| 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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| 2. |
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| 3. |
- Andersson, Lars Gustaf, et al.
(författare)
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Accented cinema and beyond : Latin American minor cinemas in Sweden, 1970–1990
- 2016
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Ingår i: Studies in Spanish & Latin American Cinemas. - : Intellect. - 2050-4837 .- 2050-4845. ; 13:3, s. 227-245
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.
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| 4. |
- Andersson, Lars Gustaf, et al.
(författare)
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Accented cinema and beyond : Latin American minor cinemas in Sweden, 1970 - 1990
- 2016
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Ingår i: Studies in Spanish & Latin American Cinemas. - : Intellect. - 2050-4845 .- 2050-4837. ; 13:3, s. 227-246
-
Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.
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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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Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden
- 2009
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Ingår i: Studies in European Cinema. - Bristol : Intellect. - 1741-1548 .- 2040-0594. ; :3, s. 207-218
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Tidskriftsartikel (refereegranskat)abstract
- This 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 heterogeneous film history.
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| 7. |
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| 8. |
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| 9. |
- 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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| 10. |
- Andersson, Lars Gustaf, 1960-, et al.
(författare)
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Editorial : Film Workshops in Europe
- 2011
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Ingår i: Studies in European Cinema. - Bristol : Informa UK Limited. - 1741-1548 .- 2040-0594. ; 8:3, s. 167-169
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Tidskriftsartikel (refereegranskat)abstract
- An introduction is presented in which the authors discuss various reports within the issue on topics including the concept of film workshops, the politicized film culture in Spain, and the British workshop culture.
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