Fy og Bi A Danish Duo: Rurality, Modernity, and Class Struggle in Three Fy og Bi Films from the Silent Era
Author
Summary, in English
This thesis analyses three Fy og Bi films from the silent era: Tyvepak (1921), Vester-Vov-Vov (1927) and Filmens Helte (1928). The theoretical framework that is utilized in this thesis comes from ideological criticism as well as the concept of representation in film. The method used is textual analysis. The historiographical significance of the thesis fits into the broadly social approach to the study of film history with its investigations and analysis of ideology and class representations. The overarching aim is to connect the thesis to relevant discussions within the field of film studies, such as the research which have been done on slapstick films. Research which is especially relevant for this thesis concerns class and representations, for example of the tramp archetype.
The two research questions of the thesis are:
What kind of social and political dimensions did the Fy og Bi films have?
How are different classes represented in the Fy og Bi films?
The conclusion is that the upper classes are generally represented as the antagonists to the lower classes in society. The upper classes are represented as more lying and deceitful and at the same time more oblivious to the real world than the working class. Fy og Bi does not represent the traditional working class, rather they represent the non-working vagrant underclass. The working classes are generally represented as hard working and tough people, who make the best of their situation.
The ideological dimensions in the films were inspired by the historical context of which they were produced. It was a society in which the rural traditional society was being challenged and transformed into a modern urban one. The films represent the changing social values, especially in relation to the ideological institution of marriage, at the same time as the dominant capitalist society with its own internal logic of ownership rules are respected. There are plenty of criticism targeted towards the upper classes in the films, reflecting the ongoing class conflict of the 1920s in Denmark, even if ultimately, the dominating ideology re-affirms the capitalist structure of the society in the end.
The two research questions of the thesis are:
What kind of social and political dimensions did the Fy og Bi films have?
How are different classes represented in the Fy og Bi films?
The conclusion is that the upper classes are generally represented as the antagonists to the lower classes in society. The upper classes are represented as more lying and deceitful and at the same time more oblivious to the real world than the working class. Fy og Bi does not represent the traditional working class, rather they represent the non-working vagrant underclass. The working classes are generally represented as hard working and tough people, who make the best of their situation.
The ideological dimensions in the films were inspired by the historical context of which they were produced. It was a society in which the rural traditional society was being challenged and transformed into a modern urban one. The films represent the changing social values, especially in relation to the ideological institution of marriage, at the same time as the dominant capitalist society with its own internal logic of ownership rules are respected. There are plenty of criticism targeted towards the upper classes in the films, reflecting the ongoing class conflict of the 1920s in Denmark, even if ultimately, the dominating ideology re-affirms the capitalist structure of the society in the end.
Department/s
Publishing year
2021
Language
English
Full text
- Available as PDF - 519 kB
- Download statistics
Document type
Student publication for Master's degree (two years)
Topic
- Arts and Architecture
Keywords
- Fy og Bi
- Fyrtornet och Bivagnen
- Fyrtårnet og Bivognen
- Ole & Axel
- Long & Short
- Telegrafstolpen og Tilhængeren
Supervisor
- Joel Frykholm