| 1. |
- Andersson, Lars Gustaf, et al.
(author)
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The cultural practice of minor cinema archiving : The case of immigrant filmmakers in Sweden
- 2017
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In: Journal of Scandinavian Cinema. - : Intellect. - 2042-7905 .- 2042-7891. ; 7:2, s. 79-92
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Journal article (peer-reviewed)abstract
- The aim of this article is to present the archival practice behind two extensive research projects that we have worked on during the last decade: the Stockholm Film Workshop and minor immigrant filmmaking in Sweden. Archive has become a general catchword in today’s academia that encompasses several practices of collecting, storing, distributing and displaying. We will stress in particular – partly against the idealism of digital activism – that the archive is a locus of power. The struggle for archival acknowledgement is a question of how to establish an archival artefact, an object that may be stored and repeated, and thus to affirm it as something that cannot be disregarded. This is a practice in the way that theory also constitutes a practice: a way of intervening that is case sensitive and that constantly cuts across those four principles that Giovanna Fossati famously coined as ‘film as original’, ‘film as art’, ‘film as dispositif’ and ‘film as state of the art’.
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| 2. |
- Bachmann, Anne
(author)
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Hankering for iconic moments : Transduction and representation in Skam fans' anticipations about the remake Skam Austin
- 2021
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 11:1, s. 133-147
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Journal article (peer-reviewed)abstract
- The Norwegian web series Skam (2015-17) has been remade several times, but the American version Skam Austin (2018-19) has a particular standing as an adaptation because its first season was produced by the original showrunner. The article considers fans' views of the choices made in the remake and the contextual shifts informing these choices, i.e. their views of the so-called cultural transduction. It argues that the fan discourse around Skam Austin thrives on discussing the transduction in itself, because long-standing fans dominate the discourse and because the show's depictions of teenage life-worlds are expected to have high realistic ambitions. Comments from fans reveal that much of their enjoyment of Skam Austin resided in expectations about specific 'remade moments'. Such moments typically express a spirit of social resistance and are, if successful, celebrated as iconic. In the politicized American media climate of the day, 'remade moments' that particularly engaged fans focused on representation issues concerning gender and race, such as intersectional identities and awareness about sexual harassment.
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| 3. |
- Bachmann, Anne
(author)
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The press cutting, film studies and the digital age
- 2017
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In: Journal of Scandinavian Cinema. - : Intellect. - 2042-7891 .- 2042-7905. ; 7:2, s. 149-154
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Journal article (peer-reviewed)abstract
- Unlike the scrapbook, the humble press cutting has never quite broken the surface in the theoretical and methodological discourses of historiography, whether for film or other kinds of histories. In today's radically changed archive-scape where old volumes of printed media are digitized by the shelf-load, the blessings and curses of the curated collection may rapidly fade from short-term memory. At the same time, this novel sense of distance towards them can prove useful for discussing the impact of the collections' provenance and bias. In tracing the press-cuttings collection in Swedish press discourse during the twentieth century, the article argues that its meaning has shifted over time, most clearly signalling status, progress and knowledge optimism in the 1940s to 1960s. Lastly, the article maps the discourse and history of cuttings at the Swedish Film Institute and suggests that the press-cutting archive is now more interesting in its entirety as collection than by virtue of its individual scraps and pieces.
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| 4. |
- Björklund, Elisabet, 1983-, et al.
(author)
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Editorial
- 2015
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 5:2, s. 75-80
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Journal article (other academic/artistic)
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| 5. |
- Björklund, Elisabet, 1983-, et al.
(author)
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Editorial
- 2015
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 5:2, s. 75-80
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Journal article (other academic/artistic)
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| 6. |
- Björklund, Elisabet, 1983-
(author)
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'Mom might have a job (or be socializing too much!)' : 'The right to love', children’s sexuality and parenthood
- 2017
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 7:1, s. 13-25
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Journal article (peer-reviewed)abstract
- Having been unavailable for many years, the Swedish film Rätten att älska (‘The right to love’) was restored by the Swedish Film Institute in 2013 and made accessible for research. In many ways a typical example of the sex education film genre of its time, the film is simultaneously unusual because it deals with children’s sexuality. This article explores and discusses the representation of children in the film in relation to how it connects to issues of parenthood.
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| 7. |
- Björklund, Elisabet, 1983-
(author)
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Realism or 'grotesque cliches'? : Jan Halldoff's The Corridor and the Swedish debate on abortion in the 1960s
- 2019
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 9:1, s. 117-130
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Journal article (peer-reviewed)abstract
- Swedish filmmaker Jan Halldoff's fiction film Korridoren (The Corridor) premiered in 1968 to a mainly positive Swedish reception. Shot at Karolinska Hospital and criticizing the Swedish healthcare system, the film became much debated and can furthermore be seen as a turning point in Swedish film history regarding the portrayal of medical institutions and professionals. In this article, the film and its reception are analysed in relation to the Swedish debate on abortion at the time. While the film is clearly critical of Swedish welfare society, the way it depicts abortion is more conservative. Highlighting this as well as the role of actual medical professionals in the film, the article demonstrates how the film relates to representations of abortion in the past and discusses connections between the film industry and medicine at this historical moment.
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| 8. |
- Björklund, Elisabet, 1983-
(author)
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"This Is a Dirty Movie" : Taxi Driver and "Swedish Sin"
- 2011
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In: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 1:2, s. 163-176
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Journal article (peer-reviewed)abstract
- This article examines a well-known sequence in Martin Scorsese’s 1976 film Taxi Driver in which the main character Travis Bickle takes his date Betsy to the movies and convinces her to see a Swedish sex education film. The article analyses the representation of Swedish cinema and Swedish sexuality in Taxi Driver, but also discusses the short sequence from a Swedish perspective, revealing a contemporary popular Swedish misconception about it. For this purpose, the sequence as well as the subsequent Swedish interpretation of it are contextualized and considered in relation to the widespread notion of ‘Swedish sin’.
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| 9. |
- Bruhn, Jørgen, 1968-, et al.
(author)
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“Jan Troell’s Fleeting Still Moments”
- 2012
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In: Journal of Scandinavian Cinema. - : Intellect. - 2042-7891 .- 2042-7905. ; 2:1, s. 55-72
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Journal article (peer-reviewed)abstract
- This article investigates the role of photography in the Swedish auteur Jan Troell's film Maria Larssons eviga ögonblick/Everlasting Moments (2008) in the light of different perspectives on medium specificity, photography and adaptation. We argue that Jan Troell, by way of cinema, discusses key characteristics and functions of photography. In so doing, the film, in addition to telling the tale of a historical female photographer, raises a number of questions concerning media theory, media ontology and history. We introduce the term 'fleeting still moments' in order to account for Troell's particular cinematic strategy, negotiating movement and stills. Accordingly, the central questions in our study are as follows: what are the differences and similarities between cinema and photography? And to what degree can the differences be framed within the traditional divide between cinema's movement and photography's stillness?
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| 10. |
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