: Examining authorship, commercialism and political engagement in Finnish migrant cinema. ’, Journal of Scandinavian Cinema, 12:3, pp. 269–89, https://doi.org/10.1386/jsca_00078_1
     [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/jsca_00078_1
Loading
  • Article Type: Article
Keyword(s): belonging; ethnic minorities; film studies; immigration; Nordic media; participation; representation; resistance

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error