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  • 1. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Accented cinema and beyond: Latin American minor cinemas in Sweden, 1970–19902016In: Studies in Spanish & Latin American Cinemas, ISSN 2050-4837, Vol. 13, no 3, p. 227-245Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.

  • 2. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden2009In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, no 3, p. 207-218Article in journal (Refereed)
    Abstract [en]

    This article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts ‘minor cinemas’ and ‘public sphere’ in order to enable a more diverse, open and heterogeneous film history.

  • 3. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amatör och avantgarde: de mindre filmkulturerna i efterkrigstidens Sverige2008In: Välfärdsbilder: Svensk film utanför biografen / [ed] Erik Hedling och Mats Jönsson, Stockholm: Mediehistoriskt arkiv/Statens ljud- och bildarkiv , 2008, p. 228-245Chapter in book (Refereed)
  • 4.
    Andersson, Lars Gustaf
    et al.
    Lund University, Sweden.
    Sundholm, John
    Karlstad University, Sweden.
    Editorial: Film Workshops in Europe2011In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 8, no 3, p. 167-169Article in journal (Refereed)
    Abstract [en]

    An introduction is presented in which the authors discuss various reports within the issue on topics including the concept of film workshops, the politicized film culture in Spain, and the British workshop culture.

  • 5. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    "Hellre fri än filmare": filmverkstan och den fria filmen2014Book (Other academic)
  • 6. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, p. 156-167Article in journal (Refereed)
    Abstract [en]

    The aim of the essay was to present the Stockholm Film Workshop (Filmverkstan, 1973–2001) and its significance as a transnational site of film production. The films and the filmmaking at the workshop are considered as part of a minor cinema film practice in David E. James’s sense. James’s theory is complemented by returning to Gilles Deleuze and Felix Guattari’s original concept of minor literature in order to stress an analysis that is based on film as a means of production and cultural intervention. This point is emphasized by a presentation and analysis of how various professional and non-professional filmmakers from Colombia, Egypt, Greece and Turkey made use of film at the Stockholm Film Workshop in order to intervene in their new cultural situations. Thus, the textual model of film analysis that is prevalent in Hamid Naficy’s seminal work on accented cinema is complemented with theories of cultural production in order to enable an analysis of a transnational film practice that is on a par with the immigrant experience.

  • 7. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The Cultural Practice of Immigrant Filmmaking: Minor Immigrant Cinemas in Sweden 1950–19902019Book (Refereed)
    Abstract [en]

    Based on a research project funded by the Swedish Research Council, this book analyses 40 years of post-war independent immigrant filmmaking in Sweden. John Sundholm and Lars Gustaf Andersson consider the creativity that lies in the state of exile, offering analyses of over 50 rarely seen immigrant films that would otherwise remain invisible and unarchived. They shed light on the complex web of personal, economic and cultural circumstances around migrant filmmaking, and discuss associations that became important sites of self-organization for exiled filmmakers: The Independent Film Group, The Stockholm Film Workshop, Cineco, Kaleidoscope and Tensta Film Association.

    Using an innovative combination of key film theory, The Cultural Practice of Immigrant Filmmaking studies immigrant filmmaking in a transnational context, exploring how immigrant filmmakers use film to find a place in a new cultural situation.

  • 8. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The cultural practice of minor cinema archiving: The case of immigrant filmmakers in Sweden2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 79-92Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to present the archival practice behind two extensive research projects that we have worked on during the last decade: the Stockholm Film Workshop and minor immigrant filmmaking in Sweden. Archive has become a general catchword in today’s academia that encompasses several practices of collecting, storing, distributing and displaying. We will stress in particular – partly against the idealism of digital activism – that the archive is a locus of power. The struggle for archival acknowledgement is a question of how to establish an archival artefact, an object that may be stored and repeated, and thus to affirm it as something that cannot be disregarded. This is a practice in the way that theory also constitutes a practice: a way of intervening that is case sensitive and that constantly cuts across those four principles that Giovanna Fossati famously coined as ‘film as original’, ‘film as art’, ‘film as dispositif’ and ‘film as state of the art’.

  • 9. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Sverige.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Experimentfilmens behov & filmarkivets möjligheter2012In: "Skosmörja eller arkivdokument?": Om filmarkivet.se och den digitala filmhistorien / [ed] Mats Jönsson & Pelle Snickars, Stockholm: Kungliga biblioteket , 2012, p. 67-80Chapter in book (Refereed)
  • 10. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I skuggan av spelfilmen: Svensk experimentell film2006In: Konst som rörlig bild: från Diagonalsymfonin till Whiteout / [ed] Söderbergh Widding, Stockholm: Langenskiölds , 2006, p. 15-94Chapter in book (Other academic)
    Abstract [sv]

    Förord / av Richard Sangwill -- Sidospår : perspektiv på den svenska rörliga bildkonsten / av Astrid Söderbergh Widding -- I skuggan av spelfilmen : svensk experimentell film / av Lars Gustaf Andersson, John Sundholm och Astrid Söderbergh Widding -- Den tidiga monitorkonsten : TV-experiment i Sverige / av Gary Svensson -- Videokonst i Sverige : från alternativ till institution / av Gunnel Pettersson och Måns Wrange -- DVD med verk av Viking Eggeling, Gösta Werner, Rut Hillarp, Hans Nordenström, Pontus Hultén, Peter Weiss, P. O. Ultvedt, Åke Karlung, Olle Bonniér, Ralph Lundsten, Claes Söderquist, Jan Håfström, Gunvor Grundel Nelson, Hans Esselius, Kjartan Slettemark, Olle Hedman, Antonie Frank, Lola Mökker, Andrew Hibbert, Cecilia Parsberg, Erik Pauser, Johan Söderberg, Dorinel Marc, Teresa Wennberg, Marit Lindberg, Ann-Sofi Sidén, Johanna Billing, Cecilia Lundqvist, Miss Universum (Catti Brandelius), Petra Lindholm och Katarina Löfström.

  • 11. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstad University, Sweden.
    Vesterlund, Per
    Introduction2013In: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, E-ISSN 2000-8325, Vol. 16, no 1, p. 5-9Article in journal (Other academic)
    Abstract [en]

    Film has often been excluded from the other art forms when cultural policies have been discussedand implemented. This general tendency to place film outside «cultural policies proper» is due toseveral reasons. One is the relationship between industrial production and film art; film productioncompanies or cinema theatres have rather been connected to the sphere of national industry andcommerce, than to the sphere of cultural institutions. Another reason is the early establishment offilm as a means for propaganda, information or education.

  • 12. Kitzmann, Andreas
    et al.
    Mithander, ConnyKarlstads universitet, Avdelningen för humaniora och genusvetenskap.Sundholm, JohnKarlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Memory Work: The Theory and Practice of Memory2005Collection (editor) (Refereed)
    Abstract [en]

    Memory Work is a thought-provoking collection of interdisciplinary essays on theconcept of memory. Comprised of eight essays, along with an introductory piece that provides a fascinating overview of the history and current state of memory studies, the book draws from philosophy, cultural theory, film studies, history, literature, mediastudies, and music, providing an excellent introduction to this burgeoning area of study.

    According to Heidegger, humankind's tendency towards forgetfulness representsthe great spiritual rupture that constitutes our separation from Being. The cultivation of memory could then be seen as an attempt to repair the rift that has opened up betweenhumans and absolute Being. Nietzsche, on the other hand, held that memory was adangerous indulgence; one that encouraged the development and maintenance of resentiment,with deleterious effects for the individual and society at large. In a sense,these issues of remembering and forgetting, and the opportunities and problemsassociated with both, are explored in Memory Works.Although space does not permit areview all of the essays, the following discussion of my personal favorites reveals thethematic threads that run throughout this compelling book...

  • 13. Mendes, Ana Cristina
    et al.
    Sundholm, JohnStockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Transnational Cinema at the Borders: Borderscapes and the Cinematic Imaginary2018Collection (editor) (Refereed)
    Abstract [en]

    In tandem with a postnational imaginary which is nurtured by the ever-present promise of deterritorialized mobility and burgeoning migratory fluxes, walls and fences separating nation-states multiply. This is a burning issue: even though nation states at the centre of the global order increasingly present themselves as postnational, calls for tighter border security undermine utopian notions of both a borderless New Europe and the USA as the Promised Land. This collection investigates the urgent issue of borderscapes and the cinematic imaginary by bringing together a range of new approaches in the field of film and media studies, crossing over into sociology, migration studies and artistic research. The contributions focus on the interrelated motifs of borderscapes as they are represented and used in transnational cinematographies, from Palestine to Sweden, Spain, Finland, Italy, Iran, Iraq, France, the UK and US, and as constituting premises of cinematic production. The chapters in this book were originally published in the Transnational Cinemas journal.

  • 14. Mendes, Ana Cristina
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Walls and fortresses: Borderscapes and the cinematic imaginary2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, p. 117-122Article in journal (Refereed)
    Abstract [en]

    In tandem with a postnational imaginary nurtured by an ever-present promise of deterritorialized mobility and burgeoning migratory fluxes, walls and fences separating nation states multiply. This is a burning issue: even though nation states at the centre of the global order increasingly present themselves as postnational, calls for tighter border security (prompted by traumatic events such as the London Underground bombings, the riots in Paris’s banlieues, the September 11 attacks and the massive number of refugees and migrants drowning in the Mediterranean and being hit by trains after stepping over fences to enter in the Eurotunnel area, in Calais) undermine utopian notions of both a borderless New Europe and the USA as the Promised Land. This editorial of Transnational Cinemas introduces the special issue ‘Walls and fortresses: borderscapes and the cinematic imaginary’, which includes essays focusing on the interrelated motifs of borderscapes as they are represented in transnational cinematographies, from Palestine to Sweden, Spain, Finland and France, and as constituting premises of cinematic production. Through this critical movement, this special issue analyses the ways various cinematic practices, technologies and crossmedia developments impact questions of perception, experience and representation of borderscapes.

  • 15. Misztal, Barbara A.
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Memory on the move: Theory and methodology of memory and migration2016In: Crossings: Journal of Migration and Culture, ISSN 2040-4344, E-ISSN 2040-4352, Vol. 7, no 1, p. 3-8Article in journal (Other academic)
  • 16.
    Mithander, Conny
    et al.
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Sundholm, JohnKarlstads universitet, Avdelningen för humaniora och genusvetenskap.Holmgren Troy, MariaKarlstads universitet, Avdelningen för språk.
    Collective Traumas: Memories of War and Conflict in 20th-Century Europe2007Collection (editor) (Refereed)
    Abstract [en]

    Collective Traumas is about the traumatic European history of the 20th century - war, genocide, dictatorship, ethnic cleansing - and how individuals, communities and nations have dealt with their dark past through remembrance, historiography and legal settlements. Memories, and especially collective memories, serve as foundations for national identities and are politically charged. Regardless whether memory is used to support or to challenge established ideologies, it is inevitably subject to political tensions. Consequently, memory, history and amnesia tend to be used and abused for different political and ideological purposes. From the perspectives of historical, literary and visual studies the essays focus on how the experiences of war and profound conflict have been represented and remembered in different national cultures and communities. This volume is a vital contribution to memory studies and trauma theory. Collective Traumas is a result of the multi-disciplinary research project on Memory Culture that was initiated in 2002 at Karlstad University, Sweden.

  • 17.
    Sundholm, John
    Karlstad University, Sweden.
    A cinema of presence and proximity: Gunvor Nelson’s collage films and the aesthetics of the signaletic material before the electronic signal2012In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 4, no 1, p. 1-9Article in journal (Refereed)
    Abstract [en]

    This essay argues for the importance of an intersubjective and impure film theory in which the signal and the signaletic is considered as figures for approaching film. This in order to make the argument that the signaletic mode indeed enables a novel perspective on moving image history. The aesthetics of the signaletic has thus a history preceding that of electronic media, in particular when it comes to animation and experimental film. When constructing such an archaeology, however, dichotomies into sign and signal should be avoided; otherwise, the complexity of many of the films is reduced. In order to illuminate the latter point, four films by Gunvor Nelson is analyzed (both analog and digital), showing not only how both sign and signal interact but also how the aesthetics of the signal and the signaletic material is not dependant on the electronic as such.

  • 18.
    Sundholm, John
    Karlstads universitet, Estetisk-filosofiska fakulteten.
    An Ethics of Time: Bo Jonsson and the Aesthetics of Forgetting2011In: Nieswiadomosc i transcendencja: Teksty dedykowane Profesor Zofii Rosinskiej / [ed] Joanna Michalik, Warszawa: Eneteia , 2011, p. 293-300Chapter in book (Refereed)
  • 19.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Avant-Gardes and Modernisms2003In: Gunvor Nelson and the Avant-Garde / [ed] John Sundholm, Frankfurt: Peter Lang AG , 2003Chapter in book (Refereed)
    Abstract [en]

    Despite the fact that Swedish-American film-maker Gunvor Nelson has been one of the most significant women in the avant-garde film tradition since the mid-60s there has been no comprehensive overview of her work and its various contexts. At last the publication of Gunvor Nelson and the Avant-Garde fills the gap. The essays in the book are divided into four parts which offer four contexts for exploring the audiovisual connections to the work of Gunvor Nelson: conceptual mappings regarding the avant-garde and the avant-garde tradition; historical contexts in the USA and in Sweden; contemporary practices in production and distribution; the films of Gunvor Nelson in relation to the American Avant-Garde as well as her video works since the 90s. The book closes with an extensive interview with Nelson herself.

  • 20.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Bo Jonsson och glömskans estetik2015In: OEI, ISSN 1404-5095, no 69-70, p. 129-131Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Chance and Play, or Marvellous Machines: A Forgotten Swedish Film Avant-Garde2016In: A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 / [ed] Tania Ørum, Jesper Olsson, Leiden: Brill Academic Publishers, 2016, p. 349-358Chapter in book (Refereed)
  • 22.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Cinema experimental i film nacional2009In: Xcéntric, Vol. 2, no 2Article in journal (Other (popular science, discussion, etc.))
  • 23.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Condensed History: The Poetics of Memory in Film2003In: Travelling Concepts III: Memory-Image-Narrative / [ed] Nancy Pedri, Amsterdam: ASCA Press , 2003, p. 16-29Chapter in book (Refereed)
  • 24.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Contemporary Cinematic Work from Finland: the Non-place of Cinema and Identity2006In: New Cinemas, ISSN 1474-2756, E-ISSN 2040-0578, Vol. 4, no 2, p. 83-92Article in journal (Refereed)
    Abstract [en]

    The article discusses the identity-crisis that has taken place in the institution of cinema during the last years. The changes (in aesthetics, economics and the sociological conditions) are related to both the Finnish institutional strategies adopted since the 1990s and to the prolific experimental film-makers Eija-Liisa Ahtila and Mika Taanila. It is suggested that Ahtila and Taanila are representatives of a new post-cinematic citizenship in a contemporary European culture of the moving image.

  • 25.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Detektivens blick och filmens minne: Parland i samtiden2011In: Erhållit Europa/vilket härmed erkännes: Henry Parland-studier / [ed] Clas Zilliacus, Stockholm/Helsingfors: Atlantis/SLS , 2011, p. 81-95Chapter in book (Refereed)
  • 26.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Ein wahrhaftes Bild des Lebens2010In: Festival Katalog 56. Internationalen Kurzfilmtage: Oberhausen 29.4.-4.5.2009 / [ed] Karl Maria Laufen, Oberhausen: Karl Maria Laufen , 2010, , p. 129-130Conference paper (Other (popular science, discussion, etc.))
  • 27.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Filmen -- Konstens flygmaskin2000In: Finsk Tidskrift, ISSN 0015-248x, no 7-8Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Sundholm, John
    Karlstad University, Sweden.
    Finland at War on Screen since 1989: Affirmative Historiography ad Prosthetic Memory2013In: European Cultural Memory Post-89 / [ed] Conny Mithander, John Sundholm, Adrian velicu, Amsterdam: Rodopi, 2013, p. 209-239Chapter in book (Refereed)
    Abstract [en]

    This chapter deals with Finnish cultural memory post-89 through an analysis of Finnish war films and their reception during the years 1989-2007. The discursive formation of Tuntematon Sotilas (The Unknown Soldier) is used as a point of departure for the study. It is argued that the discursive formation is characterised by four discourses: the historical discourse, the discourse of the witness, the discourse of victimisation and the discourse of the defensive victory, which remain intact despite radical turns in Finnish history and foreign policy since the fall of the Soviet Union in 1991. Thus, although there is a change into post-modern cultural memory the hegemony of previous discourses are not overturned due to a persistent nationalist and affirmative historiography.

  • 29.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    From A. G. Ingelius to Börje Brast: Legislating Finland-Swedish Identity1998In: Polygraph:An Intrenational Journla of Culture & Politics, ISSN 1533-9793, Vol. 10Article in journal (Refereed)
  • 30.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Gruvan i havet: Om att ge röst2008In: Medvandrare: Festskrift till Roger Holmstrom den 13 november 2008. / [ed] Michel Ekman, Julia Tidigs, Clas Zilliacus, Åbo: Åbo Akademis förlag , 2008, p. 59-67Chapter in book (Other academic)
  • 31.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Gunvor Nelson and the Avant-Garde2003Collection (editor) (Refereed)
    Abstract [en]

    Despite the fact that Swedish-American film-maker Gunvor Nelson has been one of the most significant women in the avant-garde film tradition since the mid-60s there has been no comprehensive overview of her work and its various contexts. At last the publication of Gunvor Nelson and the Avant-Garde fills the gap. The essays in the book are divided into four parts which offer four contexts for exploring the audiovisual connections to the work of Gunvor Nelson: conceptual mappings regarding the avant-garde and the avant-garde tradition; historical contexts in the USA and in Sweden; contemporary practices in production and distribution; the films of Gunvor Nelson in relation to the American Avant-Garde as well as her video works since the 90s. The book closes with an extensive interview with Nelson herself.

  • 32.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Gunvor Nelson: STILL MOVING i ljud och bild2002Collection (editor) (Refereed)
    Abstract [sv]

    Gunvor Nelsons är en av de viktigaste kvinnliga filmskaparna i den avantgardistiska traditionen och förordet beskrivs hennes filmer som "påtagliga, materiella drömmar". I denna rikt illustrerade utgåva finns bland annat en historik om Nelsons filmer av Steve Anker, chef för San Francisco Cinematheque och en intervju av filmkritikern Anders Pettersson.

  • 33.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    I am a Rhinoceros: Memory and the Ethics and Aesthetics of Materiality in Film2005In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 2, no 1, p. 45-64Article in journal (Refereed)
    Abstract [en]

    In his book Vision and Painting Norman Bryson writes ‘the image that suppresses deixis [i.e. the act of pointing or designating] has no interest in its own genesis or past, except to bury it in a palimpsest of which only the final version shows through’ (Bryson 1983: 92). Bryson's remark brings a set of questions and problems to the fore regarding memory and film; that the technique and material used for remembering and the making of memory intersects with what will be constituted as memory, and that a trace of the act of making memory should be present in the material. Consequently we cannot avoid considering both an ethics and poetics when approaching memory. The arguments are exemplified by a comprehensive discussion and analysis of two films that belong to the experimental film tradition: Malcolm Le Grice's Little Dog for Roger (1967) and Gunvor Nelson's Red Shift (1984).

  • 34.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Jestem nosorożcem: Pamięć z etyka i estetyka materialności w filmie2006In: Pamiec w filozofii XX wieku / [ed] Zofia Rosiska, Warszawa: Uniwersytet Warszawski , 2006, p. 209-220Chapter in book (Refereed)
  • 35.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Juha: Aki Kaurismäki, Finland, 19992005In: The Cinema of Scandinavia / [ed] Tytti Soila, London: Wallflower Press , 2005, p. 215-224Chapter in book (Refereed)
  • 36.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Listening to Film2003In: Review of Communication, ISSN 1535-8593, E-ISSN 1535-8593, Vol. 3, no 1, p. 90-93Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    Michel Chion. The Voice in Cinema. Edited and translated by Claudia Gorbman.New York: Columbia University Press, 1999. xiii183 pages. Notes andindex. $49.50 (cloth); $18.50 (paper).The compulsory opening for an essay or paper dealing with film soundduring the early 1980s was to state that sound was often the ignored other offilm studies and film analysis. Two decades later, the situation is different. RickAltman’s (1992) edited volume Sound Theory/Sound Practice, the books byMichel Chion, and the work by Walter Murch (2000) have already formed abase from which to approach the subject...

  • 37.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Material och mimesis2007In: Evidence: Gunvor Nelson / [ed] Gunvor Nelson och Cecilia Widenheim, Stockholm: Moderna Museet , 2007, p. 30-37Chapter in book (Other academic)
  • 38.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Narrative Excess without a Cause: The Institutional Reception of Hollywood Family Melodrama in 1950s Finland2001In: Southern Quarterly, ISSN 0038-4496, Vol. 39, no 4, p. 101-Article in journal (Refereed)
    Abstract [en]

    Examines the local critical response to several Hollywood melodramas exhibited in Finland during the 1950s. Overview of the Finnish film culture in the 1950s; Characterization of U.S. films by Finnish critics; Institutional reception for the Hollywood melodramas 'Picnic' and 'Giant.

  • 39.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Narrative Machines, or, from 'Bottom to Top': Early Discourses on the Novel and Film2003In: Nordicom Review, ISSN 1403-1108, E-ISSN 2001-5119Article in journal (Refereed)
    Abstract [en]

    There is a certain tendency in the contemporaryhistoriography of early film studies to construe mo-dernity as a model for the textual analysis of spe-cific, isolated moments in film history. Furthermore,film history – and other media histories – is usuallystudied and written within the academic boundariesof different departments. We are given the historyof media according to media and communications,film studies, art history, literature and so on. Veryseldom are we offered a perspective founded on aninterdisciplinary or comparative approach.Therefore, I will both criticise some trends inearly film historiography and argue in favour of theimportance – and necessity – of employing a histo-rico-dialectical and comparative analysis. I supportmy argument and discussion by comparing theparadigmatic interpretations of “modernity vs.early film” and the Finnish discourses on early filmin the 1920s and the early novel in the 1850s.

  • 40.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Peter Gidal – teori och praktik2016In: Walden, ISSN 2002-2891, no 3/4, p. 119-125Article in journal (Other (popular science, discussion, etc.))
  • 41.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Przestarzala historia2002In: Kwartalnik Filmowy, ISSN 0452-9502, no 39-40Article in journal (Refereed)
    Abstract [pl]

    Autor koncentruje się na zjawisku pamięci, zwłaszcza pamięci zbiorowej, oraz jej związku ztożsamością narodową. Do jej opisu Sundholm wykorzystuje Freudowskie pojęcie„zagęszczenia”, tj. nakładania się na siebie w formie jednego zagęszczonego obrazupokładów treści psychicznych odległych od siebie czasowo i tematycznie. ZdaniemSundholma pamięć działa w sposób analogiczny, tj. zawsze stanowi strukturę łączącąelementy współczesne z minionymi. Sztuki wizualne, w tym film, są szczególnieodpowiednie do ukazania tego zjawiska. Stwarzają bowiem możliwości prezentacjizagęszczonych obrazów będących wprost odzwierciedleniem pracy pamięci zbiorowej.Analizowanym przykładem jest film Juha Aki Kaurismäkiego . Jest to ekranizacja klasycznejfińskiej powieści, wielokrotnie już wcześniej adaptowanej (film, opera) i posiadającej silnąnarodową wymowę, z tym, że wymowa ta, ze względu na przemiany historyczne, jest obecniew dużym stopniu nieaktualna. Istotą przedsięwzięcia Kaurismäkiego jest opowiedzenie tejsamej historii w taki sposób, żeby ocalić zarówno jej treść jak i aktualność – jego celem jestpamięć. Sundholm analizuje zagęszczenie obrazu Kaurismäkiego na dwóch splatających siępłaszczyznach, formalnej (użytych technik) i materialnej (treści filmu), starając się za każdymrazem ukazać znaczenie i zasięg analizowanych rozwiązań artystycznych.

  • 42.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Przestarzała historia: Pamięć i tożsamość narodowa w filmie "Juha" Aki Kaurismäkiego.2015In: Od Ibsena do Aho: Filmowe adaptacje literatury skandynawskiej / [ed] Tadeusz Szczepański, Gdansk: Slowo / obraz terytoria, 2015, p. 401-409Chapter in book (Other academic)
  • 43.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Spekulationer i det kinematografiska: Kommentar2011In: Nya Argus, ISSN 0027-7126, no 4, p. 93-94Article in journal (Other (popular science, discussion, etc.))
  • 44.
    Sundholm, John
    Karlstad University, Sweden.
    Stories of National and Transnational Memory: Renegotiating the Finnish Conception of Moral Witness and National Victimhood2013In: Finland's Holocaust: Silences of History / [ed] Simo Muir, Hana Worthen, Basingstoke: Palgrave Macmillan, 2013, p. 31-45Chapter in book (Refereed)
  • 45.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Sven Elfström 1965-1971, Uddevalla-Nynäshamn2015In: OEI, ISSN 1404-5095, no 69-70, p. 108-111Article in journal (Other (popular science, discussion, etc.))
  • 46.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    The Cultural Trauma Process, or the Ethics and Mobility of Memory2011In: Memory and Migration: Multidisciplinary Approaches to Memory Studies / [ed] Julia Creet and Andreas Kitzmann, Toronto: University of Toronto Press , 2011, p. 120-134Chapter in book (Refereed)
  • 47.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    The Deterritorialization of Film2011In: Globalizing Art: Negotiating Place, Identity and Nation in Contemporary Nordic Art / [ed] Bodil Marie Stavning Thomsen & Kristin Ørjasæter, Aarhus: Aarhus Universitetsforlag , 2011, p. 53-67Chapter in book (Refereed)
    Abstract [en]

    What is the common denominator of Nordic artists and artist groups like Adel Abidin, Eija-Liisa Ahtila, Das Beckwerk, Bjork, Olafur Eliasson, Hakki, Michael Elmgreen and Ingar Dragset, Julie Edel Hardenberg, Lise Harlev, Kristian von Hornsleth, Sami van Ingen, Jonas Hassen Khemiri, Soren Lose, HuskMitNavn, Pekka Niskanen, Ellen Nyman, Oyvind Rimbereid, Annica Karlsson Rixon and Superflex? They all explore local identity formations and images of nationality and trans-nationality within a global context. The term 'Nordic' is indeed constructed historically for political, commercial and scientific reasons, but as any symbolic universe it obtains a material sense as a geopolitical 'place' through the collaborations between the nations involved. The Cartoon Crises and its many reverberations issuing from Denmark in 2005 became an important turning point for discussions on national as well as Nordic identities and values. The new cultural agenda in which local identities were branded for a global public, concurrent with attempts in domestic politics to create national safeguards toward globalisation, has indeed been noticed by artists during the last decade. In light of new global and transnational relations, contemporary art has requested a renegotiation of the frameworks constructing national and Nordic communities. All articles in this book discuss ways in which art seeks to redistribute national and cultural identity. Common to the artists examined is the drive to combine cultural images from multiple sources and several media. Thus, the book also explores how works that express new identity formations confront the conventional aesthetic production of meaning and, all in all, it contributes to the examination of how art reinvents itself when dealing with unresolved issues of political, national and cultural belonging.

  • 48.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    The Material and the Mimetic: On Gunvor Nelson's Personal Filmmaking2007In: Framework, ISSN 0306-7661, E-ISSN 1559-7989, Vol. 48, no 2, p. 165-173Article in journal (Refereed)
    Abstract [en]

    Experimental or avant-garde film is a tricky notion. In North America, "avant-garde" is the more common term of the two because film as a practice is primarily marked by a manifestly commercial culture. Non-profit, minor, and inexpensively produced film is itself a phenomenon of the avant-garde in a climate that is strictly capitalist. In Europe, where hardly any feature films aimed for regular distribution are produced without public funding (that is, partly non-commercial), the oppositions between different economies of production are not as polarized.

    I am, however, convinced that we have these imprecise and restricting notions of avant-garde or experimental because film as a field of study has such a short history. The emerging digital culture of the moving image that is blending formats, media and practices of exhibition will soon make the notion of "film" obsolete. Nonetheless, the dominant form, i.e., narrative feature film, has become—and has been—the metonymical figure for film as an economy (movies), social form (film) and aesthetic language (cinema). What the recent changes in formats, media, and exhibition will imply for those products and practices that David James has termed "minor cinemas" is that, when taken together, "minor" cinematic forms will turn out to be "major" in terms of output and availability, due to digital technology and the Internet. The change is nevertheless not radically new. In 1958, Pontus Hultén, the up-and-coming, versatile director of Stockholm's Museum of Contemporary Art (one of the leading European art museums of the 1960s), pointed this out in a catalogue for Viking Eggeling's work:

    In a couple of years probably no one will talk about film as they are doing now. The concept of film will disappear. Film will be used in the same way as the printed word. The simple fact that the moving image is projected by an optic-mechanical apparatus will be no more of a common denominator than that all printed letters are printed in a printing press. There will be as many kinds of film as there are novels, newspapers, brochures, secret reports, essays and poems. And every kind will be considered as something separate in itself...

  • 49.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The memory practices of immigrant filmmakers: Minor cinemas and the production of locality2016In: Crossings: Journal of Migration and Culture, ISSN 2040-4344, E-ISSN 2040-4352, Vol. 7, no 1, p. 63-74Article in journal (Refereed)
    Abstract [en]

    This article presents a case study of independent immigrant film-making from the 1980s and the early 1990s in Sweden. The aim is twofold: to analyse the memory practices of exilic and diasporic subjects and to stress that what Zuzana M. Pick has coined as the subjective paradoxes and privileges of exile implies an agential understanding of memory. Hence, the study of memory and migration in relation to film practice before the digital turn calls for a theory of cultural production and an approach in which film is not primarily considered a means for representation but an act in itself.

  • 50.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    The Non-place of Identity: On the Poetics of a Minority Culture2000In: "Beyond Boundaries: Textual Representations of European Identity / [ed] Andy Hollis, Amsterdam: Rodopi , 2000, p. 165-179Chapter in book (Refereed)
    Abstract [en]

    John Sundholm appears to echo Claudio Magris when he argues that the identity of the Swedish minority in Finland is no more than a literary abstraction. For there are no borders within Finland which serve to 'house' the Swedes, no space to which they might lay claim, no place, therefore, which can give them an identity, except for the 'non-place' of literature. Through belles lettres in particular, and the organisations set up to support them, a cohesive identity is sometimes artificially created, but this sense of identity is at odds with the everyday experience of the Swedish minority. Sundholm suggests, however, that despite this situation, it is sometimes possible for works to bridge the gap between a perceived need to serve common Swedish interests and the necessity within novels, at least, of creating a feasible fictional space. One such example is Monika Fagerholm's novel Wonderful Women by the Water (1997), which he presents as successful both in creating the necessary novelistic 'phenomenonological deceit' and in addressing (and by implication duping) the 'symbolic' economy upon which the author depends. Sundholm, however, does not confine the poetics involved to one minority culture in Finland. They are appropriate, he contends, not just for all minorities, but also - and here the links with Joyce become even more evident - for any modernist representation of identity.

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