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  • 1. Achinger, Christine
    et al.
    Brunow, Dagmar
    Hamburg University, Germany ; Lund University.
    Jentz, Janina
    Mühlhäuser, Regina
    Engendering Airwaves: Zur Konstruktion von Geschlecht im Radio2001In: Radio-Kultur und Hör-Kunst: Zwischen Avantgarde und Popularkultur 1923-2001 / [ed] Andreas Stuhlmann, Würzburg: Verlag Königshausen & Neumann, 2001, p. 24-38Chapter in book (Other academic)
  • 2.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    ‘A fragment of the world’: An interview with Petra Bauer2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 189-193Article in journal (Other academic)
  • 3.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Allegory, Performativity, and Intervention: The Function of Travelogues in a Contested Space. A comment on Charlotte Tornbjer2009In: Borders as Experience / [ed] KG Hammarlund, Halmstad: Halmstad University , 2009, p. 201-215Chapter in book (Refereed)
  • 4.
    Brunow, Dagmar
    Halmstad University.
    Amateur home movies and the archive of migration: Sandhya Suri's I for India (2005)2010In: Tourists and Nomads. Amateur Images of Migration. Second Interdisciplinary Conference on Amateur Images 22 – 24 April 2010, 2010Conference paper (Refereed)
    Abstract [en]

    Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.

  • 5.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Amateur Home Movies and the Archive of Migration: Sandhya Suri's I for India (UK, 2005)2012In: Tourists & Nomads: Amateur Images of Migration / [ed] Sonja Kmec, Viviane Thill, Marburg: Jonas Verlag , 2012, p. 153-160Chapter in book (Refereed)
  • 6.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    "And the Winner Is...": The Hamburg EUFA Jury Meetings2017In: Alphaville: Journal of Film and Screen Media, ISSN 2009-4078, no 14, p. 214-218Article in journal (Refereed)
  • 7.
    Brunow, Dagmar
    Högskolan i Halmstad, Kontext & kulturgränser (KK).
    Archiv und Gedächtnis im autobiografischen Film: Maria Langs experimentelles Home Movie Familiengruft. Liebesgedicht an meine Mutter (BRD, 1981/82)2013In: material, experiment, archiv: Experimentalfilme von Frauen / [ed] Annette Brauerhoch, Florian Krautkrämer & Anke Zechner, Berlin: b_books , 2013, 1, p. 89-111Chapter in book (Refereed)
  • 8.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival narratives: Curating history and memory in digitized collections2019In: Structures and Voices: Storytelling in Post-Digital Times: The NECS 2019 Conference, Gdańsk 13-15. 06. 2019, 2019Conference paper (Refereed)
    Abstract [en]

    How do archives employ narratives and storytelling to curate access to their digitized collections? Drawing on the results of my research project “The Cultural Heritage of the Moving Image” (2016-2018), this paper examines how film archives recontextualise and contemporize historical content online, how they reflect upon it and how they cope with legal constraints and ethical considerations. It presents findings from studying the processes of regulation according to which some stories become ‘acknowledgeable’ while others are not recognized. This paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management. It will look at ways of reflecting on hegemonic power structures in the curation of online content. The cases, looking especially at issues of race, class and sexuality, stem from both national film archives and ‘minor archives’, such as grass-root or community archives. Among these are ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB), as well as the Lesbian Home Movie Project (Maine) and bildwechsel, based in Hamburg.

  • 9.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival power and audiovisual memory: recognizing social inequality in film archives2019In: Power & the media. XXVII IAMHIST Conference: 16-18 July 2019, Northumbria University, UK, Newcastle: Northumbria University , 2019, p. 23-23Conference paper (Refereed)
    Abstract [en]

    How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and visibility in national film archives. Setting out to examine on what terms marginalised lives of social and ethnic minorities are made visible, it analyses the work of national film archives in Sweden and the UK. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). The paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management.  It will look at ways of reflecting on hegemonic power structures in the curation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).

  • 10.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Archival practice as counter memory: Preserving the cultural heritage of independent video workshops2011In: NECS (European Network for Cinema and Media Studies) – The London Conference, Sonic Futures: Soundscapes and the Languages of Screen Media, University of London, June 23-26, 2011, 2011Conference paper (Refereed)
  • 11.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival tactics and queer vulnerability: Curating access to audiovisual heritage in Europe2018In: media tactics and engagement, The NECS 2018 Conference: Amsterdam, Netherlands. June 27-29, 2018, 2018Conference paper (Refereed)
    Abstract [en]

    How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and queer visibility in audiovisual heritage. Setting out to examine on what terms queer lives are made visible, it analyses how national film archives in Sweden and the UK acknowledge queer vulnerability when following their diversity policies. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). These archival practices include the choice of metadata, the modes of selection for public screenings and online exhibition as well as the curation and contextualisation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitised collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).

  • 12.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archiving AIDS activist video: A conversation with Jim Hubbard2018In: A Visual History of AIDS: Exploring the Face of AIDS film archive / [ed] Elisabet Björklund, Mariah Larsson, London & New York: Routledge, 2018, p. 183-190Chapter in book (Refereed)
  • 13.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Before YouTube and Indymedia: Cultural memory and the archive of video collectives in Germany in the 1970s and 1980s2012In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 8, no 3, p. 171-181Article in journal (Refereed)
    Abstract [en]

    Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory.

  • 14.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Between Remembering and Forgetting: The Archive and Cultural Memory2018In: Archiving the Unarchivable – Das Unarchivierbare archivieren: 22.–24.11.2018, Kassel: Documenta Archiv , 2018Conference paper (Refereed)
    Abstract [en]

    In the wake of the ‘archival turn’ the digitization of archival collections has been regarded as an important means of countering forgetting, especially in view of analog film stock and videotapes slowly decaying. But has digitization become a hollow promise? Can long-term preservation really be granted? The initial optimism has been challenged by the increasing number of data cemeteries, too. These are due to short-lived digitization projects, which are lacking sustainable planning. And to add, archival storage alone does not automatically contribute to cultural memory. Instead, archival holdings need to be circulated again, preferably in various media environments, in order to feed into our constantly changing, dynamic cultural memory. This keynote address will explore the relation between memory and forgetting in the archive. Advocating for sustainable archival projects, it will discuss the impact of materiality (e.g. paper, videotapes and digital data). Looking at media specificity involves the question of what gets lost in media transformation, for example in video documentations of performance art or expanded cinema. Situating itself within recent trends in cultural memory studies, the talk will outline the challenges and possibilities of today’s archival practice. Drawing on a number of case studies from the documenta archive as well as other heritage institutions, it will present ways of curating access to digitized collections. Different modes of access allow for a re-circulation of the archive, thus providing ways of constructing cultural heritage and memory.

  • 15.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Beyond Boundaries I: Im Gespräch mit Monika Treut2018In: Queer Cinema / [ed] Dagmar Brunow, Simon Dickel, Mainz: Ventil Verlag , 2018, p. 125-139Chapter in book (Other academic)
  • 16.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Beyond Boundaries II: Im Gespräch mit Angelina Maccarone2018In: Queer Cinema / [ed] Dagmar Brunow, Simon Dickel, Mainz: Ventil Verlag , 2018, p. 189-197Chapter in book (Other academic)
  • 17.
    Brunow, Dagmar
    Halmstad University.
    Black diasporic filmmaking and the political aesthetics of anti-essentialism2011In: 9th International Conference of the Collegium for African American Research, "Black States of Desire: Dispossession, Circulation, Transformation", Université Paris Diderot-Paris 7, April 6-9, 2011, 2011Conference paper (Refereed)
    Abstract [en]

    The fact that Black artists are quite often pigeonholed as spokespersons of Black experience is due to a mimetic understanding of art. Using examples from 1980s Black British diasporic filmmaking I would like to shift the analytical focus from representation and mimesis towards art as interventionist practice. The mysterious deaths of young Black men in police custody form the point of departure for an exploration of memory and mourning in Mysteries in July (Black Audio Film Collective, 1991). Additionally, the Sankofa film collective's Territories (1985) is an exploration of urban space, historiography, heterotopia and Black masculinities, while practices of surveillance and the framing of Blacks via media discourses are addressed in Handsworth Songs (Black Audio Film Collective 1986). These filmic essays, instead of looking at the black male as a given social problem, reflect on its construction through discourses of media and governmentality.

    Rather than creating a counter-discourse, these films abstain from trying to depict events "as they really happened". Instead, they deconstruct the hegemonic media discourse through the use of self-reflexive means. While counter practices often assume a unified essentialist stand (as in concepts of Afrocentrism and négritude, for example) I would suggest that in 1980s diasporic Black British filmmaking self-reflexivity is employed as a strategy which might be able to solve a notion of "strategic essentialism" (Spivak). Filmmaking thus serves as an epistemological tool to deal with the gaps, fissures and absences in the national visual archive and in hegemonic historiography while at the same time defying notions of homogeneity and authenticity. The use of self-reflexivity enables the films to reflect on modes of exclusion of the Black subject from hegemonic discourses on the ontology of the image and on the filmic apparatus. To sum up, my paper outlines auteurist strategies of dealing with the exclusion of both the official canon and of the collective visual archive of the nation.

  • 18.
    Brunow, Dagmar
    Hamburg University, Germany.
    Bollywood im Zeitalter der Globalisierung: eine transnationale Perspektive auf populäres Hindikino2013In: Kunst als Avantgarde einer Weltkultur? Muthesius Kunsthochschule, Kiel/Kunsthalle Kiel, 6-8 juni 2013., 2013Conference paper (Refereed)
    Abstract [de]

    Das populäre Hindikino, schon immer hybrid, ist seit den 1990er Jahrenein globales Phänomen. Die Ausrichtung auf ein internationales Publikumhat Konsequenzen für die Produktion, Ästhetik und Distribution derFilme. Inwiefern kann eine transnationale Perspektive dem WandelBollywoods vom Kino zur Kulturindustrie (Rajadhyaksha) Rechnung tragen?Der Beitrag untersucht veränderte Distributionsbedingungen, lokaleRezeptionen und Aneignungen sowie Bollywoods globale Fankultur.

  • 19.
    Brunow, Dagmar
    Hamburg University, Germany.
    Bollywood im Zeitalter der Globalisierung: eine transnationale Perspektive auf populäres Hindikino2013In: Kunst als Avantgarde einer Weltkultur?, Muthesius Kunsthochschule, Kiel / Kunsthalle Kiel, Kiel, Germany, 6-8 June, 2013, 2013Conference paper (Other academic)
    Abstract [de]

    Das populäre Hindikino, schon immer hybrid, ist seit den 1990er Jahren ein globales Phänomen. Die Ausrichtung auf ein internationales Publikum hat Konsequenzen für die Produktion, Ästhetik und Distribution der Filme. Inwiefern kann eine transnationale Perspektive dem Wandel Bollywoods vom Kino zur Kulturindustrie (Rajadhyaksha) Rechnung tragen? Der Beitrag untersucht veränderte Distributionsbedingungen, lokale Rezeptionen und Aneignungen sowie Bollywoods globale Fankultur.

  • 20.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Södertörn University.
    Conceptualising essay film research: canon formations between transnational film studies and "strategic auteurism"2015In: World Cinema and the Essay Film, Reading, 30 april-2 maj 2015, 2015Conference paper (Refereed)
    Abstract [en]

    While publications on the essay film have hitherto focussed on white male filmmaking, thereby perpetuating Romanticism’s patriarchal, logocentric myth of the (male) genius, essay film research needs to broaden its scope to include female directors and/or directors-of-colour. Inclusive gestures alone, however, cannot challenge dominant canon constructions and their inherent dominance of the ‘usual suspects’, such as Resnais, Marker, Godard, or Farocki. Conceptualisations of World cinema (Chaudhuri 2005, Durovicova/Newman 2010, Nagib/Perriam/Dudrah 2012) and European cinema through a transnational perspective (Elsaesser 2005, Bergfelder 2005) can add new dimensions to essay film research, denouncing auteurism as one of the major points of reference for global film practice. However, a director's status as an auteur is still crucial for his or her critical reception, and as a result, for canon formation and its repercussions on film historiography. Conceptualising a film as an essay film can liberate it from a reductive critical reception as an expression of a minoritarian position. Using the example of John Akomfrah, my paper develops the concept of 'strategic auteurism', examining boththe self-fashioning of a filmmaker and his/her conceptualisation by curators and film scholars alike.

  • 21.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Countering Amnesia and Forgetting: Reworking Cultural Memory around the Victims of Right-Wing Violence2017In: Doing Memory and Right-Wing Violence in Mediated Public Spheres: Workshop : 15.–16.10.2017, Fürstensaal, Schloss Hohentübingen, Eberhard Karls University Tübingen, 2017Conference paper (Other academic)
  • 22.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Creating heritage and memory: digital film archives as sites of knowledge production2017In: From Dust to Dawn : Archival Studies After the Archival Turn: Uppsala 15–17 November 2017, Uppsala University, 2017, p. 13-13Conference paper (Refereed)
    Abstract [en]

    Situated at the intersection of archivology, film studies and memory studies, my paper offers critical perspectives on the archive as a site of knowledge production. It investigates the construction of audiovisual heritage in digital film archives, based on my research project “The Cultural Heritage of Moving Images” (VR, 2016–2018). Drawing on theorizations of the archive by Foucault and Derrida, I regard the archive as an agent in its own right. In order to challenge the ongoing tendencies in film studies to focus on the preservation of film stock, my talk will foreground the role of the archivist as a curator. In my paper I will examine the use of metadata for the creation of a polyvocal cultural memory.

  • 23.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Cultural Memory as Counter Historiography: The Archival Practice of German Video Collectives2011In: The XXIV IAMHIST Conference (The International Association for Media and History), 6-10 July 2011, Copenhagen, 2011Conference paper (Refereed)
  • 24.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Curating Access: Digital Archives, Heritage and Diversity2016In: The NECS 2016 Conference in/between : cultures of connectivity: 10th Annual NECS Conference July 26-30, 2016, Potsdam, Germany, 2016Conference paper (Refereed)
  • 25.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Curating Access to Audiovisual Heritage: Cultural Memory and Diversity in European Film Archives2017In: Image [&] Narrative, ISSN 1780-678X, E-ISSN 1780-678X, Vol. 18, no 1, p. 97-110Article in journal (Refereed)
    Abstract [en]

    Archives, just like museums or libraries, are agents which contribute to the creation of our cultural memory. Inextricably linked to the notion of cultural heritage, they highlight some narratives, while sidelining or excluding others. Therefore it is important to critically reflect on the question “whose heritage” (Stuart Hall) is created in the process of archiving. This article looks at the politics of creating access to audiovisual heritage in European film archives via online video streaming opportunities. Examining audiovisual archives as agents in the construction of transnational memories, my research aims to provide new ways of reflecting on diversity practices in archival selection. As case study, this article examines the archival politics of the national film archives in Sweden, especially the way archivists are curating the site Filmarkivet.se.

  • 26.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Hamburgs universitet, Germany ; Södertörns högskola.
    Dagmar Brunow läser Laura Mulvey: Mulvey reloaded - den manliga blicken och feministiskt filmskapande2013In: Tidskrift för Genusvetenskap, ISSN 1654-5443, E-ISSN 2001-1377, no 4, p. 64-67Article in journal (Other academic)
  • 27.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Das Archiv als Akteur: Videoarchive und die Mediatisierung des kulturellen Gedächtnisses2015In: Geschichte(n), Repräsentationen, Fiktionen – Medienarchive als Gedächtnis- und Erinnerungsorte Filmarchiv Austria, Wien, 7-8 maj 2015, 2015Conference paper (Refereed)
    Abstract [de]

    Angesichts des archival turns in der Kunst (Enwezor 2008), des insbesondere im Kunstkontext ausgebrochenen “Archive Fevers” (Derrida 1995) und der regen Debatte um den Einfluss der Digitalisierung auf das Medium Film – und damit auch auf Bewahrung, Restaurierung, Distribution und Kuratieren von Film sowie seine Vorführung (Bohn 2013, Fossati 2009, Cherchi Usai et al 2008) vermag es zu überraschen, wie wenig die kulturwissenschaftliche Gedächtnisforschung sich bislang der Frage nach dem Archiv gewidmet hat. So wurde der Archivbegriff bislang vornehmlich in Bezug auf schriftliche, textbasierte Formen thematisiert (Assmann 1999), und nur in wenigen Fällen in Hinblick auf audiovisuelle Medien (VanDijck 2007, von Keitz/Weber 2012). In den Filmwissenschaften wurde die Arbeit von Filmarchiven vor allem unter dem Aspekt der Bewahrung, Restaurierung und Digitalisierung von Film untersucht (Frick 2011, Fossati 2009, Cherchi Usai et al 2008), weniger jedoch, wie es jüngst die Medienarchäologie vorschlägt, als eigener Akteur, dessen Entscheidungen – Metadaten, kuratorische Entscheidungen – angesichts von Auswahlprozessen einer kritischen Analyse zu unterziehen sind (Ernst 2007, Parikka 2012).

    Mein Vortrag plädiert zum einen für eine (Wieder-)Einführung des Archivbegriffs in die Gedächtnisforschung und dafür, die Materialität und diskursive Verfasstheit des Archivs zusammenzudenken. Insofern ist die im Zuge der Rezeption von Derridas „Archive Fever“ vorgenommene Zweiteilung von dem Archiv (als diskursivem Konstrukt) und den Archiven (als konkrete Archive) eher heuristisch zu verstehen, hat doch die Medienspezifik des “Archivs” komplexe Auswirkungen auf das kulturelle Gedächtnis. Daher richtet mein Beitrag die Aufmerksamkeit auf die Verschränkung von Materialität und Diskursivität bei Medienarchiven. Am Beispiel der Medienspezifik und diskursiven Verfasstheit von kulturellem Gedächtnis auf Video werden die Wechselbeziehungen und Verschränkungen von Medialität und Diskurs veranschaulicht. Meine These lautet, dass die Arbeit europäischer Videokollektive eine wichtige Quelle für die Medien- und Geschichtswissenschaften gleichermaßen bedeutet, dass aber viele dieser Quellen aufgrund der prekären Materiallage der Videobänder im Verschwinden begriffen sind. Untersucht wird dies am Beispiel der Archivpraxis dreier Hamburger Film- und Videokollektive (Medienpädagogikzentrum, Bildwechsel und die thede), die in den 1970er bzw. 1980er Jahren ihre Arbeit aufgenommen haben und bis heute existieren. Der Beitrag, der ein völlig vergessenes Stück Mediengeschichte in den Fokus der Betrachtung rückt, zeigt einmal mehr die Notwendigkeit einer medienspezifischen Betrachtungsweise für die kulturwissenschaftliche Gedächtnisforschung wie für die Archivtheorie gleichermaßen.

  • 28.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Decolonizing audiovisual heritage in Europe: Migrant and diasporic lives in national film archives2018In: Global Challenges 2018 : Borders, Populism and the Postcolonial Condition - An international conference on critical theory, postcoloniality, migration and populism: Linnaeus University, Växjö, Sweden, 14-16 June 2018, 2018Conference paper (Refereed)
    Abstract [en]

    We cannot speak of the past without the archive, Stuart Hall famously stated. The archive, now a buzzword in the arts and humanities, cannot be conceptualised without taking power relations into account (Foucault, Derrida, Stoler). In his keynote “Whose Heritage” (1999), Hall points at the hegemonic whiteness and at the interests of the middle class invested in the creation of heritage and memory in the UK. In recent years, many heritage institutions in Europe have started to emphasize the (albeit problematic) notion of “diversity” as a fundamental requirement for their work. However, when it comes to the impact of digitisation on audiovisual heritage, a post-colonial perspective is still missing. This paper, which is part of my research project “The Cultural Heritage of Moving Images” (financed by the Swedish Research Council, 2016-18), looks at the ways national film archives in the UK and Sweden try to face the challenges involved in carving out a discursive space for migrant and diasporic memories. Arguing that it is not enough to merely “insert” these memories into the hegemonic narrative, it will discuss ways of decentering the audiovisual heritage of the nation. My paper will look at archival approaches to avoiding essentialism and dealing with the politics of representation in film images into which a colonial gaze is already inscribed. How can the colonial gaze be foregrounded (or subverted) when creating access to film collections through online curation? This paper argues for the need of the archivists to take a self-reflexive stand which highlights the role of the archive as an agent in its own right.

  • 29.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Deconstructing Essentialism and Revising Historiography: The Function of Metareference in Black British Filmmaking2011In: The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation / [ed] Werner Wolf, Katharina Bantleon, Jeff Thoss, New York: Rodopi, 2011, p. 341-355Chapter in book (Refereed)
    Abstract [en]

    This article describes the function of the metareferential turn in black British filmmaking of the 1980s. Metaisation is here a result of the impact of European art cinema (Godard, Paradjanov, Kluge) as well as of Third Cinema practice and of the ‘essay film’ represented by Alain Resnais, Chris Marker and Jean-Luc Godard. Using the examples of Handsworth Songs and Seven Songs for Malcolm X by the Black Audio Film Collective, directed by John Akomfrah, as well as Isaac Julien’s Looking for Langston and The Attendant, this article outlines five functions of metareference. First, it can be regarded as a means to counter and reflect on the absences in the visual archive in Britain and of questioning the master narrative of British historiography. Second, it is used as a way of transgressing the boundaries of representation and of escaping the fruitless debate about negative and positive stereotypes. Third, metaisation is employed as an artistic strategy in order to inscribe oneself as an auteur into film historiography. Fourth, it can be regarded as a means of escaping the critical label of the social realist filmmaker who deals with the representation of black experiences. Finally, metaisation contributes to a reconceptualisation of the works in terms of both media theory and the essay film.

  • 30.
    Brunow, Dagmar
    Halmstad University.
    Deconstructing essentialism: metareference as aesthetic strategy in Black British filmmaking2009In: ”The Metareferential Turn in Contemporary Arts and Media: Forms, Functions and Attempts at Explanation”, Graz, Austria , 1-3 October, 2009, 2009Conference paper (Refereed)
  • 31.
    Brunow, Dagmar
    Halmstad University.
    Deconstructing representation: Handsworth Songs as media criticism and filmic intervention2009In: Screen Studies Conference: ”Screen Theorising Today”, Glasgow, Scotland, 3-5 July, 2009, 2009Conference paper (Refereed)
  • 32.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Södertörn University.
    Den rörliga bildens kulturarv: Minne, arkiv och videoband2016In: Minne, medier och materialitet / [ed] Johan Hegardt, Trond Lundemo, Göteborg: Makadam Förlag, 2016, 1, p. 57-75Chapter in book (Refereed)
  • 33.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Denken als Aktivismus: Stuart Hall zwischen Popkultur und Politik2015In: Stuart Hall: Aktivismus, Pop und Politik / [ed] Dagmar Brunow, Mainz: Ventil Verlag , 2015, p. 11-17Chapter in book (Other academic)
  • 34.
    Brunow, Dagmar
    Halmstad Univesrty.
    "Die Stadt hören": Soundscapes als Archive von Gentrifizierungsprozessen2010In: Music City Hamburg?! Musikalische Annäherungen an die 'kreative Stadt'. Internationale Konferenz des Landesmusikrat Hamburg und der Leuphana Universität, Lüneburg, Hamburg 22-24 october, 2010, 2010Conference paper (Other academic)
  • 35.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Digitale Dokumentarfilmarchive als Wissensressource für die Zivilgesellschaft2018In: „Dokumentarische Praktiken in medialer Transformation. Historische Entwicklungen und aktuelle Perspektiven“: 6.-7. Juli 2018, Universität Hamburg, 2018Conference paper (Other academic)
  • 36.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    'Doing Archive': Archival Practice as an Epistemological Toolkit2015In: The Ethos of History – Time, Memory and Representation, Sigtuna, 10-12 Sept 2015, 2015Conference paper (Refereed)
  • 37.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Elin Wägner och filmen2018Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    När seklet var ungt skrev feministen och författaren Elin Wägner filmmanus, mest efter egna förlagor men också originalmanus. Bland annat till Anna Hofman-Uddgren, den första svenska kvinna som gav sig i kast med filmmediet. Dagmar Brunow berättar om Wägners engagemang i den nyfödda filmkonsten.

  • 38.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Elin Wägners Åsa-Hanna på film: från manusarbete till biografvisning2018In: Elin Wägner: Åsa-Hanna 100 år / [ed] Marianne Enge Swartz, Lammhult: Elin Wägner-sällskapet , 2018, p. 15-27Chapter in book (Other academic)
  • 39.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    En filmskatt bärgas2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Hur kan den rörliga bildens kulturarv bli mera öppet för mångfald? Hur kan vi lyfta fram berättelser om människor som sällan syns på bioduken? Vems kulturarv och vilka är det som skapar det? Hur kan vi som medborgare vara aktivt delaktiga i denna process?

  • 40.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    "Es war ein mentaler Widerstand": Erinnerungen von Werner Krebs2002In: Getanzte Freiheit: Swingkultur zwischen NS-Diktatur und Gegenwart / [ed] Alenka Barber-Kersovan, Gordon Uhlmann, Hamburg: Dölling und Galitz , 2002, p. 119-122Chapter in book (Other (popular science, discussion, etc.))
  • 41.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    "Es war nicht mein Krieg": Erinnerungen von Hans Peter Viau2002In: Getanzte Freiheit: Swingkultur zwischen NS-Diktatur und Gegenwart / [ed] Alenka Barber-Kersovan, Gordon Uhlmann, Hamburg: Dölling und Galitz , 2002, p. 104-111Chapter in book (Other (popular science, discussion, etc.))
  • 42.
    Brunow, Dagmar
    University of Hamburg, Germany ; Halmstad University.
    Film als Historiographie: "Handsworth Songs" als Dekonstruktion kolonialer Geschichtsschreibung2012In: "All We Ever Wanted...": Eine Kulturgeschichte europäischer Protestbewegungen der 1980er Jahre / [ed] Hanno Balz, Jan-Henrik Friedrichs, Berlin: Karl Dietz Verlag Berlin , 2012, 1, p. 107-119Chapter in book (Refereed)
  • 43.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Film als kulturelles Gedächtnis der Arbeitsmigration: Fatih Akıns Wir haben vergessen zurückzukehren2011In: 50 Jahre türkische Arbeitsmigration in Deutschland / [ed] Şeyda Ozil, Michael Hofmann, Yasemin Dayıoğlu-Yücel, Göttingen: V&R Unipress, 2011, p. 183-204Chapter in book (Refereed)
  • 44.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Film as historiography: Mediations of social unrest, urban landscapes and surveillance in 1980s Black British filmmaking2010In: "This Town Is Gonna Blow..." European Protest Movements and Society in the 1980s”, 6 - 8 May 2010, Bremen, 2010Conference paper (Refereed)
  • 45.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Filmische Interventionen ins koloniale Bildarchiv: der Essayfilm als Bildforschung am Beispiel des britischen Black Audio Film Collective2012In: Gesellschaft für Medienwissenschaft (GfM), Jahrestagung 2012 “Spekulation”,  Goethe Universität Frankfurt am Main, 3-6 oktober 2012., 2012Conference paper (Refereed)
    Abstract [de]

    Das Black Audio Film Collective hat in den 1980ern Jahren in Großbritannien mitHandsworth Songs (Regie: John Akomfrah, 1986) und Twilight City (Regie: Reece Auguiste, 1989) einige wegweisende Essayfilme gedreht. Vor allem in ihrem Umgang mit Archivmaterial stellen die Arbeiten des Black Audio Film Collective eine filmische Versuchsanordnung dar, die auf der Einsicht beruht, dass sich Geschichte und Gedächtnis ehemals kolonisierter Bevölkerungsgruppen nicht unproblematisch anhand des überlieferten Foto- oder Filmmaterials rekonstruieren lässt. Da sich die Entstehung von Bildern nicht in einem herrschaftsfreien Raum vollzieht, ist ihr Entstehungs- und Distributionskontext stets mitzubedenken. Ein Film wie Handsworth Songs berücksichtigt dies durch seine selbstreflexive Verwendung von Archivmaterial und trägt so zu einer „Erneuerung des Sehens“ (Tode) bei. Durch das Ausstellen des filmischen Apparates und dem ihm inhärenten Rassismus gerät das Archivmaterial im Film nicht zum Authentizitätsversprechen, sondern zur Reflexion über die Ontologie des dokumentarischen Bildes und zu dessen subversiver Resignifizierung.

  • 46.
    Brunow, Dagmar
    Halmstad University.
    Filmisches Gedächtnis als (trans)kulturelle Selbstverortung: Anti-essentialistische Strategien in Fatih Akins "Wir haben vergessen zurückzukehren"2012In: Identitätsaushandlungen im Kontext von Migration, Literatur- und Sozialwissenschaftliche Perspektiven, Konferenz: 12.-14. Januar 2012, Forschungsstelle für Zeitgeschichte Hamburg (FZH) , der Universität Hamburg, 2012Conference paper (Refereed)
  • 47.
    Brunow, Dagmar
    Lund University.
    Filmkooperative Konzepte und Arbeitsweisen: Das Andere Kino in Hamburg (1967-1971)2012In: Medialer Aufbruch. Die innovativen Jahre von Fernsehen und Film in Hamburg 1962-1969, Universität Hamburg, 20-21 februari 2012., 2012Conference paper (Refereed)
  • 48.
    Brunow, Dagmar
    Halmstad University.
    Film-making as intervention: The performative turn and the political avant-garde2011In: Media Acts. The 10th international conference of the Nordic Society for Intermedial Studies (NorSIS) at the Department of Art and Media Studies at NTNU, Trondheim, 26-28 October, 2011, 2011Conference paper (Refereed)
    Abstract [en]

    Artists like Isaac Julien or John Akomfrah, founding member of the legendary Black Audio Film Collective, have recently made increasing use of the gallery space and the art circuits. John Akomfrah's The Genome Chronicles and Mnemosyne were created and exhibited as film installations, and so were most of Isaac Julien's recent works, e.g. Fantôme Créole, True North and Baltimore. Yet, even more striking is the fact that Handsworth Songs, the 1986 filmic essay by the Black Audio Film Collective, initially commissioned for television (Channel 4), 25 years after its premiere has experienced a renaissance when it was screened at the renown international art exhibition documenta XI. Recently, Tate Britain has acquired the piece for its collections, which in turn has been shown as a temporary video installation. What impact does the shift from the black box to the white cube have for Black British avant-garde film-making? I argue that the changed modes of distribution and exhibition are closely connected to a reconceptualisation of the works (Eshun 2011, Brunow 2011). This, in turn, has consequences for the auteur-status of the artists and, subsequently, the canonisation of their films and installations. I suggest that Handsworth Songs, while previously being classified as a 'documentary' (Corner 1996) and as a representation of a pre-given reality, should be perceived as a mediation on memory, colonialism and historiography. In creating a collage of archive footage, photographs and tableaux vivants, the film reflects on the ontology of the image and the racifying structures inherent in photography and the filmic apparatus. In the paper I will analyse the film’s aesthetic politics while taking a closer look at the use of intermediality and self-reflexivity as a means to transgress the notion of representation in favour of a performative turn towards the notion of film-making as intervention.

  • 49.
    Brunow, Dagmar
    Halmstad University.
    Frauen und Film. Heft 61. Krieg und Kino. Stroemfeld.1999In: testcard. Beiträge zur Popgeschichte #9: Pop und Krieg, p. 272-275Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    A review of the recent issue of the feminist journal of film studies "Frauen und Film" and the previous edition of the journal testcard with its focus on gender studies. Using the issue of "Frauen and Film" as an example, the review argues for the need to include the notion of masculinity into gender studies.

  • 50.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    From Postpunk Subcultures to City Branding: Visual Culture and the Politics of Memory in Post-industrial Manchester2013In: NECS, Media Politics ‒ Political Media The NECS 2013 Conference, Prag, 20-22 juni 2013, 2013Conference paper (Refereed)
123 1 - 50 of 113
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