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  • 301.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Borderline: Ein Film von Kenneth Macpherson2009In: testcard #18: Regress / [ed] Athens, Atlanta (ed.), Behrens, Roger (ed.), Büsser, Martin (ed.), Engelmann, Jonas (ed.), Ullmaier, Johannes (ed.), Mainz: Ventil Verlag , 2009, no 19, p. 294-295Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

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

  • 302. Brunow, Dagmar
    British Queer Cinema, ed. Robin Griffiths2007In: Extremismus / [ed] Roger Behrens, Martin Büsser, Tine Plesch, Johannes Ullmaier, Mainz: Ventil , 2007, p. 282-282Chapter in book (Other academic)
  • 303.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Cultural Memory as Counter Historiography: The Archival Practice of German Video Collectives2011Conference paper (Refereed)
  • 304.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing Essentialism and Revising Historiography: The Function of Metareference in Black British Filmmaking2011In: The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation / [ed] Werner Wolf, Katharina Bantleon and Jeff Thoss, New York: Rodopi, 2011, p. 341-355Chapter in book (Refereed)
    Abstract [en]

    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.

  • 305.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing essentialism: metareference as aesthetic strategy in Black British filmmaking2009Conference paper (Refereed)
  • 306.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing representation: ’Handsworth Songs’ as media criticism and filmic intervention2009Conference paper (Refereed)
  • 307.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Hamburg University, Hamburg, Germany.
    Der Essayfilm. Ästhetik und Aktualität2012In: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 32, no 4, p. 637-639Article, book review (Refereed)
  • 308.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    "Die Stadt hören": Soundscapes als Archive von Gentrifizierungsprozessen2010Conference paper (Other academic)
  • 309.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Don Letts: Culture Clash. Dread Meets Punk Rockers2010In: Testcard #19: Blühende Nischen / [ed] Atlanta Athens, Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2010, p. 262-263Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of filmmaker and DJ Don Letts' autobiography

  • 310.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    "Es war ein mentaler Widerstand": Erinnerungen von Werner Krebs2002In: Getanzte Freiheit: Swingkultur zwischen NS-Diktatur und Gegenwart / [ed] Alenka Barber-Kersovan & Gordon Uhlmann, Hamburg: Dölling und Galitz , 2002, p. 119-122Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

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

  • 311.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    "Es war nicht mein Krieg": Erinnerungen von Hans Peter Viau2002In: Getanzte Freiheit: Swingkultur zwischen NS-Diktatur und Gegenwart / [ed] Alenka Barber-Kersovan & Gordon Uhlmann, Hamburg: Dölling und Galitz , 2002, p. 104-111Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

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

     

  • 312.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film als Historiographie.: "Handsworth Songs" als Dekonstruktion kolonialer Geschichtsschreibung2012In: "All We Ever Wanted..." Eine Kulturgeschichte europäischer Protestbewegungen der 1980er Jahre / [ed] Hanno Balz, Jan-Henrik Friedrichs, Berlin: Karl Dietz Verlag Berlin , 2012, 1, p. 107-119Chapter in book (Refereed)
  • 313.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film als kulturelles Gedächtnis der Arbeitsmigration: Fatih Akıns "Wir haben vergessen zurückzukehren"2011In: 50 Jahre türkische Arbeitsmigration in Deutschland / [ed] Ozil, Şeyda, Hofmann, Michael & Dayıoğlu-Yücel, Yasemin, Göttingen: V&R Unipress, 2011, p. 183-204Chapter in book (Refereed)
  • 314.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film as historiography: Mediations of social unrest, urban landscapes and surveillance in 1980s Black British filmmaking2010Conference paper (Refereed)
  • 315.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Filmisches Gedächtnis als (trans)kulturelle Selbstverortung: Anti-essentialistische Strategien in Fatih Akins "Wir haben vergessen zurückzukehren"2012Conference paper (Refereed)
  • 316.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film-making as intervention: The performative turn and the political avant-garde2011Conference paper (Refereed)
    Abstract [en]

    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.

  • 317.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Halmstad University, School of Humanities (HUM).
    Frauen und Film. Heft 61. Krieg und Kino. Stroemfeld.1999In: testcard. Beiträge zur Popgeschichte #9: Pop und Krieg, p. 272-275Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    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.

  • 318. Brunow, Dagmar
    Hess, Sabine/Ramona Lenz (Hg.): Geschlecht und Globalisierung. Ein kulturwissenschaftlicher Streifzug durch transnationale Räume.2003In: Linke Mythen / [ed] Roger Behrens, Martin Büsser, Tine Plesch & Johannes Ullmaier, Mainz: Ventil , 2003, Vol. 12, p. 276-276Chapter in book (Other academic)
  • 319. Brunow, Dagmar
    Im Bett mit Marcuse. Sexualitätsdiskurse in der radikalen Linken. Im Gespräch mit Massimo Perinelli2008In: Testcard #17: Sex / [ed] Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2008, no 17, p. 20-23Chapter in book (Other (popular science, discussion, etc.))
  • 320.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Mapping the Sound of the City: Artistic Counter Practice in Hamburg's Regeneration Areas2010In: Mapping, Memory and the CitySchool of Architecture, University of Liverpool 24-26 February 2010 ABSTRACTS, 2010Conference paper (Refereed)
    Abstract [en]

    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.

     

     

  • 321. Brunow, Dagmar
    Marie-Hélène Gutberlet/Hans-Peter Metzler (Hg.) Afrikanisches Kino. Olivier Barlet Afrikanische Kinowelten. Die Dekolonisierung des Blicks.2003In: Linke Mythen / [ed] Roger Behrens, Martin Büsser, Tine Plesch & Johannes Ullmaier, Mainz: Ventil , 2003, Vol. 12, p. 286-287Chapter in book (Other academic)
  • 322.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Modernist Cinema as Black (Atlantic) Historiography – Aesthetic Strategies in Black British Filmmaking2009In: Panels of the Eighth Conference of the Collegium for African American Research, 2009Conference paper (Refereed)
    Abstract [en]

    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?

  • 323.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Performativity, Self-reflexivity, and the Archive. Transnational family memory as national counter-historiography in Fatih Akin‘s Wir haben vergessen zurückzukehren (2001) and Sandhya Suri’s I for India (2005)2009In: Families and Memoriesisa Committee on Family Research OSLO, JUNE 15-17, 2009: ABSTRACTS, 2009Conference paper (Refereed)
    Abstract [en]

    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.

  • 324.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Representation and performativity: Methodological considerations on film and historiography. The example of Baader-Meinhof2009In: Historier: Arton- och nittonhundratalens skönlitteratur som historisk källa / [ed] Christer Ahlberger, Henric Bagerius, Carl Holmberg, Ulrika Lagerlöf Nilsson, Pia Lundqvist, Tomas Nilson, Brita Planck, Göteborg: Institutionen för historiska studier, Göteborgs universitet , 2009, p. 44-56Chapter in book (Other academic)
  • 325.
    Brunow, Dagmar
    Hamburg University, Hamburg, Germany.
    Reworking the archive: the essay film as an intervention into cultural memory2013Conference paper (Refereed)
    Abstract [en]

    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.

  • 326.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Roy Andersson2012In: Directory of World Cinema: Sweden (IB - Directory of World Cinema) / [ed] Marcelline Block, Bristol: Intellect Ltd., 2012Chapter in book (Other academic)
    Abstract [en]

    A portrait of the Swedish director Roy Andersson

  • 327.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Soundscapes als akustisches Gedächtnis der Stadt: künstlerische Strategien gegen Gentrifizierung2011In: Access denied: Ortsverschiebungen in der realen und virtuellen Gegenwart, Mainz: Ventil , 2011, Vol. 20, p. 37-41Chapter in book (Other academic)
  • 328.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The cultural heritage of collective filmmaking in Germany: The archival practice of independent film and video workshops2011Conference paper (Refereed)
    Abstract [en]

    Collective filmmaking practice in Germany is still a blind spot in film historiography. This is all the more surprising since independent film and video workshops established a nationwide network of political media practice during the 1970s. Inspired by Brecht and Tretjakov, Negt/Kluge and Enzensberger, their aims were twofold: first, to empower political activists departing from Tretjakov’s idea of “operative” art and second, to establish film archives and distribution networks. Yet, currently the archives are facing severe problems concerning  preservation: as the video tapes slowly disintegrate, the memory of the various media practices of the last decades is fading away. As digitization is costly and time-consuming, many video productions will not survive. This has, as I will argue, consequences not only for (left-wing) historiography, but also for the visual iconography of cultural memory. My paper focusses on the archival practice of two workshops in Hamburg: the mpz (Medienpädagogikzentrum, 1973-) and bildwechsel, the feminist film archive (1979-).  International influences such as the independent workshop sector in the UK as well as questions of auteurism and canonisation will be discussed.

  • 329.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The Ghosts of History and Cities as Palimpsest: Colonial spaces and visual archives in British avant-garde filmmaking2009Conference paper (Refereed)
  • 330.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The language of the complex image: Roy Anderssons's political aesthetics2010In: Journal of Scandinavian Cinema, ISSN 2042-7891, Vol. 1, no 1, p. 83-86Article in journal (Refereed)
    Abstract [en]

    Departing from the opening scene of Roy Anderssons’s 1991 short Härlig är jorden/World of Glory, the article gives an overview of the director’s political aesthetics outlined in his book Vår tids rädsla för allvar (‘Our Time’s Fear of Seriousness’, 1995/2009).

    Through the use of static long shots, stylization and the condensation of time and space Andersson attempts to activate reflection upon existential questions such as solidarity, mutual support and the individual’s responsibility. In this scene from World of Glory Andersson links these ideas with a critique on Swedish passivity during the Holocaust.

  • 331.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    ’We Have a Button for Every Job, But We Have No Button to Help Us Cry’ - G/localising Bollywood in Germany2009In: Glocal Imaginaries: Writing / Migration / Place : Lancaster University 9-12 September 2009 : Conference Abstracts, 2009Conference paper (Refereed)
    Abstract [en]

    Hell broke loose when Bollywood megastar Shahrukh Khan arrived at the 2008 Berlin Film Festival. While until then popular Hindi cinema and its star system had gone practically unnoticed in the German mainstream media, SRK's visit to the Berlinale epitomised that Germany, like Israel and the Gulf nations, despite its comparatively small numbers of NRIs, is an expanding market for the Hindi film industry.My aim in this paper is two-fold. First, instead of offering empirical audience research, I would like to emphasise the importance of the industrial context for the reception of film. Therefore, I am going to have a closer look at how distribution and marketing have contributed to changing the reception of Bollywood from being a diasporic cultural practice among NRIs (as well as for instance Turkish and Afghan immigrants) to attracting (female) audiences of the German majority. While reception studies often deal with the function of Bollywood for diasporic audiences, my focus lies thus on the discursive shift from margin to centre.Second, using the city of Hamburg as an example, I would like to complicate the category of “nation” in reception studies. Therefore, I am interested in aspects of how physical spaces like cities shape the reception of cultural products. In what ways have Bollywood films been distributed and circulated in Hamburg? What impact did the shift from community screenings in cinemas to video rentals in Desi stores to DVD consumption have? Does the internet eventually contribute to outweighing localised cultural practice? In short: what are the defining factors that the German reception of Bollywood can no longer be exclusively conceptualised in terms of “where you're from”, but of “what you're at”?

  • 332. Brunow, Dagmar
    Western: Zwischen nationalem Kino und transnationaler Hybridkultur2013In: Filmwissenschaftliche Genreanalyse: Eine Einführung / [ed] Markus Kuhn, Irina Scheidgen & Nicola Valeska Weber, Berlin: Walter de Gruyter, 2013, p. 39-61Chapter in book (Refereed)
  • 333.
    Brunow, Dagmar
    et al.
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Achinger, Christine
    Jentz, Janina
    Mühlhäuser, Regina
    Engendering Airwaves: Zur Konstruktion von Geschlecht im Radio2001In: Radio-Kultur und Hör-Kunst: Zwischen Avantgarde und Popularkultur 1923-2001 / [ed] Andreas Stuhlmann, Würzburg: Königshausen und Neumann , 2001, p. 24-38Chapter in book (Other academic)
    Abstract [en]

    The article theorises how the radio as a medium constructs gender positions and presents a case study of the Hamburg independent radio FSK 93,0

  • 334.
    Brunström, Joakim
    Halmstad University, School of Humanities (HUM).
    Inställningar till Fotbolls-EM: Hur samhälleliga och ekonomiska effekter värderas av den svenska befolkningen på västkusten2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Idrottsevenemang lyfts ofta fram som något som medför positiva ekonomiska effekter för destinationen som arrangerar det. Regeringen fattade dock beslut om att inte arrangera fotbolls-EM 2016 och denna studie berör allmänhetens uppfattning av den här typen av arrangemang. Närmare bestämt är det övergripande syftet med föreliggande studie att studera boende på den svenska västkustens inställning till ett Fotbolls-EM i Sverige. För att uppnå denna målsättning kommer följande forskningsfrågor att besvaras:

    • Vilken inställning har invånare på den svenska västkusten till ett Fotbolls-EM i Sverige?
    • Vilka positiva konsekvenser ser de att detta kan ge för samhälle och ekonomi?
    • Vilka negativa effekter ser de att detta kan ge för nationen?

    Studiens teoretiska ramverk kretsar kring sportturism och de komponenter som ingår i detta forskningsfält. Vidare förklaras att samhällsutvecklingen och den ökade globaliseringen har inneburit en stor ökning av sportturism runt om i världen. För att ge läsaren en inblick i huruvida idrottsevenemang historiskt sett varit ekonomiskt hållbara för värdnationen, presenteras resultat från tidigare evenemang där trenden pekar på en uppgång sedan av mitten av 1980-talet. Sociala och sociokulturella faktorer tas också upp för att förklara för läsaren hur sportevenemang faktiskt kan bidra till ett bättre samhälle och hjälpa den enskilde individen.

  • 335.
    Brusewitz, Oskar
    Halmstad University, School of Teacher Education (LUT).
    Identification: Problem or opportunity?2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 336. Brödje, Catrine
    Bourdieu och tiotalets svenska litterära fält: Kvinnliga författare i skuggan2001In: Häften för Kritiska Studier, ISSN 0345-4789, Vol. 34, no 1, p. 51-61Article in journal (Refereed)
  • 337. Brödje, Catrine
    Den drunknade kvinnan: En förändrad genusordning i början av förra seklet2002In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 123, p. 111-129Article in journal (Refereed)
    Abstract [en]

    Catrine Brödje, Women's death by drowning. A literary motif at the turn of the century 1900 

    The picture of a dead woman was a common motif around the previous turn of the century. In the four literary texts that I am studying in this essay, a woman drowns. The texts are Georg Heym's poem "Die Tote im Wasser", Bertolt Brecht's ballad "Vom ertrunkenen Mädchen", Kate Chopin's novel The Awakening and Anna Lenah Elgström's short story "Det sjungande barnet". 

    It is strange that women's death by drowning is a common motif in these four different texts published between 1899 and 1927 in Sweden, Germany and the United States. It may be a coincidence, but the common motif is there and therefore calls for a comparison.

    Brecht's, Heym's, Chopin's and Elgström's texts are read in the light of the changed gender order, which was a result of the discourse on modernity in the early 1900s, and thereby the different gendered views on the motif women's death by drowning are made visible. The essay will explore the possibility of letting female and male writers establish a dialogue, where both the female and the male voices are heard instead of stopping at the fact that the motif of women's death by drowning becomes solely a male monologue.

  • 338.
    Brödje, Catrine
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    En heteromedial läsning av Molly Johnsons roman Pansarkryssaren (1955)2010In: Översättning – adaption, interpretation, transformation: IASS 2010 proceedings : föredrag vid den 28:e studiekonferensen i International Association of Scandinavian Studies (IASS) i Lund 3-7 augusti 2010 / [ed] Claes-Göran Holmberg och Per Erik Ljung, Lund: Lund University Open Access, 2010Conference paper (Refereed)
  • 339.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    En heteromedial läsning av Molly Johnsons roman Pansarkryssaren (1955)2010Conference paper (Other academic)
  • 340.
    Brödje, Catrine
    Stockholms universitet, Stockholm, Sverige.
    Ett annat tiotal: En studie i Anna Lenah Elgströms tiotalsprosa1998Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis investigates the literary texts by Elgström in relation to the political, cultural and literary context of the years between 1910 and 1920.

    Among her contemporaries Elgström was important, but today she is completely unknown. The literary criticism of her time is one of the reasons why her writings have been transferred to the periphery. When she made her début, Elgström was very positively received. After that, the literary critics were not capable of seeing the innovative aspects of her prose of that period and a discussion of incomprehensibility was initiated, in which words like hysterical, extatic and exalted became catchwords. It appears that Elgström created a form of expression that was not yet accepted in literature. The male dominated literary criticism was at a loss and Elgström was ignored.

    The prose she wrote during the period in question has a distinctly experimental approach. In her literary texts, that are violating the standard conventions, Elgström appears as a female modernist and creates alternative images in the form of feminist and pacifist utopias. Expressionism is the modernist movement that can mainly be related to her prose of this period. Like the expressionists, she expresses a new sense of life which is permeated with religious conceptions.

    In the study the female modernism is seen in a feminist perspective, as well as in a perspective of gender theory where networks constitute an important basis. Elgström often worked in female networks and thus she became an important figure in the context of female literature and female politics of that time.

    By showing Elgström's kinship with the nation-wide early Swedish modernism, the Finno-Swedish modernism and the German expressionism, as well as by illustrating Elgström's position in the context of female literature and female politics of that time, the study contributes to a different image of the 1910s.

  • 341.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Eva Heggestad, Alice Lyttkens i och om 1930-talet. Skrifter från Centrum för genusvetenskap. Uppsala 20092010In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 131, p. 476-478Article, book review (Other academic)
  • 342. Brödje, Catrine
    Frisk och sjuk litteratur. Gunilla Domellöf, Mätt med främmande mått. Idéanalys av kvinnliga författares samtidsmottagande och romaner 1930-19352001In: Kvinnovetenskaplig tidskrift, ISSN 0348-8365, Vol. 22, no 3-4, p. 127-130Article, book review (Refereed)
  • 343.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Hur gör litteratur motstånd mot krig? Sofi Qvarnström, Motståndets berättelser. Anna Lenah Elgström, Marika Stiernstedt, Elin Wägner och första världskriget2010In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 40, no 1, p. 77-79Article, book review (Other academic)
  • 344.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    I en imaginär dialog2004In: Fortællingen i Norden efter 1960: [den 24. IASS-studiekonference 2002] / [ed] Anker Gemzøe, Aalborg: Aalborg Universitetsforlag, 2004, p. 304-309Chapter in book (Other (popular science, discussion, etc.))
  • 345.
    Brödje, Catrine
    Department of Comparative Literature, Lund University, Lund, Sweden.
    Kanon, genre och genus: Anna Lenah Elgström och Birgitta Trotzig2003In: Genrer och genreproblem: Teoretiska och historiska perspektiv / [ed] Beata Agrell & Ingela Nilsson, Göteborg: Daidalos , 2003, p. 151-157Chapter in book (Refereed)
  • 346.
    Brödje, Catrine
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Kritikern och Den nya kvinnan. Exemplen Fredrik Böök, Anna Lenah Elgström och Elin Wägner2003In: Horisont, ISSN 0439-5530, no 4, p. 13-20Article in journal (Refereed)
  • 347.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Kropp och kön i Frida Steenhoffs tidiga dramatik - från Lejonets unge (1896) till Kärlekens rival (1912)2008Conference paper (Other academic)
  • 348. Brödje, Catrine
    Mötet mellan liv och död – Anna Lenah Elgström och Birgitta Trotzig2002In: Signum : katolsk orientering om kyrka, kultur, samhälle, ISSN 0347-0423, Vol. 28, no 2, p. 8-21Article in journal (Refereed)
  • 349. Brödje, Catrine
    "Se kvinnorna". Marika Stiernstedt, Hjalmar Söderberg och den genuspolitiska kontexten i början av 1900-talet2012In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 133, p. 223-241Article in journal (Refereed)
    Abstract [en]

    "'Se kvinnorna'. Marika Stiernstedt, Hjalmar Söderberg and the gender-political context at the beginning of the 20th century"

    This study discusses the concept of intertextuality by examining Martin Bircks ungdom (1901) and Doktor Glas (1906) by Hjalmar Söderberg and Lilas äktenskap (1910) by Marika Stiernstedt in the context of early 20th century gender-political discussion. Stiernstedt and Söderberg raise questions about sex, gender, love, sexuality and morality against a backdrop of works such as Lifslinjer I (1903) by Ellen Key, Ny kärlek. En bok för mogna andar (1902) by Elisabeth Dauthenday (1902) and to some extent Fyra böcker om Kristi efterföljelse (1894) by Thomas a Kempis. Stiernstedt and Söderberg show in their literary work that the contemporary gender-political discussion was characterized by security and perplexity. The female protagonists in their novels seem to be trapped in what Birgitta Holm calls “the no man's land of feminine desire", that is, in a borderland between an increasingly loosened Victorian ideal woman and an even more vague idea of the New Woman. However, although these three women live under entirely different conditions, they can still be regarded as forerunners to the New Woman.

  • 350.
    Brödje, Catrine
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Steve Sem-Sandbergs roman Theres - en annan berättelse om Ulrike Meinhof, eller?2007Conference paper (Other academic)
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