Seite - 133 - in JRFM - Journal Religion Film Media, Band 02/02

Beyond Cinematic Stereotypes | 133www.jrfm.eu 2016, 2/2, 123–140 The film, like westerns in general, works a great deal with contrasts, for example in the representation of Elen and Stockfleth.25 Elen is a young Sami woman, while Stockfleth is an elderly Norwegian man. While Stockfleth’s faith is constructed as restrictive and focused on rules and control, Elen’s faith is con- structed as supportive of individuals and directed at solving their problems. A major problem for the Sami is alcoholism. The Sami men get drunk at the bar run by the merchants and are forced to sell off their reindeer, their main liveli- hood, to cover the bill. While the men squander the family income, the women are left alone to take care of the reindeer and fend for their families. Building on Laestadius’ teachings, the religious group led by Elen preaches temperance and inspires the men to stop drinking. The Kautokeino Rebellion (2008) constructs masculinity as problematic in many different ways. Male characters, particularly Norwegian and Swedish characters, are represented as mostly interested in money and power, while the Sami men are represented as weak individuals, unable to say no to alcohol. All the male characters also easily turn to violence and abuse in order to solve their problems. By contrast, the Sami women are represented as strong, caring and community oriented. One of the central scenes that highlight this construction of femininity shows Elen alone in the mountains, fending off wolves that threat- en the reindeer. An extreme long shot highlights Elen’s exposed position, alone in the wilderness, whereas close-ups underline her determination and strength, as she scares away the predators. Central for the Sami is their faith. Though the Sami are represented as Chris- tian, their faith has a number of particular aspects. As Cato Christensen and Siv Ellen Kraft26 have illustrated, the Sami’s faith is represented as very much tied to nature. In some scenes, Elen is shown leading religious meetings outdoors, with the stunning nature of northern Norway as a backdrop, captured and high- lighted in panning shots. In particular, the film underlines the importance for the Sami of reindeer, which have a strong symbolic function in traditional Sami faith. One example is the scene where Elen scares away the wolves, but the role of the reindeer throughout the film and the pain shown by the Sami when rein- deer are slaughtered to pay off debts also highlight the symbolic importance of this animal. What also makes the faith of the Sami exceptional is that they are repre- sented as Laestadians. Laestadianism is a Nordic Lutheran revival movement inspired by Lars Levi Laestadius (1800–1861), a Swedish Lutheran pastor who is also briefly portrayed in the film. Laestadianism has traditionally had a strong impact on northern Scandinavia. In the film, as already indicated above, Laes- 25 Sjö/Häger 2015. 26 Christensen/Kraft 2011.