|
Showing 1 - 8 of
8 matches in All Departments
The Face of AIDS film archive at Karolinska Institutet, Sweden,
consists of more than 700 hours of unedited and edited footage,
shot over a period of more than thirty years and all over the world
by filmmaker and journalist Staffan Hildebrand. The material
documents the HIV/AIDS pandemic and includes scenes from
conferences and rallies, and interviews with activists, physicians,
people with the infection, and researchers. It represents a global
historical development from the early years of the AIDS crisis to a
situation in which it is possible to live a normal life with the
HIV virus. This volume brings together a range of academic
perspectives - from media and film studies, medical history, gender
studies, history, and cultural studies - to bear on the archive,
shedding light on memories, discourses, trauma, and activism. Using
a medical humanities framework, the editors explore the influence
of historical representations of HIV/AIDS and stigma in a world
where antiretroviral treatment has fundamentally altered the
conditions under which many people diagnosed with HIV live.
Organized into four sections, this book begins by introducing the
archive and its role, setting it in a global context. The first
part looks at methodological, legal and ethical issues around
archiving memories of the present which are then used to construct
histories of the past; something that can be particularly
controversial when dealing with a socially stigmatized epidemic
such as HIV/AIDS. The second section is devoted to analyses of
particular films from the archive, looking at the portrayal of
people living with HIV/AIDS, the narrative of HIV as a chronic
illness and the contemporary context of particular films. The third
section looks at how stigma and trauma are negotiated in the
material in the Face of AIDS film archive, discussing ideas about
suffering and culpability. The final section contributes
perspectives on and by the filmmaker as activist and auteur. This
interdisciplinary collection is placed at the intersection of
medical humanities, sexuality studies and film and media studies,
continuing a tradition of studies on the cultural and social
understandings of HIV/AIDS.
The Face of AIDS film archive at Karolinska Institutet, Sweden,
consists of more than 700 hours of unedited and edited footage,
shot over a period of more than thirty years and all over the world
by filmmaker and journalist Staffan Hildebrand. The material
documents the HIV/AIDS pandemic and includes scenes from
conferences and rallies, and interviews with activists, physicians,
people with the infection, and researchers. It represents a global
historical development from the early years of the AIDS crisis to a
situation in which it is possible to live a normal life with the
HIV virus. This volume brings together a range of academic
perspectives - from media and film studies, medical history, gender
studies, history, and cultural studies - to bear on the archive,
shedding light on memories, discourses, trauma, and activism. Using
a medical humanities framework, the editors explore the influence
of historical representations of HIV/AIDS and stigma in a world
where antiretroviral treatment has fundamentally altered the
conditions under which many people diagnosed with HIV live.
Organized into four sections, this book begins by introducing the
archive and its role, setting it in a global context. The first
part looks at methodological, legal and ethical issues around
archiving memories of the present which are then used to construct
histories of the past; something that can be particularly
controversial when dealing with a socially stigmatized epidemic
such as HIV/AIDS. The second section is devoted to analyses of
particular films from the archive, looking at the portrayal of
people living with HIV/AIDS, the narrative of HIV as a chronic
illness and the contemporary context of particular films. The third
section looks at how stigma and trauma are negotiated in the
material in the Face of AIDS film archive, discussing ideas about
suffering and culpability. The final section contributes
perspectives on and by the filmmaker as activist and auteur. This
interdisciplinary collection is placed at the intersection of
medical humanities, sexuality studies and film and media studies,
continuing a tradition of studies on the cultural and social
understandings of HIV/AIDS.
The Editors give a wide and yet concise presentation of the history
of Swedish film through carefully selected articles by Swedish and
international film scholars. The book draws upon a rich tradition
of research on Swedish cinema, and it offers a varied and inspiring
introduction to the history from the very first film screenings to
contemporary works. The anthology is organized in thematic sections
on, for instance, the Swedish cinema institutions; silent films;
genre cinema; authors and art cinema, and a reflection on the film
industry before and after the new millennium. Combining in-depth
studies with contextualizing introductions, the book provides a
rich spectrum of perspectives on Swedish film previously
unavailable in English. The book will be essential reading for
students, scholars and anyone who has an interest in Swedish
cinema!
This book gives a wide and yet concise presentation of the history
of Swedish film through a number of articles by Swedish and
international film scholars. The book draws upon a rich tradition
of research on Swedish cinema, and it offers a varied and inspiring
introduction to the history from the very first film screenings to
contemporary works. Combining in-depth studies with contextualising
introductions, this book provides a rich spectrum of perspectives
on Swedish film previously unavailable in English. The book will be
essential reading for students, scholars and anyone who has an
interest in Swedish cinema!
The Twilight novels by Stephenie Meyer have developed from a book
series into a powerful phenomenon with an astonishing impact. Not
only have the books been adapted for the screen, but they have also
spawned a huge number of works by fans, readers, reviewers, and
scholars. The multi-faceted "Interdisciplinary Approaches to
Twilight" brings together scholars from a variety of disciplines in
order to address the key themes in the complex global phenomenon
that is Twilight; a phenomenon that transcends the boundaries
between continents, generations, and producers and consumers, and
not least between different genres and media. The authors present
in-depth literary and film analyses, and shed new light on
perspectives on gender, fandom, vampire fiction and the economics
of the book market. The book fills a void in Twilight research,
and, linked by their cutting-edge research and unique theoretical
and analytical perspectives, the authors compellingly map a massive
global experience that speaks to the realities of contemporary
culture.
Mai Elizabeth Zetterling (1925-94) is among the most exceptional
postwar female filmmakers. Born in Sweden, she lived in England and
France for most of her life, making her directorial debut in 1964
with the Swedish art film Loving Couples after a fraught transition
from working in front of the camera as a successful actress.
Critics have compared her work to that of Ingmar Bergman, Luis
BuNuel, and Federico Fellini, but Zetterling had a distinct style -
alternately radical and reactionary - that straddled the gendered
divide between high art and mass culture. Tackling themes of
sexuality, isolation, and creativity, her documentaries, short and
feature films, and television works are visually striking. Her
oeuvre provoked controversy and scandal through her sensational
representations of reproduction and motherhood. Mariah Larsson
provides a lively and authoritative take on Zetterling's legacy and
complicated position within film and women's history. A Cinema of
Obsession provides necessary perspective on how the breadth of an
artist's collected works keeps gatekeepers from recognizing their
achievements, and questions why we still distinguish between
national and global visual cultures and the big and small screens
in the #MeToo era.
Swedish cinema became recognized for daring representations of
sexuality with such films as One Summer of Happiness (1951), The
Silence (1963), I am Curious (Yellow) (1967) and a wave of sex
films in the late 1960s and 1970s. The association between Swedish
film and sexuality shows up frequently in popular culture-from Taxi
Driver to Mad Men, references to dirty Swedish movies abound. Yet
the connection has attracted little critical attention. In this
collection of new essays, Swedish and American scholars go beyond
popular misconceptions to explore the origins, influences and
reception of sexuality in Swedish cinema during the "sexual
revolution" on both sides of the Atlantic. A broad range of topics
are covered, from analyses of key films, to a behind-the-scenes
study of the Swedish Film Institute, which played a significant
role in opposing Swedish film censorship.
This book expands the notion of sexual fantasies from the field of
psychology into the realms of cultural studies, anthropology,
philosophy, and sociology. So far, much research on sexual
fantasies has dealt with issues of gender differences, the effect
of sexual fantasies on people's sex lives, or how problematic
fantasies can be treated in therapy. In this volume contributors
from different academic disciplines explore sexual fantasies at the
convergence of the cultural and the individual, taking into account
that fantasies are paradoxical: highly individualised and private,
and at the same time dependent on a world that supplies structures,
images, symbols, and narratives.
|
|