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Sökning: WFRF:(Brunow Dagmar Dr. phil. 1966 )

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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Archival narratives : Curating history and memory in digitized collections
  • 2019
  • Ingår i: Structures and Voices: Storytelling in Post-Digital Times.
  • Konferensbidrag (refereegranskat)abstract
    • How do archives employ narratives and storytelling to curate access to their digitized collections? Drawing on the results of my research project “The Cultural Heritage of the Moving Image” (2016-2018), this paper examines how film archives recontextualise and contemporize historical content online, how they reflect upon it and how they cope with legal constraints and ethical considerations. It presents findings from studying the processes of regulation according to which some stories become ‘acknowledgeable’ while others are not recognized. This paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management. It will look at ways of reflecting on hegemonic power structures in the curation of online content. The cases, looking especially at issues of race, class and sexuality, stem from both national film archives and ‘minor archives’, such as grass-root or community archives. Among these are ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB), as well as the Lesbian Home Movie Project (Maine) and bildwechsel, based in Hamburg.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Archival power and audiovisual memory : recognizing social inequality in film archives
  • 2019
  • Ingår i: Power & the media. XXVII IAMHIST Conference. - Newcastle : Northumbria University. ; , s. 23-23
  • Konferensbidrag (refereegranskat)abstract
    • How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and visibility in national film archives. Setting out to examine on what terms marginalised lives of social and ethnic minorities are made visible, it analyses the work of national film archives in Sweden and the UK. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). The paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management.  It will look at ways of reflecting on hegemonic power structures in the curation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Archival tactics and queer vulnerability : Curating access to audiovisual heritage in Europe
  • 2018
  • Ingår i: media tactics and engagement, The NECS 2018 Conference.
  • Konferensbidrag (refereegranskat)abstract
    • How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and queer visibility in audiovisual heritage. Setting out to examine on what terms queer lives are made visible, it analyses how national film archives in Sweden and the UK acknowledge queer vulnerability when following their diversity policies. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). These archival practices include the choice of metadata, the modes of selection for public screenings and online exhibition as well as the curation and contextualisation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitised collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • “Archival Vulnerabilities” : Invited talk
  • 2021
  • Ingår i: The Whole Life Academy, Workshop no 04 “Archival Burnout in the Age of Vulnerability: [Disobedient] Commons and their Dilemmas, Speculations, Emotions”. Haus der Kulturen der Welt, Berlin. 13. November 2021. - : Haus der Kulturen der Welt.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Att sätta arkivet i rörelse : Barbara Hammer
  • 2019
  • Ingår i: Magasinet Walden, Tidskrift för filmkritik. - : Föreningen Walden. - 2002-2891. ; :15/16, s. 4-11
  • Tidskriftsartikel (refereegranskat)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Audiovisual Memory and Placemaking in the Music City : Salford Lads in the Digital Era
  • 2020
  • Ingår i: Book of Abstracts, Groove the City 2020. - Lüneburg : Leuphana University of Lüneburg. ; , s. 11-12
  • Konferensbidrag (refereegranskat)abstract
    • This paper looks at the remediation of memory as a method of place making and negotiating urban spaces through music. It shows how music memories can be mobilised through the interplay of locations and digital tools. City tours, audio walks, tourist amateur photography or selfies in front of iconic buildings contribute to mapping the city. In classical concepts around the locatedness of memory (e.g. Pierre Nora’s notion of the lieux de mémoire), memories are tied to specific places. Yet, what is the ‘site’ of memory in times of digitization? The third wave of memory studies (Erll, Rigney, Rothberg) has focused on the transnational dynamics of memory, of memory as a process, as never stable, as always in flux. Drawing on my recent research on the digitization of audiovisual heritage, on the remediation of transcultural memory and on the construction of post-punk memory in Manchester, I argue that remediation creates nodal points (mnemotopes) around which narratives of the past are constructed. These mnemotopes can be mobilised for city branding (Brunow 2019). The paper argues that digital cultures (e.eg. social media) can be a means of “bringing home” transnational memories, tying these back into the local urban scape while remaining constantly in flux. Two cases of living archives will serve as theoretical objects to exploring the tensions of de- and reterritorialization within urban memory cultures: 1) The Salford Lad’s Club and 2) The Manchester Music Tours, a guided tour to locations relevant to bands such as Joy Division, The Smiths or Oasis.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Between Remembering and Forgetting : The Archive and Cultural Memory
  • 2018
  • Ingår i: Documenta archiv Konferenz: Archiving the Unarchivable – Das Unarchivierbare archivieren. - : Documenta Archiv.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • In the wake of the ‘archival turn’ the digitization of archival collections has been regarded as an important means of countering forgetting, especially in view of analog film stock and videotapes slowly decaying. But has digitization become a hollow promise? Can long-term preservation really be granted? The initial optimism has been challenged by the increasing number of data cemeteries, too. These are due to short-lived digitization projects, which are lacking sustainable planning. And to add, archival storage alone does not automatically contribute to cultural memory. Instead, archival holdings need to be circulated again, preferably in various media environments, in order to feed into our constantly changing, dynamic cultural memory. This keynote address will explore the relation between memory and forgetting in the archive. Advocating for sustainable archival projects, it will discuss the impact of materiality (e.g. paper, videotapes and digital data). Looking at media specificity involves the question of what gets lost in media transformation, for example in video documentations of performance art or expanded cinema. Situating itself within recent trends in cultural memory studies, the talk will outline the challenges and possibilities of today’s archival practice. Drawing on a number of case studies from the documenta archive as well as other heritage institutions, it will present ways of curating access to digitized collections. Different modes of access allow for a re-circulation of the archive, thus providing ways of constructing cultural heritage and memory.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Come together? : Curating communal viewing experiences for hybrid and online film festivals
  • 2020
  • Ingår i: NECSUS. - Amsterdam : Amsterdam University Press. - 2213-0217. ; :Autumn 2020_#Method
  • Tidskriftsartikel (refereegranskat)abstract
    • Are online festival editions completely unable to reproduce the community feel that analog festivals can create? This article sets out to challenge the simple binary of the analog versus the digital. Online viewing tends to be framed as an individual, solitary activity in contrast to the collective experience of watching a film offline in the cinema. Questioning the binary opposition often constructed between online and offline viewing, this article presents two best practice examples illustrating how a sense of community can be achieved while streaming films online. These two examples of communal viewing experiences in online formats, which I have been following during lockdown, are Carol Morley’s Friday Film Club and the event ‘Come Together’, arranged by the Swedish Archive for Queer Moving Images. Despite not being part of the film festival circuit, these cases provide best practice examples for film festival programming. 
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Curating (Queer) Film Archives and Creating Online Communities in Times of the Pandemic : The Swedish Archive for Queer Moving Images (SAQMI)
  • 2020
  • Ingår i: MAI: Feminism & Visual Culture. - : MAI: Feminism & Visual Culture. ; :6
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • The COVID-19 pandemic has inspired new forms of virtual community engagement. However, when events move online how can screenings maintain a sense of community, which has been so important when showcasing LGBTQIA + archives in actual venues? A valuable best practice example comes with an online event COME TOGETHER, which was arranged by The Swedish Archive for Queer Moving Images (SAQMI) in April 2020. Initially planned as a local gathering, the event moved online in response to the COVID-19 crisis. So, in what way can it serve as a model for other queer archives events?Dagmar Brunow, a film scholar at Linnaeus University in Sweden, and a member of the programming collective at the Hamburg International Queer Film Festival, speaks to Anna Linder (AL), the founder of SAQMI. The archive is the first to collect and curate queer moving images by filmmakers and video artists working in Sweden. SAQMI preserves their works and makes them accessible through curated film screenings, often in collaboration with festivals or cultural organisations from both Sweden and abroad.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Decolonizing audiovisual heritage in Europe : Migrant and diasporic lives in national film archives
  • 2018
  • Ingår i: Global Challenges 2018 : Borders, Populism and the Postcolonial Condition - An international conference on critical theory, postcoloniality, migration and populism.
  • Konferensbidrag (refereegranskat)abstract
    • We cannot speak of the past without the archive, Stuart Hall famously stated. The archive, now a buzzword in the arts and humanities, cannot be conceptualised without taking power relations into account (Foucault, Derrida, Stoler). In his keynote “Whose Heritage” (1999), Hall points at the hegemonic whiteness and at the interests of the middle class invested in the creation of heritage and memory in the UK. In recent years, many heritage institutions in Europe have started to emphasize the (albeit problematic) notion of “diversity” as a fundamental requirement for their work. However, when it comes to the impact of digitisation on audiovisual heritage, a post-colonial perspective is still missing. This paper, which is part of my research project “The Cultural Heritage of Moving Images” (financed by the Swedish Research Council, 2016-18), looks at the ways national film archives in the UK and Sweden try to face the challenges involved in carving out a discursive space for migrant and diasporic memories. Arguing that it is not enough to merely “insert” these memories into the hegemonic narrative, it will discuss ways of decentering the audiovisual heritage of the nation. My paper will look at archival approaches to avoiding essentialism and dealing with the politics of representation in film images into which a colonial gaze is already inscribed. How can the colonial gaze be foregrounded (or subverted) when creating access to film collections through online curation? This paper argues for the need of the archivists to take a self-reflexive stand which highlights the role of the archive as an agent in its own right.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Elin Wägner och filmen
  • 2018
  • Annan publikation (populärvet., debatt m.m.)abstract
    • När seklet var ungt skrev feministen och författaren Elin Wägner filmmanus, mest efter egna förlagor men också originalmanus. Bland annat till Anna Hofman-Uddgren, den första svenska kvinna som gav sig i kast med filmmediet. Dagmar Brunow berättar om Wägners engagemang i den nyfödda filmkonsten.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Filmen som inte blev av : Norrtullsligan i ny tappning
  • 2020
  • Ingår i: Bergsluft: medlemsblad för Elin Wägner-sällskapet. - Växjö : Elin Wägner-sällskapet. - 1103-4165. ; :92, s. 1-2
  • Tidskriftsartikel (populärvet., debatt m.m.)abstract
    • Elin Wägners legendariska roman blev stumfilm 1923. Men på 1940-talet fanns det planer att göra en ny version. Det var Elin Wägners kusin Lisa Ekedahl (Andéns advokatbyrå) som skulle skriva kontraktet. Men det blev aldrig av. Dagmar Brunow har studerat brevväxlingen mellan Elin Wägner och filmproducenten John Lindlöf.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • From the safe space into cyberspace? : The ambivalence of lesbian visibility in film archives
  • 2019
  • Ingår i: The Lesbian Lives Conference 2019. - Brighton : University of Brighton. ; , s. 6-6
  • Konferensbidrag (refereegranskat)abstract
    • Visibility has long been an important goal in European lesbian activism and an important means of political empowerment. Yet, visibility can also bring about an increased vulnerability for marginalized groups, especially in times of hate speech and an increasing political backlash. Moreover, we need to ask: whose visibility is recognized by whom, and on what grounds? In my paper I look at the ways both national and grassroot film archives recognize lesbian lives through collection and selection policies, through the use of metadata and via the curation of online access. Presenting case studies from the Swedish and British Film Institutes, from the Hamburg-based archive bildwechsel as well as the Lesbian Home Movie Project in Maine, this paper discusses the ambivalence of lesbian visibility after (amateur) film footage has left the safe space of the archive to be widely circulated online. The paper looks at legal and ethical challenges archivists are facing when dealing with nudity, lesbian affection and other representations which challenge hegemonic heteronormative scopic regimes. How can an ethically conducted archival practice be guaranteed? How can archives avoid making lesbian lives invisible again? This paper presents some of the results of my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council 2016-2018).
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • LGBT+ heritage, digital memories and film archives
  • 2019
  • Ingår i: Presented at OUTing the Past 2019 Festival Conference. LGBT+ Solidarity: Past and Present. - Belfast : Ulster University.
  • Konferensbidrag (refereegranskat)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Manchester’s post-punk heritage : mobilising and contesting transcultural memory in the context of urban regeneration
  • 2019
  • Ingår i: Culture Unbound. - : Linköping University Electronic Press. - 2000-1525. ; 11:1, s. 9-29
  • Tidskriftsartikel (refereegranskat)abstract
    • Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • På genomresa i tillvaron : Fluchtweg nach Marseille som minnesarbete
  • 2020
  • Ingår i: Magasinet Walden: Tidskrift för filmkritik. - Stockholm : Föreningen Walden. - 2002-2891. ; :17/18
  • Tidskriftsartikel (refereegranskat)abstract
    • This article conceptualises Ingemo Engström's film "Fluchtweg nach Marseille" as an essay film. It shows how the film, a loose literary adaptation of Anna Seghers' 1941 novel "Transit", creates a memory work around German emigration via France during the Second World War. 
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Queer Cinema
  • 2019
  • Annan publikation (populärvet., debatt m.m.)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Queer experimentfilm?
  • 2020
  • Ingår i: Filmform 1950-2020. - Stockholm : Stiftelsen Filmform. - 9789151973708 ; , s. 28-30
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Queer German Cinema
  • 2020. - 2
  • Ingår i: The German Cinema Book. - London : Bloomsbury Academic. - 9781844575305 - 9781844575312 - 9781911239413 - 9781911239420 ; , s. 371-382
  • Bokkapitel (refereegranskat)
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Recognizing ethnic and social minorities in audiovisual archives in Europe : archival challenges, community ethics and inclusive heritage
  • 2018
  • Ingår i: POEM Opening Conference.
  • Konferensbidrag (refereegranskat)abstract
    • Heritage institutions, such as museums, galleries or archives, have been increasingly attempting to acknowledge ethnic and social minorities (Steorn 2012; Sandell & Nightingale 2012; Axelsson & Åkerö 2016; National Trust 2017). They are some of the stakeholders in the process of heritage construction during which different interest groups negotiate political recognition (Smith, 2007). Attempts to counter previous the marginalization of lives and histories in collection and exhibition practice have coincided with diversity politics and the digital turn. Curating access to digitised collections still implies a number of challenges for official heritage institutions. Most prominently discussed are technological and legal issues, such as the interoperability of metadata and legal aspects, such as national property rights legislation. Less observed are today’s national directives and regulations for diversity politics with their quest for an inclusive heritage. Situated at the interface of film studies and memory studies, my paper will look at archiving as a ‘memory work’, intended to create future engagements with the past. Memory is understood as constantly in flux, as dynamic, transnational and transcultural (Rigney 2009, 2012 Erll 2011, 2014), as entangled, multidirectional (Rothberg 2009), always situated and pervaded by power relations (Radstone/Hodgkin 2010) and as mediated (Brunow 2015).The insight that memories are always mediated still needs further theorization, especially in terms of the production and circulation of images and narratives. My current research looks at the remediation of archival footage as an intervention into our audiovisual memory, which I have defined as the images circulating in a specific society at a given historical moment. My research project “The Cultural Heritage of the Moving Image”, financed by the Swedish Research Council, look at the practices of recognition in national and grass-root film archives.Drawing on the findings of my current research project “The Cultural Memory of the Moving Image” (Swedish Research Council 2016-2018 I will look at the works of audiovisual archives and their politics of recognizing diversity when curating access to digitized collections. In my research project I have been examining access strategies to digitised collections in national film archives in Sweden and the UK, as well as in community archives in Europe and the US. It analyses how film archives in Sweden and the UK, following their diversity policies, address and mobilise notions of ‘queer’, ‘Black’, ‘roma’ or ‘sami’, recognising and making visible marginalised lives and histories and how they negotiate the risks of increased visibility. In this approach, the archive is positioned as an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault, 1972; Stoler, 2002). Instead of examining how minorities as a priori identities are included in the archives, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer, 2008; Thomas et al., 2017).Archival practices enacting recognition and regulation include the choice of metadata, the modes of selection for public screenings and online exhibition and the curation and contextualisation of online content. The case studies will be the BFI Player, the online portal of the British Film Institute, and the Swedish website Filmarkivet.se, which has created access to some of the digitised collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB). I argue that collaborations between official film archives and community archives with their participatory memory work are highly necessary. Drawing on case studies regarding the recognition of ethnic minorities as well as LGBTQ-lives I will give an overview over possible modes of collaborations setting out to rework hegemonic scopic regimes, attempting to walk the fine line between surveillance and empowerment.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Recognizing Nordic colonialism in digital film archives : the Swedish example
  • 2021
  • Ingår i: 30th International Screen Studies Conference, Glasgow (online). - : University of Glasgow. ; , s. 7-7
  • Konferensbidrag (refereegranskat)abstract
    • This paper examines how national film archives acknowledge and recognise the colonial past in their digital collections. On what terms is the heritage of colonialism made visible (or not) in the curation of transnational audiovisual memories? How is this ‘difficult’ legacy dealt with? The paper discusses how archives can foreground the legacy of colonialism as a result of collection policies, politics of representation or metadata management. It will particularly point out ways of reflecting on hegemonic power structures in the curation of online content. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault, 1972; Stoler, 2002). The case studies will stem from the Swedish website Filmarkivet.se, which has created access to some of the digitised collections from the Swedish National Film Archives, and their recognition of Nordic colonialism in its various shapes, such as the audiovisual memories of the Sami, as well as the legacy of the Swedish mission in sub-Saharan Africa and India. My paper argues that the Swedish case provides a useful model for other European film archives.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Seven Ways of Activating Audiovisual Archives: What to think about when curating digital collections : Invited keynote
  • 2021
  • Ingår i: "Fringe of the Fringe - Die Privilegien der Subkultur im Gedächtnis von Institutionen“, 18. bis 20. November 2021, Institut für Medien- und Kulturwissenschaft der Heinrich-Heine-Universität Düsseldorf och Stiftung IMAI - Inter Media Art Institute (Düsseldorf). - : Inter Media Art Institute.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • Alternative Archivstrategien sind Interventionen in das kulturelle Gedächtnis. Im besten Fall bringen sie die dominante Geschichtsschreibung ins Wanken und erzeugen ein lebendiges Archiv für Gegenwart und Zukunft. Neben Fragen von Inklusion stellen sich für Film- und Videoarchive besondere Herausforderungen in Bezug auf Materialität und Nachhaltigkeit, Urheberrecht und Ethik. Kann die archivarische Praxis Lücken in archivarischen Sammlungen aufzeigen (oder womöglich schließen)? Ist es so einfach, marginalisierte Gruppen einzubeziehen? Wie lassen sich Ausschlüsse sichtbar machen und wie können Archive Ambivalenzen der Sichtbarkeit thematisieren? Und wie lässt sich mit schwierigem Erbe umgehen? Diese Keynote präsentiert Wege einer veränderten Sammlungspolitik und Zugangsgestaltung im Kontext aktueller gedächtnispolitischer Debatten.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Towards an archival study of screenplay versions : the role of screenwriting research for adaptation studies
  • 2022
  • Ingår i: Interfaces. - : College of the Holy Cross. - 1164-6225 .- 2647-6754. ; :47, s. 1-21
  • Tidskriftsartikel (refereegranskat)abstract
    • Archival holdings help us to better understand the collaborative process involved in screenplay development. This article mobilizes archival findings around the screenwriting process in order to contribute to recent debates within adaptation studies (Hutcheon, Bryant, Elliott, Elleström, Bruhn/Gjelsvik/Frisvold Hanssen, Stam, Rossholm). Setting out to bridge the gap between screenwriting studies and adaptation studies, this article argues that the study of screenplay versions, drafts and letters foregrounds the often overlooked artistic process involved in developing film adaptations. This article presents the case of the film adaption of Åsa-Hanna, based on the novel of the Swedish writer, journalist, suffragette, eco-critic and peace activist Elin Wägner (1882-1949) and the screenplay versions by Barbro Alving (1909-1987). It studies different script versions and ephemera at the manuscript collection at the Swedish Film Institute (Stockholm) as well as Wägner’s notebooks, drafts and letters at KvinnSam (Göteborg). The aim of this article is twofold: first, to contribute to adaptation studies by highlighting the role of the screenplay and the process of screenwriting in the process of transmediation. Second, to stress the importance of the industrial context of film production and distribution for adaptation studies.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Towards an inclusive audiovisual heritage? : The ambivalence of recognizing minorities in Swedish film archives.
  • 2018
  • Ingår i: 5<sup>th</sup> Lübeck Film Studies Colloquium.
  • Konferensbidrag (refereegranskat)abstract
    • Heritage institutions are currently trying to diversify national historiography by including narratives of ethnic and social minorities. This practice coincides with the digital turn which allows museums and (film) archives to remediate parts of their collections onto digital platforms. The recognition of specific groups, however, is not an easy task. Having to deal with government directives, the somewhat problematic legacies of collection policies and cataloguing practices, the lack of metadata as well as legal and ethical issues are but some of the challenges film archives are currently facing. At the same time, practices of recognition and the resulting visibility are ambivalent, as Johanna Schaffer (2008) and Tanja Thomas (et al, 2018) argue.This talk will draw on some of the findings of my research project “The Cultural Heritage of the Moving Image” (VR). My paper will outline some of the archival strategies of including ethnic and social minorities into the audiovisual heritage of the nation when curating access to digitized collections. Examining the website “filmarkivet.se”, run by its main content-providers the Swedish Royal Library (KB) and the Swedish Film Institute (SFI), I will look at the politics of recognition at work, will outline its ambivalences, and will suggest ways of how to acknowledge diversity without ending up in closed identity positions.
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  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Towards an inclusive audiovisual heritage? : The ambivalence of recognizing minorities in Swedish film archives
  • 2018
  • Ingår i: 5<sup>th</sup> Lübeck Film Studies Colloquium. - Lübeck : Nordische Filmtage Lübeck.
  • Konferensbidrag (refereegranskat)abstract
    • Heritage institutions are currently trying to diversify national historiography by including narratives of ethnic and social minorities. This practice coincides with the digital turn which allows museums and (film) archives to remediate parts of their collections onto digital platforms. The recognition of specific groups, however, is not an easy task. Having to deal with government directives, the somewhat problematic legacies of collection policies and cataloguing practices, the lack of metadata as well as legal and ethical issues are but some of the challenges film archives are currently facing. My paper will outline some of the archival strategies of including ethnic and social minorities into the audiovisual heritage of the nation when curating access to digitized collections. Examining the website “filmarkivet.se”, run by its main content- providers the Swedish Royal Library (KB) and the Swedish Film Institute (SFI), I will look at the politics of recognition at work, outline its ambivalences, and suggest ways of acknowledging diversity without ending up in closed identity positions.
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45.
  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Unqueering lesbian heritage? : Curating digital content in audiovisual archives
  • 2019
  • Ingår i: ALMS Conference Berlin 2019. - : Magnus-Hirschfeld-Gesellschaft. ; , s. 37-37
  • Konferensbidrag (refereegranskat)abstract
    • Visibility has long been an important goal in European lesbian activism and an important means of political empowerment. Yet, visibility can also bring about an increased vulnerability for marginalized groups, especially in times of hate speech and an increasing political backlash. Moreover, we need to ask: whose visibility is recognized by whom, and on what grounds? In my paper I look at the ways both national and grassroot film archives recognize lesbian lives through collection and selection policies, through the use of metadata and via the curation of online access. Presenting case studies from the Swedish and British Film Institutes, from the Hamburg-based archive bildwechsel as well as the Lesbian Home Movie Project in Maine, this paper discusses the ambivalence of lesbian visibility after (amateur) film footage has left the safe space of the archive to be widely circulated online. The paper looks at legal and ethical challenges archivists are facing when dealing with nudity, lesbian affection and other representations which challenge hegemonic heteronormative scopic regimes. How can an ethically conducted archival practice be guaranteed? How can archives avoid making lesbian lives invisible again? This paper presents some of the results of my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council 2016-2018).
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46.
  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Unqueering memory, erasing history? : The challenges of curating access to digitized film archival collections
  • 2019
  • Ingår i: Rethinking Knowledge Regimes. - : Swedish Secretariat for Gender Research, University of Gothenburg. ; , s. 139-140
  • Konferensbidrag (refereegranskat)abstract
    • Heritage institutions are currently trying to diversify national historiography by including narratives of ethnic and social minorities. This practice coincides with the digital turn which allows museums and (film) archives to remediate parts of their collections onto digital platforms. The recognition of specific groups, however, is not an easy task. Having to deal with government directives, the somewhat problematic legacies of collection policies and cataloguing practices, the lack of metadata as well as legal and ethical issues are but some of the challenges film archives are currently facing. At the same time, practices of recognition and the resulting visibility are ambivalent (Schaffer, 2008; Thomas et al 2018). This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including LGBT+-lives as based on a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’.LGBT+ lives in the archive have been defined by neglect, amnesia, or misrepresentations due to criminalization or pathologization. This is why specialized LGBT+ archives are often conceptualized as ‘safe havens’ for the queer community. Archival practice in such grassroot and community archives is often considered to be a labor of love, a practice of caring, an act of solidarity. Digitisation, however, is currently changing archival practice by allowing archival content to circulate online. What happens if footage filmed in separatist spaces or nightclubs leave the safe spaces of the archive and can be accessed worldwide by anyone? My paper looks at the risks and possibilities of today’s archival challenges when curating LGBT+ memories. Drawing on some of the findings from my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council), this paper will examine both the recognition of LGBT+ lives in the Swedish national film archive and in community archives, such as The Lesbian Home Movie Project (Maine) and bildwechsel (Hamburg).
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47.
  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Var ligger biodukens Småland? : Hur Elin Wägners Åsa-Hanna blev film
  • 2020
  • Ingår i: HumaNetten. - Växjö : Linnaeus University Press. - 1403-2279. ; :45, s. 305-322
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • Artikeln studerar den kreativa processen som ligger bakom en filmadaption tack vare olika manusversioner och kringmaterial som finns bevarade i olika arkiv.
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48.
  • Brunow, Dagmar, Dr. phil. 1966- (författare)
  • Vänskapens arkiv : tankar kring Elin Wägners boksamling, det kulturella minnets glömska och en historieskrivning bortom heteronormativiteten
  • 2022
  • Ingår i: Litteraturen i arbete. - Växjö : Trolltrumma. - 9789198632613 ; , s. 19-31
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • Med tanke på att Elin Wägner under hela sitt liv var involverad i olika feministiska nätverk, både i Sverige och internationellt, förefaller det synnerligen märkligt att tolkningar som problematiserar hennes liv utifrån ett queert perspektiv är så få. Artikeln vill inte pådyvla Elin Wägner en identitet som hon inte haft. Tvärtom: ambitionen är att befria Elin Wägner från den heteronormativa tvångsjacka som ofta styrt tolkningen av hennes verk och liv. Denna artikel grundar sig alltså inte i identitetspolitik utan den ifrågasätter förbiseenden som ett heteronormativt perspektiv medför, som oreflekterat utgår ifrån att alla är heterosexuella tills motsatsen är bevisad. Det handlar således inte om att etikettera Wägner, utan att använda sig av hennes queera vänskapskrets för en möjlighet att skapa nya tolkningsramar. Artikeln kretsar kring arkivens tystnad och minnets bubblande dynamik. 
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49.
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