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  • 1.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Beside myself with looking: The provincial, female spectator as out place at the Stockholm Exhibition 18972009In: Strange Spaces: Explorations into Mediated Obscurity / [ed] André Jansson & Amanda Lagerkvist, Farnham, England: Ashgate, 2009, 1, p. 123-147Chapter in book (Other academic)
  • 2.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Between Pleasure and discomfort: Josephine Baker, mulatto traveler2007Conference paper (Other (popular science, discussion, etc.))
  • 3.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Clio på bio2007In: ArenaArticle, book review (Other (popular science, discussion, etc.))
  • 4.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    De intellektuella och deras roll2008In: Bang: De intellektuella, ISSN 1102-4593, no 2-3Article in journal (Other (popular science, discussion, etc.))
  • 5.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Den autentiska Joséphine Baker?: Om problematiken kring medieringen av ras2008In: Mediernas Kulturhistoria, Statens Ljud- och Bildarkiv: Mediehistoriskt Arkiv 8 , 2008, p. ss. 167-190Chapter in book (Other academic)
  • 6.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Filmen Vita myror som postkolonial kritik2008In: TV-pionjärer och fria filmare: En bok om Lennart Ehrenborg, Statens Ljud- och Bildarkiv: Mediehistoriskt Arkiv 9 , 2008, p. 261-277Chapter in book (Other (popular science, discussion, etc.))
  • 7.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Gunnar Skoglund: (post i Svenskt Biografiskt Lexikon)2004Other (Other (popular science, discussion, etc.))
  • 8.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hemmets radikal:: Det elektriska köket2008In: Polhem: Tidskrift för TeknikhistoriaArticle in journal (Refereed)
  • 9.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hollywood Histrionics: Performing ‘Africa’ in The Rose of Rhodesia2009In: Screening the Past, ISSN ISSN 1328-9756, no 26Article in journal (Refereed)
    Abstract [en]

    In this essay I discuss the racial discourse underlying the regulation of space, actor movement, and gesture inThe Rose of Rhodesia (1918), whose animation and restraint of black characters, by communicating a message of interracial brotherhood and reconciliation, appear to address real-life tensions between colonial masters and subjects. Shaw’s film is inflected by local as well as global discourses on race and imperialism, and scholars have noted that his South African productions—first and foremost in De Voortrekkers / Winning a Continent(1916)—were stylistically influenced by D. W. Griffith’s epic The Birth of a Nation (1915). My discussion initially focuses upon the similar, yet subtly different, racial thematics of these melodramas, which I situate in two contexts: the regulatory aspects of Sub-Saharan film production; and what I call an imperial ethics of care, a global discourse on race linked to the late-Victorian British media. I then examine the striking way in which the principal black actor, Yumi, appears to have been directed to use a histrionic mode of acting which had been largely abandoned by Hollywood directors. This return to what Roberta E. Pearson has dubbed the “eloquent gestures” of film melodrama, I argue, can be related to two linked problems for white settlers: the supposed inability of Africans to comprehend cinema; and the risk of black insurgency. In directing his African actors to use an antiquated, histrionic style comprised of unambiguous poses and extravagantly courteous gestures, Shaw sought to fix the film’s meaning for black and white audiences alike.

  • 10.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Josephine Baker - Stockholms chokladdiva2007In: BangArticle in journal (Other (popular science, discussion, etc.))
  • 11.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    ’Kvinnorna på utställningen’: Feminina dygder och odygder på Stockholmsutställningen 18972006In: 1897: Mediehistorier kring Stockholmsutställningen 1897, Mediehistoriskt Arkiv , 2006, p. ss. 339-369Chapter in book (Other academic)
  • 12.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Modern Media, Modern Audiences: Mass Media and Social Engineering in the 1930s Swedish Welfare State2002Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation straddles the interface of mass media, social engineering and advertising in 1930s Stockholm. Its twofold objective is firstly to outline their cultural output, targeting predominantly feminine audiences. Discussions oscillate between intertextual and contextual levels, and elucidate the spaces providing the respective settings for these media. Advertising is claimed to establish spatiotemporal spheres where the everyday meets with the semi-fictional framework of films or tie-in contests, which are thereby expanded in multifarious ways. The study also argues that newsreels visualize history overlooked in canonized history writing, by providing documentary and navigatory instruments in urban milieus now lost.

    Secondly, the study encircles two sets of discourses underpinning the mass media of the nascent welfare state, the former encompassing advertising, hygiene and eugenics. The latter is a prismatic construction of the public – highlighted as citizens, consumers and patients. Exhibitions and non-fiction films often encouraged spectators to compare their life projects, medical profiles and lifestyles with those of object lessons or newsreels, channeling imperatives into them by elevating their everyday experiences and concerns to issues of national importance. The methodology is partly drawn from early film and visual culture theory, partly from feminist early film scholarship on filmgoing and the problematic of feminine mobility in consumerist culture. Contrary to the conceptualization of feminine flânerie as contained by patriarchal capitalism, the dissertation holds that a gender-coded framework does not nullify the value of women’s mobility, or reduce it to capitalist goals. A wider understanding of consumerist spaces and venues entails treating them as spheres simultaneously harboring commercially homogenizing and polysemic capacities.

    Chapter 1

    highlights the Stockholm Exhibition 1930, presenting the grounds as a literal and conceptual panorama of architectonics, objects and issues. In contrast to several analyses of its reception, this concerns the modes of spectating adopted or rejected by audiences and critics, and the sensory and bodily implications of disorientation or discomfort brought about by glass architecture. The film Brokiga Blad is regarded as an instance of film-mediated reception, involving a gaze precipitated by a mixture of awe and rural skepsis towards functionalism.

    Chapter 2

    presents case studies of media with the welfare effort and the eugenics program as a backdrop. The exhibition "Mor och Barn" specifically targeted female visitors, who were called on to reflect on their part in the nation’s dwindling birth rates. This and other media events concretized the eugenic ideology’s vision of a healthier human type, and provided training grounds for opening up the private sphere to scrutiny, and the spectators themselves to civic soul-searching and introspection.

    Chapter 3

    accounts for marketing policies, elucidating the interrelationship of exhibitions, films, contests and discourses on advertising. To reconstructs filmic arenas offering readers a peak at their local stars, or to learn screen dance, a few periodicals and film-related ephemera are presented.

    Chapter 4

    first discusses buildings offering women architectonic, cinematic, and commodity-trapped attractions. The second part is devoted to the moral outrage expressed by social reformists, worried by the perceived expansion and fusion of degenerating urban pleasures. They believed that the lifestyles of Hollywood films would jeopardize young women’s sexual virtue by, putting "ideas" into their heads. Nevertheless, indications are given that some girls were in fact attracted to the commodity values of urbanity, to the point of transgressing sexual norms to attain a desired lifestyle.

    Chapter 5

    focuses upon the movement Hälsa genom Nakenkultur (HgN) and its alternative to urban popular culture: nudism. If the imagery carried the strongest rhetorical force for spreading the nudist credo, the exposure of nakedness was a delicate matter. To contain the potentially expansiveness of sexual connotations, the dissertation argues, nudity was screened with acculturating codes, and a repertoire of legitimizing poses, gestures and activities.

    Chapter 6

    discusses exhibitions launched as lobbying tools for putting the Vacations Act into operation, and the formulation of the issue as a social, economic and cultural problem. Visual culture theory is the framework for teasing out the educational aspects of displays and tableaux. From its overall topography down to vehicles, tents and books, "Fritiden" is likened to a Heideggerian toolbox, providing a connection between eye and hand, necessary for achieving an embodied understanding of the vacation and its attributes.

  • 13.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Offentlighet2008In: Film och andra rörliga bilder: En introduktion / [ed] Anu Koivunen, Stockholm: Raster förlag, 2008Chapter in book (Other academic)
    Abstract [sv]

    Föremålet för den här artikeln är den kongolesiska moderörelsen la Sape (La société des ambianceurs et des personnes élégantes), som under senare tid skaffat sig en medial arena genom YouTube, en virtuell plats som också skulle kunna definieras som en alternativ offentlighet. Michael Warner har på ett intressant sätt argumenterat för att en offentlighet är självformerande och diskursiv skapad, dvs. den är en ”en diskursiv sfär organiserad av det diskursiva” (2002). Warner är en av många som problematiserat Jürgen Habermas tes om den medborgerliga offentlighetens direkta, rationella kommunikation, och istället pekat på hur offentligheter medialt skapas som ”praktiska fiktioner”. Varje deloffentlighet konstitueras därigenom av en mångfald av diskursivt cirkulerande förförståelser som projiceras mot ett avgränsat socialt fält; där möjliggörs ”en repertoar av aktörskap” för den allmänhet som tilltalas. Inom de marginaliserade sfärer som Warner kallar motoffentligheter tydliggörs och iscensätts den individuella identiteten och tillhörigheten hos deltagarna genom aktiviteter och ritualer som syftar till att maskera gruppens svaga maktställning gentemot den dominerande kulturen.

    Det afrodiaporiska modefenomenet La SAPE är en västvärldsinfluerad eleganskultur som skapades av svarta kolonialundersåtar kring förra sekelskiftet. Enligt Didier Gondola och Phyllis Martin har denna rörelse och dess alternativa offentlighet öppnat för en specifik typ av aktörskap, med individualiserade möjligheter till motstånd, först mot vita kolonialherrar, sedan mot eurocentrism och Schengenavtal. Sapeurens exklusiva kläder bygger en mer eller mindre fiktiv identitet, som förmedlar en berättelse om framgång. Under 1950- och 1960-talet hade framgångshistorien en materiell bas; sapeurer hade då arbete och ett visst välstånd, och kunde resa till modets huvudstad, Paris för att göra klädinköp och umgås i SAPE-gemenskaper. I dag är många arbetslösa, och vägen till Paris är stängd. Kongoleser tar sig ändå dit olagligt, under stora umbäranden.

    Gondola ser SAPE-rörelsen som ett svar på västs utestängande praktiker: mot osynliggörande ställer sapeurerna en extrem synlighet, en motstrategi, som på ett mycket bokstavligt sätt investerar den kropp som anses ha lite värde med iögonfallande exklusivitet. Sapeuren försöker ”skriva om kulturens ordning på kroppen”. Rörelsen definieras i den här diskussionen som en motoffentlighet med tydligt inskriven instrumentalitet: här kan sapeurer omskapa/återuppfinna sin identitet, och leva ut en fiktion om framgång, exempelvis på Paris innerstadscaféer. Caféägarna har dock i allt större utsträckning jagat bort dem. Jag vilja hävda att YouTube kommit att erbjuda en alternativ medial plattform och offentlighet, där sapeurerna får vara ifred, samtidigt som de uppvisande momenten (saperandet) kan organiseras på nya sätt. Genom YouTube-filmerna skapas en samnärvaro mellan sapeurer i Kongo och Paris på distans, som samtidigt förstärker, eller dubblerar uppvisandet av exklusiva plagg i deras gemensamma klädkarriär. YouTube-filmernas typiska sammanlänkning i associativa kedjor för tittaren att följa, erbjuder dessutom en virtuell, afrodiasporisk karta över rörelsens spridning.

  • 14.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Performing Africa:: D. W. Griffith, Hollywood, and The Rose of Rhodesia2009In: Screening the Past: Special issue, p. ca 20 s.-Article in journal (Other academic)
  • 15.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Svart hud, vita sexfantasier2008In: Ottar, no 4, p. ca 2 s.-Article in journal (Other (popular science, discussion, etc.))
  • 16.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Så är Sveriges folk ett folk av is och sol: (Katalogtext för Utställningen Svenska Hjärtan, Moderna Museet)2004Other (Other (popular science, discussion, etc.))
  • 17.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    The Happy Interdisciplinarity of Media Firsts:: “University TV Week"2008Conference paper (Other (popular science, discussion, etc.))
  • 18.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    The Paradoxes of Paradisiac Nudity: Fascist Aesthetics and Medicalized Discourse in the Nudist Movement Health through Nude Culture2000In: Nordisk Estetisk Tidskrift, no 22, p. 29-36Article in journal (Other academic)
  • 19.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    To Stockholm with Love: The Critical Reception of Josephine Baker, 1927-19352005In: Film History, Vol. 17, no 1, p. ss. 125-138Article in journal (Other academic)
  • 20.
    Habel, Ylva
    Stockholm University.
    Törst i rutan:: Alkoholbruk och radikalism i TV2-filmen Badjävlar2005In: Spiritus: Tidskrift för alkoholforskning, no 7, p. 12 s.-Article in journal (Other academic)
  • 21.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Whiteness at Work: The Swedish Milk Propaganda during the Interwar Years2007In: Films at Work: Studies in the Visual Culture of Industrial Films, Amsterdam University Press , 2007Chapter in book (Refereed)
  • 22.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Whiteness Swedish Style2008In: Slut, ISSN 1654-1839, Vol. 2, p. ss. 41-51Article in journal (Other (popular science, discussion, etc.))
  • 23.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    You Forget Where You Are: New Outlines in the Cinematic Cityscape of Stockholm, 1930-19312000In: Aura: Filmvetenskaplig tidskrift, ISSN 1400-8386, Vol. VI, no 4, p. ss. 47-56Article in journal (Other academic)
1 - 23 of 23
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