Tabu. Filmaren Vilgot Sjöman
(2001)- Abstract
- This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491,... (More)
- This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491, Sjöman became known as a serious, but utterly controversial film-maker, treating sexual matters in a provocative and explicit manner. His international fame rests mainly on the diptych film, Jag är nyfiken -– gul (I Am Curious – Yellow), and Jag är nyfiken – blå (I Am Curious – blue), from 1967 and 1968 respectively. Sjöman here launched a kind of cinéma vérité-aesthetic, combined with a self-reflexive cinematic discourse verging on self-parody. At the end of the 1960s and in the 1970s, Sjöman struggled to find his proper place in the politicised cultural climate. The title of this thesis is derived from a film released in 1977, Tabu (Taboo). The film was scandalous, its allegory of leftist political activism deemed unacceptable. After Tabu, Sjöman never really recovered as a director. His films tended to be unattractive for the general audience, and, as opposed to his earlier work, they have had no real impact on the discourses of Swedish contemporary cinema and culture in general. (Less)
- Abstract (Swedish)
- Popular Abstract in Swedish
Avhandlingen är en tematisk och historisk studie av Sjömans filmer och av hans betydelse för svensk filmkultur, framför allt under 1960- och 1970-talen. Sjöman är mest känd som filmregissör. År 1962 hyllades debutfilmen Älskarinnan av kritikerna. Sjöman sågs som föregångare till en ny våg i svensk film. Genom debatten efter filmcensurens totalförbud av 491 (1964) kom Sjöman att uppfattas som en seriös men ytterst kontroversiell regissör. Hans internationella berömmelse vilar framför allt på diptykfilmen Jag är nyfiken - gul och jag är nyfiken - blå från 1967 respektive 1968. Här arbetade Sjöman med en blandning av politisk agitation och självgestaltning i en stil påverkad av fransk cinéma-vérité.... (More) - Popular Abstract in Swedish
Avhandlingen är en tematisk och historisk studie av Sjömans filmer och av hans betydelse för svensk filmkultur, framför allt under 1960- och 1970-talen. Sjöman är mest känd som filmregissör. År 1962 hyllades debutfilmen Älskarinnan av kritikerna. Sjöman sågs som föregångare till en ny våg i svensk film. Genom debatten efter filmcensurens totalförbud av 491 (1964) kom Sjöman att uppfattas som en seriös men ytterst kontroversiell regissör. Hans internationella berömmelse vilar framför allt på diptykfilmen Jag är nyfiken - gul och jag är nyfiken - blå från 1967 respektive 1968. Här arbetade Sjöman med en blandning av politisk agitation och självgestaltning i en stil påverkad av fransk cinéma-vérité. I slutet av 1960-talet och under 1970-talet försökte Sjöman förlika sig med det politiserade kulturklimatet. Avhandlingens titel är också titeln på en Sjömanfilm, Tabu, från 1977. Filmen kan ses som en politisk allegori om samtidens politiska kultur och gjorde skandal. Efter Tabu har Sjömans filmer lockat en fåtalig publik, och som regissör har han marginaliserats i förhållande till den centrala roll han hade i framför allt 1960-talets filmkultur. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/27579
- author
- Åberg, Anders LU
- supervisor
-
- Erik Hedling LU
- opponent
-
- Söderbergh Widding, Astrid
- organization
- publishing date
- 2001
- type
- Thesis
- publication status
- published
- subject
- keywords
- Political Cinema, Humaniora, Humanities, Swedish Film, Sjöman
- pages
- 390 pages
- publisher
- Filmhäftet
- defense location
- Edens hörsal, Lund
- defense date
- 2001-06-07 10:15:00
- ISBN
- 91-974142-0-4
- language
- Swedish
- LU publication?
- yes
- id
- 4416323e-4671-46a5-96ab-f12ce9e09d08 (old id 27579)
- date added to LUP
- 2016-04-04 11:19:04
- date last changed
- 2018-11-21 21:04:02
@phdthesis{4416323e-4671-46a5-96ab-f12ce9e09d08,
abstract = {{This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491, Sjöman became known as a serious, but utterly controversial film-maker, treating sexual matters in a provocative and explicit manner. His international fame rests mainly on the diptych film, Jag är nyfiken -– gul (I Am Curious – Yellow), and Jag är nyfiken – blå (I Am Curious – blue), from 1967 and 1968 respectively. Sjöman here launched a kind of cinéma vérité-aesthetic, combined with a self-reflexive cinematic discourse verging on self-parody. At the end of the 1960s and in the 1970s, Sjöman struggled to find his proper place in the politicised cultural climate. The title of this thesis is derived from a film released in 1977, Tabu (Taboo). The film was scandalous, its allegory of leftist political activism deemed unacceptable. After Tabu, Sjöman never really recovered as a director. His films tended to be unattractive for the general audience, and, as opposed to his earlier work, they have had no real impact on the discourses of Swedish contemporary cinema and culture in general.}},
author = {{Åberg, Anders}},
isbn = {{91-974142-0-4}},
keywords = {{Political Cinema; Humaniora; Humanities; Swedish Film; Sjöman}},
language = {{swe}},
publisher = {{Filmhäftet}},
school = {{Lund University}},
title = {{Tabu. Filmaren Vilgot Sjöman}},
year = {{2001}},
}