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  • 51.
    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)
  • 52.
    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)
  • 53.
    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.

  • 54.
    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.

  • 55.
    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.

     

     

  • 56.
    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?

  • 57.
    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.

  • 58.
    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)
  • 59.
    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

  • 60.
    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)
  • 61.
    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.

  • 62.
    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)
  • 63.
    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.

  • 64.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Watch British: Anglo-asiatischer Kanak Chic erobert den Mainstream: Die BBC-Comedy-Serie Goodness Gracious Me2002In: Humor, Mainz: Ventil Verlag , 2002, p. 148-155Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    About the mainstream-success of the Asian-British BBC-comedy "Goodness Gracious Me"

  • 65.
    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”?

  • 66.
    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

  • 67.
    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)
  • 68.
    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)
  • 69.
    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)
  • 70.
    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)
  • 71.
    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.))
  • 72.
    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)
  • 73.
    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)
  • 74.
    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)
  • 75.
    Dienel, Hans-Luidger
    et al.
    University of Berlin, Inst.for Coop.Mgmt./Interdiscip. Res, Germany.
    Hammarlund, Karl Gunnar
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Peterson, Martin
    University of Bergen, Norway.
    The Historical Context of the Evolution of National Research Systems and International RTD Collaboration2002In: Innovation. The European Journal of Social Sciences, ISSN 1351-1610, E-ISSN 1469-8412, Vol. 15, no 4, p. 265-278Article in journal (Refereed)
    Abstract [en]

    A historical overview of European science and technology suggests the existence of two parallel trends: those of nationalization and de-nationalization. Since the Enlightenment, besides the modernist universalist perspective on science we find nationalist pressures pushing the idea of socially constructed technology, thus generating scientific results determined by national (cultural) factors. Nationalization and de-nationalization thrive together in certain circumstances--for instance, in disciplines such as geology, meteorology, botany or even physics and chemistry. The entry into the scene of commercial interests gives rise to national interests, in turn hampering efficiency and progress from the scientific perspective. Through national research policies these differential development patterns have tended to create an often unnecessary conflict between basic and applied research. The EU RTD framework has still to resolve these contradictions.

  • 76.
    Eklund, Monica
    et al.
    Halmstad University, School of Teacher Education (LUT), Research on Education and Learning within the Department of Teacher Education (FULL).
    Gustafsson, Kristina
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Värdegrundsarbetets förutsättningar: En utvärdering av Resurscentrum för mångfaldens skolas insatser i tre Malmöskolor2008Report (Other academic)
  • 77.
    Ekström Kuchler, Rasmus
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    What is Dirt?: An Ecocritical Analysis of Dirt in Neil Gaiman´s Neverwhere2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 78.
    Eliasson, Per
    et al.
    Malmö högskola, Malmö, Sverige.
    Hammarlund, Karl GunnarHalmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).Lund, ErikNielsen, Carsten TageRoskilde Universitet, Roskilde, Danmark.
    Historiedidaktik i Norden 9: Del 1: historiemedvetande - historiebruk2012Collection (editor) (Refereed)
  • 79.
    Eliasson, Per
    et al.
    Malmö högskola, Malmö, Sverige.
    Hammarlund, Karl GunnarHalmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).Lund, ErikNielsen, Carsten TageRoskilde Universitet, Roskilde, Danmark.
    Historiedidaktik i Norden 9: Del 2: historisk kunskap2012Collection (editor) (Refereed)
  • 80.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Alltings mått2007In: Glänta, ISSN 1104-5205, no 1, p. 74-81Article in journal (Other academic)
    Abstract [sv]

    Förhärskande tolkningstraditioner betraktar sofisten Protagoras som företrädare för en antropocentrisk humanism, som gör allt relativt till en värdeskapande och meningsgivande mänsklighet eller mänsklig individ, och därmed en centralgestalt (vid sidan av Sokrates) i den grekiska vändningen från natur till kultur under 400-talet f.Kr. Det är dessa betydelser som brukar ges hans välkända maxim: ”Människan är alltings mått.” Genom att närmare studera hur satsen tolkats av de tre viktigaste antika källorna till bilden av Protagoras, nämligen Platon, Aristoteles och Sextos Empeirikos, argumenterar denna essä för en alternativ tolkning. Protagoras’ sats framstår här snarare som grundad i försokratiska föreställningar om en dynamisk natur, där tingens egenskaper framstår momentant i ett oupphörligt materiellt flöde. Uppfattningen om ett sakförhållande är beroende av relationen mellan den erfarande och det erfarnas fysiska tillstånd, så att ”måttet” kan förstås som mötet mellan subjekt och objekt i en varseblivning. Det är därför måttet som är det centrala i satsen, inte människan, och världen är den måttlösa möjligheten till erfarenheter som förmår göra varje sak till vad som helst. Satsen hävdar inte människan som den unikt fasta punkten i en föränderlig värld; tvärtom är människan ett flyktigt tillstånd bland andra, som alltid kan bli något annat, inklusive det icke-mänskliga.

  • 81.
    Eriksson, Jonnie
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Aristoteles anomalier2011In: Glänta, ISSN 1104-5205, no 1, p. 48-56Article in journal (Other academic)
    Abstract [en]

    While Aristotle has conventionally been perceived as a precursor for the taxonomy of modern biological systematics, such as that of Carolus Linnaeus, this essay investigates the relationship between Aristotelian metaphysics and natural history in order to demonstrate the problem of anomalies in any system of this kind. In particular, the problem involves the place that may be given to the unnatural (deviations form the norm of nature) in a system for nature – if there can be a taxonomy of anomalies (namely, a teratology), given the logic of Aristotelian philosophy. 

  • 82.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Dialogue with a Woman Departed2000In: Victor - tidskrift för film, ISSN 1404-3505, no 3-4, p. 52-55Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    This article explores the holistic approach to Leo Hurwitz's documentary aesthetic, by looking at how "Dialogue with a Woman Departed" (1981) interweaves the portrait of an individual with the contemporary history of the American nation and with the cyclical processes of nature.

     

  • 83.
    Eriksson, Jonnie
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Diffractions of the Digital: Godard and the Kinetics of the History-Image2015In: In the flow – People, Media, Materialities: ACSIS conference 15-17 June 2015, Norrköping / [ed] Johanna Dahlin & Tove Andersson, Norrköping: ACSIS, Linköpings universitet , 2015, p. 127-128Conference paper (Refereed)
    Abstract [en]

    As exemplified by Eloge de l'amour (2001), Jean-Luc Godard's work after Histoire(s) du cinéma (1988–98) – which critiqued cinema's treatment of its contemporary cultural and oplitical history, – has made use of digital technology in order to explore the remaining potential of the medium after its purported demise and ethical failure. By drawing on concepts from Gilles Deleuze and Karen Barad, this paper aims to elucidate the techno-aesthetic conditions of Godard's implied method of imaging the dual flux of temporality: becoming history and becoming future. In this diffracting process, Godard's late films embody the present condition of visual culture as it splits between past and future from the point of a present crisis of its material conditions of representation. Neither virtual reality nor classical realism, a diffractive method of digital filmmaking explores the new materiality of motion pictures. 

  • 84.
    Eriksson, Jonnie
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Lunds universitet, Lund, Sverige.
    Hoppfulla monster: Posthuman biopolitik och utopism i italiensk filosofi2015In: Människa, stat, utopi: En antologi om det möjligas konst / [ed] Mårten Björk & Jon Wittrock, Hägersten: Tankekraft förlag , 2015, 1, p. 130-157Chapter in book (Other academic)
  • 85.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Monstret & människan: Paré, Deleuze och teratologiska traditioner i fransk filosofi, från renässanshumanism till posthumanism2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation studies the problem of the inhuman in relation to human nature in philosophy from antiquity to the present, highlighting the interrelationship between science and philosophy in the development of concepts of monstrosity in France from mid-sixteenth century to late twentieth century thought. By means of constraint, it focuses on Ambroise Paré (1509/10–90) and Gilles Deleuze (1925–95) as representatives of early humanism and posthumanism, respectively. The study is divided into four chronologically ordered parts. In part I, four teratological traditions of philosophical import are discerned in antiquity: the naturalist, the humanist, the metaphysical, and the hermeneutical (each associated with a set of key names: in particular, Empedocles, Lucretius; Socrates, Protagoras; Plato, Aristotle; and Pliny, Augustine). Part II follows these traditions into the Renaissance where they intersect in the ‘books of wonder’, among which Paré’s Des monstres et prodiges (1573) is viewed to have had a lasting influence on the development of the science of teratology. Criticizing the positivistic conventions of interpretation of the book in question, notions of order, causality, diversity, and novelty are analyzed for the purpose of excavating from Paré’s work a natural philosophy which hinges on man’s capacity for knowledge; in such a humanist conception, monsters are not so much naturalized as nature becomes monstrous, while man is taken to reflect and encompass all the properties of natural things, thereby incorporating monstrosity in his singular variability. Part III provides an overview of the development of a scientific teratology from Cartesian mechanicism and rationalism, through theories of preformation, epigenesis, and transformation, to the materialist and vitalist debates of the early nineteenth century, when Étienne and Isidore Geoffroy Saint-Hilaire create the discipline of teratology, and its aftermath in developmental and evolutionary biology. The general theme is the place of anomalies in the normal scheme of nature (and culture), as man becomes progressively taken as the norm for thought, ultimately rendering the inhuman as such unthought. Finally, part IV looks to Deleuze as an attempt in the late 1900s to construct a posthumanist philosophy of nature where monstrosity is the problem which rather generates thought; it thus chronologically traces formulations of a concept of monstrosity in his body of work, from the 1940s to the 1990s. In Différence et répétition (1968), Deleuze is found to furnish three interconnected theses to define monstrosity, regarding problems of determination, synthesis, and differentiation, where the problematic as such (the nature of difference itself) is conceptualized as the ‘idea’ of monstrosity, not any particular physical shape. After analyzing the concept of the ‘body without organs’ as an issue of identity and materiality, tracing it back to its formulation in Logique du sens (1969), these theses of monstrosity are then applied to a study of Deleuze’s later philosophy, emphasizing Mille plateaux (1980), Logique de la sensation (1981), and Cinéma 1–2 (1983–85), as side-stepping the human norm in order to think its anomaly (the inhuman) as the condition for creativity. This is evidenced in his ideas of technology and the arts as experimental practices of becoming inhuman. The monster is thus regarded as a ‘conceptual persona’ in a Deleuzian philosophy of the virtual Figure—challenging all actual forms—of an inhuman time for the experience of difference in itself.

  • 86.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Ordet/odjuret: Teriantropomorfism hos Giorgio Agamben2010In: Djurens idéhistoria / [ed] Gustav Holmberg, Svante Nordin, Anna Tunlid, Nora: Bokförlaget Nya Doxa, 2010, p. 81-105Chapter in book (Other academic)
    Abstract [sv]

    Den italienske filosofen Giorgio Agamben (f. 1942) reflekterar i sin L'aperto (2002) över människans försök att skilja sig från djuren, att skilja det mänskliga från det djuriska även inom människan. I denna studie placerar jag in denna bok dels i Agambens övergripande biopolitiska projekt, Homo sacer, dels in den filosofiska strömning som kallas posthumanism. Syftet är att analysera distinktionen mellan tre grekiska begrepp för former av liv – bios, zoê och thêrion – som problematiseras genom dessa texter, då de sammanförs i bilden av djur–människa-hybrider inom biblisk apokalyptik. Vilket ord kan benämna en sådan livsform och vilken är dess status i mänsklighetens historia?

  • 87.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Travelling Savage Spaces: Jean de Léry and Territorializations of ‘Antarctic France’, Brazil 1555-602009In: Borders as Experience / [ed] Hammarlund, Karl Gunnar, Halmstad: Halmstad University , 2009, , p. 218p. 68-91Chapter in book (Refereed)
  • 88.
    Eriksson, Jonnie
    et al.
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Israel, Lena
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Tarkovskijs "Stalker": En analys1999Report (Other academic)
    Abstract [sv]

    Arbetet bygger på ett projekt inom ämnet filmvetenskap vid Högskolan i Halmstad, Foto- och Filmhögskolan i Göteborg samt Göteborgs Universitet, i vilket studenter analyserat Andrej Tarkovskijs film Stalker (1972) utifrån en rad frågor. Svaren på dessa uppgifter har här legat till underlag för en självständig bearbetning som sammanfattar resultatet i formen av en analys av filmen ifråga utifrån sju aspekter: handlingens tematik, den dramaturgiska framställningsformen, bildspråkets former, gestaltningen av tid och av rum, skildringen av fiktionens karaktärer samt den människosyn som representeras. Den teoretiska tonvikten ligger vid Bakhtins och Deleuzes idéer om bilden av rum och tid inom konst; en särskild hänsyn tas till filosofiska och religiösa frågor inom filmen.

  • 89.
    Fuchs, Helen
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Minding the Sound – Blasting the Frame: Sound as Destabilizing Visual Art2014In: Minding the Sound – Sounding the Mind: Soundscapes Past and Present, Imagined and Real: 27-28 November 2014, Halmstad: Halmstad University , 2014, p. 4-4Conference paper (Other academic)
    Abstract [en]

    What happens with the traditionally quiet, comfortably distanced activity of looking at art when sound or disturbing noise cannot be ignored as a part of it? In this presentation I want to discuss how sound and noise in visual art can be understood as a means to obstruct the onlookers’ ability to keep a distance, by intensifying the reality level. In the framed environment of art museums as well as outside, artists can use sound in order to obstruct the border between art and the enclosing reality. This can be experienced both as seductive and frightening, for example if there are no visible imprints of the artist at all. Thus sound and noise can destabilize our notions of what an art experience is, and thus destabilize the relations between artist, artwork, physical context and “onlooker”.

    In the history of western visual art, artists’ ambition to blur the difference between art as artefacts and reality has been a recurrent aim in religious as well as in secular contexts. Recurrently, new methods and techniques have been developed in order to create visual illusions of reality, thus concealing or discussing art as something artificial. Thus, sound and noise in visual art can be understood as a part of this ongoing project of exploring, depicting and experiencing illusions and reality. Artists naturally realize the possibilities of modern audio visual technology, but are “onlookers” also willing to let go of their comfortably distanced approach in order to enter the unreliable experience of audio-visual art?

  • 90.
    Fuchs, Helen
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Museum homepages as a tool for challenging the past and diversifying the future2015In: challenge the past / diversify the future: Proceedings: March 19-21 2015, Gothenburg / [ed] Jonathan Westin, Anna Foka & Adam Chapman, Gothenburg: University of Gothenburg , 2015, p. 68-68Conference paper (Refereed)
    Abstract [en]

    The purpose of this paper is to critically examine how museums can use their homepages as tools in order to handle problematic cultural heritage in their care. Focus will be laid on locally established museums, which faces problems when the first generation of enthusiasts are succeeded by a younger, and maybe more professionalised staff. Such a change of generations may coincide with an urgent need to deal with historiography as well as with fading public and academic interest. How may a museum, in a situation of that kind, use its homepage as an arena for handling a narration which might be perceived as the story or as deeply problematic and misleading? What possibilities and problems may a homepage and digital technology offer, in order to engage existing supporters as well as new groups of information providers and seekers? What sorts of traditional and untraditional sources of information are possible to make available and in what form, considering limited economical means and copyright? What freedom of actor ship is the museum willing to allow its homepage visitors, in order to make more voices heard, and previously neglected perspectives visible? Consequently, what types of control does the museum want to uphold? Is the liberty of action and effect necessarily more limited for a small museum, than for a large one? To some museums these are urgent issues which needs to be dealt with in order to maintain financing, and uphold its collection as important cultural heritage.

    As an example the Mjellby Art Museum/the Halmstad Group museum will be discussed, and supplemented with some Swedish as well as foreign examples.

  • 91.
    Fuchs, Helen
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    När blir samtidskonst i kyrkan konsthistoriskt intressant?2014In: De kyrkliga kulturarven: aktuell forskning och pedagogisk utveckling / [ed] Emilie Karlsmo, Jakob Lindblad och Henrik Widmark, Uppsala: Uppsala universitet , 2014, Vol. 1, p. 127-134Chapter in book (Other academic)
    Abstract [sv]

    Varför skrivs det så lite om samtidskonsten i kyrkan? Vad krävs för att göra det intressant? Varför tycks de senaste decenniernas teori- och metodutveckling inom konstvetenskapen inte ha nått detta fält? Med utgångspunkt från en kurs om religion och bildkonst i det sena 1900-talets Sverige (7,5 hp) och min avhandling om historieskrivningen kring glasmåleri, vill jag diskutera konsekvenserna av konstvetenskapens ointresse för samtidskonst i kyrkan. Men jag vill också peka på möjligheter att reaktivera kyrkan som konstvetenskapligt intressant kontext.  Konstvetenskap som disciplin har mycket att vinna på att koppla samman historia och samtid genom kyrkan som kontext, i undervisningen och med tanke på den akademiska tredje uppgiften.

  • 92.
    Fuchs, Helen
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    To determine cultural value for the future: is it possible or even desirable?2012Conference paper (Refereed)
    Abstract [en]

    What art is worth paying attention to and protect as national cultural heritage has changed throughout history. Prior to the 19th century it was not obvious to attach importance to a work of art because of old age. In the context of modernism importance was connected to avant-garde movements.

    According to Swedish law old age and price are significant factors in determining what individual works of art are to be guarded as important cultural heritage. Currently, when modernist art begins to reach the crucial age of 100, the amount of works which need permission to leave the country will rise significantly. Permissions have to include assessments of significance as Swedish cultural heritage. Therefore, what parameters ought to be used for modernistic art needs to be discussed. But is it possible or even desirable to formulate national guidelines in order to protect and determine what modernistic art should be regarded as national cultural heritage in the future? This highlights a number of important questions such as: the notion of a national canon (in relation to an international); national canonisation processes; assessment of significant local and regional cultural heritage in relation to national notions.

    My intention is to discuss these questions in connection to the introduction of surrealism in Sweden. Based on approximately 200 previously neglected articles I will discuss the reception of “Halmstadgruppen” and its surrealism in the 1930s and 40s. It was constantly described in relation to “Swedish” art, international movements and to preconceived ideas about provincial places such as the city of Halmstad. As a result of successful promotion and some obvious connections to French surrealism, “Halmstadgruppen” quite early was granted a place in the history of Swedish modernism. Local support is firm and visible in “Mjellby Art Museum. The Museum of the Halmstad Group”, privately founded now financed by the city of Halmstad. However, since the millennium “Halmstadgruppen” has not generated any attention compatible to the 1930s. The surrealism of “Halmstadgruppen” seems to be regarded as uninteresting by art critics.

    Obviously, the notion of something as a valuable cultural heritage in a national context constantly needs to be nurtured. Exhibitions are not enough. The framing continuously needs to be updated in relation to ongoing theoretical discussions. Reliable and creative academic texts have to be written.

    Hopefully, existence of academic research will be one factor in predicting future cultural value. Much harder to handle is the implications of absence of research and currently unimaginable questions of future scholars. Opinions about what modernist art is worth buying, paying attention to and protect as national cultural heritage will probably change.

  • 93.
    Fåhraeus, Anna
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Historicizing Racial Objects of Horror: From the Black Renaissance Villain to the Voodoo Doer2011In: Villains and Villainy: Embodiments of Evil in Literature, Popular Culture and Media / [ed] Anna Fåhraeus & Dikmen Yakah Çamoğlu, Amsterdam: Rodopi, 2011, p. 135-148Chapter in book (Refereed)
  • 94.
    Fåhraeus, Anna
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Historicizing Racialised Objects of Horror: The Black Renaissance Villain2010In: Villains, Heroes or Victims? / [ed] Dana Lori Chalmers, Oxford, U.K.: Inter-Disciplinary Press, 2010, p. 89-93Chapter in book (Refereed)
    Abstract [en]

    This paper argues that black stereotypes are not ahistorical but rather should be studied in a longer historical perspective because the types change according to political and social contexts. It illustrates this by presenting the contrasts between the Renaissance black villain and its appropriation and adaptation in the Restoration period.

  • 95.
    Fåhraeus, Anna
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Postcolonial concepts without politics?: A comment on Jonnie Eriksson2009In: Borders as experience / [ed] KG Hammarlund, Halmstad: Högskolan i Halmstad , 2009, p. 92-97Chapter in book (Refereed)
  • 96.
    Fåhraeus, Anna
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Proustian Desire and the Queering of Masculinity in Gay Cinematic Romance2014In: Masculinities: A Journal of Identity and Culture, ISSN 2148-3841, no 1, p. 28-59Article in journal (Refereed)
    Abstract [en]

    Twenty-five gay films produced from 1987 to 2011 in Europe, the US, Argentina and Israel form the basis for this study on masculinity in gay romantic drama. The shared plot motif is a self-assumed straight man realizing that he is homosexual or fluid in his sexuality. The narrative trope of awakening from the folk tale “Sleeping Beauty” (1657) by Charles Perrault, and its revision in late 19th century feminist literature, is the common dramatic component of these gay films. There are similarities with early feminist literature in the representation of the repressive nature of social structures and the fracturing of hetero-normative gender expectations. The article argues that even as some of the hetero-normative conventions of the romance as a genre are upheld, because two straight-looking men perform both roles, masculinity is problematized and a queering takes place at the level of temperament, 

  • 97.
    Fåhraeus, Anna
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Research Supports Learner-Centered Teaching2013In: The Journal of Scholarship of Teaching and Learning, ISSN 1527-9316, Vol. 13, no 4, p. 126-131Article, book review (Refereed)
    Abstract [en]

    This is a review of the second edition of Maryellen Weimar's Learner-Centered Teaching: Five Key Changes to Practice(Jossey-Bass, 2013)

  • 98.
    Fåhraeus, Anna
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    The Colony of Unrequited Dreams: The Materiality of the Emotional Landscape of Canada2009Conference paper (Other academic)
  • 99.
    Fåhraeus, Anna
    et al.
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Winnberg, Jakob
    Växjö universitet.
    Jonsson, AnnKatrin
    Göteborg University.
    Introduction: Textual Masculinity and the Female Writer2008In: NJES : Nordic journal of English studies, ISSN 1654-6970, Vol. 7, no 1, p. 1-9Article in journal (Refereed)
  • 100.
    Fåhraeus, Anna
    et al.
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Yakali Camoglu, DikmenDogus University, Istanbul, Turkey.
    Villains and Villainy: Embodiments of Evil in Literature, Popular Culture and Media2011Collection (editor) (Refereed)
    Abstract [en]

    This collection of essays explores the representations, incarnations and manifestations of evil when it is embodied in a particular villain or in an evil presence. All the essays contribute to showing how omnipresent yet vastly under-studied the phenomena of the villain and evil are. Together they confirm the importance of the continued study of villains and villainy in order to understand the premises behind the representations of evil, its internal localized logic, its historical contingency, and its specific conditions.

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