Advanced

Amatör och avantgarde : de mindre filmkulturerna i efterkrigstidens Sverige

Andersson, Lars Gustaf LU and Sundholm, John (2008) In Välfärdsbilder: svensk film utanför biografen p.229-245
Abstract
An important feature in the Swedish avant-garde film culture of the 40s and 50s is the creation of a public sphere for cinephilia. At first this public sphere was an "Öffentlichkeit" in the sense of Negt and Kluge. No distinction was made between production, exhibition and distribution; film theoretical reading, film viewing, and film production were not separated, nor were the films categorized. Experimental work, documentaries, commercial features and mateur films were shown at the same venues. On the other hand the discussion around avant-garde film and filmmakers was vital and the reception of the continental and the American avant-garde was prominent. Film journals like Biografbladet (1920 - 1952) became important vehicles for new... (More)
An important feature in the Swedish avant-garde film culture of the 40s and 50s is the creation of a public sphere for cinephilia. At first this public sphere was an "Öffentlichkeit" in the sense of Negt and Kluge. No distinction was made between production, exhibition and distribution; film theoretical reading, film viewing, and film production were not separated, nor were the films categorized. Experimental work, documentaries, commercial features and mateur films were shown at the same venues. On the other hand the discussion around avant-garde film and filmmakers was vital and the reception of the continental and the American avant-garde was prominent. Film journals like Biografbladet (1920 - 1952) became important vehicles for new ideas in film aesthetics. The funding of Svensk Experimentfilmstudio (S.E.F.) in 1950 marked the beginning for a new phase in the history of the experimental film in Sweden. Through new magazines like SEF (1952) and Filmfront (1953 - 1956) the ontological question of the experimental cinema came into focus. Thus, the spheres became divided into a cineaste and an avant-garde one. The case of the films of Peter Weiss is typical.

The chapter depicts this change and discusses how it addresses all the major questions concerning the politics and the poetics of the production, reception and distribution of marginal cinema practices. (Less)
Please use this url to cite or link to this publication:
author
organization
publishing date
type
Chapter in Book/Report/Conference proceeding
publication status
published
subject
keywords
national cinema, experimental cinema, politics of marginal cinema practices, amateur, Swedish cinema, Peter Weiss
in
Välfärdsbilder: svensk film utanför biografen
editor
Hedling, Erik; Jönsson, Mats; and
pages
229 - 245
publisher
Statens ljud- och bildarkiv
ISBN
978-91-88468-09-3
project
Svensk experimentfilm
language
Swedish
LU publication?
yes
id
8ceee7c8-378c-4d44-b0f7-41fc79ea9e1a (old id 1002501)
alternative location
http://www.kb.se/dokument/Aktuellt/audiovisuellt/Amat%C3%B6r%20Andersson%20Sundholm.pdf
date added to LUP
2008-01-30 14:30:09
date last changed
2016-04-16 09:42:33
@inbook{8ceee7c8-378c-4d44-b0f7-41fc79ea9e1a,
  abstract     = {An important feature in the Swedish avant-garde film culture of the 40s and 50s is the creation of a public sphere for cinephilia. At first this public sphere was an "Öffentlichkeit" in the sense of Negt and Kluge. No distinction was made between production, exhibition and distribution; film theoretical reading, film viewing, and film production were not separated, nor were the films categorized. Experimental work, documentaries, commercial features and mateur films were shown at the same venues. On the other hand the discussion around avant-garde film and filmmakers was vital and the reception of the continental and the American avant-garde was prominent. Film journals like Biografbladet (1920 - 1952) became important vehicles for new ideas in film aesthetics. The funding of Svensk Experimentfilmstudio (S.E.F.) in 1950 marked the beginning for a new phase in the history of the experimental film in Sweden. Through new magazines like SEF (1952) and Filmfront (1953 - 1956) the ontological question of the experimental cinema came into focus. Thus, the spheres became divided into a cineaste and an avant-garde one. The case of the films of Peter Weiss is typical.<br/><br>
The chapter depicts this change and discusses how it addresses all the major questions concerning the politics and the poetics of the production, reception and distribution of marginal cinema practices.},
  author       = {Andersson, Lars Gustaf and Sundholm, John},
  editor       = {Hedling, Erik and Jönsson, Mats},
  isbn         = {978-91-88468-09-3},
  keyword      = {national cinema,experimental cinema,politics of marginal cinema practices,amateur,Swedish cinema,Peter Weiss},
  language     = {swe},
  pages        = {229--245},
  publisher    = {Statens ljud- och bildarkiv},
  series       = {Välfärdsbilder: svensk film utanför biografen},
  title        = {Amatör och avantgarde : de mindre filmkulturerna i efterkrigstidens Sverige},
  year         = {2008},
}