| 1. |
- Andersson, Lars Gustaf, et al.
(författare)
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Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production
- 2018
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Ingår i: Transnational Cinema at the Borders : Borderscapes and the Cinematic Imaginary - Borderscapes and the Cinematic Imaginary. - 9781138091108 ; , s. 40-51
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Bokkapitel (refereegranskat)abstract
- An account of the Stockholm Film Workshop (1973 - 2001) and how it became a site of film production by immigrant filmworkers, primarily from Latin America and Greece.
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| 4. |
- Andersson, Lars Gustaf, et al.
(författare)
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Spaces of becoming : the Stockholm Film Workshop as a transnational site of film production
- 2015
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Ingår i: Transational Cinemas. - : Informa UK Limited. - 2040-3526 .- 2040-3534. ; 6:2, s. 156-167
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Tidskriftsartikel (refereegranskat)abstract
- The aim of the essay was to present the Stockholm Film Workshop (Filmverkstan, 1973–2001) and its significance as a transnational site of film production. The films and the filmmaking at the workshop are considered as part of a minor cinema film practice in David E. James’s sense. James’s theory is complemented by returning to Gilles Deleuze and Felix Guattari’s original concept of minor literature in order to stress an analysis that is based on film as a means of production and cultural intervention. This point is emphasized by a presentation and analysis of how various professional and non-professional filmmakers from Colombia, Egypt, Greece and Turkey made use of film at the Stockholm Film Workshop in order to intervene in their new cultural situations. Thus, the textual model of film analysis that is prevalent in Hamid Naficy’s seminal work on accented cinema is complemented with theories of cultural production in order to enable an analysis of a transnational film practice that is on a par with the immigrant experience.
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| 5. |
- Andersson, Lars Gustaf, et al.
(författare)
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Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden
- 2008
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Ingår i: Studies in European Cinema. - 1741-1548. ; 5:3, s. 207-218
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Tidskriftsartikel (refereegranskat)abstract
- The article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts 'minor cinemas' and 'public sphere' in order to enable a more diverse, open and hetereogeneous film history.
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| 6. |
- Andersson, Lars Gustaf, et al.
(författare)
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Amatör och avantgarde : de mindre filmkulturerna i efterkrigstidens Sverige
- 2008
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Ingår i: Välfärdsbilder: svensk film utanför biografen. - 9789188468093 ; , s. 229-245
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- An important feature in the Swedish avant-garde film culture of the 40s and 50s is the creation of a public sphere for cinephilia. At first this public sphere was an "Öffentlichkeit" in the sense of Negt and Kluge. No distinction was made between production, exhibition and distribution; film theoretical reading, film viewing, and film production were not separated, nor were the films categorized. Experimental work, documentaries, commercial features and mateur films were shown at the same venues. On the other hand the discussion around avant-garde film and filmmakers was vital and the reception of the continental and the American avant-garde was prominent. Film journals like Biografbladet (1920 - 1952) became important vehicles for new ideas in film aesthetics. The funding of Svensk Experimentfilmstudio (S.E.F.) in 1950 marked the beginning for a new phase in the history of the experimental film in Sweden. Through new magazines like SEF (1952) and Filmfront (1953 - 1956) the ontological question of the experimental cinema came into focus. Thus, the spheres became divided into a cineaste and an avant-garde one. The case of the films of Peter Weiss is typical. The chapter depicts this change and discusses how it addresses all the major questions concerning the politics and the poetics of the production, reception and distribution of marginal cinema practices.
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| 7. |
- Andersson, Lars Gustaf, et al.
(författare)
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Editorial: Film Workshops in Europe
- 2012
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Ingår i: Studies in European Cinema. - 1741-1548. ; 8:3, s. 167-170
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Tidskriftsartikel (refereegranskat)abstract
- Abstract in Undetermined The editorial introduces the special issue on film workshops, situating the workshops as minor cinemas, and discussing the revised historiography of film.
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| 8. |
- Andersson, Lars Gustaf, et al.
(författare)
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Experimentfilmens behov & filmarkivets möjligheter
- 2012
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Ingår i: "Skosmörja eller arkivdokument?" Om filmarkivet.se och den digitala filmhistorien. - 9789188468277 ; , s. 67-80
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Bokkapitel (refereegranskat)abstract
- The chapter is a discussion of the limitations and possibilities of digital film archives with reference to the specific needs of experimental film culture. Some films by filmmakers Reinhold Holtermann and Hans Nordenström are discussed in the framwork of the Swedish digital film archive "filmarkivet.se".
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| 9. |
- Andersson, Lars Gustaf, et al.
(författare)
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Film Workshops as Polyvocal Public Spheres: Minor Cinemas in Sweden
- 2010
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Ingår i: Canadian Journal of Film Studies - Revue Canadienne d'Études Cinématographiques. - 0847-5911. ; 19, s. 66-81
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Tidskriftsartikel (refereegranskat)abstract
- Film workshop culture is a neglected phenomenon in film history and research.This essay arguments that the film workshops that flourished in the 1960s, 70s and the 80s, often constituted public spheres in the sense of Habermas, Negt and Kluge. Focusing on the Swedish Film Workshop, Filmverkstan (1973-2001), the essay shows that films at the workshops were made because they were in resonance with the public’s “concrete way of life” (Lebenszusammenhang) rather than being products aimed at a specific market. Further, the workshops provided access to filmmaking for diverse people. This research into film workshops as public spheres, as cultures of polyvocality and as minor cinema practices, productively responds to the teleological and textual approaches that have prevailed in film studies.
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| 10. |
- Andersson, Lars Gustaf, et al.
(författare)
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Historical Dictionary of Scandinavian Cinema
- 2012
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Scandinavian cinema—consisting of films produced in Norway, Sweden, Denmark, Finland, and Iceland—has been the source of some of the world's most interesting films—The Seventh Seal, Dancer in the Dark, and The Girl with the Dragon Tattoo—and most influential directors—Ingmar Bergman and Lars von Trier. The Historical Dictionary of Scandinavian Cinema covers the history of the Nordic countries through a chronology, introductory essays on each country, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major persons and films, pan-Scandinavian entries on film genres, themes, and subjects such as animation, ethnicity, migration and censorship. This book is an excellent access point for students, researchers, and anyone wanting to know more about Scandinavian cinema.
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