Śnieżna depresja i norweskie podróże do kresu ironii. Reinterpretacje poetyki kina drogi w filmie "Białe szaleństwo" Rune Denstada Langlo oraz w literackiej twórczości Erlenda Loe

Abstrakt

Contemporary Norwegian cinema uses the conventions of the road movie to deconstruct the narrative structures of travel stories and deploys them as a means of social critique. Such a strategy may also demystify the involvement of national discourses in the so called “tourist view”. The article analyzes the cinematic adaptation of Erlend Loe’s screenplay called “Nord” (2009). The movie was advertised in Poland as an “antidepressant comedy from the polar circle”. However, this interpretation of the plot and aesthetics of the film tries to prove the opposite thesis, presenting some arguments proving that the feature structure of Rune Denstad Langlo’s film provides the basis for perceiveing it as a  cultural text, which plays with the post-ironic perspective and selected pastiche formulas to reinterpret (and sometimes even deconstruct) the conventions of the road cinema in order to undertake the phantasmatic reflections on the problem of depression and postmodern fears in a consumer society.