lnu.sePublications
Change search
Refine search result
12 1 - 50 of 83
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the 'Create feeds' function.
  • 1.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    A Fight over Souls: Documentary Films on the Rwandan Genocide with a Christian Theme2017In: Journal of Religion and Film, ISSN 1092-1311, E-ISSN 1092-1311, Vol. 21, no 2, p. 1-40, article id 14Article in journal (Refereed)
    Abstract [en]

    The 1994 genocide against the Tutsis in Rwanda have spawned over 150 feature films and feature-length documentaries, making it into the second most audio-visually recreated genocide after the Holocaust. Within this large body of historical films a subgenre have emerged with a distinctive Christian theme. This article explores these Christian themed documentary films about the Rwandan genocide and positions them within a film historical perspective as well as analyzes and contextualizes them as a subgenre of films about the Rwandan genocide within films about genocide in general. Of note are how memory and historiography are used, and the links between these films’ educational, religious, and commercial elements.

  • 2.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    A New Perspective on Americanisation: Interactions Between Sweden and America in Swedish Silent Film Culture in the 1920s2005In: Nordic Association for American Studies Conference, Växjö, 26-29/5 2005, 2005Conference paper (Refereed)
    Abstract [en]

    It is an established notion that the silent movies were more international in their character than sound films. The arrival of talkies set up language barriers that often turned into national boundaries for smaller countries like Sweden. However, before this happened the international interaction between mainly European countries and America was vivid, exchanging directors, actors, and importing and exporting movies. For a short period (1917-1923) Sweden was among the leading countries that exported its movies to about 50 different countries – something that certainly sparked a national pride. However, during the same period the Hollywood film industry became world leading in the film market. Sweden, like most other European countries, had a condemning attitude towards the growing “Americanization” of the consumer and entertainment culture, mainly manifested in the thousands of imported films that the audience enjoyed in Swedish movie theatres. On reading overviews of Swedish film history it seems apparent that it was this Americanization that “destroyed” the national Swedish cinema, a belief that has lived on since some Swedish film critics saw it as a betrayal of the national glory when Swedish filmmakers sometimes turned to Hollywood films for inspiration. This paper will discuss this Americanization in a new light by doing a closer examination of some of these movies, excluded from the canon and therefore forgotten, and the material surrounding them. This will reveal that the vital exchange continued, although on a different level. Furthermore, a closer look at the Swedish film and entertainment culture of the 20s shows that the condemnation of the Americanization is not as single-minded as one first might expect. It is true that some saw it as something all bad which undermined the traditional society, but many others, particularly among the young, saw it as something new and good. The Swedish filmmakers were of course aware of this contemporary turbulence surrounding the film and consumer culture and they also put it into use in their films, using intertextual reference to Hollywood films that the Swedish audience knew well. And in the process they did not make American copies but distinct Swedish films with American allusions

  • 3.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    A New Perspective on Americanisation: Interactions Between Sweden and America in Swedish Silent Film Culture in the 1920s2005In: Society for Cinema and Media Studies Conference, London, 31/3-3/4 2005, 2005Conference paper (Refereed)
  • 4.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    A Socialist History Lesson: the Use of History in Swedish Children’s Television in the 1970s2012Conference paper (Refereed)
  • 5.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    American Retakes on Historical Traumas: The Rwandan Genocide in the Hands of the Evangelical Right2015Conference paper (Refereed)
  • 6.
    Gustafsson, Tommy
    Lunds universitet, Språk - och litteraturcentrum, Filmvetenskap.
    An Enduring History Lesson: National Honour and Hegemonic Masculinity in the Early Swedish Blockbuster Karl XII2009In: Media and Monarchy in Sweden / [ed] Mats Jönsson, Patrik Lundell, Göteborg: Nordicom , 2009, p. 69-81Chapter in book (Other academic)
  • 7.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    And the Oscar goes to…: Ecoheroines, Ecoheroes andthe Development of Ecothemes from TheChina Syndrome (1979) to GasLand(2010)2013In: Transnational Ecocinema: Film Culture in an Era of Ecological Transformation / [ed] Tommy Gustafsson & Pietari Kääpä, Bristol and Chicago: Intellect Ltd., 2013, p. 137-162Chapter in book (Refereed)
  • 8.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Att projicera det förflutna. Historiebruk och historieförmedling i svensk skolfilm 1970-2000 utifrån de regionala AV-centralerna: av Martin Karlsson2011In: Scandia, ISSN 0036-5483, Vol. 77, no 2, p. 189-190Article, book review (Other academic)
  • 9.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Bilden av Sveriges historia. Fyrtio sätt att se på 1900-talet: av Marika Hedin, Åsa Linderborg, Torbjörn Nilsson2005In: Scandia, ISSN 0036-5483, Vol. 71, no 2, p. 326-327Article, book review (Other academic)
  • 10.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Den ensamma fallosen.  Mediala bilder, pornografi och kön: av Anja Hirdman2008In: Tidskrift för Genusvetenskap, ISSN 1654-5443, E-ISSN 2001-1377, no 3-4, p. 149-152Article, book review (Other academic)
  • 11.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Den privata stjärnan2011In: Filmens 1900-tal: en konferens om och kring filmarkivet.se, 2011Conference paper (Other academic)
  • 12.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Det förflutna som film och vice versa: av Pelle Snickars & Cecilia Trenter (reds)2005In: Scandia, ISSN 0036-5483, Vol. 71, no 2, p. 327-329Article, book review (Other academic)
  • 13.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Det var en gång...: God historieskrivning och problematiska könsroller2010In: Sveriges kvinno- och genushistorikers konferens, Göteborg 2-3/12 2010., 2010Conference paper (Refereed)
  • 14.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Det var en gång: Historia för barn i svensk televison under det långa 1970-talet2014 (ed. 1)Book (Other academic)
    Abstract [sv]

    Under det långa 1970-talet såg barnprogrammen annorlunda ut än idag. Tv-serierna skulle vara pedagogiska samtidigt som de skulle vara underhållande. Emellanåt tog den pedagogiska och politiska uppfostringsivern över och förvandlade barnprogrammen till socialistisk, nationalistisk och eurocentrisk propaganda. Historia är ett av de mest inflytelserika områdena för skapandet av en föreställd gemenskap. Historien kan användas för att öka förståelsen för andra kulturer men den kan även utnyttjas för att dela upp samhället i ett vi och dem. Den här boken studerar hur svensk television försökte lära ut historia till barn i hyllade tv-serier som Huset Silfvercronas gåta, Det var en gång… och Trälarna.

  • 15.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Drömmars värde. Varuhus och lotteri i svensk konsumtionskultur 1897-1939: av Orsi Husz2005In: Scandia, ISSN 0036-5483, Vol. 71, no 1, p. 166-168Article, book review (Other academic)
  • 16.
    Gustafsson, Tommy
    Lunds universitet, Historiska institutionen.
    En fiende till civilisationen: manlighet, genusrelationer, sexualitet och rasstereotyper i svensk filmkultur under 1920-talet2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The setting for this study is Swedish film culture of the 1920s, which has been studied with a focus on representations of masculinity and gender relations according to four themes: 1) children and youth 2) fatherhood and love 3) sexuality and popularity 4) ethnicity and racial stereotyping.

          The rise of new consumer culture in the first decades of the 20th century created turmoil between traditional and modern values, not least when it came to conceptions of gender. Studies on masculinity have often directed its efforts towards writing a history of ideals, bound by the concept of hegemonic masculinity; a concept that exclude women as insignificant for the social construction of masculinity. One ambition with this thesis has been to counter the long-lasting concept of hegemonic masculinity, and in the process, try to build a bridge between men and women studies.  

          One other ambition has been question the canonisation of the “Golden Age” of Swedish silent filmmaking by introducing the concept of “the pluralism of film”, and by using a vast material including: Swedish feature films, reviews, articles from fan magazines and trade paper, screen plays, censorship cards, official reports, etc; thereby circumventing the concept of film as “art” in order to focus on film as representation in a more reliably way.

          One conclusion is the revelation of the diversity that surrounds social constructions of masculinity and gender relations in both film culture and society. In addition, Swedish film of the 20s hardly contained any male characters that upheld the hegemonic ideal, giving way to a more prominent presence of strong female characters, often in the shape of the New Woman. Women did as well have a great influence on the formation of masculinity. However, a notion of a Swedish normative masculinity became visible when contrasted with numerous racial stereotypes, such as malicious representations of Black people and Travellers. The emphasis on gender relations, rather than on ideals, has also contributed to a wider understanding of gender, where criteria such as generation, class, ethnicity and sexuality ought to be included.   

          When it comes to the canonisation of the “Golden Age”, a strong notion exists about the integrated use of nature in film narratives as being a Swedish national trait, when in fact this could be linked only to a few films. If one would point out a trait that permeates Swedish film of the 1920s, it would not be the use of nature, but instead the flagrant racism and xenophobia.

  • 17.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    En kvinna med makt att skapa manlighet: Karin Swanström och svensk mellankrigsfilm2013In: Kvinnorna gör mannen: Maskulinitetskonstruktioner i kvinnors text och bild 1500-2000 / [ed] Kristina Fjelkestam, Helena Hill, David Tjeder, Göteborg: Makadam Förlag, 2013, p. 77-109Chapter in book (Other academic)
  • 18.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Ett steg på vägen mot en ny jämlikhet?: Könsrelationer och stereotyper i ung svensk ungdomsfilm på 2000-talet2006In: Solskenslandet: Svensk film på 2000-talet / [ed] Erik Hedling, Ann Kristin Wallengren, Stockholm: Atlantis , 2006, p. 171-193Chapter in book (Other academic)
  • 19.
    Gustafsson, Tommy
    Lunds universitet, Historiska institutionen.
    Filmen som historisk källa: Historiografi, pluralism och representativitet2006In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 126, no 3, p. 471-490Article in journal (Refereed)
    Abstract [en]

    This article discusses why films have not been used more than they have as historical sources and argues that films ought to be used more by historians. Principally, historians can use film in three basic ways, all of which give access to information about the period when it was produced. 

          First, films can with caution be used for information about the persons, objects and events depicted in documentary films. Historians’ preference for the written word has though largely excluded the use of motion pictures. Attempts to use documentaries as historical sources fell victim to the criterions of source criticism, which declared all films to be false because they are manipulated through use of cuts and voice-overs etc.

          Second, films can be used as a source for time-bound audiovisual configurations of historical events and historical individuals: Recently historical didactics have taken an interest in films due to the insight that audiovisual historical writing is dominates the dispersion of views of the past among the general population. The audiovisual writing of history thus becomes important because regardless of whether or not it is false it contributes to the formation of a historical consciousness among the public.

          Finally, films can be used as a source for time-bound conceptions concerning, for example, gender, class, race and age in feature and documentary films. Because films are produced for a mass audience, are made by many people, and are expensive to make, there arise the phenomenon of the films pluralism. This pluralism gives considerable weight to the value of motion pictures as historical source material. Since a film is a collective effort that has to reach as many people as possible in order to turn a profit, it has to keep very close to its own time preferences, which, in turn, makes the motion picture inclusive by nature. Furthermore, through motion picture’s close connection to realism, the human raw material – the actors – will function as representations of a range of different conceptions concerning gender, race and class, and its mutual relations. Obviously, there are also exceptions to this pluralism. For this reason, the scholar must learn to “read” the films in relation to both the social and medial context in order not to misinterpret them.  

  • 20.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Fridolf och Rudolf: Mellankrigstidens manlighetskris i ett kritiskt perspektiv2004In: Den gode, den onde, en normale, Manlighetskonferens, Södertälje, 26-28/11 2004, 2004Conference paper (Refereed)
  • 21.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Ghouls, Vittror and the Devil: The Rise of the Low-Budget Nordic Horror Film2014Conference paper (Refereed)
  • 22.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Gösta Ekman (I)2012In: Historical Dictionary of Scandinavian Cinema / [ed] John Sundholm, Isak Thorsen, Lars Gustaf Andersson, Olof Hedling, Gunnar Iversen & Birgir Thor Møller, Lanham, MD: Scarecrow Press, 2012, p. 135-135Chapter in book (Other academic)
  • 23.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Historieförmedling och världsåskådning riktad tillbarn i TV-serien Det var en gång…2012In: Barnlitteraturens värden och värderingar / [ed] Sara Kärrholm & Paul Tenngart, Lund: Studentlitteratur, 2012, 1, p. 273-288Chapter in book (Other academic)
  • 24.
    Gustafsson, Tommy
    Lunds universitet, Språk- och litteraturcentrum, Filmvetenskap.
    I sekulariseringens skugga: Manlighet och religiös tematik i svensk och amerikansk 1920-talsfilm2008In: Tidskrift för genusvetenskap, ISSN 1654-5443, no 3-4, p. 91-113Article in journal (Refereed)
    Abstract [en]

    There existed a great ambivalence concerning masculinity and its relationship to religion in the decades around the last turn of the century. The historical encoding process of religion, from gender neutral to feminine, have in general been interpreted as something solely negative for the constitution of masculinity during this period. Consequently, religious encoded masculinities have been deemed as deviations from the norm; as a negative feminisation. This assumption does not consider secularisation as an ongoing process, instead taking secularisation for granted when in fact Christianity and religiousness were still very much alive throughout Western societies.                 The focus for this article have been to examine images of Christ and Christ-like characters in Swedish and American films, and also how ordinary religious male characters were received, and what functions these images of religious manhood performed in these films, and society at large. The clear tendency was that a modern, more active masculinity was on its way to oust an older, more passive masculinity based on spiritual values – manifested, for example, in that films with clear religious themes were enacted in a distant past. However, the contemporary reception clearly shows that the images of these religious male characters were not feminised due to religion. Instead, spiritualised forms of masculinities functioned as a legitimate alternative alongside modern masculinity. This indicates that religion was not yet essentially encoded as ‘feminine’. Although some forms of masculine encoded emotions were controlled in the public, this did not at all include softer expressions of emotions that in earlier research have been explained as signs of femininity in relation to an ideal masculinity. Conversely, the predicament for spiritualised masculinities occurred when narratives included a woman (the love story), which unavoidably tilted the focus from the soul to the masculine body, thereby (hetero)sexualising the male character in a way that often worked as a feminisation.

  • 25.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    I skarven mellan fakta och fiktion: Konstruktionen av manlighet och etnicitet i svensk filmkultur under 1920-talet2006In: Historieforskning på nya vägar / [ed] Klas-Göran Karlsson, Eva Helen Ulvros, Ulf Zander, Lund: Nordic Academic Press , 2006, p. 103-120Chapter in book (Other academic)
  • 26.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    "Kan verka skrämmande på små barn": Våld, sex och historiebruk i tv-serien Trälarna2012In: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 35, p. 1-18Article in journal (Refereed)
    Abstract [en]

    This article examines the television adaption and reception of Swedish youth novelist Sven Wernström’s series of historical youth novels called Trälarna  (‘‘The Thralls’’) in the late 1970s and early 1980s. The book series as well as the Danish animated televisions series used a noticeable class perspective in order to make comparisons between the condition of slaves in medieval times and Swedish working class of the 19th and 20th centuries. In accordance with the novels, the television series therefore displays a strong moral historical perspective. The analysis in the article focuses mainly on the abundant use of violence and sex as political and pedagogical instruments to promote class consciousness among its child viewers. In contrast to the novels, the television series was able to create more explicit audiovisual images of violence and sex that, in fact, were censored by Swedish state television before it was aired on a child friendly timeslot. Although some scenes in the television series were censored, the final analysis reveals that ‘‘The Thralls’’ can be seen as a rather typical example of the politically and aesthetically radical Swedish children’s culture of the 1970’s.

  • 27.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Karin Swanström2012In: Historical Dictionay of Scandinavian Cinema / [ed] John Sundholm, Isak Thorsen, Lars Gustaf Andersson, Olof Hedling, Gunnar Iversen & Birgir Thor Møller, Lanham, MD: Scarecrow Press, 2012, p. 361-362Chapter in book (Other academic)
  • 28.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Karl XII2012In: Historical Dictionary of Scandinavian Cinema / [ed] John Sundholm, Isak Thorsen, Lars Gustaf Andersson, Olof Hedling, Gunnar Iversen & Birgir Thor Møller, Lanham, MD: Scarecrow Press, 2012, p. 228-229Chapter in book (Other academic)
  • 29.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Komeda och Polanski: Populärmusikens funktion och betydelse för filmen2010In: Rock och samhälle, Hultsfred, 6-7/7 2010, 2010Conference paper (Refereed)
  • 30.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Kristen manlighet.: ideal och verklighet 1830 - 19402010In: Scandia, ISSN 0036-5483, Vol. 76, no 2, p. 159-160Article, book review (Other academic)
  • 31.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Känslornas krig. Det första världskriget och den tyska bildningselitens androgyna manlighet: av Jens Ljunggren2004In: Scandia, ISSN 0036-5483, Vol. 70, no 2, p. 324-325Article, book review (Other academic)
  • 32.
    Gustafsson, Tommy
    Deparment of History, Lunds universitet.
    Manlighet och genusrelationer i svensk 1920-talsfilm2004In: Sveriges kvinno- och genushistorikers konferens, Lund, 13-14/11 2004, 2004Conference paper (Refereed)
  • 33.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Masculinity in the Golden Age of Swedish Cinema: a Cultural Analysis of 1920s Films2014 (ed. 1)Book (Refereed)
    Abstract [en]

    Swedish society underwent great changes during the first decades of the 1900s and the new consumption and entertainment culture came under fire. Children and youth—but also women and the working classes—become symbols of the forces breaking down traditional structures and values. These groups were also identified as the principal audience for the new film medium. Hence, during the silent era, film culture interacted with society at large, filling the screen with contradictory images of diverging masculinities and gender/ethnic relations. In fact, film culture became one of the most important arenas where new gender relations could be articulated.This book covers Swedish film culture throughout the 1920s. It is the first in-depth exploration of Swedish silent film culture that goes beyond the small number of canonized films of the “Swedish Golden Age” that have been discussed as “art” for nearly 100 years. The study is based on extensive research and takes all Swedish feature films produced in the 1920s into consideration, together with a large number of source materials that include fan and trade magazines, manuscripts, censorship records, government reports and some 900 film reviews.

  • 34.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    "Men måste det vara så förutsägbart?": nybuskisfilmens uppgång och fall2014In: Den nya svenska filmen: kultur, kriminalitet & kakafoni / [ed] Erik Hedling & Ann-Kristin Wallengren, Stockholm: Bokförlaget Atlantis, 2014, 1, p. 287-305Chapter in book (Other academic)
  • 35.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Modärnt att göra stjärnor mänskliga2012In: "Skosmörja eller arkivdokument?": om Filmarkivet.se och den digitala filmhistorien / [ed] Mats Jönsson & Pelle Snickars, Stockholm: Kungliga biblioteket , 2012, p. 125-139Chapter in book (Refereed)
  • 36.
    Gustafsson, Tommy
    Lunds universitet, Historiska institutionen.
    Nationell ära och manlighet i Karl XII (1925): - en historisk analys2005In: Scandia, ISSN 0036-5483, Vol. 71, no 1, p. 46-76Article in journal (Refereed)
    Abstract [en]

    During the 1920s, when the Swedish defence was under heavy debate, military and conservative forces on the right tried to turn the Swedish public opinion towards a climate more in favour of the defence by producing a big budget war film – Karl XII. In several senses the film became a great success. In Sweden the attendance figures were as high as one million (of a population of six) and the film was also exported to 19 countries. In addition to that the film was also hailed, by a an almost unanimous critical body, as a great Swedish artistic success. Karl XII was seen as a credit for the Swedish film production, and by that it also contributed to the Swedish national honour in the competition with foreign film production, especially American.

          With a gender perspective on this matter this artistic success was characterized as a specific male achievement by the Swedish reviewer’s. In some cases explicitly, but overall implicitly since this success was connected to the national honour with it’s male connotations. 

          However, the propaganda piece that Karl XII was meant to be didn’t turn the Swedish opinion around. Both the right and the left wings in Swedish political life showed a clear awareness about the film’s underlying motive, and in spite of the success, Karl XII could only awaken patriotism among groups where it already existed. The same year as the film had it’s premier, 1925, the Swedish Parliament also took the decision to heavily cut the defence budget.

          With the notion that Karl XII was a propaganda piece meant to strengthen the Swedish defence, and the fact that this film is the only fully produced war film in the history of Swedish filmmaking, it becomes an interesting object for an examination of representations of masculinities in Sweden in the 1920s. A close reading of four of the film’s male characters, the effeminate dandy Hans Küsel, the boyish man Lasse Ulfclou, and the two rivals Charles XII and Peter the Great, showed that the film included a wide gallery of masculinities which didn’t always correspond with it’s articulated propaganda purpose to strengthen the Swedish defence, and in extension, to harden the Swedish masculinity in general. 

          The reason for this lies not in the fact that the filmmakers and the initiators failed entirely with their purposes. In one important sense they did succeed. By avoiding to apply every male character in the film with traits of ideal hegemonic masculinity, they managed to produce a contemporary and complex representation of male gender and it’s mutual relations. And even though the film didn’t influence the complicated political struggle over the Swedish defence, they produced a film that worked just because it contained credible male characters with whom the contemporary audience could relate. Had all of the film’s characters been as unreal as Charles XII, with his strong hegemonic masculinity, the audience would most certainly have felt alienated and not bought a ticket for the film, but the audience didn’t fail Karl XII.

  • 37.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    När bara den bästa TV:n var god nog åt barnen: Om sjuttiotalets svenska barnprogram av Malena Janson2014In: Tidskriften Respons: recensionstidskrift för humaniora & samhälle, ISSN 2001-2292, no 6, p. 32-34Article, book review (Other academic)
  • 38.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Once Upon a Time…: The Use of Sound andVoice-Over to Teach History in Children’s Television Programs2011In: European Network for Cinema and Media Studies Conference, London, 23-26/6 2011, 2011Conference paper (Refereed)
  • 39.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Performative Histories, Foundational Fictions. Gender and Sexuality in Niskavuori Films: av Anu Koivunen2005In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 125, no 4, p. 771-773Article, book review (Other academic)
  • 40.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Samlingsrecension av Kön, lön och karriär. Sjuksköterskeyrkets omvandling under 1900-talet samt Sjukgymnasten - vart tog han vägen?: av Sune G Dufwa respektive Anders Ottosson2006In: Scandia, ISSN 0036-5483, Vol. 72, no 1, p. 133-135Article, book review (Other academic)
  • 41.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Sjuka statsmän - och vad de ställt till med: av Christer Nilsson2007In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 127, no 1, p. 132-133Article, book review (Other academic)
  • 42.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Slasher in the Snow: The Rise of the Low-Budget Nordic Horror Film2015In: Nordic Genre Film: Small Nation Film Cultures in the Global Marketplace / [ed] Tommy Gustafsson, Pietari Kääpä, Edinburgh: Edinburgh University Press, 2015, p. 189-202Chapter in book (Refereed)
  • 43.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Snuten i skymningslandet: Svenska polisberättelser i roman och på film 1965-2010 av Michael Tapper2012In: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, no 2, p. 60-61Article, book review (Other academic)
  • 44.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Spelfilmen som källa: några teoretiska överväganden2005In: Svenska historikermötet, Uppsala, 22-24/4 2005, 2005Conference paper (Refereed)
  • 45.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Svarta nejlikan: Harald Edelstam - en berättelse om mod, humanitet och passion: av Mats Fors2011In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 131, no 2, p. 407-409Article, book review (Other academic)
  • 46.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Svensk film och visuell masskultur 1900: a Pelle Snickars2003In: Scandia, ISSN 0036-5483, Vol. 69, no 2, p. 299-301Article, book review (Other academic)
  • 47.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Swedish Television News Coverage and the Historical Media Memory of the Rwandan Genocide2010Conference paper (Refereed)
  • 48.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Swedish Television News Coverage and the Historical Media Memory of the Rwandan Genocide2010In: Scandia, ISSN 0036-5483, Vol. 76, no 2, p. 80-98Article in journal (Refereed)
    Abstract [sv]

     Syftet med artikeln har varit att analysera folkmordet i Rwanda som en global mediehändelse, både på en nationell och på en transnationell nivå. På den nationella nivån har fokus legat på att undersöka hur folkmordet rapporterades och konstruerades i svenska TV-nyheter under den första månaden som detta pågick. På den transnationella nivån har därefter den svenska TV-rapporteringen relaterats till hur ett audiovisuellt historiskt medieminne skapades globalt via produktionen av en rad internationella spel- och dokumentärfilmer med folkmordet som tema. Exakt samma emblematiska bilder som förekom i de initiala TV-sändningarna kom här att återanvändas, men inplacerade i en ny förklarande kontext. En viktig slutsats är därför att dagens transnationellt baserade uppfattning om folkmordet i Rwanda kan spåras tillbaka till den sjunde april 1994, då denna process påbörjades och omedelbart utformades som ett dåligt västerländskt samvete. Det historiska medieminnet utgör med andra ord en del av en västerländsk kultur som har bortrationaliserat den konkreta bakgrunden till folkmordet i Rwanda och istället ersatt denna med en apologetiskt och eurocentrisk historieskrivning.

  • 49.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    The American Conception about the Good Bomb2007In: Nordic Association for American Studies Conference, Tammerfors, 24-26/5 2007, 2007Conference paper (Refereed)
  • 50.
    Gustafsson, Tommy
    Lunds universitet, Språk- och litteraturcentrum.
    The Black Pimpernel: The Biopic as a Mediator of the Past2008In: Film International, ISSN 1651-6826, Vol. 6, no 5, p. 18-26Article in journal (Refereed)
12 1 - 50 of 83
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf