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- Andersson, Lars Gustaf, et al.
(författare)
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Gösta Hellström and Interwar Avant-Garde Film Culture in Sweden
- 2019
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950. - : BRILL. - 1387-3008. - 9789004366794 - 9789004388291 ; 36, s. 664-670
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Bokkapitel (refereegranskat)abstract
- Gösta Hellström was a prolific film critic who introduced new film movements into Sweden during the 1920s and 1930s. He also had a short career as a film director, and is especially known for his experimental short Tango (1932). Hellström is a representative of the early cinephilia and of a modernism that was never to be fulfilled in Sweden, at least not in terms of coherent film production. In the essay Hellström and his work are discussed as part of an ephemeral or fragmentary avant-garde.
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- Andersson, Lars Gustaf, et al.
(författare)
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Immigrant Film Co-Operatives in Sweden - The Most Typical Avant-Garde
- 2022
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries Since 1975. - Leiden : BRILL. - 1879-6419. - 9789004444560 - 9789004515956 ; 41, s. 703-714
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Bokkapitel (refereegranskat)abstract
- The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on the description and analysis of three films by three different organisations that became cohorts of multilingual and collective film-making, ranging from purely organisational structures (Kaleidoscope, in the 1980s) to collective youth recreation work in the suburbs (Tensta filmförening, in the 1970s and 1980s) and to a co-op for self-organised and self-financed film-making (Cineco, in the late 1970s and early 1980s).
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- Daugaard, Solveig, 1977-
(författare)
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Collaborating with Gertrude Stein : Media ecologies, reception, poetics
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The reception of the American avant-garde poet, playwright, art collector and salon hostess Gertrude Stein (1874-1946) has to a wide extent taken place in an aesthetic context prior to her work’s academic and hermeneutic canonization. This thesis is in part a mapping of this transmedia reception as it is played out in a North American context in the period from her death and until today, and in part an account of Stein’s particular collaborative poetics, through which her work invites such a reception. Furthermore, the thesis maintains that we in a contemporary context are experiencing a still increasing receptivity towards Stein’s oeuvre, that seems more relevant today than ever before. These circumstances, the thesis illuminates and discusses via a media theoretical framework, where Stein’s own work, as well as its aesthetic reception is considered as embedded in a complex media ecology. Media ecology is here conceived as a decentralized, networked approach to aesthetic phenomena, which is able to contain many types of agents and materialities. The media ecology of an artwork is thus potentially made up by the entire network of processes, agents and materials that are relevant to its production, distribution and consumption and influences the subject positions available to the individual agents.Through Stein’s aesthetic reception it is possible to catch sight of important components that are active in the media ecology but often neglected or considered subordinated to text-internal features. These include the material interface of the medium in question, the aestheticized persona of the artist and infrastructures such as the salon, which affect how and to whom the work and its meanings are distributed. The thesis also traces a number of parallels between the media situation of Stein in the beginning of the 20th century and the digital media situation at the verge of the 21st that suggest both explanations for and implications of her increasing contemporary relevance.
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- Groth, Sanne Krogh, et al.
(författare)
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EMS – Elektron Musik Studion in Stockholm
- 2016
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries, 1950-1975. - : BRILL. - 1387-3008. - 9789004310490 - 9789004310506 ; 32, s. 164-174
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Bokkapitel (refereegranskat)abstract
- In 1964 the electronic music studio EMS, Stockholm opened as a conventional analogue studio. The primary intension with the institution was to build the world’s most advanced hybrid studio and to conduct an international research program into sound and sound perception. With financial support from the Swedish government and by the effort of the studio director Knut Wiggen, these visions were realised in 1970. Meanwhile, many composers did not intend to follow Wiggen’s ambitions visions. Strong wills, social changes and technological challenges trigged countless conflicts and tensions in the milieu.
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- Groth, Sanne Krogh, et al.
(författare)
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The concert society Fylkingen, 1950-75
- 2016
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries, 1950-1975. - : BRILL. - 1387-3008. - 9789004310490 - 9789004310506 ; 32, s. 122-134
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Bokkapitel (refereegranskat)
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- Olsson, Jesper, 1966-
(författare)
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Alfabetets användning : Konkret poesi och poetisk artefaktion i svenskt 1960-tal
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is the so-called concrete poetry that was written in Sweden during the 1960s and, to a small extent, in the 1950s, by Öyvind Fahlström, Jarl Hammarberg, Åke Hodell, Bengt Emil Johnson, and others. The study is focused on a discussion of the forms and the ways of writing that were explored, but it also gives an account of the aesthetic-historical context – of the expanded field of the arts in the 1960s, of the early avant-garde, of related forms of writing in earlier literature, such as pattern poetry.The readings are oriented toward different aspects of the texts, such as ’kneaded’ words, disruptive syntax, ’algorithmic’ forms and methods, visuality, and sonority. Two key concepts are ’artifice’ and ’materiality’, both of which indicate how the texts discussed complicate a view of poetry as ’pure’ expression of thought and emotion, or as representation of speech or language (in a restricted sense). These writings use the alphabet in an unorthodox way, and they transgress its territory by approaching other arts and other forms of ’writing’.If one of the aims of the study is to analyze the poetical forms and operations at stake, another one is to connect these to a modern ’media age’, and to discuss the impact of media technologies as well as new conceptions and theories of writing, information, and communication (for example, cybernetics) on poetry. This contextualization gives a specific meaning and value to the texts, and paves the way for a series of questions about reading, subjectivity, and political aspects of poetry.
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- Schönström, Rikard, et al.
(författare)
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A Nordic Verfremdung : Bertolt Brecht's Exile in Denmark, Sweden and Finland 1933–1941
- 2019
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries 1925–1950. - : BRILL. - 1387-3008. - 9789004366794 - 9789004388291 ; 36, s. 359-374
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Bokkapitel (refereegranskat)abstract
- The essay gives a brief account of Brecht’s years of exile in Denmark, Sweden and Finland. Central to this story were his close relations with a number of cultural figures in the Nordic countries. The essay also discusses the way Brecht’s writing was transformed during his Nordic exile. It focuses on the fact that he wrote some of his best-known plays and developed his famous theory of Verfremdung while living in the Nordic countries. Last but not least, the essay tries to assess Brecht’s influence on contemporary Nordic literature and theatre. The conclusion is that he was received in the Nordic countries as a political writer rather than as a representative of the European avant-garde, and that very few in Denmark, Sweden and Finland had a clear understanding of his epic theatre.
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