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Amatör och avantgarde : de mindre filmkulturerna i efterkrigstidens Sverige

In English

Författare

Redaktör

  • Erik Hedling
  • Mats Jönsson

Summary, in English

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.

Avdelning/ar

Publiceringsår

2008

Språk

Svenska

Sidor

229-245

Publikation/Tidskrift/Serie

Välfärdsbilder: svensk film utanför biografen

Dokumenttyp

Del av eller Kapitel i bok

Förlag

Statens ljud- och bildarkiv

Ämne

  • Arts

Nyckelord

  • national cinema
  • experimental cinema
  • politics of marginal cinema practices
  • amateur
  • Swedish cinema
  • Peter Weiss

Status

Published

Projekt

  • Swedish Experimental Film

ISBN/ISSN/Övrigt

  • ISBN: 978-91-88468-09-3