Immigrant Film Co-Operatives in Sweden - The Most Typical Avant-Garde
(2022) In Avant-Garde Critical Studies 41. p.703-714- Abstract
- The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on... (More)
- The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on the description and analysis of three films by three different organisations that became cohorts of multilingual and collective film-making, ranging from purely organisational structures (Kaleidoscope, in the 1980s) to collective youth recreation work in the suburbs (Tensta filmförening, in the 1970s and 1980s) and to a co-op for self-organised and self-financed film-making (Cineco, in the late 1970s and early 1980s). (Less)
- Abstract (Swedish)
- An account for three production nodes for immigrant film workers in Sweden, Kaleidoscope, Tensta Filmförening and Cineco, as well as an analysis of some of their films.
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/39b9172c-aff7-4fa4-b549-ac3e42360608
- author
- Andersson, Lars Gustaf LU and Sundholm, John
- organization
- alternative title
- Immigrantfilmskooperativ i Sverige - det mest typiska avantgardet
- publishing date
- 2022
- type
- Chapter in Book/Report/Conference proceeding
- publication status
- published
- subject
- keywords
- avantgarde, immigrantfilm, filmkooperativ
- host publication
- A Cultural History of the Avant-Garde in the Nordic Countries Since 1975
- series title
- Avant-Garde Critical Studies
- editor
- Hjartarson, Benedikt ; Ørum, Tania ; Skovbjerg Paldam, Camilla and Schultz, Laura Luise
- volume
- 41
- pages
- 12 pages
- publisher
- Brill
- ISSN
- 1879-6419
- ISBN
- 978-90-04-44456-0
- 978-90-04-51595-6
- DOI
- 10.1163/9789004515956_047
- language
- English
- LU publication?
- yes
- id
- 39b9172c-aff7-4fa4-b549-ac3e42360608
- date added to LUP
- 2022-12-13 17:16:50
- date last changed
- 2022-12-27 10:54:04
@inbook{39b9172c-aff7-4fa4-b549-ac3e42360608,
abstract = {{The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on the description and analysis of three films by three different organisations that became cohorts of multilingual and collective film-making, ranging from purely organisational structures (Kaleidoscope, in the 1980s) to collective youth recreation work in the suburbs (Tensta filmförening, in the 1970s and 1980s) and to a co-op for self-organised and self-financed film-making (Cineco, in the late 1970s and early 1980s).}},
author = {{Andersson, Lars Gustaf and Sundholm, John}},
booktitle = {{A Cultural History of the Avant-Garde in the Nordic Countries Since 1975}},
editor = {{Hjartarson, Benedikt and Ørum, Tania and Skovbjerg Paldam, Camilla and Schultz, Laura Luise}},
isbn = {{978-90-04-44456-0}},
issn = {{1879-6419}},
keywords = {{avantgarde; immigrantfilm; filmkooperativ}},
language = {{eng}},
pages = {{703--714}},
publisher = {{Brill}},
series = {{Avant-Garde Critical Studies}},
title = {{Immigrant Film Co-Operatives in Sweden - The Most Typical Avant-Garde}},
url = {{http://dx.doi.org/10.1163/9789004515956_047}},
doi = {{10.1163/9789004515956_047}},
volume = {{41}},
year = {{2022}},
}