ABSTRACT
In 2009 the principal "Swedish" box-office successes in domestic theatres were, by far, the three feature-length films adapted from domestic crime writer Stieg Larsson's so-called Millennium trilogy. The Girl was therefore not a "Swedish" film in the bounded, differentiated and perhaps outdated sense the SFI attempted to appropriate it as. With its crime investigation/rape-revenge plot, conventional, linear narration, overriding themes of sexualised violence, the oppression of women and the iniquities of contemporary capitalism, its genre, form and themes appear perhaps "Western" rather than particularly Swedish. In a critique of the ambiguous ways in which the term transnational has been repeatedly used, Mette Hjort has attempted to outline what she calls a "typology of transnationalisms" in connection with contemporary audio-visual production. The kind of transnational partnerships, migratory movements and regional interaction propelled by various impetuses for cross-border collaboration exemplified by the production of The Girl, have become increasingly standard practice in Scandinavia during the last two decades or so.
