出版社：Estonian Literary Museum and Estonian Folklore Institute
摘要：This review article provides an analysis of Knut Erik Jensen’s feature film Stella Polaris (Norway 1993) and shows how it relates to various forms of liminality. Firstly, I argue that Jensen’s film articulates an understanding of Norway’s northernmost county of Finnmark as a liminal, rather than marginal location. Secondly, I argue that Stella Polaris presents history as a constantly changing contingent product of various and often competing individual memories, negotiated on elusive liminal grounds in-between the past and future, and thirdly, I direct attention to Jensen’s peculiar aesthetics which activate the liminal transitory spaces between shots, and between image and sound, in order to get its message across.
