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The most (in)famous Swedish pornographic film from the 1970s is perhaps Fäbodjäntan (Come and Blow the Horn, 1978). In the national imagination, it has become not only iconic of an era clouded by myth and legend of Swedish sin and a golden age of porn and erotic cult movies, but also of a half-jokingly celebrated Swedishness as well. Partly this has to do with the title and the setting, as Mats Bjorkin notes in his essay on the film ‘Fäbodjäntan: Sex, Communication, and Cultural Heritage’ (2005): the fäbod is a place away from farming villages where, historically, farmers brought their animals for summer pasturage. Women followed the herds to the fäbod to watch them. Although Come and Blow the Horn takes place in contemporary times, it still plays upon this national historical image, and it is shot in the county of Dalecarlia (Dalarna) which is particularly associated with the fäbod practice. Although perhaps not the ideal of Sweden, through its director’s use of national iconography – summer, the fäbod, an alleged Viking artifact (the horn itself), skinny-dipping – and more or less unintentional comedy, the film has through the years become a part of the ‘imagined community’ (Anderson 1983) of Sweden.
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