Stine Agnete Sand

UiT The Arctic University of Norway · Dep of Tourism and Northern Studies

This article asks, “How can indigenous media fulfill its obligations toward the indigenous population while also connecting with the majority?” In the entertainment television series Muitte mu, produced by the indigenous public service broadcaster NRK Sápmi in Norway, famous Norwegian artists learn to joik, a Sámi form of music. Muitte mu triggered...

In 2005, the Norwegian Parliament passed the Finnmark Act, with ownership of 96 % of Finnmark transferred from the State to the inhabitants of Finnmark. This article discusses the dominant arguments for and against the Act in two local newspapers in Finnmark. The debate was intense. Would the Finnmark Act lead to private ownership based on ethnicit...

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,...

How can we engage in Indigenous research that allows multiple perspectives and knowledge production that is open to epistemic diversity? Answering calls for decolonization of the academy and the need for researchers to do their homework, I use my position as an ‘inbetweener’ in a Sámi, Indigenous context, experiences with peer reviewers as gatekeep...

Article written for the film- and television industry online journal Rushprint, about Sámi filmmaker and artist Elle Márjá Eira.

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...

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 co...

Når er man samisk nok, spør den samiske filmskaperen Egil Pedersen. Nå er han TIFF-aktuell med en identitetssatirisk film, hvor han retter et humoristisk spark mot både majoritet og minoritet.

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,...

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...

This article addresses the regionalisation of screen culture in Norway and Denmark, focusing on how regional screen entities in Tromsø and Aarhus are working to professionalise production and talent development at the peripheries of both countries. We outline their distinctive characteristics and circumstances as regional hubs and delineate the key...

The creative industries have had a major impact on cultural policy, and it is often argued that these industries can be a vehicle for regional growth. Using regional film production in Norway as a case, I discuss the creative industries, the cluster concept and its impact on policy. I analyse two film policy documents from 2007 and 2015 in order to...

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 filmma...

This thesis is a study of how regional film and television companies in Norway manage to survive and achieve their goals in the context of a larger film and television business that is centralised, economically fragile, and subsidy dependent. Interest in production studies has boomed in recent years, but little of this research addresses regional f...

Stine Sand HVORDAN LYKKES MED SPILLEFILMPRODUKSJON I REGIONENE? EN ANALYSE AV TO SELSKAPER Introduksjon Selv om det i dag ofte snakkes om en gullalder i norsk film, preges spillefilmbransjen av sentralisering, små selskaper med lav lønnsomhet og produksjonsaktivitet, samt spillefilmer som ofte går med underskudd (Ryssevik et al., 2014). Samtidig er...

Isaksen vant Stjernekamp og joiket seg inn i folks hjerter. I programmet Muitte mu er det derimot norske artister som skal joike og noen mener at dette er kommersialisering av samisk kultur. Hvorfor ønsker NRK, med NRK Sápmi i spissen, at norske artister skal joike og hvorfor skaper det debatt? Av Stine Agnete Sand, medieviter, Universitetet i Trom...

This article explores what two regional film production companies in Norway do to survive and succeed with their goals. The production of feature films in Norway is largely an Oslo-based effort, but despite this reality, there are companies in the regions that produce feature films. The analysis draws on semi-structured interviews with eight employ...

Public funding is crucial for the small Norwegian film industry. Based on an analysis of policy documents and interviews with regional film workers, this article discusses the implementation of regional film policy in Norway, and the tensions it has caused between center and periphery with respect to the allocation of funding. The creative industri...

Based on Bourdieu’s concept of ‘field’, and my own dual experience as a journalist and interviewee, I discuss ways in which editorial policies intervene in journalistic decision-making in documentaries included in the Norwegian Broadcasting Corporation’s (NRK) Faktor series. The empirical material includes one documentary in which I was an intervie...

Kronikk i Rushprint om regional film og filmpolitikk.