Abstract
Recent years have witnessed a cycle of high profile Hollywood remakes of Scandinavian cinema, including such titles as David Fincher’s The Girl with the Dragon Tattoo, (USA, 2011), based upon the Swedish-Danish co-production, Män som hatar kvinnor/The Girl with the Dragon Tattoo (Niels Arden Oplev, 2009). This chapter argues that these remakes should be located within a much broader cultural phenomenon: namely, the huge international success of so-called “Nordic noir” or “Nordicana.” The location of these particular Hollywood remakes within a broader Scandinavian success story has enabled the production of films which do not entirely display the process of “Americanisation” so often meted out to other foreign remake sources. These remakes arguably reveal a type of “foreignising” atypical in the Hollywood remake. This chapter argues that in many ways this is a positive thing, blurring definitions of and distinctions between “national” cinemas. Nevertheless, the chapter concludes that the bottom line of box office returns suggests that even these transnational film remakes have very little impact on the continuing global predominance of Hollywood.
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