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A Visual History of HIV/AIDS : Exploring the Face of AIDS Film Archive
- 2019
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The Face of AIDS film archive at Karolinska Institutet, Sweden, consists of more than 700 hours of unedited and edited footage, shot over a period of more than thirty years and all over the world by filmmaker and journalist Staffan Hildebrand. The material documents the HIV/AIDS pandemic and includes scenes from conferences and rallies, and interviews with activists, physicians, people with the infection, and researchers. It represents a global historical development from the early years of the AIDS crisis to a situation in which it is possible to live a normal life with the HIV virus. This volume brings together a range of academic perspectives – from media and film studies, medical history, gender studies, history, and cultural studies – to bear on the archive, shedding light on memories, discourses, trauma, and activism.Using a medical humanities framework, the editors explore the influence of historical representations of HIV/AIDS and stigma in a world where antiretroviral treatment has fundamentally altered the conditions under which many people diagnosed with HIV live. Organized into four sections, this book begins by introducing the archive and its role, setting it in a global context. The first part looks at methodological, legal and ethical issues around archiving memories of the present which are then used to construct histories of the past; something that can be particularly controversial when dealing with a socially stigmatized epidemic such as HIV/AIDS. The second section is devoted to analyses of particular films from the archive, looking at the portrayal of people living with HIV/AIDS, the narrative of HIV as a chronic illness and the contemporary context of particular films. The third section looks at how stigma and trauma are negotiated in the material in the Face of AIDS film archive, discussing ideas about suffering and culpability. The final section contributes perspectives on and by the filmmaker as activist and auteur.This interdisciplinary collection is placed at the intersection of medical humanities, sexuality studies and film and media studies, continuing a tradition of studies on the cultural and social understandings of HIV/AIDS.
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| 2. |
- Arnberg, Klara, et al.
(författare)
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Benefits of the in-between : Swedish men’s magazines and sex films 1965–1975
- 2014
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Ingår i: Sexuality & Culture. - : Springer Science and Business Media LLC. - 1095-5143 .- 1936-4822. ; 18:2, s. 310-330
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes a content-based market position that developed during the mid-1960s, situated in-between the pornographic and the accepted. By studying Swedish men’s magazines and sex films from the time period, the argument is made that these media products profited from both the advantages of pornography, i.e., more or less sexual explicit images, and the advantages of the accepted, i.e., common distribution channels, the possibility of having regular advertising and placards and being sold in ordinary kiosks (for magazines) and shown at ordinary cinemas (for films). For some years, this balancing act between the accepted and the pornographic was maintained, and the genre became enormously popular. From the mid-1970s onward, however, the division between pornography and accepted media became more clear-cut. The critique against pornography and the in-between media products intensified, and the uncertainty about pornography’s future role after the legalization in 1971 was followed by new ways of separating the pornographic from the accepted. While there were some differences between the two media formats, such as their degree of internationalization and the importance of advertising, they shared much in terms of content formulas and used the same female actors and models. It is argued that both formal regulations and the informal norms of gender and sexuality at the time and their change throughout the 1970s are key for understanding the development and the disappearance of the in-between genre.
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| 5. |
- Björkas, Robin, et al.
(författare)
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Sex Dolls in the Swedish Media Discourse : Intimacy, Sexuality, and Technology
- 2021
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Ingår i: Sexuality & Culture. - : Springer. - 1095-5143 .- 1936-4822. ; 25, s. 1227-1248
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Tidskriftsartikel (refereegranskat)abstract
- Sex dolls are a complex phenomenon with several diverse possible emotional, sexual and therapeutic uses. They can be part of a broad variety of sexual practices, and also function as a sexual aid. However, the media discourse on sex dolls first and foremost concerns how we perceive the relationship between intimacy and technology. A critical discourse analysis of the Swedish media discourse on sex dolls reveals six themes which dominate the discourse: (a) the definition of what a human being is; (b) a discourse on the (technological and existential) future; (c) a social effort; (d) a loveless phenomenon; (e) men's violence against women; and (f) pedophilia. Accordingly, this discourse is very conservative and normative in its view of sexuality, technology, and humanity. Overall, the dominant themes do not provide any space for positive effects of technology on human sexuality, and if they do, it is usually as a substitute for something else.
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| 6. |
- Björklund, Elisabet, 1983-, et al.
(författare)
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Introduction : Beyond Swedish Summers
- 2016. - 1
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Ingår i: Swedish Cinema and the Sexual Revolution. - jefferson, North Carolina : McFarland. - 9781476665443 - 9781476625010 ; , s. 1-7
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Bokkapitel (refereegranskat)
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| 9. |
- 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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