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The Auteurial-National Nexus and Aki Kaurismäki's Finland Trilogy

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The Auteurial-National Nexus and Aki Kaurismäki's Finland Trilogy “Our Aki” The auteurial-national nexus and Aki Kaurismäki’s Finland trilogy Sanna Peden Bachelor of Arts (European Studies) Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities European Studies 2012 Abstract This thesis explores the interconnections of ‘Finnishness’ and ‘Kaurismäkianness’ in and around Aki Kaurismäki’s so-called Finland trilogy: Drifting Clouds (1996), The Man Without A Past (2002) and Lights in the Dusk (2006). The thesis addresses how Kaurismäki, whose work and public persona have tended to be critical of national institutions and preoccupations, has developed into an increasingly national figure in Finland’s years of Europeanisation. In order to examine the links between ‘Finnishness’ and ‘Kaurismäkianness’ I establish, first, the way in which Kaurismäki’s films engage with national themes; and, second, the way in which this Kaurismäkian take on Finnishness is received and further appropriated in Finland. I provide a textual analysis of each of the focus films, paying particular attention to their national aspects and their references to Kaurismäki’s other films. I combine this close analysis of the film texts with discussion of the context of the films, their media presence and ‘afterlife’, for example the discourses surrounding the films after their initial release or the ways in which their ‘Kaurismäkianness’ has been appropriated by others for specifically national purposes. In seeking to understand how Kaurismäki’s auteurial engagement with narratives of Finnishness feeds back into Finnish society this thesis contributes to current debates about the relationship between auteurs and national identity. The research is important as it develops an original approach for analysing the way in which cinematic authors can be implicated in processes of national imagining. I find that the films of the Finland trilogy reflect a broader ‘cultural turn’ in Finnish society following the end of the Cold War and Finland’s membership of the European Union in particular. The films retain a socially critical edge, but they reflect an increasing desire to belong, make friends and find love in a largely inhospitable city. At the same time the films’ self-reflective and ritualised ‘Kaurismäkianness’, together with their international critical successes, leads to a process of national imagining that involves an awareness of international perceptions. I argue that it is in its role as the interface between national culture and international audiences that ‘Kaurismäkianness’ has become an important alternative narrative of Finnishness: an inspiration for cultural and marketing strategies and a catalyst for national debate. Contents List of Figures ..................................................................................................................................................... i Acknowledgments............................................................................................................................................ iii Statement of Candidate Contribution ............................................................................................................ iv Notes on Referencing and Translation ........................................................................................................... v Introduction ...................................................................................................................................................... 1 Thesis structure .............................................................................................................................. 5 Chapter One. The Auteur Framework .......................................................................................................... 10 Origins of the auteur director ....................................................................................................... 12 The emergence and influence of auteurism ................................................................................ 14 The author, pre-text and post-text ............................................................................................... 17 The auteur reconsidered .............................................................................................................. 22 Aki Kaurismäki’s cinema ............................................................................................................... 24 The (inter)national auteur ............................................................................................................ 30 The semi-, para- and extratextual auteur ..................................................................................... 34 The Kaurismäkian auteur-persona ............................................................................................... 36 Chapter Two. The National Mythscape ........................................................................................................ 46 Terms and conditions ................................................................................................................... 47 The persistence of nations ........................................................................................................... 49 From national memory to mythscape .......................................................................................... 54 Origins of Finnishness ................................................................................................................... 59 The emergence of Finnish nationalism ........................................................................................ 63 Independence and international prestige .................................................................................... 68 The Second World War and postwar recovery ............................................................................ 70 The great migration and Kekkoslovakia ....................................................................................... 73 Westernisation: the other side of the coin .................................................................................. 79 Absolution, blame and the ‘elites’ ................................................................................................ 82 Aki Kaurismäki as a member of the cultural elite ......................................................................... 84 The mythscape through an auteurial lens .................................................................................... 86 Chapter Three. Still in the Shadows: Intertextual loss, the European moment and Drifting Clouds ....... 89 Uses of intertextuality .................................................................................................................. 91 Intertextuality and film ................................................................................................................. 93 Intertextuality and the auteur ...................................................................................................... 97 The Shadows of Clouds ................................................................................................................. 99 Of actors and auteurs ................................................................................................................. 101 Metaphor and repetition in Akilandia ........................................................................................ 103 The legacy of the casino economy .............................................................................................. 111 Dubrovnik, Finland and the European Union ............................................................................. 114 Afterlives of Clouds ..................................................................................................................... 124 Chapter Four. The Elephant Man: Nostalgia, Cultural Intimacy and The Man Without A Past ..............128 The Man Without A Past and the nostalgic market .................................................................... 128 The development of nostalgia .................................................................................................... 131 Nostalgia in cinema ..................................................................................................................... 136 The national parameters of The Man Without A Past ................................................................ 141 Traces of postwar recovery ......................................................................................................... 145 The financial crisis continued ...................................................................................................... 153 Moral choices and nostalgia in Kaurismäki’s cinema ................................................................. 159 Our latest export: cultural intimacy and The Man Without A Past ............................................ 164 Chapter Five. Sites of Memory, Sights of Progress: The Kaurismäkian City and Lights in the Dusk .......171 The spatial turn ........................................................................................................................... 172 Space in films: practical consideration ....................................................................................... 175 The cinematic city: an archive....................................................................................................
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