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In Finland this phenomenon has manifested itself in popular history books, historical novels, television series (both fiction and fact), countless debates in newspapers and journals, and on television and Internet sites – involving not only professional historians – over issues like the Finnish civil war of 1918, Finland’s alliance with Germany during the Second World War, or the pro-Soviet politics of the 1970s. Of special interest with regard to biopics is the Great Finns vote that was held in 2004 and surrounded by huge publicity (YLE 2014), arousing a lot of debate.

This chapter will study how Max Manus: Man of War and Flame & Citron can be understood in a Swedish context, referring to Swedish history during the war, textual analyses of mainly the scenes from Sweden in the films, and the reception of the films in Sweden. That is, I analyse Norwegian and Danish perceptions of Sweden during the war, but strictly from a Swede’s point of view. It should be noted that films about the occupation of Norway and Denmark have been very common particularly in Norway, where the occupation drama 33 erik hedling has flourished and evolved in the cinema since 1946, including classics like the docudrama Kampen om tungtvannet (Titus Vibe-Müller and Jean Dréville, 1948) and the artistically refined Kalde spor (Arne Skouen, 1962) (Iversen 2011: 145–55).

Om det svenska produktionslandskapet i Millenniums tidevarv’. In Erik Hedling and Ann-Kristin Wallengren (eds), Den nya svenska filmen: Kultur, kriminalitet & kakafoni, Stockholm: Atlantis bokförlag, pp. 93–110. Hördin, Peter (2001), ‘Norge inte bara lusekoftor och olja’, Helsingborgs Dagblad, 14 December. Iversen, Gunnar (2011), Norsk filmhistorie: Spillefilmen 1911–2011, Oslo: Universitetsforlaget. ece/binary/%C3%85rbok2001>, accessed 23 March 2014. id=17453>, accessed 23 March 2014. Lumirae, Pertti (1988), ‘Kuutamosonaatti’, Demari, 4 November.

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