A NEW WAVE AND OLD ROMANTICISM: ÓSVALDUR KNUDSEN ANDTHE FIRST GENERATIONAL SHIFT IN ICELANDIC FILMMAKING

In 1962, Icelandic cinema underwent a generational shift as young filmmakers returned home from their studies abroad, bringing with them new ideas inspired by international New Wave movements. Until then, Icelandic film production had been dominated by an older generation, mostly self-taught filmmakers, who had kept the industry alive through short documentaries and occasional feature films. The release of 79 af stöðinni (1962)—produced by a Danish crew but made in Iceland by local production firm Edda-film, headed by Guðlaugur Rósinkranz— can be seen as both the peak and the culmination of the older generation’s influ- ence. Around the same time, Slys (1962), directed by Reynir Oddsson, marked the emergence of a new generation that sought to redefine Icelandic cinema. The New Wave movements in France, Germany, Japan, and elsewhere had common characteristics: a rejection of traditional filmmaking conventions in favour of innovative production methods as well as a focus on personal expres sion. This influence was evident among Icelandic filmmakers such as Reynir Oddsson, Þorgeir Þorgeirson, Magnús Jónsson, Þorsteinn Jónsson, and others. They criticised both the lack of state support for the industry and the perceived amateurism of their predecessors. Notably, film critic Pétur Ólafsson openly dis- missed earlier Icelandic films, suggesting that only now was the nation’s cinema truly becoming an art form. One of the most debated figures in this transition was Ósvaldur Knudsen, a filmmaker from the older generation who was nonetheless open to new artistic influences. While some younger filmmakers saw him as emblematic of an outdat- ed romantic approach, his work evolved over time to incorporate avant-garde techniques, including experimental soundtracks by composer Magnús Blöndal. Despite harsh criticism from younger critics, Ósvaldur achieved international recognition, with his films screened at foreign festivals more frequently than those of his younger counterparts. During the 1960s and 1970s, Icelandic cinema was still largely dependent on institutionally funded projects, requiring filmmakers to produce educational and promotional films. However, the younger generation used these projects as a plat form for artistic experimentation, introducing political commentary and modern cinematic techniques. The establishment of the Icelandic Film Fund in 1978 marked the beginning of a new era, allowing for more independent film produc- tion. Ósvaldur Knudsen stood uniquely between generations within the industry. Unlike other pioneers of Icelandic cinema, his filmmaking evolved in line with the latest trends. Ironically, while the younger generation dismissed most earlier Icelandic films, Ósvaldur’s technical abilities and artistic sensibilities kept him on par with the emerging New Wave movement. This placed him in an unusual position: he was too closely associated with the past to be fully embraced by younger filmmakers, but he was too competent to be ignored.