Sæglópur by
"Sæglópur" (Icelandic for "lost at sea" or "lost seafarer") is a song by Sigur Rós, released in 2006 as a single from the 2005 album Takk.... Parts of the song are in Icelandic, although a lengthy portion is in Hopelandic, a "language" of nonsense words selected by the band that sound similar to Icelandic
Takk by
Takk... ([ˈtʰaʰkː], Thanks...) is the fourth studio album by the Icelandic post-rock band Sigur Rós, first released in the United States by Geffen Records on 12 September 2005. The album debuted at number 27 on the US Billboard 200, selling 30,000 copies in its first week.Rhythmically, Takk... makes extensive use of changing time signatures. In the track "Andvari" for example, the main melody repeats itself every 27 beats, with stress on beats 1, 5, 9, 11, 16, 20 and 25. This could be rendered as seven bars of 4, 4, 2, 5, 4, 5 and 3 beats respectively. Against this there is a steady counter-rhythm of triple time, which could be rendered as eighteen bars of 3/8 time per 27-beat cycle, also known as a phrase.
( ) [Parentheses] by
( ) is the third full-length album from Icelandic post-rock band Sigur Rós, first released in October 2002. It comprises eight untitled tracks, divided into two parts: the first four tracks are lighter and more optimistic, while the latter four are bleaker and more melancholic. The two-halves are divided by a 36-second silence, and the album opens and closes with a click of distortion. Lead singer Jón Þór Birgisson ("Jónsi") sang the album's lyrics entirely in "Hopelandic", a made-up language consisting of gibberish words. ( ) reached No. 51 on the Billboard 200 and received acclaim from music critics, although some reviewers found the album weaker than the band's previous album Ágætis byrjun.
Ágætis byrjun by
Ágætis byrjun (Icelandic: [ˈaːucaitɪs ˈpɪrjʏn], A good beginning)[1] is the second studio album by Icelandic post-rock band Sigur Rós, released on 12 June 1999. The album was recorded between the summer of 1998 and the spring of 1999 with producer Ken Thomas. Ágætis byrjun represented a substantial departure from the band's previous album Von, with that album's extended ambient soundscapes replaced by Jónsi Birgisson's cello-bowed guitarwork and orchestration, using a double string octet amongst other chamber elements.
Ágætis byrjun became Sigur Rós's breakthrough album, both commercially and critically. It received a 2000 release in the United Kingdom and a 2001 release in the United States. According to their label Smekkleysa, the album sold 10,000 copies on its first year of release in Iceland, earning the band platinum status.[2] It won numerous awards, and has appeared on multiple critics' lists of the best albums of the 2000s.
Film in Iceland
Film in Iceland is a product of the Icelandic Film Commission, which seeks to promote Iceland as a filming destination for the international community. The site provides information on filming in Iceland.
Icelandic Film Centre
The Icelandic Film Centre supports production, distribution and promotion of Icelandic films, gathers information about Icelandic films and publishes it, advances film culture in Iceland and encourages stronger links between Icelandic filmmakers and the international film community.
Beowulf & Grendel. 2006. W DVD 11,174. 1 copy available at Lincoln Center.
Dj́öflaeyjan (Devil's island). 2000. W DVD 4890. 1 copy available at Lincoln Center.
Heima: a film. 2007. W DVD 12,138. 2 copies available at Lincoln Center.
No such thing. 2002. W DVD 6141. 1 copy available at Lincoln Center.
Nói. 2004. W DVD 8858. 1 copy available at Lincoln Center.
A Collection of 2005 Academy Award Nominated Short Films. With Rúnar Rúnarsson’s live action short, The Last Farm. 2006. W DVD 5176. 1 copy available at Lincoln Center.
Heima: A Film, Sigur Rós; Dean DeBlois (Director)
W DVD 12,138 - 1 copy available at Lincoln Center
Iceland imagined: Nature, culture, and storytelling in the North Atlantic by
Iceland, Greenland, Northern Norway, and the Faroe Islands lie on the edges of Western Europe, in an area long portrayed by travelers as remote and exotic - its nature harsh, its people reclusive. Since the middle of the eighteenth century, however, this marginalized region has gradually become part of modern Europe, a transformation that is narrated in Karen Oslund's Iceland Imagined.This cultural and environmental history sweeps across the dramatic North Atlantic landscape, exploring its unusual geography, saga narratives, language, culture, and politics, and analyzing its emergence as a distinctive and symbolic part of Europe. The earliest visions of a wild frontier, filled with dangerous and unpredictable inhabitants, eventually gave way to images of beautiful, well-managed lands, inhabited by simple but virtuous people living close to nature.This transformation was accomplished by state-sponsored natural histories of Iceland which explained that the monsters described in medieval and Renaissance travel accounts did not really exist, and by artists who painted the Icelandic landscapes to reflect their fertile and regulated qualities. Literary scholars and linguists who came to Iceland and Greenland in the nineteenth century related the stories and the languages of the “wild North” to those of their home countries.
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