I två analyser av filmerna; Do The Right Thing av Spike Lee (1989) och Hemligheter och lögner av Mike Leigh (1996), har jag undersökt  hur och varför samhällsproblematik  som berör klass- och rasfrågan presenteras på film utifrån hur cultural studies teoretiskt förhåller sig till problematiska relationer mellan kulturella identiteter i USA och Storbritannien. Jag kom fram till att identifikationen av den kulturella identiteten var olika i respektive länder; USA och Storbritannien. I USA var rastillhörigheten utgångspunkten för den kulturella identiteten och i Storbritannien var det klasstillhörigheten utgångspunkten för den kulturella identiteten.

Studien undersöker fenomenet undervisning med bildkonst och dess potential för ett growth mindset hos barnen. Growth mindset är en del i en psykologisk inlärningsmodell för att öka barns och elevers mindset att välkomna utmaningar och därigenom uppleva att de lyckas. Forskning kring estetiska lärprocesser för ämnesöverskridande lärande berör främst matematik och litteracitet, men har inte studerats som ett verktyg för uppnå ämnesövergripande effekter på lärandet, som delvis kan exemplifieras med growth mindset. Syftet är att undersöka fenomenet förskollärares undervisning med bildkonst, genom att fördjupa kunskapen om verksamma pedagogers upplevelser kring bildskapande konstarter med barn i förskolan. Frågeställningarna är; Vilka är förskollärarnas resonemang och upplevelser om bildkonstens betydelse för barns lärande?, Vilka psykologiska meningsbärande enheter uppstår i förskollärares resonemang om undervisning med bildkonst? samt Vilka effekter av ett growth mindset framträder i förskollärarnas berättelser om arbetet med bildkonst?. Studien har utgått från fenomenologisk vetenskapsteori tillsammans med psykologisk teori om fixed och growth mindset. Narrativ intervju användes tillsammans med video stimulated reflection i studiens datainsamling. The Descriptive Phenomenological Psychological Method används som analysmetod. Studiens resultat mynnade ut i fyra psykologiska meningsbärande enheter; Förskollärares ledarskap, Bildundervisning i förskolan, Bildkonst som mål eller medel? och Skapandets roll i förskolan. I studien visas en växelverkan mellan effekter av ett fixed- och ett growth mindset i förskollärarnas resonemang kring fenomenet undervisning med bildkonst. Växelverkan tydliggjordes i förskollärarnas resonemang kring deras pedagogiska ledarskap och syfte när de i undervisning med bildkonst tog hänsyn till barnens intressen och skapande. Och samtidigt efterleva läroplanen och rikta barnens lärande mot bildundervisningens innehåll. Slutsatsen är att undervisning med bildkonst har potential att uppnå effekten av ett growth mindset i barns lärande.

This study aims to investigate social user engagement on digital gaming platforms through the research question: What challenges are there when designing for social engagement on digital gaming platforms? Social user engagement means that user's engagement between each other is facilitated through functions on the digital platform such as Facebook and Twitter. Previous research on user engagement on digital gaming platforms has tried to create user engagement through new social functions. However, there are problems for designers of digital gaming platforms because users choose to interact and communicate on other digital social platforms. The fact that users choose to communicate on other digital platforms than on digital gaming platforms may be linked to the fact that users of digital gaming platforms have a different purpose and need with their interaction. It is therefore important when designing digital gaming platforms to have new functions as an extension of the digital gaming platform's basic functions and that user's game-related goals are prioritized. The study was based on a design-oriented research approach where three design elements have been implemented and evaluated through a probe. The study resulted in four design challenges that are intended to target designers of digital gaming platforms as a support for the development of digital gaming platforms. The identified design challenges are recommended to be considered to improve user's experience on digital gaming platforms.

Den mänskliga horisonten har alltid varit föremål för expandering. Sökandet efter att finna ny potential i vårt biologiska pussel har varit, och är, något som ständigt utvecklas. En kontroversiell gren i detta sökande utgörs av transhumanism. I denna uppsats tillämpas den teori och ideologi som utgör transhumanism, och återknyts övergripande till filmerna ”Robocop” och ”Gattaca” då dessa filmer belyser punkter som berör denna teori. Frågor som väcks utifrån denna teori är olika aspekter av makt, vilket knyts samman med en marxistisk teori om makten, men även utifrån Michel Foucaults biopolitik. Analysen avslöjar att det finns många bekymmer med transhumanismen, samtidigt som den inte på något sätt är en detaljerad redovisning av alla perspektiv av teorin – den är diskutabel, men tåls att kritiseras utifrån dess olika grenar och användningsområden.

Studien utförs via en kvalitativ forskningsmetod, som fokuserar på frågeställningar anknutna till filmerna och teorierna, och där egna tolkningar utgör det resultat som framställs i uppsatsen.

Jag har i min undersökning inriktat mig på konsten utanför konsthistorieskrivningen.De verk jag har valt att studera är tre offentliga skulpturer placerade iEslöv- Leda och svanen, Prima Veraoch Morgon. Dessa verk är valda då dealla kom till staden under 1950-talet och inget av dem är gjort i denmodernistiska tradition som konsthistorien berättar om för tiden. På detta sättfår jag även möjlighet att uppmärksamma konst i en liten stad som annars intebrukar ges så mycket plats. Även om motiven har klara likheter och går att seur ett genusperspektiv, då de alla föreställer unga nakna kvinnor, är varkengenus eller motiven i sig något jag fokuserar på i min undersökning. Jag har velat se på vilket sätt den konst jag har undersökt skiljer sig frånden konst konsthistorien berättar om vid den här tiden.  De undersökta verken följer en mer klassiskbildtradition av föreställande motiv medan konsthistoriska översiktsverk vidden här tiden fokuserat mycket på abstrakta uttryckssätt, stränga geometriskaformer, nya material och skulpturer som utmanar betraktarens upplevelse avrummet. I konsthistorisk mening kan de verk jag har undersökt kanske inteklassas som moderna, men att de därmed inte skulle vara intressanta uttryck försin tid är fel och därmed borde även dessa verk nämnas i konsthistoriskaöversiktsverk.Samtiden verkar ha uppskattat dessa skulpturer, även om en av dem – Leda och svanen av Helge Högbom, väcktedebatt i stadsfullmäktige när den skulle köpas in. Det fanns de som ansåg attstaden inte hade råd med sådan utsmyckning och att om man tvunget skulle ha enskulptur fick det vara en som var mer tilltalande än den här. Prima Vera av Michele Paszyn har blivitmer omtalad de senaste åren än när hon kom till Eslöv men hon ansågs både dåoch nu som en av stadens förnämsta offentliga skulpturer. Morgon av Nils Möllerberg skänktes till staden av Sparbanken ochdet ansågs som en mycket fin gåva till det nya modernistiska medborgarhuset.Placeringen är en viktig del när det kommer till offentliga verk och därförnågot jag undersökt närmare hos dessa tre skulpturer. Leda och svanen köptes in specifikt för den plantering hon står i,man ville skapa en centralpunkt. Hennes närvaro gör att planteringen blir tillen fast plats och inte bara en yta som blev över mellan husen. Prima Vera ställdes från början i enrelativt undanskymd plantering bredvid kyrkan, men på grund av flerastöldförsök flyttades hon till en mer synlig plats framför gamla rådhuset 2011.Morgon står bredvid eldstaden imedborgarhuset. Det är en olycklig placering då man där inte har möjlighet attgå runt verket vilket gör att man missar ryggtavlan. Konstnären Möllerberg ärkänd för sina vackert skulpterade ryggar och just denna skymda rygg är särskiltintressant då man där tydligt ser att kvinnan knäpper sin Bh vilket förklararnamnet på skulpturen. Som utgångspunkt för min uppsats har jag använt Maria Görts avhandling Det sköna i verklighetens värld då hondär visar upp det glapp som finns mellan konsthistorien och konsten som inspireratmig i min undersökning.

Människans stressiga vardag påverkas genom konsumtionssamhället, där relationen mellan människor blir förbisedd och riskerar då att hamna i situationer där människans värde förminskas. Denna uppsats kommer att behandla konsumtionssamhället och hur detta påverkar människan och dess relationer, där även kvinnans roll kommer betonas, då hennes del i konsumtionssamhället och reklamen är stor. De filmer som kommer behandlas i analysen är Väninnorna (1960) av Claude Chabrol, Den Lena Huden (1964) av Francois Truffaut, och Den Röda Öknen (1964) av Michelangelo Antonioni. De teorier som kommer användas i analysen är Det andra könet (1995)av Simone de Beauvoir, Kvinnornas svarta bok av Christine Ockrent och Sandrine Treiner (2007), där dessa verk kommer användas genom att undersöka kvinnans roll, i ett dåtidens och ett nutidens perspektiv, samt hennes roll i media. Undersökningen gällande konsumtionssamhället och de mänskliga relationerna kommer analyseras genom Erich Fromms teori Kärlekens konst (1982), där en fokusering på de negativa sidorna av konsumtionssamhället kommer behandlas. Metoden som skall användas är hermeneutiken.

Resultatet av min analys visade att konsumtionen kan skapa negativa situationer för individen, där dess sociala liv och relationer kommer i andra hand, samt hur individen kan känna rädsla för ensamhet i samhället. Konsumtionen och den stress den medför gör det svårare för individen att fokusera på de sociala relationerna, där tålamod krävs inom ett förhållande. Kvinnan situation i konsumtionssamhället visar på en stereotyp som skapas genom reklam och media, vilket gör att hon hamnar i en utsatt position.

I uppsatsen behandlas två filmer av filmskaparen Hayao Miyazaki: Nausicaä från vindarnas dal och Prinsessan Mononoke. Uppsatsen börjar med en kort bakgrundsbeskrivning av Miyazaki för att sedan gå in på dennes tankar kring naturen, filmerna, framtiden och den värld som vi lever i idag. Därefter följer analyser av de två filmerna som innehåller handling, viktiga karaktärer, teman, motiv, budskap och diskussion. I denna del tar jag också upp det visuella i Nausicaä från Vindarnas dal och Prinsessan Mononoke. Jag tittar även på vad andra har sagt om filmerna och skriver om kraften i det visuella med utgångspunkt i artikeln The ecological and consumption themes of the films of Hayao Miyazaki av Kozo Mayumi, Barry D. Solomon och Jason Chang. Uppsatsen avslutas med en slutdiskussion.

In this essay I’ve chosen to do a comparative analysis of the two films Män som hatar kvinnor (Niels Arden Oplev, 2009) and The girl with a Dragon tattoo (David Fincher, 2011) based on feministic theories. I have done this with the intent of comparing the two versions way of viewing the woman. The analysis is based on my own questions, observations and interpretations, and has a hermeneutic approach.

My conclusion is that “The girl with at Dragon tattoo” is closer to Stieg Larsson’s original story that both films are based upon, though the Swedish film Män som hatar kvinnor has got more of a feministic purpose. Män som hatar kvinnor proved to have a feministic perception of women. I found this to be much like the more radical forms of feminism, whereas The girl with the Dragon tattoo often tends to fall back to cinematic tradition, by depicting the lead role of Lisbeth Salander by the traditional female stereotype.

I denna uppsats undersöker jag vilken plats konstnären Tora Vega Holmström tog i det konstnärliga fältet utifrån hennes kapitalsinnehav och habitus genom Pierre Bourdieus teorier om fält, habitus och kapital. Jag undersöker även vilka förutsättningar hon hade som kvinnlig konstnär vid början av 1900-talet, vilka hinder hon mötte och vilka val hon gjorde på grund av sitt kön.Holmström levde under osäkra villkor i och med att hon var kvinna i ett mansdominerat fält och måste hela tiden kämpa för rätten att ägna sig åt sitt yrke. Under hela sitt liv levde hon ogift och födde inte heller några barn då det var svårt att kombinera detta med sitt konstnärskap. Att inte gifta sig var ett medvetet val från Holmströms sida, hon ville ge sin uppmärksamhet åt sitt konstnärskap. I enlighet med hennes samtids krav hade hon blivit underordnad den man hon äktat vilket var en värdering hon vägrade acceptera. Holmströms uppväxt utmärktes av goda förutsättningar att placera sig i det konstnärliga fältet och hon skaffade sig både ett habitus och ett gott kapitalsinnehav passande för fältets ramar. Dock var detta aldrig tillräckligt mycket för att slåss om en högre position i fältet.Holmström hade goda förutsättningar att avancera i fältet men ett flertal orsaker höll henne tillbaka. Hennes nederlag var kritikerna och hennes brist på framstående kontakter i fältet som gjorde att hon aldrig blev en i toppskiktet av fältet. Holmström hade ett brett kontaktnät, med flera högt ansedda personer inkluderade så som Ellen Key eller Adolf Hölzel. Detta tycks dock inte hjälpt hennes position i fältet.Min undersökning visar att hon positionerar sig nedanför mittenstrecket, närmre det unga avantgardet, dragen mot den intellektuella polen i det kulturella produktionsfältet i Donald Broadys schema över det kulturella fältet. Hon var aldrig en av kulturfurstarna, men inte heller var hon en konstnär som arbetade för en kommersiell produktion.

Self-tracking devices and apps often measure and provide interpretations of personal data in a rather straightforward way, for instance by visualising the speed and distance of a run or the quality of sleep during a night. There is however a growing number of devices that take the data analysis further by providing insights and algorithmic advices about domains of our lives that are otherwise thought of as difficult to grasp. This paper explores two devices of this kind, namely the Moodmetric and the ŌURA which are two recently released smart rings with associated mobile apps that claim to measure emotions and rest, promote happiness and help users to perform better. Whereas several studies have shed light over how users engage with self-tracking apps and devices, little attention has been paid to how these technologies stem from dreams, hopes and imaginaries of designers and developers. This paper approaches self-tracking from a producer perspective in order to frame how users and their everyday lives are imagined by designers and how these assumptions are built into the technologies. Empirically, the paper is based on a content analysis of blog posts, marketing materials and user guides from the ŌURA and Moodmetric companies along with video interviews with company representatives as well as recordings of their public appearances. Engaging with the field of software studies as well as the emerging field of self-tracking studies, this paper aims at providing a basis for further design oriented studies of self-tracking.

Artificial Intelligence (AI) has provided user experience (UX) designers with a richer toolset. To use technologies such as Machine Learning (ML) that can expand their creative capacity to design intelligent services. ML has the capability to enhance the user experience, for example, by improving efficiency, personalization, and context-aware adaptation. However, research suggests ML as a challenging design material in UX practice, such as difficulties in comprehending data dependencies when prototyping, or the lack of tools and methods for evaluating adaptive user experiences. Previous research indicates that lack of knowledge transfer into the UX design practice may hamper innovative potential. This work aims to provide new insights on how designers think about – and experience – design for AI-powered services. It is important to make ML-powered services beneficial and sustainable for end-users, organizations, and society. Therefore, we explore UX designers’ reflections and experiences of using ML in a design context. We have performed nine deep explorative interviews with professional designers that work with ML. The respondents have different backgrounds, seniority, and work in different sectors. The collected interview material was qualitatively analyzed and resulted in five conceptual themes for how UX designers experience the design context surrounding AI-powered services: 1) Absence of competence, 2) Lack of incentive for competence development, 3) Challenges in articulating design criteria, 4) Mature vs. Immature clients, and 5) Lack of support for ethical concerns. We provide implications for how these themes affect the design context and practice. © 2022, The Author(s), under exclusive license to Springer Nature Switzerland AG.

Mellan 1961-1974 skickade den svenska konstnären Thea Ekström väldigt många brev till sin mentor, konstprofessor Oscar Reutersvärd. Av dessa brev har jag läst ca 20 stycken och bland dem fanns ett antal som konstnären själv kallade för ”trollbrev”, brev med en sida text och en sida med målade bilder. Det är dessa trollbrev och framförallt bilderna i dem som har stått i centrum för denna uppsats.Det jag har undersökt är hur konsthistorieskrivningen har sett ut kring Thea Ekström och vilken eventuell påverkan Oscar Reutersvärds status i konstvärlden har haft på denna. En annan del av undersökningen har bestått av att analysera Thea Ekströms trollbrev utifrån Margaretha Rossholm Lagerlöfs teori om inlevelse och vetenskap och om ett annorlunda sätt att genomföra en bildanalys. Jag har med hjälp av denna metod ”gått in i” bilden jag har analyserat. Det finns även med en biografisk bakgrund om både Thea Ekström och Oscar Reutersvärd.Genom dessa undersökningar har jag framförallt kommit fram till hur, och att, det går att tyda konstnärens känslor genom hennes trollbrevsbilder. Att bilderna, på ett ungefär, speglar vilket humör Ekström var på när hon gjorde dem. Detta kan ses genom att sätta bilden i relation till den text den hör samman med. Här hittade jag tydliga paralleller mellan Ekströms humör och färgval och även vissa drag åt en medveten, eller omedveten, naivism. Även när jag satte mig in i en av hennes trollbrevsbilder fick jag vissa känslor och intryck som gav en uppfattning om konstnärens känslostatus vid tiden för skapandet. Det var både färgvalen, formerna och den övergripande balansen som påverkade mina upplevelser. Jag har även kommit fram till att Thea Ekström troligen inte hade någon direkt fördel av att ha Oscar Reutersvärd som mentor, när det kommer till hur hon framställs i konsthistorieskrivningen. Däremot har det visat sig att Oscar Reutersvärd hade stor betydelse för Ekströms skapande och att hans åsikter var viktiga för henne. Reutersvärds inflytande på Ekströms karriär låg alltså på ett personligt plan på det sätt att han uppmuntrade henne till att utforska sitt konstnärskap och att hon hela tiden sökte hans godkännande. Det som står om henne i den konsthistoriska litteraturen är ytterst begränsat och väldigt intetsägande men det finns ett par intressanta exempel på försök att placera in Ekström i fack och genrer.

In this article, Carl Czerny’s Letters to a Young Lady on the Art of Playing the Pianoforte (1837) is studied as a machine manual within the cybernetic economy of James Watt’s governor. It is argued that while the young pupil is encouraged to subject herself to a strict discipline of physical deportment at the piano, this activity is in conflict with her own desire to become a self-regulated learner. The key claim made is that although Czerny’s surveillance strategy prevents Miss Cecilia from breaking with the cybernetic ideal and appropriating the pianistic technology for purposes of virtuosic self-expression, she becomes aware of her latent agency and its potentially subversive implications for gendered music making. As such, Czerny’s piano manual addressed to the stereotypical nineteenth-century piano girl anticipates the pianistic discourse associated with the invention of the player piano at the turn of the twentieth century. © The Author(s) 2018.

The picture of the bourgeois woman seated at the piano is a familiar one. It has been reproduced in countless paintings, photographs and fictional accounts. Piano playing was one of the accomplishments to be displayed by the nineteenth-century young lady in the private sphere. Today we tend to regard this woman as a decorative relic, who was engaged in an unsystematic leisure activity, victimised by lacking career opportunities and far removed from the realities of industrial life in mid-nineteenth-century England. In fact, her pleasant music-making could be considered the antithesis of factory discipline, according to which time was strictly regulated by the demands of making a profit. During long working hours in the factory, the mechanistic principle disciplined the body; the movement of hands and legs, for instance, was subject to surveillance. As late as the early twentieth century, Havelock Ellis described how foremen were encouraged to monitor young women seated at sewing machines in order to prevent sexual excitement as a result of the wrong positioning of their legs. In comparison, solitary music-making in a secluded home appears to be the very epitome of harmony and freedom. However, I argue that the similarities between female factory workers and amateur lady pianists were greater than our construction of the Victorian period may lead us to believe. Factory discipline was implemented in bourgeois homes all over England. The standard piano practise for young women restricted physical freedom to such an extent that, like factory workers, they were fettered to a machine, the pianoforte. This mechanisation of music was established through the musical institution of the conservatory. Due to the emergence of conservatories all over Europe, the virtuoso became the norm for all pianists. The repertoire was standardised as was the recommended hours of practise. Thus, the distinction previously made between a professional pianist and an amateur disappeared. In addition, the more sophisticated the pianoforte became, the more it turned into a machine that had to be controlled. More often than not, though, the woman was controlled by the machine. Hand gymnastics was introduced as one means of preparing the fingers for the machine-like activity of performing almost impossible pianistic feats without wasting any time. Thus engaged in the virtuoso factory at home, the lady pianist would have no time for such potentially subversive activities as day-dreaming. Ironically, not until piano playing was in actual fact mechanised due to the launching of the player piano, were women freed from their musical servitude. In 1901 they had access to 6,000 music rolls, which they could operate at their own liberty without previous practise. What is more, while doing so they were at leisure to make the music accompany their own thoughts and desires.

Launched at the turn of the twentieth century, the semi-mechanical player piano opened up canonical music to new audiences by sidestepping musical literacy. In contrast to other more or less contemporary technical appliances for recording and reproducing sound, the player piano granted its operator the freedom of individual expression. While the machine produced the notes, the performer was at liberty to modify the tempo and the expression. Due to this manipulation of the original score, it became a gender-political instrument. As such, it had a significant effect on the perception, performance and appreciation of music, and thus implicitly on the fictional treatment of these phenomena.

The argument in this paper is built on the notion that the composer’s script as encapsulated in the piano roll could be subjected to such a highly individual treatment that almost a new composition emerged in the process. My first fictional example is from E. M. Forster’s posthumously published Maurice (1971) in which the potential for new gender perspectives that the player piano could provide is glimpsed but rejected. It is argued that it was as great an anomaly to break against heteronormativity as to distort sonata form in Edwardian society. My next two examples demonstrate how the player piano facilitated self-expression and individuality for women performers. Both Lucy Honeychurch in Forster’s A Room with a View (1908) and Miriam Henderson in Dorothy Richardson’s Pointed Roofs (1915) challenge Beethoven’s iconic status and musical form by manipulating the male script and exploring a new pianistic behaviour informed by the mechanical discourse. In my concluding discussion, I will illustrate how the player piano was also a tool for a masculinisation of Chopin’s music. Here I will be referring to Henry Handel Richardson’s Maurice Guest (1908) and James Huneker’s Melomaniacs (1902). 

In her study of music making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano’s operator had a subversive effect on traditional notions about the status of the musical work itself and about the people who were variously defined by their relationship to it. She examines works by Dorothy Richardson, E.M. Forster, Henry Handel Richardson, Max Beerbohm and Compton Mackenzie, among others, contending that Edwardian fiction with music as a subject undermined the prevalent antithesis, expressed in contemporary music literature, between a nineteenth-century conception of music as a means of transcendence and the increasing mechanisation of music as represented by the player piano. Her timely survey of the player piano in the context of Edwardian commercial and technical discourse draws on a rich array of archival materials to shed new light on the historically conditioned activity of music making in early twentieth-century fiction.

This article explores the therapeutic potential of the performing audiobook voice. It takes its point of departure in the view that the audiobook negotiates the semantics of a text and its vocal manifestation. A key idea is that the performing voice is an affordance for creating a salutogenic sense of coherence in the listener. The argument is theoretically situated within the context of the psychology and sociology of music with affect regulation and ‘health-musicking’ as significant elements. The British actress Juliet Stevenson’s reading of Virginia Woolf’s second novel Night and Day (1919) will be approached as a case of ‘health-musicking’ and an event-based appreciation of sonic culture. This discussion will focus on the listeners’ appropriation of the sound object for their own empowering purposes.

Syftet med min undersökning har varit att undersöka receptionen kring det ryska konstkollektivet Pussy Riot. Jag har försökt att finna svar på vad det är för omständigheter som ligger bakom uppmärksamheten som gruppen har fått internationellt och i Sverige. Detta har jag gjort genom att utgå från ett genusperspektiv med en speciell inriktning på feministisk konstteori. Med hjälp av internationella artiklar och svensk dagspress har jag gjort en övergripande analys av receptionen kring Pussy Riot och deras konst. Genom materialet har jag kunnat undersöka olika kontexter som Pussy Riots konst har skapat reception inom. Det kritiska förhållningssättet som väst har mot Ryssland har även tagits del av samt Rysslands syn på jämställdhet och yttrandefrihet.

Pussy Riot bildades 2011, sedan dess har gruppen uträttat ett flertal performance på oväntade platser i Moskva. Platserna har varit noga utvalda och ofta finns det en symbolisk anknytning till gruppens performance. Pussy Riot har valt punken som uttrycksätt då det är en populärkulturell uttrycksform som gör deras konst lättillgänglig och slagkraftig. Deras färgstarka kläder och rånarluvor är omsorgsfullt utvalda för att få dem att sticka ut men ger dem även en image. Pussy Riots konst går ut på att protestera mot den ryska regimen och dess närstående relation med den rysk-ortodoxa kyrkan. I samband med den ryska revolutionen så var kvinnorörelsen mycket stark i Ryssland. Man hade ett välutvecklat utbildningssystem där kvinnor hade friheten att välja sin egen utbildning. I dagens Ryssland kan man se att den rådande konservativa politiken och den ortodoxa kyrkan har gjort att feminister har det svårt att ta sig fram. Pussy Riot har dock lyckats nå ut med sin kamp för mänskliga rättigheter och jämställdhet genom att vara interaktiva på sociala medier som Youtube. Genom internet har gruppen fått ett stort mediastöd som har ökat uppmärksamheten kring dem. Det har förmedlats genom media, tidningar, tidskrifter, bloggar och sociala medier. Pussy Riots sätt att arbeta med sin konst är alltså välanpassat till dagens media- och internetsamhälle.

Västvärlden har en komplicerad bild av Ryssland som har kommit att påverka att Pussy Riot har fått mer uppmärksamhet än vad andra politiskt laddade aktioner har fått. Media har ett kritiskt onyanserat sätt att förhålla sig till Ryssland, detta har haft stor inverkan på att Pussy Riot har fått ta plats i Svenska tidningar. Uppmärksamheten till Pussy Riot har även påverkats av den syn som Ryssland har mot jämställdhet och yttrandefrihet. När tre av gruppens medlemmar dömdes till fängelse efter deras performance i Frälsarkatedralen blev uppmärksamheten ännu större. De har genom det fått tagit plats som frihetskämpar som vi i västvärlden gärna vill följa och stödja.

Purpose: This study aims to discuss the contribution of street art projects to the place-making of villages and the effects it generates for local stakeholders. Design/methodology/approach: A conceptual framework is developed based on the main characteristics of the place-making process, street art, creative place-making, as well as place identity, revitalisation and regeneration. This framework defines a set of thematic categories for the qualitative content analysis of online information, e.g. websites, media and blog posts, as well as in-depth interviews with local stakeholders. Findings: This research presents the contribution of street art in place-making involving citizens, local businesses and international artists in a collective act to preserve local identity and revitalise and regenerate villages. Research limitations/implications: The research is focused only on villages. Cities are not considered in the research. Practical implications: Street art projects provide villages with several opportunities, such as stimulating place regeneration and revitalisation, giving new shape and decoration to neighbourhoods and streets and attracting visitors and business. Moreover, street art is commonly used to communicate local history, culture, traditions and social and political facts, helping places to vehiculate their identity and their messages to the next generations. Street art is also used as a part of a place branding strategy. Social implications: The village gets the opportunity to exploit the street art value proposition to stimulate the restocking of the place, if the primary stakeholders of the place are ready to invest in the new place identity giving trust to the street art project. Originality/value: Street art projects contribute to the place-making of villages. They are used to communicate place identity, fostering cooperation between local stakeholders and economic and social development. © 2024, Emerald Publishing Limited.

Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.

Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory. © 2011 Intellect Ltd Article.

The fact that Black artists are quite often pigeonholed as spokespersons of Black experience is due to a mimetic understanding of art. Using examples from 1980s Black British diasporic filmmaking I would like to shift the analytical focus from representation and mimesis towards art as interventionist practice. The mysterious deaths of young Black men in police custody form the point of departure for an exploration of memory and mourning in Mysteries in July (Black Audio Film Collective, 1991). Additionally, the Sankofa film collective's Territories (1985) is an exploration of urban space, historiography, heterotopia and Black masculinities, while practices of surveillance and the framing of Blacks via media discourses are addressed in Handsworth Songs (Black Audio Film Collective 1986). These filmic essays, instead of looking at the black male as a given social problem, reflect on its construction through discourses of media and governmentality. Rather than creating a counter-discourse, these films abstain from trying to depict events "as they really happened". Instead, they deconstruct the hegemonic media discourse through the use of self-reflexive means. While counter practices often assume a unified essentialist stand (as in concepts of Afrocentrism and négritude, for example) I would suggest that in 1980s diasporic Black British filmmaking self-reflexivity is employed as a strategy which might be able to solve a notion of "strategic essentialism" (Spivak). Filmmaking thus serves as an epistemological tool to deal with the gaps, fissures and absences in the national visual archive and in hegemonic historiography while at the same time defying notions of homogeneity and authenticity. The use of self-reflexivity enables the films to reflect on modes of exclusion of the Black subject from hegemonic discourses on the ontology of the image and on the filmic apparatus. To sum up, my paper outlines auteurist strategies of dealing with the exclusion of both the official canon and of the collective visual archive of the nation.

Das populäre Hindikino, schon immer hybrid, ist seit den 1990er Jahren ein globales Phänomen. Die Ausrichtung auf ein internationales Publikum hat Konsequenzen für die Produktion, Ästhetik und Distribution der Filme. Inwiefern kann eine transnationale Perspektive dem Wandel Bollywoods vom Kino zur Kulturindustrie (Rajadhyaksha) Rechnung tragen? Der Beitrag untersucht veränderte Distributionsbedingungen, lokale Rezeptionen und Aneignungen sowie Bollywoods globale Fankultur.

Review of the DVD edition of Macpherson's experimental film "Borderline", a British avant-garde classic negotiating issues of race and sexuality.

This article describes the function of the metareferential turn in black British filmmaking of the 1980s. Metaisation is here a result of the impact of European art cinema (Godard, Paradjanov, Kluge) as well as of Third Cinema practice and of the ‘essay film’ represented by Alain Resnais, Chris Marker and Jean-Luc Godard. Using the examples of Handsworth Songs and Seven Songs for Malcolm X by the Black Audio Film Collective, directed by John Akomfrah, as well as Isaac Julien’s Looking for Langston and The Attendant, this article outlines five functions of metareference. First, it can be regarded as a means to counter and reflect on the absences in the visual archive in Britain and of questioning the master narrative of British historiography. Second, it is used as a way of transgressing the boundaries of representation and of escaping the fruitless debate about negative and positive stereotypes. Third, metaisation is employed as an artistic strategy in order to inscribe oneself as an auteur into film historiography. Fourth, it can be regarded as a means of escaping the critical label of the social realist filmmaker who deals with the representation of black experiences. Finally, metaisation contributes to a reconceptualisation of the works in terms of both media theory and the essay film.

Review of filmmaker and DJ Don Letts' autobiography

Intervju med Werner Krebs, medlem av de oppositionella s k "Swingjugend" under nazismen.

Intervju med Hans Peter Viau, medlem av de oppositionella s k "Swingjugend" under nazismen.

Artists like Isaac Julien or John Akomfrah, founding member of the legendary Black Audio Film Collective, have recently made increasing use of the gallery space and the art circuits. John Akomfrah's The Genome Chronicles and Mnemosyne were created and exhibited as film installations, and so were most of Isaac Julien's recent works, e.g. Fantôme Créole, True North and Baltimore. Yet, even more striking is the fact that Handsworth Songs, the 1986 filmic essay by the Black Audio Film Collective, initially commissioned for television (Channel 4), 25 years after its premiere has experienced a renaissance when it was screened at the renown international art exhibition documenta XI. Recently, Tate Britain has acquired the piece for its collections, which in turn has been shown as a temporary video installation. What impact does the shift from the black box to the white cube have for Black British avant-garde film-making? I argue that the changed modes of distribution and exhibition are closely connected to a reconceptualisation of the works (Eshun 2011, Brunow 2011). This, in turn, has consequences for the auteur-status of the artists and, subsequently, the canonisation of their films and installations. I suggest that Handsworth Songs, while previously being classified as a 'documentary' (Corner 1996) and as a representation of a pre-given reality, should be perceived as a mediation on memory, colonialism and historiography. In creating a collage of archive footage, photographs and tableaux vivants, the film reflects on the ontology of the image and the racifying structures inherent in photography and the filmic apparatus. In the paper I will analyse the film’s aesthetic politics while taking a closer look at the use of intermediality and self-reflexivity as a means to transgress the notion of representation in favour of a performative turn towards the notion of film-making as intervention.

A review of the recent issue of the feminist journal of film studies "Frauen und Film" and the previous edition of the journal testcard with its focus on gender studies. Using the issue of "Frauen and Film" as an example, the review argues for the need to include the notion of masculinity into gender studies.

This paper explores contemporary art practice in Hamburg as a way to counter current trends of regeneration in different areas of the city. While officials promote the concept of “the growing city”, artists have employed various strategies of resistance.

For a couple of years now, artists, urban anthropologists or filmmakers have been mapping the city from different perspectives (urban, audio, post-colonial). The paper presents the case study of an artistic intervention organised by the independent radio station FSK collaborating with a dozen artists and researchers in a workshop. In a “futurist search for traces” a mapping of disappearing city sounds forms the first part of the project. In a second step these soundfiles are archived on the website of radio aporee (http://aporee.org/maps/). Here the sites and sounds can be accessed by GPS-enabled mobile devices. Aporee thus forms an expanding archive which enables us to trace changes in urban space, e.g. in the course of gentrification. The paper analyses the politics of disappearance as a counter strategy and critically examines archival practices to rescue oppositional experiences.

How do artists deal with the lack of discursive space for the representation of Blackhistory? While Spike Lee depicts the story of Malcolm X in an epic mode, the British Black AudioFilm Collective (BAFC) rather focuses on the ruptures, gaps and fissures of Black history. Theirfilm Seven Songs for Malcolm X (1993), which hit the cinema screens only a few months later than its US-counterpart, thus forms an interesting contrast to Lee’s feature film, in particular as itwas photographed by Spike Lee’s and Julie Dash’s cinematographer Arthur Jafa. Moreover, boththe BAFC-productions Handsworth Songs (1986) and Isaac Julien’s Looking for Langston (1989)acknowledge that Black history cannot be told in a linear mode. Instead, in centring around memoryand oblivion they focus on the “ghosts of stories” rather than on a chronological positivist narrative.My argument is that during the 1980s the BAFC (John Akomfrah, Reece Auguiste, Edward George,Lina Gopaul, Avril Johnson, David Lawson, and Trevor Mathison) as well as other British filmcollectives like Sankofa (Isaac Julien, Martina Attille, Maureen Blackwood and Nadine Marsh-Edwards) developed a modernist filmmaking that consciously employs formalistic means in orderto undermine the traditional depiction of history and memory inscribed into the Industrial Mode ofRepresentation.My paper explores the following questions: In what way did the industrial context in the 1980s enablethe avant-garde practices of British independent filmmaking? What aesthetic devices does the BAFCemploy to point at the “absence of ruins” (Derek Walcott)? How are modernist poetic strategies usedto reveal the “ghosts of history”? And in what way can Black British filmmaking be regarded as a siteof remembrance, as a part of postcolonial historiography?

Acclaimed German film director Fatih Akin‘s documentary Wir haben vergessen zurückzukehren (We forgot to return home, 2001) and Sandhya Suri’s film essay I for India (2005) both deal with questions of memory and belonging. Both films employ a parallel strategy of the filmmakers interviewing their parents, who migrated to Germany (from Turkey) or to Britain (from India) respectively. Suri’s film is based on super8-footage shot by her father that was originally sent to his family in India, recording the life of this 1st generation migrant family in Britain. In turn, Suri’s family received films and tapes from India. Thus, the home movie footage forms an epistolary account of the creation of transnational memory production. Furthermore, her film shows how some experiences are silenced and how a certain (official) narration of home and belonging is created. Also Akin’s film not only documents migrant history, but is in itself a document of the construction of memory.I would like to focus on the following questions: How does individual memory become collective memory? What aesthetic devices (use of archive footage, modes of self-reflexivity) do the filmmakers employ to broaden the narrative, to make the personal political? In what way do these films form a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible?In what way can these films become a source for migrant historiography? Do they even exceedthe representational level? My point is that these films are not mere documentaries and should not only be read from a mimetic perspective, as “representations” of “ethnicity”, but are more interesting to look at from the perspective of performativity. They show in what way memory is shaped, how a narrative is constructed and how individuals create their own perception of reality. Thus, they take an anti-essentialist stand and avoid presenting their characters as objects, granting them agency and subjectivity instead.

In its highly self-reflexive mode, questioning the notion of filmic images as ‘visible evidence’, the essay film is an epistemological tool for the study of visual politics. Therefore, it can offer useful insights into the mediatization of cultural memory. This paper will look at the use of the essay film by minoritized groups (Black, diasporic, feminist, queer), focussing on the remediations of archival footage. How can essay films be conceptualised as an emancipatory practice opening up discursive spaces for vernacular and alternative memories without lapsing into essentialism? Using Black British avant-garde filmmaking as an example, this paper examines filmic interventions into the visual archive. It outlines three practices of an anti-essentialist use of images defying notions of ‘truth’ and ‘authenticity’:  reworking the archive as a) ways of deconstructing hegenomic representation, b) as archaeological excavations into the archive, and c) as a mode of carving out discursive spaces for utopian visions.