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Publications (10 of 34) Show all publications
Dahlquist, M. (2021). A Journey on the World’s most Northerly Railway: Renaming and Remaking of Swedish Industrial Films. In: Joanne Bernardi, Paolo Cherchi Usai, Tami Williams, Joshua Yumibe (Ed.), Provenance and Early Cinema: (pp. 223-235). Bloomington: Indiana University Press
Open this publication in new window or tab >>A Journey on the World’s most Northerly Railway: Renaming and Remaking of Swedish Industrial Films
2021 (English)In: Provenance and Early Cinema / [ed] Joanne Bernardi, Paolo Cherchi Usai, Tami Williams, Joshua Yumibe, Bloomington: Indiana University Press, 2021, p. 223-235Chapter in book (Refereed)
Abstract [en]

Since the early 1900s, Swedish industries with the steel industry as the perhaps most prominent, were together with an energy market in transition pivotal for societal changes.  With very limited deposits of coal and oil but vast resources of waterpower in the north of Sweden, or “white coal” as it was called, the power company Vattenfall became a major force for power supplies and electrification of Swedish industries. The close ties between the steel industry and Vattenfall’s expansion of hydroelectric power including the electrification of the railway Malmbanan that was inaugurated in 1903 for the strategic transportation of iron ore, from the northern Swedish town Luleå, and Riksgränsen to Narvik at the Norwegian Atlantic coast, where decisive for the rapid growth of infrastructure. 

As Rick Prelinger and others have shown, industrial companies—in Sweden as elsewhere—became extensive users of visual media. Their multiple advertisement campaigns disclose the scope of possibilities at hand as well as it shows a change of focus over time, teaching the public how to understand and navigate in modern society. This text explore, by findings in company archives such as Swedish Pathé and Vattenfall together with the rich resources that the Swedish censorship board holds, the provenance of the multiple film titles about Malmbanan that appeared in film programs all over the country during the years 1910-1915. The railroad and the hydropower station at Porjus, north of the polar circle, with its principal purpose to provide the railway with electricity, received major attention not only as an icon of modernity but for its spectacular sceneries in the northern wilderness, as in Med jordens nordligaste järnväg: en färd Narvik-Riksgränsen (AB Sveafilms, 1911). Numerous film titles were made, often screened at regular movie theaters. Specific film titles were copied, renamed and repositioned within new company distribution networks as well as program contexts making the origin of the productions unclear. To further obstruct the question of provenance a slew of new films was made on the very same topic with very similar titles. By focusing on these film titles and their provenance, early film practices and print circulations when it comes to early non-fiction and industrial films in Sweden are examined and explored.

Place, publisher, year, edition, pages
Bloomington: Indiana University Press, 2021
Keywords
Industrial film, early cinema, promotion, distribution, Malmbanan
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-190388 (URN)9780253052995 (ISBN)9780253053022 (ISBN)
Available from: 2021-02-16 Created: 2021-02-16 Last updated: 2022-02-25Bibliographically approved
Dahlquist, M. & Vonderau, P. (Eds.). (2021). Petrocinema: Sponsored Film and the Oil Industry. Bloomsbury Academic
Open this publication in new window or tab >>Petrocinema: Sponsored Film and the Oil Industry
2021 (English)Collection (editor) (Refereed)
Abstract [en]

Petrocinema presents a collection of essays concerning the close relationship between the oil industry and modern mediaespecially film. Since the early 1920s, oil extracting companies such as Standard Oil, Royal Dutch/Shell, ConocoPhillips, or Statoil have been producing and circulating moving images for various purposes including research and training, safety, process observation, or promotion. Such industrial and sponsored films include documentaries, educationals, and commercials that formed part of a larger cultural project to transform the image of oil exploitation, creating media interfaces that would allow corporations to coordinate their goals with broader cultural and societal concerns. Falling outside of the domain of conventional cinema, such films firmly belong to an emerging canon of sponsored and educational film and media that has developed over the past decade. Contributing to this burgeoning field of sponsored and educational film scholarship, chapters in this book bear on the intersecting cultural histories of oil extraction and media history by looking closely at moving image imaginaries of the oil industry, from the earliest origins or spills in the 20th century to todays post industrial petromelancholia.

Place, publisher, year, edition, pages
Bloomsbury Academic, 2021. p. 172
Keywords
sponsored film, industrial, educational, petroleum, media history
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-190390 (URN)9781501354137 (ISBN)9781501354151 (ISBN)
Projects
Modern Media and the Oil Industry
Funder
Riksbankens Jubileumsfond
Available from: 2021-02-16 Created: 2021-02-16 Last updated: 2022-02-25Bibliographically approved
Dahlquist, M. (2021). Petroleum and Hollywood Stardom: Making Way for Oil Consumption through Visual Culture. In: Marina Dahlquist; Patrick Vonderau (Ed.), Petrocinema: Sponsored Film and the Oil Industry (pp. 117-135). New York: Bloomsbury Academic
Open this publication in new window or tab >>Petroleum and Hollywood Stardom: Making Way for Oil Consumption through Visual Culture
2021 (English)In: Petrocinema: Sponsored Film and the Oil Industry / [ed] Marina Dahlquist; Patrick Vonderau, New York: Bloomsbury Academic, 2021, p. 117-135Chapter in book (Refereed)
Place, publisher, year, edition, pages
New York: Bloomsbury Academic, 2021
Keywords
Petroleum, Hollywood, advertising
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-199342 (URN)9781501354137 (ISBN)9781501354151 (ISBN)
Projects
Moderna media och oljeindustrin/ Modern Media and the Oil Industry
Funder
Riksbankens Jubileumsfond, P19-0403:1
Available from: 2021-12-03 Created: 2021-12-03 Last updated: 2021-12-06Bibliographically approved
Dahlquist, M. & Frykholm, J. (2019). Introduction. In: Marina Dahlquist, Joel Frykholm (Ed.), The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s (pp. 1-16). Bloomington, Indiana: Indiana University Press
Open this publication in new window or tab >>Introduction
2019 (English)In: The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s / [ed] Marina Dahlquist, Joel Frykholm, Bloomington, Indiana: Indiana University Press, 2019, p. 1-16Chapter in book (Other academic)
Place, publisher, year, edition, pages
Bloomington, Indiana: Indiana University Press, 2019
Keywords
educational cinema, film and education, nontheatrical cinema, useful cinema, cinema history, film history
National Category
Cultural Studies Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-181222 (URN)10.2307/j.ctvs89dg2.4 (DOI)978-0-253-04519-5 (ISBN)978-0-253-04522-5 (ISBN)
Available from: 2020-04-28 Created: 2020-04-28 Last updated: 2022-05-12Bibliographically approved
Dahlquist, M. (2019). Partners in Screen Education: Philantrophic Organizations and the Film Industry. In: Marina Dahlquist, Joel Frykholm (Ed.), The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s. Bloomington: Indiana University Press
Open this publication in new window or tab >>Partners in Screen Education: Philantrophic Organizations and the Film Industry
2019 (English)In: The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s / [ed] Marina Dahlquist, Joel Frykholm, Bloomington: Indiana University Press, 2019Chapter in book (Refereed)
Place, publisher, year, edition, pages
Bloomington: Indiana University Press, 2019
Keywords
educational cinema, film and education, nontheatrical cinema, useful cinema, cinema history, film history
National Category
Studies on Film
Identifiers
urn:nbn:se:su:diva-182715 (URN)9780253045201 (ISBN)978-0-253-04522-5 (ISBN)
Available from: 2020-06-20 Created: 2020-06-20 Last updated: 2022-02-26Bibliographically approved
Dahlquist, M. & Frykholm, J. (Eds.). (2019). The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s. Bloomington, Indiana: Indiana University Press
Open this publication in new window or tab >>The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s
2019 (English)Collection (editor) (Refereed)
Abstract [en]

The potential of films to educate has been crucial for the development of cinema intended to influence culture, and is as important as conceptions of film as a form of art, science, industry, or entertainment. Using the concept of institutionalization as a heuristic for generating new approaches to the history of educational cinema, contributors to this volume study the co-evolving discourses, cultural practices, technical standards, and institutional frameworks that transformed educational cinema from a convincing idea into an enduring genre. The Institutionalization of Educational Cinema examines the methods of production, distribution, and exhibition established for the use of educational films within institutions–such as schools, libraries, and industrial settings in various national and international contexts and takes a close look at the networks of organizations, individuals, and government agencies that were created as a result of these films' circulation. Through case studies of educational cinemas in different North American and European countries that explore various modes of institutionalization of educational film, this book highlights the wide range of vested interests that framed the birth of educational and nontheatrical cinema.

Place, publisher, year, edition, pages
Bloomington, Indiana: Indiana University Press, 2019. p. 261
National Category
Cultural Studies Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-178308 (URN)10.2307/j.ctvs89dg2 (DOI)978-0-253-04519-5 (ISBN)978-0-253-04522-5 (ISBN)
Available from: 2020-01-23 Created: 2020-01-23 Last updated: 2022-05-12Bibliographically approved
Dahlquist, M. (2018). Corporeality and Female Modernity: Intermediality and Early Film Celebrities. In: Scott Curtis, Philippe Gauthier, Tom Gunning, Joshua Yumibe (Ed.), The Image in Early Cinema: Form and Material (pp. 174-184). Bloomington: Indiana University Press
Open this publication in new window or tab >>Corporeality and Female Modernity: Intermediality and Early Film Celebrities
2018 (English)In: The Image in Early Cinema: Form and Material / [ed] Scott Curtis, Philippe Gauthier, Tom Gunning, Joshua Yumibe, Bloomington: Indiana University Press, 2018, p. 174-184Chapter in book (Refereed)
Abstract [en]

As Victorianism lost its grip and industrialism entered a new phase, gender roles and the expressions of femininity became malleable and negotiable. Women’s new independence and mobility in modern society, particularly in the large cities, ushered in a “female modernity” underpinned by the relaxing of dress codes with a sporty look mirroring a general reconfiguring of women’s range of physical options. In the process, the New Woman became an entry in the cultural lexicon.

The purpose of this article is to explore the female body as a key site for inscribing and performing modernity across media during the first 15 years of the 20th century. The cultural conception of this modern type of femininity, characterized by independence, resourcefulness—and exploitation as the flipside—found its template in the female film stars and their physical wherewithal and abilities at large, especially in the serial films. Outside cinema, the desirable stars were marketed in newspapers, trade papers, women’s magazines, and ads, even in autobiographical works. The intense mediatisation of the life styles and panache embodied by these women on and off screen blended into a complex and iconic cocktail of modern femininity, attractive for some, shocking for others. In the early 1910s, a radical change can be observed concerning the concept of female celebrities at large across many fields of endeavor with cinema driving the process by repurposing images across media formats such as postcards, advertisements, and printed illustrations.

The key issues of this article are: To analyze screen-action heroine Pearl White and Annette Kellerman, an Australian professional swimmer turned vaudeville and film star in the US, as two comparative career case studies. The discourses around their achievements and celebrity will be discussed from advertisements, news and trade press articles, photographic collectibles, and a phalanx of promotional materials forming rounded career stories around two emblematic New Women; To investigate female film stars in relation to discursive negotiations of social mobility, independence, gender roles, and corporeal ideals across media.

Place, publisher, year, edition, pages
Bloomington: Indiana University Press, 2018
Series
Early Cinema in Review: Proceedings of Domitor ; 1
Keywords
Celebrities, Early film, Pearl White, Corporeality
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-156407 (URN)9780253034397 (ISBN)
Available from: 2018-05-17 Created: 2018-05-17 Last updated: 2022-02-26Bibliographically approved
Dahlquist, M., Galili, D., Olsson, J. & Robert, V. (Eds.). (2018). Corporeality in Early Cinema: Viscera, Skin, and Physical Form. Bloomington, Indiana: Indiana University Press
Open this publication in new window or tab >>Corporeality in Early Cinema: Viscera, Skin, and Physical Form
2018 (English)Collection (editor) (Refereed)
Abstract [en]

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.

Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

Place, publisher, year, edition, pages
Bloomington, Indiana: Indiana University Press, 2018. p. 416
Series
Early Cinema in Review: Proceedings of Domitor ; 2
Keywords
early cinema, corporeality
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-161531 (URN)978-0-253-03365-9 (ISBN)
Available from: 2018-10-29 Created: 2018-10-29 Last updated: 2022-02-26Bibliographically approved
Dahlquist, M. (2017). Anna Hofman-Uddgren.
Open this publication in new window or tab >>Anna Hofman-Uddgren
2017 (English)Other (Other academic)
Keywords
Anna Hofman-Uddgren, Women Film Pioneers
National Category
Studies on Film
Research subject
Cinema Studies
Identifiers
urn:nbn:se:su:diva-141689 (URN)
Projects
Women Film Pioneers Project
Note

The Women Film Pioneers Project (WFPP) is a freely accessible, collaborative online database that showcases the hundreds of women who worked behind-the-scenes in the silent film industry as directors, producers, editors, and more. Always expanding, the database features career profiles on each pioneer, longer overview essays on national cinemas and occupations, still and moving images, and archival and bibliographic resource materials. The goals of WFPP are to  jumpstart historical research on the work of women filmmakers from the early years of cinema, ending with the coming of sound;  to facilitate a cross-national  connection between researchers; to reconfigure world film knowledge by foregrounding an undocumented phenomenon: these women worked in many capacities.

Available from: 2017-04-12 Created: 2017-04-12 Last updated: 2022-02-28Bibliographically approved
Dahlquist, M. (2015). Unhooking the Hookworm: The Rockefeller Foundation and Mediated Health. In: Sebastian Kim, Pauline Kollontai och Sue Yore (Ed.), Mediating Peace: Reconciliation through Visual Art, Music and Film (pp. 335-350). Cambridge: Cambridge Scholars Publishing
Open this publication in new window or tab >>Unhooking the Hookworm: The Rockefeller Foundation and Mediated Health
2015 (English)In: Mediating Peace: Reconciliation through Visual Art, Music and Film / [ed] Sebastian Kim, Pauline Kollontai och Sue Yore, Cambridge: Cambridge Scholars Publishing, 2015, p. 335-350Chapter in book (Refereed)
Abstract [en]

Before the 1948-founding of the World Health Organization, the International Health Board/Division (IHB) was the world’s leading agency for public health work. Its efforts emanated from Rockefeller Sanitary Commission (1909-1914), inaugurated to shape a health infrastructure in the American South and mainly to eradicate hookworms. The singling out of hookworms and the ”laziness epidemic” in the south was due to it being an easily identifiable, treatable, and preventable disease calling for public health initiatives.

IHB’s initial efforts were directed towards the British West Indies. My paper will discuss the international campaign strategies aimed at cultural reconciliation by eliminating differences in sanitary and social conditions worldwide. The political implications were considerate: the disease was associated with crime and degeneracy—and social activism and health campaigns came with an Americanization slant. IHB hoped to spread the European and American ”scientific model” of public health and make it a universal norm. In the process, scores of media were mobilized to spread medical awareness defined as a civilizing project. The Rockefeller-film Unhooking the Hookworm (1920) was the key educational tool. It became a centerpiece in the organization’s medial education and the film’s multiple versions neatly illustrate their search for a formula with an international appeal in trans-cultural contexts for diverse audiences. This text discuss campaigns initiated by the IHB in British Guiana, Jamaica and Puerto Rico, during the period 1914-1932. I will focus on the strategies, the problems encountered by health officers, the visual materials used—and the intricacies of local receptions.

Place, publisher, year, edition, pages
Cambridge: Cambridge Scholars Publishing, 2015
Series
Cambridge Scholars Publishing ; 13
Keywords
film, Rockefeller Foundation, Unhooking the Hookworm, peace-building, reconciliation
National Category
Studies on Film Other Social Sciences
Research subject
Cinema Studies; Peace and Conflict Research
Identifiers
urn:nbn:se:su:diva-128768 (URN)978-1-4438-8371-9 (ISBN)
Projects
Film i upplysningens tjänst: hälsa och social aktivism i USA 1910-30
Funder
Swedish Research Council, 421-2010-1496
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2022-02-23Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-5815-5641

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