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.