This dissertation examines the relationship between the development of society, the Home and journalism in Sweden during the twentieth century. The purpose of this study is to analyze the representation of the Home in Vår bostad, the magazine of the tenant organizations HSB and Hyresgästernas Riksförbund, at three different points in time. The pictures of the Home in Vår bostad are the point of departure for the dissertation.

The aim of the study is to answer two key questions: What significance has the Home been given in society based on the material in Vår bostad, and how has the magazine's photojournalism regarding the Home changed? In order to understand the meaning of the concept of the Home during the 1900's, the metaphor folkhem must be considered. The years selected for the study of Vår bostad, 1937, 1955 and 1987, capture the establishment and criticism of the folkhem and are suitable to describe an important part of Swedish press history.

A context-oriented analysis is applied throughout the study. The two main contexts are 1) the development of society and the Home and, 2) the growing journalistic institution. The theoretical perspectives are adapted from recent picture theory, historical and sociological theories of the journalistic institution, theories of private and public spheres, and the Home is viewed as a particular subject of discourse.

In 1937 the Home was a symbol for the future ideal society. By 1955, that role began to disappear and instead the Home was to be integrated into the existing society. In 1987, the Home and society were no longer seen as an obvious unit, instead the Home had to a large extent become an individual project. In 1937, it is only to a slight degree the journalistic method of working that forms the portrayal of the Home. An important difference is that in 1955 the journalistic control over the magazine's content is significant. Rules and routines for editing have become clearer. In 1987, journalists and other media specialists are largely responsible for the representation of the Home. The pictures of the Home during the three years of analysis clearly indicate three different ideal readers: the egalitarian reader of 1937, the participant reader of 1955, and the reader as consumer in 1987.