Some Notes on Present European and Scandinavian Co-production Practices Through the Prism of ‘The Girl with the Dragon Tattoo’ (2009)
In a critique of the sometimes confusing ways in which the term transnational has been repeatedly used, Mette Hjort, in 2010 attempted to outline what she called a “typology of transnationalisms” in connection with contemporary audio-visual production (2009: 12–33). Hjort’s palpable purpose here is to more specifically illuminate and contextualize the increasingly more used concept of transnationa