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Volume 11, Issue 1
  • ISSN: 1474-2756
  • E-ISSN: 2040-0578



This article will consider the aesthetic strategies of genre dialogue and parody in Morten Tyldum’s 2011 film Hodejegerne/Headhunters, based on the novel by Norwegian writer Jo Nesbø. Situating the film within trans-national practices of production and distribution, the article argues that Tyldum and Nesbø’s film establishes a critical dialogue with its genre, its cinematic intertexts and the aesthetics of contemporary popular film. This dialogue in turn reflects and works through an ambivalence towards its own film-making contexts, and the socio-economic contexts of the global financial crisis within which both novel and film were produced. The article contends that such close study of the film’s ambivalent form provides a clearer picture of the practical issues confronting commercial cinema practices, in their efforts to negotiate national cinematic identity within a trans-national marketplace; as well as arguing for a more nuanced view of the way we read recent trends in the wider reception and discussion of popular world cinemas.


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  • Article Type: Article
Keyword(s): globalization; Jo Nesbø; Morten Tyldum; Nordic noir; parody; Yellow Bird
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