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Sökning: WFRF:(Brunow Dagmar Dr. phil. 1966 )

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1.
  • Dagmar, Brunow, et al. (författare)
  • From the safe space into cyberspace? : The ambivalence of lesbian visibility in film archives
  • 2019
  • Ingår i: The Lesbian Lives Conference 2019 : The Politics of (In)Visibility. Centre for Transforming Sexuality and Gender & The School of Media, University of Brighton, 15th - 16th March 2019. - Brighton : University of Brighton. ; s. 6-6
  • Konferensbidrag (refereegranskat)abstract
    • Visibility has long been an important goal in European lesbian activism and an important means of political empowerment. Yet, visibility can also bring about an increased vulnerability for marginalized groups, especially in times of hate speech and an increasing political backlash. Moreover, we need to ask: whose visibility is recognized by whom, and on what grounds? In my paper I look at the ways both national and grassroot film archives recognize lesbian lives through collection and selection policies, through the use of metadata and via the curation of online access. Presenting case studies from the Swedish and British Film Institutes, from the Hamburg-based archive bildwechsel as well as the Lesbian Home Movie Project in Maine, this paper discusses the ambivalence of lesbian visibility after (amateur) film footage has left the safe space of the archive to be widely circulated online. The paper looks at legal and ethical challenges archivists are facing when dealing with nudity, lesbian affection and other representations which challenge hegemonic heteronormative scopic regimes. How can an ethically conducted archival practice be guaranteed? How can archives avoid making lesbian lives invisible again? This paper presents some of the results of my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council 2016-2018).
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2.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • Archival tactics and queer vulnerability : Curating access to audiovisual heritage in Europe
  • 2018
  • Ingår i: media tactics and engagement, The NECS 2018 Conference : Amsterdam, Netherlands. June 27-29, 2018.
  • Konferensbidrag (refereegranskat)abstract
    • How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and queer visibility in audiovisual heritage. Setting out to examine on what terms queer lives are made visible, it analyses how national film archives in Sweden and the UK acknowledge queer vulnerability when following their diversity policies. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). These archival practices include the choice of metadata, the modes of selection for public screenings and online exhibition as well as the curation and contextualisation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitised collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).
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4.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • Between Remembering and Forgetting : The Archive and Cultural Memory
  • 2018
  • Ingår i: Archiving the Unarchivable – Das Unarchivierbare archivieren : 22.–24.11.2018. - Kassel : Documenta Archiv.
  • Konferensbidrag (refereegranskat)abstract
    • In the wake of the ‘archival turn’ the digitization of archival collections has been regarded as an important means of countering forgetting, especially in view of analog film stock and videotapes slowly decaying. But has digitization become a hollow promise? Can long-term preservation really be granted? The initial optimism has been challenged by the increasing number of data cemeteries, too. These are due to short-lived digitization projects, which are lacking sustainable planning. And to add, archival storage alone does not automatically contribute to cultural memory. Instead, archival holdings need to be circulated again, preferably in various media environments, in order to feed into our constantly changing, dynamic cultural memory. This keynote address will explore the relation between memory and forgetting in the archive. Advocating for sustainable archival projects, it will discuss the impact of materiality (e.g. paper, videotapes and digital data). Looking at media specificity involves the question of what gets lost in media transformation, for example in video documentations of performance art or expanded cinema. Situating itself within recent trends in cultural memory studies, the talk will outline the challenges and possibilities of today’s archival practice. Drawing on a number of case studies from the documenta archive as well as other heritage institutions, it will present ways of curating access to digitized collections. Different modes of access allow for a re-circulation of the archive, thus providing ways of constructing cultural heritage and memory.
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5.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • Decolonizing audiovisual heritage in Europe : Migrant and diasporic lives in national film archives
  • 2018
  • Ingår i: Global Challenges 2018 : Borders, Populism and the Postcolonial Condition - An international conference on critical theory, postcoloniality, migration and populism : Linnaeus University, Växjö, Sweden, 14-16 June 2018.
  • Konferensbidrag (refereegranskat)abstract
    • We cannot speak of the past without the archive, Stuart Hall famously stated. The archive, now a buzzword in the arts and humanities, cannot be conceptualised without taking power relations into account (Foucault, Derrida, Stoler). In his keynote “Whose Heritage” (1999), Hall points at the hegemonic whiteness and at the interests of the middle class invested in the creation of heritage and memory in the UK. In recent years, many heritage institutions in Europe have started to emphasize the (albeit problematic) notion of “diversity” as a fundamental requirement for their work. However, when it comes to the impact of digitisation on audiovisual heritage, a post-colonial perspective is still missing. This paper, which is part of my research project “The Cultural Heritage of Moving Images” (financed by the Swedish Research Council, 2016-18), looks at the ways national film archives in the UK and Sweden try to face the challenges involved in carving out a discursive space for migrant and diasporic memories. Arguing that it is not enough to merely “insert” these memories into the hegemonic narrative, it will discuss ways of decentering the audiovisual heritage of the nation. My paper will look at archival approaches to avoiding essentialism and dealing with the politics of representation in film images into which a colonial gaze is already inscribed. How can the colonial gaze be foregrounded (or subverted) when creating access to film collections through online curation? This paper argues for the need of the archivists to take a self-reflexive stand which highlights the role of the archive as an agent in its own right.
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7.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • Elin Wägner och filmen
  • 2018
  • Annan publikation (populärvet., debatt m.m.)abstract
    • När seklet var ungt skrev feministen och författaren Elin Wägner filmmanus, mest efter egna förlagor men också originalmanus. Bland annat till Anna Hofman-Uddgren, den första svenska kvinna som gav sig i kast med filmmediet. Dagmar Brunow berättar om Wägners engagemang i den nyfödda filmkonsten.
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9.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • LGBT+ heritage, digital memories and film archives
  • 2019
  • Ingår i: Paper proposal for OUTing the Past Festival Conference 2019. LGBT+ Solidarity: Past and Present 29 – 31 March 2019 at Ulster University, Belfast.
  • Konferensbidrag (refereegranskat)
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10.
  • Brunow, Dagmar, Dr. phil., 1966- (författare)
  • Manchester’s post-punk heritage mobilising and contesting transcultural memory in the context of urban regeneration
  • 2019
  • Ingår i: Culture Unbound. Journal of Current Cultural Research. - Linköping University Electronic Press. - 2000-1525. ; 11:1, s. 9-29
  • Tidskriftsartikel (refereegranskat)abstract
    • Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
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