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- Jansson, Maria, 1968-, et al.
(author)
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Studying women in Swedish film production : Methodological considerations
- 2020
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 10:2, s. 207-214
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Journal article (peer-reviewed)abstract
- This article presents methodological reflections on feminist production studies, with examples from an ongoing multidisciplinary project about women in Swedish film. Topics addressed include using interviews to understand production, the challenges connected to analysing women's experiences, and the ethical dilemmas related to interpreting them.
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| 4. |
- Jansson, Maria, 1968-, et al.
(author)
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The final cut (TM) : Directors, producers and the gender regime of the Swedish film industry
- 2021
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In: Gender, Work and Organization. - : John Wiley & Sons. - 0968-6673 .- 1468-0432. ; 28:6, s. 2010-2025
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Journal article (peer-reviewed)abstract
- Focusing on Sweden, this article departs from the proposition that film production and the film industry are governed by institutional arrangements that produce and reproduce gender and gender relations. The article is based on interviews with directors and producers and analyses how Swedish directors and producers describe their roles and relationship, relating this to how these roles are shaped by the law, film policy, and financial arrangements. The article argues that the Swedish film industry rests on a gendered division of labor, that the professions of director and producer are constructed in relation to masculinity, and that the gender equality measures undertaken are not sufficient to come to grips with the gender inequalities in the industry.
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Making the invisible visible : Reclaiming women’s agency in Swedish film history and beyond
- 2019
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Editorial collection (peer-reviewed)abstract
- As film stars, actresses have throughout film history contributed to the film industry’s glamorous surface, providing audiences with visual attraction and different representations of femininity. To talk about women in film as “invisible” may thus seem odd or even wrong. This book, however, is concerned with the paradox that on the other side of the camera, women are clearly underrepresented. This is true of contemporary film culture, and has been true historically, despite significant variations between countries/geographical areas, historical time periods and different roles/professions in film production, distribution and exhibition. This anthology recovers forgotten aspects of women’s work and memory, tracing women’s film work through the lens of Swedish film history, with a few forays into international film ventures. Using a variety of methods and approaches, including careful study of previously neglected archival material, lived experiences, interviews, and theoretical reflections on feminist historiography, the book explores themes of women’s agency and (lack of) visibility in a cultural context very different to Hollywood, thus providing readers with a healthy counterweight to the dominance of Anglo-American material in film scholarship published in English. The articles deal with women’s agency in a wide range of roles, in film production, exhibition and criticism, but also with new perspectives on stars/actresses and their agency, and including LGBT and queer identities.The research presents material evidence of women’s involvement in film culture being obscured and ignored because of its status as “women’s work”, and/or of marginal rather than mainstream interest. The book is divided into two parts, where the first part collects chapters that cover neglected dimensions of silent film culture and the use of archival film as cultural memory in documentary work from various time periods, whereas the second part of the book is focussed mainly on films and filmmaking in the 1970s and 1980s.
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- Stigsdotter, Ingrid
(author)
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British Audiences and Approaches to European Cinema : Four Case Studies of French and Swedish Film in the UK Today
- 2008
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Doctoral thesis (other academic/artistic)abstract
- This thesis provides an analysis of audience responses to four case study films, Amélie (Le Fabuleux destin d’Amélie Poulain, 2001), The Dreamlife of Angels (La Vie rêvée des anges, 1998), Faithless (Trolösa, 2000) and Show Me Love (Fucking Åmål, 1998). The empirical data was collected at screenings in Hampshire and West Sussex in 2005. The author argues that contextual factors are equally or more important than the film text itself when it comes to determining its potential meanings. The study explores how cultural differences and preconceptions about French, Swedish and European culture among British film audiences influence their approaches to specific films. In the process, the research provides a British reception perspective on the relationship between British, European and American film cultures. The findings challenge assumptions about detached, analytical art cinema audiences, suggesting that European cinema in Britain can function as an escape from everyday reality and provide viewers with strong emotional experiences. The author discusses gendered differences that can be observed in the audience research findings, but acknowledges that viewer identities are multifaceted and complex. The thesis sheds light on the relationship between academic studies of film consumption and market research carried out by the film industry, and the findings have implications beyond the discipline of film studies, intersecting with debates in sociology, cultural studies, and psychological theories relating to human perception
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| 10. |
- Stigsdotter, Ingrid, 1978-
(author)
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Decoration, Discrimination and “the mysteries of Cinema” : Women and Film Exhibition in Sweden from the Introduction of Film to the Mid-1920s
- 2017
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Other publication (peer-reviewed)abstract
- This essay investigates the role of women in Swedish film exhibition from the early days of ambulating film exhibitors, through the formation of a cinema culture with permanent venues, and all the way up to the coming of sound. Although membership and leadership of professional organizations, such as Sveriges Biografägareförbund/Sweden’s National Association of Cinema Owners (founded in 1915) or Svenska Film-och biografmannasällskapet/The Swedish Film and Cinema Society (founded in 1917), as well as contemporary articles in the trade press, reveal that cinema-owners and film exhibitors were male-dominated professions, a large number of women were nevertheless involved in running Swedish cinemas in the silent era. The title of the essay refers to the ways in which–as we shall see–women cinema managers have been described as respectable hostesses, turning their cinemas into tasteful, comfortable venues. However, “discrimination” can also refer to practices of unfair treatment, which have circumscribed women’s agency in different circumstances, and limited their presence in film history textbooks.
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