| 1. |
- Hagström, Charlotte, et al.
(author)
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Smålands djupa skogar
- 2009
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In: Speglingar av Småland. - 9789176947999 ; , s. 165-176
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Book chapter (other academic/artistic)
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| 2. |
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| 3. |
- Sjöholm, Carina
(author)
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Gå på bio : rum för drömmar i folkhemmets Sverige
- 2003
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Doctoral thesis (other academic/artistic)abstract
- Going to the Pictures The Cinema as a Meeting Place in the 1940s and 1950s Summary At the end of the 1950s, at roughly the same time as television became established, Sweden had the largest number of cinemas of any country in Europe. People went to the cinema in unprecedented numbers. In 1956 ticket sales in Swedish cinemas reached 80 million. There were palatial cinemas which offered people a full-evening experience, but there were also large numbers of people’s halls and lodges where both the labour movement and the temperance movement showed films. These places, together with the many cinemas specially built for the purpose, were to play a very important part in the accessibility and dissemination of film and cinema culture. This book is about going to the cinema. By going to the cinema, people learned to see and experience film, and in this way the present book can be regarded as mirroring a process of institutionalization, or rather several such processes. The audiences developed their competence in going to the cinema and watching films, and they also acquired a competence that was more about living in a new age. It is not film itself but the cinema situation and its significance that is the central focus of this study. It is about how people collected pictures of film stars and read magazines, how they made preparations for the visit to the cinema, how they cycled there, how meetings came about or failed to come about, about buying sweets, going to a café afterwards or gathering at the hot dog stand, about the way home and the processing of the experience. It is about how young people handled and created free spaces, about forming collectives but also individuality, about experiences in a period which, just like now, was perceived as complex, unpredictable, and modern. It is also about the new consumption and the attractions of the city; what the cinema and films did to people, but above all what people did with these situations: how film actually entered everyday practice and the effects it had, although not always through the simple link between message and receiver. A great deal happened on the way, and the circumstances played a crucial part. The book mainly consists of two interwoven narratives. One tells of the cinema-going youth of the 1940s and 1950s. During the 1950s the cinemas concentrated increasingly on a youthful audience. They are viewed as a social movement towards a new Sweden. After the experiences and the new opportunities for impressions, inspired by film, among other things, there was no possibility of going back to the “old”; something new had to be created. The other narrative tells the history of institutionalization and the cinema-goers’ competence. Through the cinema one can see how overarching process in society reached down to the micro-level and affected people and their way of behaving. But because sufficiently many people actually went to the cinema and were involved in the world of film, they also became a force to be reckoned with. Seemingly trivial things helped to create a social movement because so many people took part. This involvement was a form of training for what was to come: a new age. Material My study is based on a variegated collection of material which began to take shape through the responses to a questionnaire entitled ”Shall We Go to the Pictures?”, distributed by the Folklife Archives in Lund to its network of informants. Some informants augmented their written responses with collections of pictures of film stars and cinema tickets. Later additions to this material were interviews, research reports, periodicals, film magazines, debate books, works of literature, and handbooks. The questionnaire responses, as well as the fiction, tell of the countless people who collected pictures of film stars and made albums of pictures cut out of magazines. I have chosen to illustrate different kinds of collecting. One is the collections of film stars and tickets, while the other is a couple of collecting careers. I study how people handle and process the cultural props to which they have access, and how a seemingly trivial activity, from cutting pictures of film stars out of magazines and swapping pictures, to going to the cinema and seeing films, was to achieve a significance far beyond the actual activity at the time. Literary narratives have gradually acquired great significance. Many novels explore the new person and the emergence of modern Sweden, and novelists are ambivalent about the new life. Film magazines and many other weekly magazines are evidence of the impact of films and their power in popular culture. They were particularly important in the construction of film stars. The magazines show a part of what was assimilated by people, illustrating how physical things and phenomena became concepts in these forums. This took place in a commercial context, and even though it cannot be viewed as a reflection of actual conditions, one can at least see how images were created of how something could be. The questionnaire responses show that magazines and their stories about film stars provided matter for conversation and for a kind of identification; it was all about arousing longing. Symbolic portals The ritualization of cinema going can scarcely be missed. It is obvious from all the cinema narratives from the period. They are about habits, clothes, café visits, sweet buying, strolling along streets, etc. Liminality is a kind of half-way station, a demarcated space of time when a person can be said to step outside ordinary life, according to Victor Turner (1967). The liminal state is preceded by a separation from the normal world. The transformation of existence and awareness is the important part of the ritual, entering a new identity, or another mental state. The external space, the cinema itself, is the context that sets the tone, but the interior space soon takes over. The ritual space includes both the picture house and the place in front of the building, the entrance, the foyer, and so on, but also the time when people went to the pictures. They crossed a series of symbolic thresholds and entered a multitude of different rooms. Yet no real transformation ever took place. People were always connected to everyday life, and that is what allows people to go to the cinema over and over again and have new experiences. People slip between different identities. Because they are constantly switching between identities, the points of reference are also moved. Separation, release, and enclosure are easily overemphasized when one chooses to see an experience as a transformation. Experiences are often intimately interwoven with the parts of everyday life that one is assumed to leave behind when entering the actual experience. My point is that the experiences that young people had of going to the cinema in the 1940s and 1950s were joined together with other experiences. Going to the cinema was important, but by focusing on what happened round about, the many different cultural components that surrounded and were dependent on the cinema going, I believe that I can see a movement of an all-embracing kind, something that permeated the very life-sphere. The cinemas and the things surrounding cinema going were something in between the everyday and the extraordinary, free from some of the everyday concerns but not always dramatically different. I emphasize the continuity and the significance of everyday life even in the extraordinary contexts. The interesting thing about looking at the cinema and dividing cinema going into spaces is that I can use these peepholes to try to see the people, the period, and the society. I stress that I see the cinema-going young people as a kind of social movement; by coming together they influenced and shaped themselves and each other and became a force in their narration, a part of a modern movement. In this respect, the narratives about cinema going in the forties and fifties are more a gentle story about what life could be like, rather than exceptional or path-breaking, although such stories no doubt occurred as well. Precisely for this reason, cinema going requires several surrounding stories. One is a contextualization of the period, both the debate about films and the young people’s situation, their behaviour and their doings. Another is the narrative that is chiefly connected with the films and the cinema, why they had this impact on many people’s everyday lives. To these are linked the ideas about adult education, popular education, and democratization that were heard in the debates about cinema and about young people. There is thus an emphasis on processes of continuity rather than on distinction and cultural change. At the cinema The first chapter, “Background History of Film and Cinema”, is about the function of the different cinemas, but it is above all a historical retrospect. It considers how cinemas came into being, who could go to them, when changes took place, differences between town and country, and the role of young people. In the historical parts I have drawn on existing research on the history of the cinema, whereas the sections on cinema going are based on the questionnaire responses, interviews, and literature. “Going to the Cinema” is an umbrella heading whose structure is governed by the responses to the questionnaire. This material is the foundation and the starting point, but the literary examples and descriptions are used to confirm, reinforce, and expand on this. I follow the cinema goers on their way through the different spaces and make digressions into various types of material as well as scholarly discussions. The first section, “The Preparations”, is about the space where the prelude is enacted. This discusses above all the preparations, not only mental but also practical and concrete, for the forthcoming visit to the cinema. This includes the incorporation into the world of
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| 4. |
- Saltzman, Katarina, 1966, et al.
(author)
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Rötter i rörelse. Kulturarv på trädgårdens marknader
- 2024
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Book (other academic/artistic)abstract
- Känn doften av en gammaldags ros, smaken av en kålrot som odlats i generationer eller vandra i trädgårdsmästarens fotspår i en historisk trädgård! Den här boken handlar om hur växter, trädgårdar och trädgårdshantverk i vår tid görs till kulturarv och tar plats på marknader av olika slag. Här pågår ett ständigt prövande av vad som i olika avseenden betraktas som vitalt nog, appellerar till aktuella trender, har tillräckligt intresseväckande namn eller på annat sätt är gångbart. Utifrån en rad exempel på kulturarvsträdgårdar och kulturarvsväxter diskuterar författarna Katarina Saltzman, Carina Sjöholm och Tina Westerlund relationen mellan marknad och kulturarv, och i vad mån marknaden rentav kan vara del av en bevarandestrategi.
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| 5. |
- Saltzman, Katarina, 1966, et al.
(author)
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Gardeners’ perspectives and practices in relation to plants in motion
- 2021
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In: Routledge Handbook of Biosecurity and Invasive Species. - Abingdon, Oxon ; New York, NY : Routledge, 2021. : Routledge. - 9780815354895 ; , s. 226-239
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Book chapter (peer-reviewed)abstract
- The establishment of introduced species in new environments is today widely acknowledged as a potential threat to biodiversity, and many plants that are known to be invasive have obviously spread from gardens. Thus, in the context of biosecurity, we need to consider how contemporary gardeners think about which plants and animals are welcome in their gardens. In this chapter we look at vegetation in motion from a cultural and social point of view, with a particular focus on some of many different ways in which people are involved in spreading of plants, both desired and undesired ones. We do this by investigating everyday practices of gardeners in Sweden, and not least the common habit of sharing plants, in order to highlight the social and cultural aspects of the spread of species. Among the gardeners in this study it is obvious that the dynamics and vitality of plants is often regarded as an asset, but also sometimes as problem, when plants simply grow too much. Understandings of the relationship between gardens and surrounding environments, as well as between nature and culture, have changed over time, and are continuously changing. As plants have the ability to multiply and spread in various ways, both on their own and with the help of humans, there is a need to acknowledge the role of human as well as non-human agencies in order to understand the complexity of these interactions. Inspired by Tim Ingold we find it useful to think about both gardeners and plants as ‘biosocial becomings’. In order to address the threat posed by invasive species, we propose that it is important to improve our understanding of what happens in everyday biosocial encounters between people, plants and other species.
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| 6. |
- Saltzman, Katarina, 1966, et al.
(author)
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Gräva upp och klippa ner - liv och rörelse i villaträdgården
- 2013
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In: ACSIS konferens I Rörelse/On the Move, Norrköping, 11-13 juni 2013. - 1650-3686 .- 1650-3740. - 9789175195636 ; , s. 121-133
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Conference paper (peer-reviewed)abstract
- Villaträdgården rymmer många former av rörelse. Vissa hänger samman med årets, dygnets och livets cykler. När växtligheten spirar, myllrar det av liv och mänsklig aktivitet i trädgårdarna. Kroppar i rörelse hanterar det växande; planterar och gödslar, ansar och gallrar, gräver upp och klipper ner. Andra rörelser är långsammare; som när buskar breder ut sig och träd skjuter i höjden. En sådan långsam, obemärkt förändring kan resultera i att snabba insatser med sekatör och motorsåg börjar övervägas. Trädgård är idag ett intresse som delas av många, och odling och design diskuteras i medier av olika slag. Trädgården kan för många stå för stabilitet och kontinuitet. Men samtidigt är trädgårdstrenderna många, och avlöser varandra, och i trädgårdshandeln är betydande ekonomiska belopp i rörelse. Vi kommer att diskutera rörelse som en viktig dimension av trädgården, med utgångspunkt i frågelistmaterial och pågående fältarbete inom forskningsprojektet Arbete och redskap i villaträdgården mellan dröm och förverkligande. Drömmandet, och försöken att förverkliga trädgårdsdrömmar som i sig ständigt förändras, rymmer många aktiviteter. Och när människokroppen åldras måste trädgårdsodlaren ibland kompromissa mellan drömmar och förmågor. Inte bara människor och idéer är i rörelse i villaträdgårdarna; även plantor kan röra på sig. Växter flyttar sig och flyttas mellan olika platser i trädgården, eller från en trädgård till en annan. Många odlare berättar om speciella växter som har sin historia på en annan plats, exempelvis hos äldre släktingar, eller på en plats man besökt under en resa. Andra växter har vandrat in av sig själva, som välkomna tillskott, eller oönskade ogräs.
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| 7. |
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| 8. |
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| 9. |
- Hagström, Charlotte, et al.
(author)
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Att tänka med träd
- 2007
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In: Lustgården. - 0349-0033. ; 87:2007, s. 53-60
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Journal article (other academic/artistic)abstract
- Trees are present in the everyday life of most people, as eye-catchers, meeting points, obstacles, etc. Memories of people, events, and actions are also often connected to specific trees. But the same tree may acquire a range of different meanings, depending on personal experience. Adopting an analytical cultural perspective, "Thinking Trees: An Ethnological Study of Narratives About the Meaning of Trees" focuses on the symbolic meaning of trees and the way people relate to them.
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| 10. |
- Hagström, Charlotte, et al.
(author)
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I Agatha Christies fotspår
- 2011
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In: Upptecknaren: Nytt från Folklivsarkivet. - 1652-5086. ; :8
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Journal article (pop. science, debate, etc.)
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