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  • 51.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Risker med rosémingel2014In: Hufvudstadsbladet, ISSN 0356-0724, no 8.7.2014Article in journal (Other (popular science, discussion, etc.))
  • 52.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Samhällsbärare2013In: Hufvudstadsbladet, ISSN 0356-0724, no 10 novemberArticle in journal (Other (popular science, discussion, etc.))
  • 53.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Soulfulness, Sichtbarkeit and the sexual politics of national cinema2009In: Stellar encounters: stardom in popular European cinema / [ed] Tytti Soila, Eastleigh: John Libbey , 2009, p. 143-160Chapter in book (Other academic)
  • 54.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Sovinnottomuus2012In: Hiidenkivi, ISSN 1236-794X, Vol. 19, no 1, p. 10-13Article in journal (Other (popular science, discussion, etc.))
  • 55.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Sveket2014In: Hufvudstadsbladet, ISSN 0356-0724, no 4.6.2014Article in journal (Other (popular science, discussion, etc.))
  • 56.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Sårbara och säljbara2011In: FLM. En kulturtidskrift om film, ISSN 1654-711x, no 15, p. 31-37Article in journal (Other (popular science, discussion, etc.))
  • 57.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Talking heads, imagined communities: steam of Life and the affective politics of intimate documentary2012In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 2, no 2, p. 97-112Article in journal (Refereed)
    Abstract [en]

    In a cycle of new Finnish documentaries, male confessional talk abounds. Beyond the successful Miesten vuoro/Steam of Life (Joonas Berghäll and Mika Hotakainen, 2010), several recent documentaries propose to give voice to ordinary Finnish men who reveal their true feelings to other men. In this article, Steam of Life is discussed as a case of intimate documentary, drawing on both the political aesthetics of feminist documentary and the transnational, late modern rhetoric of confession.Employing the complex affective legacies of the talking head, the film engages in performative politics of gender and nation. It mobilizes a discourse on the nation as a male network, and importantly evokes nation as a sentimental community, a community based on feeling. In so doing, however, it de-individualizes the speaking subjects. While purporting to give voice to the male protagonists, the film makes them anonymous soldiers of the nation, thereby denying them their own voices.

  • 58.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    The Promise of Touch: Rethinking the Vulnerability of Spectators2013Conference paper (Other academic)
    Abstract [en]

    In recent feminist theorizing, the notions of vulnerability and precariousness have emerged as key concepts for thinking about power and agency, violence and openness, injury and transformability, ontology and epistemology, ethics and politics (e.g. Butler 2004, 2009; Brown 2005, 2006; Berlant 1997, 2011; Cavarero 2007; Braidotti 2006). While highly divergent in their historical and philosophical legacies, the different approaches to vulnerability and precariousness share an interest in vulnerability as the ontological or historical condition or quality of human body. In the fields of feminist visual theory and media studies, these conceptualizations of politics and ethics of embodiment have resulted in reconceptualizations of spectatorship as a state of vulnerability. On the hand, viewing is theorized as embodied engagement, as haptic or tactile practice or in terms of synaesthesia and multisensory experience. On the other hand, the interrelationship of viewers and images (sound-images) is being interrogated as a dialogue or interaction. These powerful ideas are most visible in the important writings by Vivian Sobchack (The Address of the Eye: The Phenomenology of Film Experience, 1992; Carnal Thoughts. Embodiment and the Moving Image Culture, 2004) and Laura U. Marks (The Skin of the Film. Intercultural Cinema, Embodiment and the Senses, 2000; Touch: Sensuous Theory and Multisensory Media, 2002) and, more recently, by Jennifer M. Barker (The Tactile Eye. Touch and the Cinematic Experience, 2009).

  • 59.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    The Promise of Touch: Turns to Affect in Feminist Film Theory2015In: Feminisms: Diversity, Difference, and Multiplicity in Contemporary Film Cultures / [ed] Laura Mulvey, Anna Backman Rogers, Amsterdam: Amsterdam University Press, 2015, p. 97-110Chapter in book (Refereed)
  • 60.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Theorist of Feeling2018In: Cinema Journal, ISSN 0009-7101, E-ISSN 1527-2087, Vol. 57, no 2, p. 163-165Article, book review (Other academic)
  • 61.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Traumatic truths, enacted emotions in Auf wiedersehen Finnland (Suutari 2010)2013Conference paper (Other academic)
    Abstract [en]

    What happens when “Hitler’s Brides”, Finnish women who fraternized with German soldiers, finally, after 60 years of silence, agree to tell their stories in public? During the Second World War, 200 000 German soldiers were in stationed Northern Finland to fight against Soviet Union, first as allies, then as enemies at war with Finns. Some hundreds of Finnish women socialized with the German soldiers and after the war, followed their lovers to Germany. Some stayed there for a longer while, many returned and were imprisoned or placed in a quarantine camp after their arrival. Auf Wiedersehen Finnland features four women and one son who testify about the stigma, shame and silence.In this paper, I discuss Auf Wiedersehen Finnland as a cross-over between historical and intimate documentary, confronting and engaging with gendered national politics of memory. Discussing the film in the intersection between documentary studies, affect theory and memory studies, the paper focuses on how the experiences of trauma and the processes of shaming and being shamed are enacted and re-enacted in this film, how the speaking subjects and the frames of social memory are staged and framed. Bringing the question of affect to discussions about enactment/re-enactment in documentary as “the thrill of the real” (André Bazin) and “the spectacle of actuality” (Elizabeth Cowie), this paper poses questions about the politics of affective history. While asking how the documentary in its invitation to the women to confess and tell their story becomes an agent of the nation, inviting viewers into a community of feeling, the paper also asks how the film at the same time disturbs national memory, interrogating its constitutive silences.

  • 62.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Tv bortom teve2014In: Hufvudstadsbladet, ISSN 0356-0724, no 11.12.2014Article in journal (Other (popular science, discussion, etc.))
  • 63.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Tämä ei ole televisiota2012In: Kertomuksen luonto / [ed] Kaisa Kurikka, Olli Löytty, Kukku Melkas, Viola Parente-Čapková, Jyväskylä: Jyväskylän yliopisto , 2012, p. 147-155Chapter in book (Other academic)
    Abstract [fi]

    Kertomuksen luonto kurkistaa taiteiden tutkimuksen nykyilmiöihin ja uusiin suuntiin. Teoksesta avautuu laaja kirjo lähestymistapoja ja kysymyksenasetteluja kirjallisuuteen, elokuvaan, televisioon ja kuvataiteeseen. Mitä tapahtuu kun lähestymme taideteosta yksityiskohdan kautta? Miten erilaiset äänet pääsevät kuuluviin kirjallisuudessa? Minkälaiset tietämisen ehdot rajaavat tai muokkaavat käsitystämme maailmasta ja tutkimuksesta? Millaiseksi luonnon ja kulttuurin suhde rakentuu posthumanistisessa tutkimuksessa? Miten etiikka kytkeytyy estetiikkaan? Kertomuksen luonto etsii vastauksia ja kysyy uudelleen.

  • 64.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Uncanny Motions: Facing Death, Morphing Life2013In: Discourse. Journal for Theoretical Studies in Media and Culture, ISSN 1522-5321, E-ISSN 1536-1810, Vol. 35, no 2, p. 248-262Article in journal (Refereed)
  • 65.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Vad är det som diskuteras?: I dag -kolumn 21.10.20122012In: Hufvudstadsbladet, ISSN 0356-0724, no 21.okt.Article in journal (Other (popular science, discussion, etc.))
  • 66.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Valet är en fest2014In: Hufvudstadsbladet, ISSN 0356-0724, no 8.9.2014Article in journal (Other (popular science, discussion, etc.))
  • 67.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Vi är inte jämställt näthatade2013In: Hufvudstadsbladet, ISSN 0356-0724, no 3 majArticle in journal (Other (popular science, discussion, etc.))
  • 68.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Världen har inte sommarstängt, Yle!2014In: Hufvudstadsbladet, ISSN 0356-0724, no 8.8.2014Article in journal (Other (popular science, discussion, etc.))
  • 69.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    We're here, we're queer: Jag viftar med min regnbågsflagga, ler och letar efter ögonkontakt, men möter uttryckslösa ansikten2013In: Hufvudstadsbladet, ISSN 0356-0724Article in journal (Other (popular science, discussion, etc.))
  • 70.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    When there was a future: archiving affect, remembering 1970s Finnish communism2013Conference paper (Other academic)
  • 71.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    When there was a future: negotiating post-communist melancholia2014Conference paper (Other academic)
    Abstract [en]

    For Finnish cultural memory, remembering the 1970s entails engaging with the complex effects of the Cold War, most painfully, the complicated relationship of Finland with Soviet Union: The Agreement of Friendship, Cooperation, and Mutual Assistance (1948–1992) and the political leverage Soviet Union de facto gained in the internal affairs of Finland, formally a Western democracy. Not only did this inform political structures, media and the public sphere at large, but also the new social and political movements and, most spectacularly, the post-1968 leftist radicalism that in Finland epitomized in the so called Taistoism: an orthodox pro-Soviet grouping and an internal opposition within Eurocommunist Finnish Communist Movement.

    In this paper, I discuss Finnish documentaries that address the 1970s communist and socialist activism, focusing on their aesthetic and political strategies in articulating cultural memory, coming to terms with time as disjunctive and, hence, resisting what has been termed left melancholy. Looking at a subjective documentary (Uncle Lenin lives in Russia/Lenin-setä asuu Venäjällä by Kanerva Cederström 1987), an autoethnography (Once upon a time there was a utopia/Olipa kerran Utopia by Lasse Naukkarinen 2004), a musical documentary Revolution (Kenen joukoissa seisot by Jouko Aaltonen, 2006) and a historical documentary (Oh dear Finland/Oi kallis Suomenmaa by Peter von Bagh 1997) I investigate how they negotiate ideological, political and moral controversy by staging affective history. That is, how they, employing archival aesthetics and popular political songs of the 1970s, invoke a past structure of feeling or what Jacques Rancière calls “the distribution of the sensible”, the common sense. At the same time, however, this reframing of the past in new “documentary fiction” (Rancière) is also a political act and, potentially, an act of dissensus that introduces “a conflict between sensory presentation and a way of making sense of it”. Drawing from Rancière’s notions, I discuss the documentaries as attempts to invent new subjects and speaking positions instead of remaining silent and marginalized by political melancholia. 

    With this paper, I wish to make a contribution to the field of studies on post-communism, documentary studies as well as to studies of cultural memory and of cinema as politics.

  • 72.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Yes we can?: the promises of affect for queer scholarship2010In: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, Vol. 15, no 3-4, p. 40-64Article in journal (Refereed)
    Abstract [sv]

    Artikeln undersöker den så kallade affektiva vändningen som enligt ett specialnummer av South Atlantic Quarterly, "After sex? on writing since queer theory" (2007), kännetecknar även queerforskning på 2000-talet. Artikeln ifrågasätter existensen av "en vändning" genom en närläsning av Eve Kosofsky Sedgwicks inflytelserika skrifter om skam samt om paranoida och reparativa läsesätt. Såväl Sedgwicks förståelse av skam som hennes uttalat metodologiska reflexioner kring queerforskning kännetecknas av komplexitet och ambivalens. Detta bottnar i hennes psykoanalytiska referensram och koppling av affektbegreppet till subjektteori, till skillnad från t.ex. nymaterialistiska ansatser. Som en följd kan hennes idéer om paranoida och reparativa positioner svårligen tolkas som två väsensskilda metodologiska alternativ eller en värdering av två valbara, sinsemellan alternativa läsesätt. Sedgwicks begreppspar kan inte heller reduceras till en inbjudan till forskare att "tala om" känslor och upplevelser. I stället kan dessa två positioner, förankrade i Melanie Kleins psykoanalytiska teori, med fördel uppfattas som en beskrivning av det queera forskarsubjektets ontologiska situation: dess nödvändiga pendling mellan negativ och positiv hermeneutik, mellan kritisk granskning och ifrågasättande av denna attityd, mellan tvivel och hopp i sitt förhållande till världen. I Sedgwicks tappning innebär "affektiv vändning" en utveckling av subjektteorier. Hennes skrifter deltar i utmaningen av den förra, lingvistiska vändningen men deltar i dess dekonstruktion och vidareutveckling inifrån, med dess kännetecknande teoretiska verktyg, psykoanalys, dekonstruktion och närläsning.

  • 73.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Yes We Can? The Promises of Affect for Queer Scholarship2013In: Kvinder, Køn og Forskning, ISSN 0907-6182, E-ISSN 2245-6937, no 3-4, p. 19-30Article in journal (Refereed)
    Abstract [sv]

    This article was first published in lambda nordica 2010, 3-4. Artikeln undersöker den så kallade affektiva vändningen som enligt ett specialnummer av South Atlantic Quarterly, “After sex? on writing since queer theory” (2007), kännetecknar även queerforskning på 2000- talet. Artikeln ifrågasätter existensen av “en vändning” genom en närläsning av Eve Kosofsky Sedgwicks inflytelserika skrifter om skam samt om paranoida och reparativa läsesätt. Såväl Sedgwicks förståelse av skam som hennes uttalat metodologiska reflexioner kring queerforskning kännetecknas av komplexitet och ambivalens. Detta bottnar i hennes psykoanalytiska referensram och koppling av affektbegreppet till subjektteori, till skillnad från t.ex. nymaterialistiska ansatser. Som en följd kan hennes idéer om paranoida och reparativa positioner svårligen tolkas som två väsensskilda metodologiska alternativ eller en värdering av två valbara, sinsemellan alternativa läsesätt. Sedgwicks begreppspar kan inte heller reduceras till en inbjudan till forskare att “tala om” känslor och upplevelser. I stället kan dessa två positioner, förankrade i Melanie Kleins psykoanalytiska teori, med fördel uppfattas som en beskrivning av det queera forskarsubjektets ontologiska situation: dess nödvändiga pendling mellan negativ och positiv hermeneutik, mellan kritisk granskning och ifrågasättande av denna attityd, mellan tvivel och hopp i sitt förhållande till världen. I Sedgwicks tapp-ning innebär “affektiv vändning” en utveckling av subjektteorier. Hennes skrifter deltar i utmaningen av den förra, lingvistiska vändningen men deltar i dess dekonstruktion och vidareutveckling inifrån, med dess kännetecknande teoretiska verktyg, psykoanalys, dekonstruktion och närläsning.

  • 74.
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Äktfinskt helvetesrum2015In: Hufvudstadsbladet, ISSN 0356-0724, no 27.2.2105Article in journal (Other (popular science, discussion, etc.))
  • 75.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hentilä, SeppoKolbe, LauraLamberg, MarkoSaressalo, LassiSulkunen, Irma
    Kansallisbiografia II: Moninainen Suomi2010Collection (editor) (Other academic)
  • 76.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hentilä, Seppo
    Kolbe, Laura
    Lamberg, Marko
    Saressalo, Lassi
    Sulkunen, Irma
    Moninainen Suomi: esiphue2010Other (Other academic)
  • 77.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Lehtonen, Mikko
    University of Tampere.
    Kansalainen minä.: median ihannesubjektit ja suostumuksen tuottaminen2010In: Valta Suomessa / [ed] Petteri Pietikäinen, Helsinki: Gaudeamus , 2010, p. 231-252Chapter in book (Other academic)
  • 78.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Lehtonen, Mikko
    University of Tampere.
    Miltä tuntuu todella? Arjen kulttuuriset merkityskamppailut2011In: Kuinka meitä kutsutaan?: Kulttuuriset merkityskamppailut nyky-Suomessa / [ed] Anu Koivunen & Mikko Lehtonen, Tampere: Vastapaino, 2011, 1, p. 7-40Chapter in book (Refereed)
  • 79.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Lehtonen, Mikko
    University of Tampere.
    'The Popular' revisited: From Theory to Meta-Theory2012In: Senmoderna reflexioner: Festskrift till Johan Fornäs / [ed] Erling Bjurström, Martin Fredriksson, Ulf Olsson & Ann Werner, Linköping: Linköping University Electronic Press, 2012, p. 25-34Chapter in book (Other academic)
  • 80.
    Koivunen, Anu
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Ryberg, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Horak, Laura
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Swedish cinema's use of the Bechdel test is a provocation that works: Swedish screens are challenging the idea that two women talking to each other is diametrically opposed to film quality2013In: The Guardian, ISSN 0261-3077Article in journal (Other (popular science, discussion, etc.))
  • 81.
    Koivunen, Anu-Riitta
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Affective Historiography: Time, Trauma, and Transference2015Conference paper (Refereed)
  • 82.
    Koivunen, Anu-Riitta
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Beyond Vulnerability? Girls as Animals in She Monkeys (Lisa Aschan 2011) and Attenberg (Athina Rachel Tsangari 2011)2015Conference paper (Refereed)
  • 83.
    Koivunen, Anu-Riitta
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Redistributing feelings: migrant memories in Finnish Blood, Swedish Heart (Mika Ronkainen, Finland-Sweden 2012)2015Conference paper (Refereed)
    Abstract [en]

    This paper examines the effects of Scandinavian co-financing and co-distribution on the formation of cultural memory by focusing on a recent Finnish-Swedish documentary, Ingen riktig finne – Laulu koti-ikävästä by Mika Ronkainen (2012). Not assuming a simple cause-effect chain of financing and distribution on aesthetics and meaning-making, the aim is, rather, to discuss the possibilities and constraints of co-productions for rearticulating cultural memory and national narratives, thereby enabling new articulations of migrant belongings (Fortier 2000) and minoritarian identities. In this paper, Hamid Naficy’s (2001) notion of ‘accented cinema’ is suggested as a way of theorizing the cultural and political potential of co-productions.

    In the case of Ingen riktig finne – Laulu koti-ikävästä, the notion of ‘accented cinema’ is discussed as redistribution of feelings: cultural memory is rearticulated by mobilizing and revisiting the ‘affective legacies’ (Koivunen 2012) of migrant belongings and the narrativizations in the two countries and languages of the mass migration of Finns to Sweden in the 1960s and 1970s. In this documentary, fleeing poverty and unemployment in Finland as well as memories of living in the Finnish immigrant community and being underclass in the eyes of the new homeland are thematized in a feel-good film, a musical documentary and a road movie.

    In Swedish context, the documentary enables a revisiting – both for the mainstream public and for the Swedish Finnish minority – of the past negative stereotypes of Swedish Finns as disadvantaged citizens in need of social resources, that prevailed in press during the Great Migration.  As for Finnish context, the film breaks up the stubborn silence and oblivion that has prevailed in the national public sphere concerning the mass migration. It also rearranges the affective dynamic that structures the existing narratives about Swedish Finns where guilt and shame are defining features. In revisiting affective legacies and redistributing feelings, the musical performances play a key role in creating a multi-language space for different migrant generations, emotional histories, temporalities and social positions. As a stylized documentary and accented cinema in terms of generic hybridity, Finnish Blood, Swedish Heart exemplifies the potential and constraints of co-productions as accented cinema to create a third space that enables rearticulations of cultural memory beyond national narratives and emotional grammars.

  • 84.
    Lehtonen, Mikko
    et al.
    University of Tampere.
    Koivunen, AnuStockholm University, Faculty of Humanities, Department of Cinema Studies.
    Kuinka meitä kutsutaan?: kulttuuriset merkityskamppailut nyky-Suomessa2011Collection (editor) (Refereed)
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