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Norway also has forests, but so do the Swedes and Finns. Norway even has flat farming areas and an archipelago warm and inviting enough to attract throngs of swimmers for a couple of months each summer. But these things are also found other places. On the other hand, Norway's mountains and fjords are matchless. The advance publicity distributed prior to Norway's hosting of the 1994 Winter Olympics, clearly showed which picture of Norway the country's tourist industry and authorities want to lure tourists here with. In the videos shown on television in other countries before the Olympics, Norway was presented as a country of endless white expanses, wild animals, solitary skiers and simple log cabins. What about city life. Norway's national identity is thus intimately tied to its dramatic scenery and especially to its wintry image. Densely populated Greater Oslo is home to no less than one and a half million people, a high figure in a country with less than four and half million people. Statistics show that the Dating advice Oslo lives of Norwegian are about the same as other Europeans. They drink coffee from Colombia and orange juice from Florida, ceylon tea and imported wines. They dress in suits and jeans, drive imported cars (with tanks filled with Norwegian petrol), and they are involved in basically the same activities as other Europeans. They have the same problems with racism and discrimination as the Germans, British, and French. The hunting population is not particularly large, and mountain farmers are a microscopic minority. You could perhaps draw the conclusion that there is Norwegian women special about Norway, compared to other countries. It's not that simple. National identity is not found so much in actual lifestyle as it is in the cultural values and ideas embraced by a population. And the dominating Norwegian ideology connects the nation's distinctiveness and identity to the clean countryside, egalitarianism, simplicity and the white mantle of winter. It is confirmed in practice through the rituals described above, through skiing, hiking and Dating profile Norway, cabin life, Easter in the mountains and so on. This ideology would have been useless in a national context if it had focused, for example, on city life in Bergen and Oslo, as then it would not have Film in Norway clear dividing lines between Norwegians and foreigners. The purpose of national symbols is to convey distinctiveness. When oil sheikhs from Arabia dress like nomads, it Dating profile Norway as much a symbolic expression of their identity as when Norwegian oil sheikhs dress up as farmers from the 1700s. The official picture of pure, clean Norway does not match very well with the daily life of most Norwegians, who probably have much more in common with the everyday life of other modern Europeans. Norwegians drive cars and watch television, eat pizza and sit in front of computers, wear suits and drink coffee. On the other hand, the official Norwegian visage of an unspoiled, clean subarctic landscape, fits well with the Norwegian self-image. That's why people from Oslo leave their comfortable homes and travel up to Nordmarka to surround themselves with winter temperatures and snow for a few hours. They do it to confirm that they are Norwegian, despite all. Cabin life "House and cabin, but no castle", reads a well-known national poem. Winter sports Among the breeches and anorak clad set invading the Nordmarka recreation area like grasshoppers on winter Sundays, you will also see the occasional man or woman in body-hugging tricot, with muscular thighs and narrow, expensive skis on their feet. Norway the clean In the early 1970s when the government began to be concerned about the damage to lakes and spruce forests from acid rain, Norwegian authorities quickly blamed German and British industry of being the culprits (which for the most part was correct). Sure, we may have clean air and HBO, but have you seen us in a social situation compared with Greek people. I'm not so sure Daniel Simonsen Sure, we may have clean air and HBO, but have you seen us in a social situation compared with Greek people. Fri 24 Mar 2017 13. When you have everything outwardly, it can make you look inwards. You know, just catching up with two old friends. The repressed part in us comes from a social mechanism we have called the law of JanteI would say Scandinavia is in general a great place to live. Almost all the Scandinavian countries made the top three in the World Happiness Report this year. But they definitely have what it takes to claim the title, so we expect our neighbours to raise their game next season. For me, the reason Norway came out victorious is without doubt the standard of living. Most people earn decent money and live in warm, comfy, houses that have Netflix and HBO. Norwegians are good at being cosy, we buy candy and wrap ourselves under a wool blanket while we watch our favourite TV shows, or read an exciting book. Not exactly a larger-than-life existence, like the ones that Hollywood stars or rappers seem to have, but I think these small moments play their part. We like to be comfortable, and spend a lot of life just lying on a sofa. Everything is healthy too: the food is organic, the water is clean, even the air feels healthier. The whole day we inhale fresh oxygen that is streaming down from our beautiful mountains and makes us 10 years younger. For me Greeks, Americans and Latinos always strike me as happier. They seem freer to me, more outgoing and able to be themselves, like they are more alive somehow. Norwegians are often slightly nervous and awkward socially, maybe a bit repressed. Read more The repressed part in us comes from a social mechanism we have called the law of Jante. It basically means you should not believe you are somebody special, or be too happy with who you are. The same dude that tiptoes shyly down the street during the week can on Saturdays be seen dancing alone with a big crowd around him. And yes, he puts on one hell of a show. It must be tiring having to always be the happiest person in the room. Please choose your username under which you would like all your comments to show up. You can only set your username once. The repressed part in us comes from a social mechanism we have called the law of Jante I would say Scandinavia is in general a great place to live. Your comments are currently being pre-moderated (why. I've seen people regularly for 5 years and talked to them and they still dont know my name nor say hello. So, without trying to polemic or offending anyone here, is that "friendship wreckage" increase as one goes up north. I'm a norwegian living in sweden, so i should know this. Norwegians can be hard to get in contact with( one-word reponses in the first 2-3 questions). If not boosed on alcohol, a norwegian is not likely to talk to someone first. You have to ask the first 3-4 questions, then you're all set. Once the ice is broken, you might get a friend for life. Norwegians like to get real personal quite soon (talking about family, jobs, holidays. This often happens first night meeting someone. Swedes is more likely to talk to you first. Or at least respond with more than 1 word when you ask "how are you". Swedes want to talk about your hair, tattoos, clothes or the song that is playing. Should be a very easy conversation.

Dating profile Norway
After a little sightseeing and visiting the typical tourist attractions (viking ship museum, resistance museum, the fortress, Akker Brygge, etc) we decided to prrofile out for drinks. While my bodyguards and I were out for drinks, an American guy sitting alone overheard us speaking English and asked if he could join us. He was nice and since he was also in Oslo by himself, we invited him to join us the next night too. So the next day, after a day of meeting four hilarious Dutch guys who were instantly added to my growing group of bodyguards, we all met up with the lone ranger American. He had met a Norwegian girl named Rebecca on Couchsurfing that he was thinking about staying with, and brought her out with us that night.

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It is no small achievement, then, that 23 feature films have been made in the Stavanger region between 2001 and 2018. What is especially interesting about the case of Stavanger is the number of similar cases to be made. Over the last fourteen years, there has been a significant regionalisation of the Norwegian film sector. Historically, the film sector has been strongly centralised. Norwegian film production remains dependent on state subsidies, and the continued centralisation of the sector is evident in the distribution of funds. Nonetheless, the regionalisation have had a significant impact on the film sector, especially in Dating norway in Drammen of strengthening democracy. During the 2000s and 2018s, 11 new regional film agencies were established throughout Norway. These agencies provides funding for short films, documentaries, feature films and television. Furthermore, the regionalisation is part of a significant change in discourse of film policy, moving from a strong emphasis on cultural rationales towards an instrumentalization and commodification. The duality of film, as both an artistic product and a commodity sold in a competitive market place, has of course always been present. However, arguments based on commercial interests and economy have never figured prominently in national film policy. The legitimization of film subsidy has been characterized by a cultural idealism. The guiding principles have been solidarity among filmmakers and the promotion of a unified, national culture profipe 2018, p. Up until 1984, there are remarkably few arguments regarding the business aspects of the film sector. For instance, White Paper no. Although economic issues were more frequently addressed during the latter half of the 1980s and Norwag, it was not until White Paper no. One of the objectives of White Paper no. This was, among other measures, to be achieved by an investment in regional film agencies.

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Furthermore, local and regional authorities have played a significant role in the establishment of regional film agencies, and their involvement was solely argued on an Daging basis. In this article, I examine the regionalisation of the Norwegian film sector with the main perspective on the political objectives, of both state and local authorities, Norsay have initiated these developments. What role has the different levels of authority played. How is the funding of these agencies legitimated by the state and by local authorities. What does the state and local government want to achieve by channelling funds into regional Dating profile Norway production. I will attempt to answer these questions, as well as discuss how the developments in Norwegian film policy correlate to larger tendencies Datong cultural policies.

What I am particularly interested in is the purpose and meaning ascribed to film policy and the legitimatization of film subsidies. I will base my arguments on a textual analysis of State Propositions, White Papers and state commissioned reports regarding the film sector. These documents illustrate the changing justifications and priorities within the national film policy. Additionally, I have examined the annual financial statements from both the regional agencies and the Norwegian Film Institute, as well Nowray a recent report on the economic flow of the sector. I have also conducted a series of Datjng interviews with the CEOs of six regional agencies, as well as with one of the initiators of the first regional film fund. I have gathered the empirical data as Noraay of my doctoral thesis work. Thus, the qualitative interviews were conducted with a wider scope than the research questions of this article.

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However, the interviews have provided valuable insights into the current conditions in which these agencies operate, as well as of the political climate in which these agencies were created. ADting main perspective of this article is on explicit political objectives and active politics, such as measures taken and implemented subsidy schemes. Thus, the political documents will have a higher empirical status than the interviews for any conclusions drawn. Film production is a collaborative effort, both creatively and financially. Most European films are financed by a collection of sources, both private and public. Additionally, many regional agencies Dafing political constructions that precedes the existence of an active film community. As a result, an infusion of film workers Norwegian dating site outside the region is required in order to produce a film. In many cases, the affiliation between the production team and the region is limited to a short period, arguably negating any real connection. I will begin the article with a brief outline of the main characteristics of Norwegian and European film policy in order to illustrate the level of centralisation and state involvement prevalent in the film sector. In the following sections I will attempt to answer what role the different levels of authority have played in the regionalisation, how the funding is legitimated and what the authorities hope to achieve by channelling funds into regional film production.

Firstly, I will focus on the state in relation to these questions, and secondly, the role of local and regional authorities. Lastly, I will briefly discuss the impact these developments have had on regional film production. I will not evaluate the implemented measures, nor the achievement of the regional agencies, but I will point to a few changes in the sector. One key aspect of the European national film sectors is their dependence Nodway public support and subsidies. Today, all European countries have a film funding Datlng operating at a national level, with the exception of Bosnia and Herzegovina, Belgium, Liechtenstein and Malta2Bosnia and Herzegovina and Belgium have public funding agencies at sub-national level.

Malta has prioritized film commissions, whose agenda is to attract foreign film productions to the country through financial incentive schemes. Liechtenstein does not have a funding agency for film as of today. Hollywood has constituted a threat in two key ways.

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Firstly, there is the enormous power of the Dating profile Norway media conglomerates. Public subsidies have been necessary in order for a national prodile production to survive Datinh its domestic market, or to have peofile chance of reaching an international market. In this regard, national film policy has been a protectionist scheme, fighting against financially stronger foreign companies. Secondly, there is the threat of cultural dominance. Film is an international medium with shared aesthetics, formal structures and themes, but the influence of Hollywood has been strong in the cementing of these traditions. National film policy is thus concerned with the protection and promotion of national culture, language and identity. In this respect, Norway is no exception. Since the first national film policy was implemented after World War II, its main concern has been the promotion of a distinctive, unified national culture. This is in line with the core values of Norwegian cultural policy going back to the 1800s (Solhjell 2018, p. At the same time, in keeping with the strong ideals of democracy and welfare that developed following World War II, authorities across Europe have tried to decentralise cultural events, artists, cultural funding and authority over cultural policy (Mangset 2018, p.

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In Norway, the notion of decentralisation played a significant role in cultural policy from the 1970s onwards.