Fy og Bi A Danish Duo: Rurality, Modernity, and Class Struggle in Three Fy og Bi Films from the Silent Era
Summary, in English
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.
- Arts and Architecture
- Fy og Bi
- Fyrtornet och Bivagnen
- Fyrtårnet og Bivognen
- Ole & Axel
- Long & Short
- Telegrafstolpen og Tilhængeren
- Joel Frykholm