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| 2. |
- Hyvönen, Mats, 1973-, et al.
(författare)
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The Formation of Swedish Media Studies, 1960–1980
- 2018
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Ingår i: Media History. - : Taylor & Francis Group. - 1368-8804 .- 1469-9729. ; 24:1, s. 86-98
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Tidskriftsartikel (refereegranskat)abstract
- Around 1960, the politics of the emerging media society in Sweden tended to fixate the formative functions of mass communication. The monopoly of public service broadcast media, press subsidies and new tendencies in film policy were some of the issues around which uncertainty prevailed. New methods to provide reliable data were sought by politicians, since empirical facts were required as arguments for an updated media policy. This article examines the different ways that the field of media studies was introduced in Sweden between 1960 and 1980. We argue that Swedish academic media studies departed from, and emerged within, a rather diffuse borderland between industry, politics and academia. The formation of national media research in Sweden can partly be seen as an effect of politicians and the media industry wanting to be better informed on issues such as media influence, media ownership and the habits and composition of the media audience.
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| 4. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
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Cinema studies in the service of liberty? : The early research on media effects by “Filmforskningsgruppen” at the Swedish Film Institute 1964–1971
- 2013
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- An often-neglected aspect of the Swedish film reform in 1963 is the ambition to liberalize the governmental censorship. In 1964 the founder of the Swedish Film Institute (SFI), Harry Schein, initiated a Group of scholars from different academic fields (sociology, psychology, pedagogy, political science) with the purpose to study the effects of films on audiences. The group worked with individual or collective projects, studying audiences and genres. The aim for the research from Scheins point of view was crystal clear – films cannot be proved to cause damage. For the researchers the initiative from SFI rather provided an opportunity to institute new research on media effects. In this paper I will deal with the tension between Scheins intentions and the scientific practice of the group, and I will also discuss the impact the project might have had on the Swedish film and media studies of the 1970s and 1980s.
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| 6. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
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Home to the Village – The politics of domestic migration represented in Swedish TV-fiction in the 1960s and 1970s
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The longest-running TV-drama serial in the history of Swedish television is Hem till byn (Home to the village). The first episode was shown in November 1971, and the last one was aired in October 2006. Hem till byn was originally intended as a mini-series of six episodes, but popularity gave it seven more seasons during more than three decades. The broad historical context of Hem till byn was the urbanization of Sweden in the 1960s and early 1970s. With the national project “miljonprogrammet” [the million programme], a mass housing public program, the Swedish government intended to put an end to the housing shortages. About one million new dwellings were built during a ten-year period (1.005.578 dwellings 1965-1974). The suburbs of the three largest cities – Stockholm, Gothenburg and Malmö – are the most usual examples of this huge project, but most Swedish cities were subject to a massive change concerning the design of the cityscape. During all seasons of Hem till byn, the centre of the story is a small rural village in the south-west of Sweden, and its inhabitants. Domestic migration and urbanization are main themes all through Hem till byn, especially during the first three seasons 1971-1976. A narrower historical context of Hem till byn is the production strategy of Swedish Television during the late 1960s and early 1970s. With influences from foremost recent developments of semi-documentary narration in British TV-drama, Swedish public service broadcasting company Sveriges Radio radically changed the drama production policy in the late 1960s. Swedish TV-drama was now focusing social issues. Rural depopulation was one such issue. In this paper I will discuss and analyse this theme in the first three seasons of Hem till byn, as well as in other contemporary drama productions. Key concepts are among others urbanisation, (anti-)modernism, environmental critique and realistic drama.
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| 8. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
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Loyalty and Betrayal in Swedish TV-fiction : The radical 1970s and contemporary Nordic Noir
- 2018
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Swedish TV-drama from the 1970s and (to lower extent) the 1980s have usually been identified with an overt social content. Societal institutions of the welfare state, like public schools or health care, were often in focus. When the Scandinavian crime fiction of today is said to contain social perspectives, and sometimes to depict the disruption of the welfare state, Swedish TV-fiction of the 1970s seems to have been just as critical towards the contemporary society.The paper will discuss the aesthetic and rhetorical strategies in the narrative and visual depiction of the relation between individual characters and institutions. With vulnerability as one main concept, the era of Swedish TV-fiction of the 1970s and 1980s will be related to later periods – foremost contemporary criminal fiction of the 2010s. The interplay between vulnerability of institutions and the vulnerability of citizens will be one of several tentative thematic issues discussed.
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| 9. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
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Myglaren – Media Tactics in the Wake of the New Swedish Film Policy of 1963
- 2018
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Konferensbidrag (refereegranskat)abstract
- The Swedish “film reform” of 1963 – when the Swedish Film Institute (SFI) was founded, and a national system of film subsidies was to be introduced – led to changes in the strategies of national film production and a general institutionalization of national film culture and art cinema values.In the history of Swedish cinema, a less high-lighted effect of the new system is the different kinds of temporary tactical enactments that followed the reform. These media tactics could often be recognized as temporary or singular actions. There were frequently examples of producers pre- or postponing the opening night of a film in order to have the premiere registered in the “right” year; or of producers adding scenes to film to reach the required length for a feature film to be entitled to subsidies. These tactical manoeuvres were regularly reported on by the press. Not only were the long-term strategies of fitting into the “Ingmar Bergman-pattern” discussed, but also short-sighted attempts to deceive the new system gained public attention. In 1966 the film Myglaren (The Fixer) by Jan Myrdal and Rune Hassner was subject to both these discourses in the public debate. The film was an overt critique of the social democracy, but also an implicit critique of the new film policy. Originally produced for TV, the film was not entitled to any subsidy. The two directors, however, staged one single showing in a movie theatre, in order to be able to apply for funding from the SFI. The aim of their application was also to start a debate on the film reform.In this paper, I will make this outstanding case pivotal in a discussion of strategies and tactics in Swedish 1960s cinema.
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| 10. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
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Norsk film A/S: En kulturhistorie
- 2020
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Ingår i: FLM. - 1654-711X. ; :4, s. 68-69
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Recension (populärvet., debatt m.m.)
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