Nature, Pathos, Heroism: Victor Sjöström’s Silent Film Adaptation (1917) of Ibsen’s “Terje Vigen” (1862)

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Notes

1 Dashes are prevalent in the poem, but there are only three instances of two successive dashes, each of the three at a critical point in the action.

2 The most frequently adapted Ibsen works are the contemporary plays associated with the modern breakthrough. These are, paradoxically, the plays that represent the greatest challenge to film adapters, since they feature settings that most often consist entirely of interiors.

3 Not three acts, as claimed in Thomsen (2006), 197, or five, as claimed in one of the English film programmes that were produced. This four act structure might also have a technical explanation, that is, that the four acts correspond to four film reels.

4 Julius Jaenzon worked at Hugo Hermansen’s Norsk Kinematograf Aktieselskab in Norway 1906–1909.

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Notes on contributors

Lisbeth P. Wærp

LISBETH P. WÆRP is a professor of Scandinavian Literature at UiT – The Arctic University of Norway, Faculty of Humanities, Social Sciences and Education, Department of Culture and Literature, Tromsø, Norway.