In Swedish film history, it is customary to describe the production practice emerging from 1916/1917 onward, and geared toward quality cinema, as resulting in a "golden age," with flagship productions characterized by natural scenery, psychological interest, and a weighty sense of literariness. Around 1920, this production trend inscribed itself into various realms of Sweden's contemporary culture, in particular interacting with a burgeoning contemporary print culture in the form of posters, souvenir booklets, and book editions with film stills. The Swedish style soon spread to other Nordic countries and was endorsed by Carl Th. Dreyer, whose films from the early 1920s partake in a trans-Scandinavian practice informed by the quality concept formed in Swedish cinema. The article explores trans-Scandinavian aspects of this era, framing them in terms of nature and location, tied to the notion of authenticity.