| 1. |
|
|
| 2. |
|
|
| 3. |
- Vesterlund, Per, 1961-
(författare)
-
Arkivvärde, programvärde, marknadsvärde
- 2012
-
Ingår i: "Skosmörja eller arkivdokument". - Stockholm : Kungliga biblioteket. - 9789188468277 ; , s. 49-66
-
Bokkapitel (refereegranskat)
|
|
| 4. |
|
|
| 5. |
- Vesterlund, Per, Universitetslektor, 1961-
(författare)
-
Cinema studies in the service of liberty? : The early research on media effects by “Filmforskningsgruppen” at the Swedish Film Institute 1964–1971
- 2013
-
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.
|
|
| 6. |
- Vesterlund, Per, 1961-, et al.
(författare)
-
Citizen Schein : En introduktion
- 2010. - 1
-
Ingår i: Citizen Schein. - Stockholm : Kungliga biblioteket. - 9789188468185 ; , s. 6-29
-
Bokkapitel (refereegranskat)
|
|
| 7. |
- Vesterlund, Per, 1961-
(författare)
-
Dear Harry/Dear Paul – Selling the Concept of European Art Cinema in the 1960s
- 2011
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Dear Harry/Dear Paul – Selling the Concept of European Art Cinema in the 1960s In a letter written in August 1966 to Harry Schein (1924-2006), head of the Swedish Film Institute, the prominent Hollywood agent Paul Kohner (1902 -1988) asks for advices. He wants to take over the foreign distribution of the leading Swedish film producer Svensk filmindustri (SF), and wants Schein to help him. This letter is picked out from a long-standing correspondence between Schein and Kohner (lasting from 1960 to 1984) on economical matters concerning Swedish cinema in general, especially in relation to the careers of Ingmar Bergman and Ingrid Thulin.The 627 letters exchanged between Schein and Kohner (deposed in the personal archive of Harry Schein) are a source not only to the life and work of ceratin filmmakers and actors. The correspondence can also shed some light on strategies for the promotion of European art cinema in the US in the 1960s. Furthermore, the dialogue between Schein and Kohner represents discourses and attitudes regarding film as an art and as a medium in a time when the different institutions of cinema (criticism, production and governmental subsidies etc.) were changing rapidly. Key words: Film distribution, marketing strategies, national film politics, art cinema, References:Citizen Schein (ed: Lars Ilshammar, Pelle Snickars & Per Vesterlund) (Stockholm: Kungliga biblioteket, 2010)Elsaesser, Thomas, European Cinema: Face to Face With Hollywood (Amsterdam: Amsterdam University Press, 2005)Gomery, Douglas, Shared Pleasures: A History of Movie Presentation in the United States (Madison: University of Wisconsin Press, 1992)Kohner, Fredrick, The Magician of Sunset Boulevard: The improbable life of Paul Kohner, Hollywood Agent (Palos Verdes: Morgan Press, 1977)Staiger, Janet, Interpreting Films: Studies in the Reception of American Cinema (Princeton: Princeton University Press, 1992)Transnational Cinema in a Global North: Nordic Cinema in Transition, ed. Andrew Nestingen & Trevor G. Elkington (Detroit: Wayne State University Press, 2005)
|
|
| 8. |
|
|
| 9. |
- Vesterlund, Per, 1961-
(författare)
-
Eastern Connections : A brief overview of the film companies of the Swedish Labour Movement and their film trade over the Iron Curtain in the 1950s
- 2013
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- By the end of the 1940s the Swedish Labour Movement (The Social Democratic Party, the major trade unions, the co-operative union, etc.) owned two film companies – Nordisk Tonefilm and Filmo. Nordisk Tonefilm was for a few years one of the majors within the Swedish film and cinema market, fully integrated with theatres, distribution and production. Films from Nordisk Tonefilm also gained some international success. Hon dansade en sommar (One Summer of Happiness) directed Arne Mattsson in 1951 makes one example of a worldwide box office hit by the company. It was particular successful in DDR. This was not a coincidence. The Archive of Nordisk Tonefilm (as well as the one of Filmo) bares witness of an intense interaction with Eastern Europe. The two companies exported films to the countries behind the Iron Curtain, participated in festivals like the one in Karlo Vary, and regularly imported films from Soviet, Yugoslavia or other socialist states.In my paper I give examples of this international interaction during the 1950s, related to the film policy of The Social Democracy of Sweden in general.
|
|
| 10. |
- Vesterlund, Per, 1961-
(författare)
-
Elsa Brita Marcussen and Gerd Osten - Two leading film critics in post-war Sweden
- 2011
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Elsa Brita Marcussen and Gerd Osten - Two leading film critics in post-war Sweden Per Vesterlund, University of Gävle. Sweden In the years following World War II, the national Swedish cinema experienced an intense debate on the role that the medium of film should play in the society. Two distinct discursive practices among Swedish film critics can be identified in the period from 1945 to the early 1950s. An intriguing fact is that the two of the most explicit advocates of each camp in this public conversation were women. Gerd Osten (1914-1974, mother of hailed director Suzanne Osten) was an aesthetic and artistic ideal, concentrating her writing on style and thematic features in the work of important auteurs of the time. Elsa Brita Marcussen (1919-2006, daughter of social democratic prime minister Per Albin Hansson) was on the other hand more concerned about the function of film from a sociological point of view, pleading foremost for a national production of documentary film in the tradition of John Grierson, and of fiction films with an overt political tendency. This paper will deal with the writings of Marcusen and Osten respectively, and discuss their position in relation to the otherwise patriarchal sphere of film criticism in the 1940s.
|
|
