@article{Skarðhamar_2008, title={Changes in Film Representations of Sami Culture and Identity}, url={https://septentrio.uit.no/index.php/nordlit/article/view/1346}, DOI={10.7557/13.1346}, abstractNote={<p>My intention is to analyse changes in ideas and discursive<br>strategies in selected films from 1929 to 2007 as regards<br>representations of Sami culture and Sami identity in Finnmark. In different ways the films indicate a conflict of cultures and point to problems of exploitation of indigenous peoples, which may be regarded as part of Nordic colonialism.</p> <p>The emphasis will be on <em>Lajla</em> (1929) and the prize-winning<br><em>Veiviseren</em> (1987). The story of the young girl Lajla is told from a non-Sami point-of-view, and the mode of representation of otherness is of importance. In 1937 an abbreviated version of<em> Lajla</em> by the same director was presented, and a comparison of the two versions will show changes in the representation of ethnicity. Per Høst's narrative documentaries <em>Same-Jakki</em> (1957) and <em>SamiÆllin</em> (1972), seen from an ethnic Norwegian perspective, will briefly be discussed and compared to the ideas and discourse in <em>Lajla</em>.</p> <p>The action film <em>Veiviseren</em> (<em>The Guide</em>) (1987) by Nils Gaup<br>represents a totally different perspective by focusing on power relations, religious attitudes and ethical values. The language of the film is Sami. Finally, Gaup's most recent film, <em>Kautokeinoopprøret</em> (<em>Kautokeino riot</em>) (2007), a narrative based on historical events, will be briefly discussed.</p>}, number={23}, journal={Nordlit}, author={Skarðhamar, Anne Kari}, year={2008}, month={Feb.}, pages={293–303} }