Present European and Scandinavian Co-production Practices Through the Prism of The Girl with the Dragon Tattoo (2009).
In a critique of the sometimes confusing ways in which the term transnational has been repeatedly used, Mette Hjort, in 2010 attempted to outline what she called a “typology of transnationalisms” in connection with contemporary audio-visual production (2010: 12–33). Hjort’s palpable purpose here was to more precisely illuminate and contextualize the increasingly used concept of transnationalism. A