Norwegian war films have been defined colloquially as too heroic and lacking in nuance in their depiction of the Second World War. However, a survey of the films, usually referred to as occupation dramas, reveals that several deal with questions of trauma, doubt and regret. With a basis in the theoretical ideas of Cultural Memory and Remembrance, this paper focuses on one of these unheroic films – Arne Skouens Kalde Spor (1962) – and shows the various ways that the legacy of the war can be questioned and problematised. Furthermore, the paper strives to show the internal problematisation within the occupation drama genre as related to depictions of the Second World War.
For decades, Japanese animation (anime) has been suffused with images of apocalypse and attacks by alien invaders. This article explores the relationship between these popular films and Japans experiences during the final phase of the Second World War. What images of war, the article asks, does Japanese animation create? Dont these films run the risk of casting Japan solely in the role of victim of war, and of overlooking its role as principal perpetrator? Or perhaps anime provides a forum where the complicated relationship between the dual roles of victim and aggressor can be addressed?
The privatization and registration of Statoil on an international stock exchange has placed the Norwegian oil company firmly within the global economy. In this article, we therefore seek to analyse how this represents a challenge to Norwegian journalists and affects the ability of the press to monitor business practice. How is the transnational news beat organized around Statoil structured? And how does the Norwegian press cover Statoils business abroad? Our analysis focuses on three arenas where negotiations are taking place: the physical, the social and the cultural. The study is based on interviews with sources and journalists and a content analysis of press coverage.