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- Gustafsson, Tommy, 1969-, et al.
(författare)
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Porren inför lagen : Två fallstudier angående den officiella attityden till offentligt visad pornografisk film 1921 och 1971
- 2009
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Ingår i: Historisk Tidsskrift. - Stockholm : Historiska föreningen. - 0018-263X .- 1504-2944 .- 0345-469X. ; 129:3, s. 445-465
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Tidskriftsartikel (refereegranskat)abstract
- In this article, two case studies from 1921–22 and 1971 respectively, are juxtaposed in order to determine change in official attitudes and screening contexts for pornographic films. Focusing in the first case on an exhibitor who in 1922 was convicted of screening an obscene film on three occasions the year before, and in the other case on the range of venues for pornographic films in Malmö the month before the removal of the obscenity clause from the penal code in Swedish law, the authors conclude that public but secret screenings of clandestinely circulated films for all-male audiences did take place in 1921. The question can be raised as to whether women also sometimes attended. In 1971, however, one could see semi-pornographic feature films in regular cinemas and hardcore short films at so called sex clubs which also featured strip and live shows. Referring to a survey published in 1969, in which a slight majority of the informants were against pornography, the authors finally argue that perhaps the authorities had undergone the greatest transformation in attitude, whereas the general public only changed their views slightly between 1921 and 1971.
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- Gustafsson, Tommy, 1969-, et al.
(författare)
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Sexual violence, good taste and the education of the cinema audience : Gender and censorship in 1920s Sweden
- 2018
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Ingår i: Journal of Scandinavian Cinema. - Bristol : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 8:3, s. 215-232
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Tidskriftsartikel (refereegranskat)abstract
- This article makes use of records in the archive of Sweden’s National Board of Film Censorship for a discussion of the censorship of visual representations of sex and violence in films by women directors during the 1920s. From the perspective that Swedish film censorship was utilized to educate and control Swedish cinema audiences, not least concerning taste, the question is posed: how did gender and nationality play a role in the assessment of taste? Focusing on three case studies, namely Karin Swanström’s Kalle Utter (1925), Dorothy Arzner’s Manhattan Cocktail (1928) and Olga Preobrazhenskaya’s The Women of Ryazan (1927) and comparing censorship records with reviews in the daily press, the article demonstrates how nation played a role in the assessment of taste and the decisions to cut these films. The analyses also reveal that the censoring of sexual violence had a tendency to diminish acts such as rape and forced kissing in a narrative as well as on a moral level.
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