If early silent cinema was a cinema of attractions, the filmic object photographed by the stationary camera to illustrate its movement within an appearance-disappearance of the act of display, or the display of the erotic object as attraction, the spectator then identifying with the position of the camera, Swedish Films in their development of being brought by Charles Magnusson from Kristianstad, Sweden where they began as short newsreels, to Stockholm and Rasunda, brought elements of the saga into the narrative mode of discourse, the hieroglyphic it contributed almost runic in the including of nature into cinematic address, their often idyllic in their complementing the tone of Pippa Passes (1909), Lines of White on a Sullen Sea and the silent film Enoch Arden, it later culminating in the historical dramas of John W. Brunius as the silent era neared its end.

What is particular about viewing classical cinema as being preceded by a cinema of attractions and a chronology toward the use of landscape in relation to character driven photoplay in longer Swedish Silent Film and in feature legnth film from the United States, it that it would not only be a cinema of spatial temporal relations, but one primarily of image relations, the arrangement of objects and postitoning of subjects with the frame not only creating spatial relations but creating image relations as the develop and create the narrative context with which they are placed; they are relations of drama. From scene to scene, if not within the scene and or within the grammar of shot structure, classical cinema would emerge toward the narrative image, particularly the relation of the narrative image to the primacy of the central character.

In Kristianstad, Sweden, the director Carl Engdahl pioneered with the film People of Varmland (Varmanningarna) in 1909, photographed by Robert (Ohlsson) Olsson, it having been only the first adaptation of Fredrick August Dahlgren's play. That year Carl Engdahl and Robert Olsson collaborated on the films The Wedding at Ulfasa (Brollopet Pa Ulfasa) and Tales of Ensign Stal (Franrik Stals Sagner). Carl Engdahl appears as an actor in all three films, as does actress Britta Greif. The Swedish actresses Kathie Jacobsson, Ellen Hallberg and Ellen Stroback appear in both films People of Varmland and Tales of Ensign Stal. Robert Olsson photographed The Wedding at Ulfasa for two directors, the second having had been being Gustaf Linden. The first starred Swedish silent film actresses Ellen Appelberg, Lilly Wasmusth and Anna Lisa Hellstrom.

The film People of Varmland was produced by Svenska Biografteatern. Charles Magnusson in 1909 had become the managing director of Svenska Biografteatern, which Julius Jaenzon became part of in 1910. Charles Magnusson, who came to the United States, directed and wrote The Pirate and Memories from the Boston Sports Club in 1909, Orpheus in the Underworld Urfeus i underjorden in 1910. Notably, while under E. Sterner of Svesnk Kinematof, Magnusson had photographed Konung Kaakons mottagning i Kristiania (1905), a short film about the King of Norway's visit to Kristiania almost as to presage that it would be there that he begin the Swedish film industry.

Svensk Kinematograf was the production company that under N. Sterner had filmed six of the earliest films photographed in Scandinavia- Robert Olsson had photographed Pictures of Laplander (Lappbilder), Herring Fishing in Bohusland (Sillfiske i Bohuslan), Lika mot lika, starring Tollie Zellmman and Kung Oscars mottagning Kristianstad in 1906 before his later photographing with Carl Engdahal. Also shown in Stockholm and Goteborg theaters during 1906 was the film Kriget i Ostergotland.

Film historians have noted that Kristianstad, Sweden was home to another film, The Man Who Takes Care of the Villan (Han som clanboven), filmed in 1907. Produced by Franz G. Wiberg, the film has never been released theatrically. There is thought to be an earlier film similar to the films of Robert Olsson in its being narrative rather than a single shot film from a newsreel-like cinema of attractions written, photographed, and directed by Ernest Florman, titled Skona Helena (1903), it having starred Swedish actress Anna Norrie.

As the history of film making quickly brought Swedish silent film from newsreel footage to early narrative film, scenes that were no longer composed of a single shot and that would no longer rely upon tableau had a pictorial value that would become evocative in their depiction of mood and setting, narrative space articulated by camera position and fluidity. Filmic address could more often be comprised of objects put into the scene, placing the view of the specatator within it in, objects that within Swedish Silent Film would later include the Scandinavian lanscape, not only to bring a greater involvement with the character, but to allow the spectator to identify more often with the relation between character and enviornment. Technique could provide and deepen the relationship between character and enviornment; specific to the relationship between character and enviornment is the relation between the character and the object towards which he or she is looking at. If it is that there can be the positing of the enviornment as a personified third character, a metaphorical onlooker or participant, it is that often that the camera is directed to the space between two characters, or one character with a dramatic relation to another character then offscreen. Spatial distances aquire the attribute of being narrative in that the photoplay is based on character development; in almost a narrativization of space, as silent film developed toward the feature film and the use of interior-exterior landscape photoplays, the enviornment used in a contextual relation to character within the storyline, character was established to be the principal causal agency and the camera soon could cut to a closer angle to direct the attention of the spectator to the actions of a particular character , virtually every action of the character subject to a reframing of the shot. The sigficant detail within the scene could also be directed to the viewers attention in that the image was to be authorized by the camera, and each authorial camera placement. The aesthetics of pictorial compostion could utilize placing the image either in the foreground or background of the shot, narrative and pictorial continuity being developed together as depth of plane, depth of framing brought image constructs into there also being a beauty of form, cinematic style consisting of the use of the specific elements of film techninque in repetition or variation. Compositions would become related in the editing of successive images and adjacent or compound shots to structure the scene or intercutting of scenes. Griffith had very soon begun to cut mid-scene, his cutting to another scene before the action of the previous scene was completed, and had certainly already begun to cut between to seperate spatial locations within the scene.