Thor Holt

• Holt, Thor (2026). Ibsen and the Kammerspielfilm. WeimarCinema. 4(1). doi: https:/www.weimarcinema.org/essay/Holt. Fulltekst i vitenarkiv
• Rees, Ellen; D'Amico, Giuliano & Holt, Thor (2023). Ibsen in Performance. Ibsen Studies. ISSN 1502-1866. 23(2), s. 250–267. doi: 10.1080/15021866.2023.2268353. Fulltekst i vitenarkiv
• Holt, Thor (2023). Ibsen Studies and Adaptation. Ibsen Studies. ISSN 1502-1866. 23(2), s. 230–249. doi: 10.1080/15021866.2023.2268352. Fulltekst i vitenarkiv
• Holt, Thor (2022). Trauma, Aesthetic Treatment, and Intermediality: Das Haus der Lüge (1926). I Hanssen, Eirik Frisvold & Lund, Maria Fosheim (Red.), Silent Ibsen. Transnational Film Adaptation in the 1910s and 1920s. National Library of Norway. ISSN 9788279655275. s. 189–221. Fulltekst i vitenarkiv Vis sammendrag

  The silent era represents the height of Henrik Ibsen’s popularity as a source for film adaptations, and as a reference in debates on cinema. About thirty known silent film adaptations of Ibsen’s works were made in several countries. In this book, leading international Ibsen scholars and film historians examine the nine silent Ibsen films that are known to be extant, made in the period 1911-1926 in the United States, Sweden, Germany, and Italy. The films are placed in their specific film historical and industrial settings, as well as broader sociopolitical frameworks, and Ibsen’s various and shifting positions within these different national and cultural contexts. The book also includes a filmography of silent Ibsen film adaptations.

• Rees, Ellen & Holt, Thor (2022). Entanglements of Adaptation, Allegory, and Reception: Jaws and An Enemy of the People. Journal of Aesthetics and Culture. 14(1). doi: 10.1080/20004214.2021.2022864. Fulltekst i vitenarkiv Vis sammendrag

  In this article the authors discuss Steven Spielberg’s Jaws (1975) with Henrik Ibsen’s En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither “announced” nor “extended”; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff’s Ein Volksfeind (1937), Detlef Sierck’s La Habanera (1937), George Schaefer’s An Enemy of the People (1978), Satyajit Ray’s Ganashatru (1989), and Erik Skjoldbjærg’s En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently “dialectical” nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience’s understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film’s reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation.

• Holt, Thor (2020). Stories of “Infidelity”: Nazi Ibsen Adaptations and the Norwegian Press. Ibsen Studies. ISSN 1502-1866. 20(2). doi: 10.1080/15021866.2020.1825103. Fulltekst i vitenarkiv
• Holt, Thor (2015). Ibsen’s Firebrand: The Dead Child and Theodicy in Brand. Ibsen Studies. ISSN 1502-1866. 15(1), s. 66–98. doi: 10.1080/15021866.2015.1087716. Fulltekst i vitenarkiv

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• Haaland, Agnete G.; Holt, Thor; Hobbelstad, • Inger Merete & Ellingsen, Lena Kristin (2025). Nora og Hedda gjør comeback i Hollywood. Fulltekst i vitenarkiv Vis sammendrag

  En panelsamtale med følgende problemstilling: Hva gjør at filmskapere over hele verden griper til Ibsens dramaer i dag?

• D'Amico, Giuliano; Holt, Thor & Omdal, Gerd Karin (2025). Forsnakk om Brand. Fulltekst i vitenarkiv
• Holt, Thor (2022). Repurposing of Music in Early Sound Film: Grieg in Fritz Lang’s M (1931). Fulltekst i vitenarkiv
• Holt, Thor (2022). Preface. Ibsen Studies. ISSN 1502-1866. 22(2), s. 105–106. doi: 10.1080/15021866.2022.2125211. Fulltekst i vitenarkiv
• Holt, Thor (2021). På kino med Kracauer. Vagant. ISSN 0802-0736. s. 372–382. Fulltekst i vitenarkiv
• Holt, Thor (2021). Skrotplukkeren. [Journal]. Vagant. Fulltekst i vitenarkiv
• Holt, Thor; Lindholm, Audun & Leivestad, Eirik Høyer (2021). Siegfried Kracauer. Det populære er politisk. Vagant. ISSN 0802-0736. s. 292–295. Fulltekst i vitenarkiv
• Holt, Thor (2021). Beyond Adaptation: Ibsen in Weimar Cinema. Fulltekst i vitenarkiv
• D'Amico, Giuliano; Muniz, Iris & Holt, Thor (2020). Forsnakk. Fulltekst i vitenarkiv
• Holt, Thor (2020). From Generic Labels to Reception Processes: Jaws (1975) as an Adaptation of An Enemy of the People (1882). Fulltekst i vitenarkiv
• Holt, Thor; Rentschler, Eric & Rasmussen, Mikkel Bolt (2020). Doctoral Defense: Ibsen through the Camera Lens in the Third Reich. Ibsen Studies. ISSN 1502-1866. 20(2), s. 220–248. doi: 10.1080/15021866.2020.1834737. Fulltekst i vitenarkiv
• Holt, Thor (2020). Preface. Ibsen Studies. ISSN 1502-1866. 20(1), s. 1–2. doi: 10.1080/15021866.2020.1757304. Fulltekst i vitenarkiv
• Holt, Thor (2016). Ølkjellermennesket. Om Dietrich Eckart. Vagant. ISSN 0802-0736. s. 51–57. Fulltekst i vitenarkiv
• Holt, Thor (2020). Far from Home: Ibsen through the Camera Lens in the Third Reich. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This dissertation explores film adaptations of Henrik Ibsen in the Third Reich. Which Ibsen texts were adapted and why, how was Ibsen adapted in Nazi cinema, and, finally, what were the ideological implications of these films? Delineating Ibsen adaptations as films recognized as such in the contemporary context, I explore Hans Hinrich’s Das Meer ruft (1933), Fritz Wendhausen’s Peer Gynt (1934), Detlef Sierck’s Stützen der Gesellschaft (1935), Hans Steinhoff’s Ein Volksfeind (1937), and Harald Braun’s Nora (1944) as audiovisual artifacts that carried numerous and often contradictory levels of meaning. The dissertation draws upon poststructuralist turns in adaptation theory and cultural studies, and situates the respective films in their immediate historical context. Applying heterogeneous models of ideology rather than deterministic propaganda models, I argue that the five films are prisms of the inner contradictions in the matrix of Nazi ideology

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