lnu.sePublications
Change search
Refine search result
123 51 - 100 of 119
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • 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.
  • 51.
    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.

  • 52.
    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)
  • 53.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    From the safe space into cyberspace?: The ambivalence of lesbian visibility in film archives2019In: The Lesbian Lives Conference 2019: The Politics of (In)Visibility. Centre for Transforming Sexuality and Gender & The School of Media, University of Brighton, 15th - 16th March 2019, Brighton: University of Brighton , 2019, p. 6-6Conference paper (Refereed)
    Abstract [en]

    Visibility has long been an important goal in European lesbian activism and an important means of political empowerment. Yet, visibility can also bring about an increased vulnerability for marginalized groups, especially in times of hate speech and an increasing political backlash. Moreover, we need to ask: whose visibility is recognized by whom, and on what grounds? In my paper I look at the ways both national and grassroot film archives recognize lesbian lives through collection and selection policies, through the use of metadata and via the curation of online access. Presenting case studies from the Swedish and British Film Institutes, from the Hamburg-based archive bildwechsel as well as the Lesbian Home Movie Project in Maine, this paper discusses the ambivalence of lesbian visibility after (amateur) film footage has left the safe space of the archive to be widely circulated online. The paper looks at legal and ethical challenges archivists are facing when dealing with nudity, lesbian affection and other representations which challenge hegemonic heteronormative scopic regimes. How can an ethically conducted archival practice be guaranteed? How can archives avoid making lesbian lives invisible again? This paper presents some of the results of my research project “The Cultural Heritage of the Moving Image” (Swedish Research Council 2016-2018).

  • 54.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Fröhliche Körper im Kino: Eine Flanerie2015In: Die Körper des Kinos: Für eine fröhliche Filmwissenschaft / [ed] Christian Hüls, Natalie Lettenewitsch, Anke Zechner, Frankfurt/Main: Stroemfeld Verlag, 2015, 1, p. 13-24Chapter in book (Other academic)
  • 55. Brunow, Dagmar
    Im Bett mit Marcuse: Sexualitätsdiskurse in der radikalen Linken. Im Gespräch mit Massimo Perinelli2008In: testcard #17: Sex / [ed] Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2008, p. 20-23Chapter in book (Other (popular science, discussion, etc.))
  • 56.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Interview mit Ken Loach2018In: Film-Konzepte, ISSN 1861-9622, Vol. 49, p. 94-100Article in journal (Other academic)
  • 57.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Hamburg University, Germany.
    Kollektive Videopraxis als Wissenserzeugung: Digitalisierung und Archivpolitik im Zeichen des Urheberrechtes2014In: Gesellschaft für Medienwissenschaften (GfM) Jahrestagung 2014: Medien / Recht. Philipps-Universität, Marburg, 2-4 oktober 2014, 2014Conference paper (Refereed)
  • 58.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    LGBT+ heritage, digital memories and film archives2019In: Presented at OUTing the Past 2019 Festival Conference. LGBT+ Solidarity: Past and Present: 29 – 31 March 2019 at Ulster University, Belfast, Belfast: Ulster University , 2019Conference paper (Refereed)
  • 59.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    LGBT-Activism in Audiovisual Archives: Curating Access and Reclaiming Visibility2018In: Outing the Past 2018: 16th - 18th March, Liverpool, John Moores University, 2018Conference paper (Refereed)
    Abstract [en]

    Digitisation has allowed film archives to circulate footage on a nation-wide or even global scale, for instance via online exhibition. Yet, what happens if the queer “archive of feeling” (Cvetkovich) is entering the (heteronormative) public sphere? This paper sets out to discuss the ambivalences of queer visibility in relation to archival practice and access politics. Drawing on an understanding of the archive as an agent in its own right and on the practice of archiving as a performative act, this paper will outline the challenges involved when curating access to archival footage dealing with LGBT-activism. In my current research project “The Cultural Memory of Moving Images” (2016-18) I look at the politics of archives as heritage institutions and their practice of creating polyvocal memories by creating online access to digitized collections. While visibility has been a political goal for LGBT-struggle in the West, the question of archival visibility and its ambivalences need to be further explored. Merging conceptualisations of the archive as an instrument of power (Foucault, Derrida) and a site of both materiality (Steadman) and affect (Cvetkovich), I will examine queer archival practice (Halberstam, Muñoz, Danbolt, Stone/Cantrell) in national film archives as well as 'minor' archives, such as the Lesbian Home Movie Project (Maine) or the feminist video archive bildwechsel (Hamburg). I argue that it is not enough to merely preserve, restore and digitize archival film footage, but archivists need to (re-)contextualise its queer potential through metadata, curatorial practices and oral history interviews.

  • 60.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Manchester’s post-punk heritage: mobilising and contesting transcultural memory in the context of urban regeneration2019In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Vol. 11, no 1, p. 9-29Article in journal (Refereed)
    Abstract [en]

    Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.

    Download full text (pdf)
    fulltext
  • 61.
    Brunow, Dagmar
    Halmstad University.
    Mapping the Sound of the City: Artistic Counter Practice in Hamburg's Regeneration Areas2010In: Mapping, Memory and the CitySchool of Architecture, University of Liverpool 24-26 February 2010 ABSTRACTS, 2010Conference paper (Refereed)
    Abstract [en]

    This paper explores contemporary art practice in Hamburg as a way to counter current trends of regeneration in different areas of the city. While officials promote the concept of “the growing city”, artists have employed various strategies of resistance.

    For a couple of years now, artists, urban anthropologists or filmmakers have been mapping the city from different perspectives (urban, audio, post-colonial). The paper presents the case study of an artistic intervention organised by the independent radio station FSK collaborating with a dozen artists and researchers in a workshop. In a “futurist search for traces” a mapping of disappearing city sounds forms the first part of the project. In a second step these soundfiles are archived on the website of radio aporee (http://aporee.org/maps/). Here the sites and sounds can be accessed by GPS-enabled mobile devices. Aporee thus forms an expanding archive which enables us to trace changes in urban space, e.g. in the course of gentrification. The paper analyses the politics of disappearance as a counter strategy and critically examines archival practices to rescue oppositional experiences.

     

     

  • 62.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Mediated Memories of Migration and the National Visual Archive: Fatih Akin‘s Wir haben vergessen zurückzukehren2014In: The Autobiographical Turn in Germanophone Documentary and Experimental Film / [ed] Robin Curtis, Angelica Fenner, Rochester: Camden House, 2014, p. 173-193Chapter in book (Refereed)
  • 63.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Memories of migration in European film archives2017In: Book of Abstracts: Panels 1-80, Memory Studies Association , 2017, article id Panel 77Conference paper (Refereed)
    Abstract [en]

    Heritage institutions are contributing to the self-fashioning of a nation, but can also have an active part in creating shared memories of a European past. By creating a sense of (un)belonging, heritage practice can include or exclude minorities from the „imagined community“ of the nation. While attempts have been made to include migrant experiences into museums and exhibitions, film archives have to face the challenge of dealing with archival footage in which migrant experiences are framed through a perspective which shows migration as a problem for society rather than an asset. How do film archives work to overcome these challenges? How do they navigate between the national and transnational, between regional and global memories? Drawing on current examples of creating online access for digitized audiovisual heritage, this paper looks at the work by the British Film Institute and the Swedish Film Institute as well as at the content aggregator Europeana. It will examine the politics of curating and the use of metadata for the creation of a common European heritage. Overall, this paper sets out to rethink the relation between memory and the digital archive in the creation of polyvocal narratives of the past. 

  • 64.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Metadata and the Polyvocality of Memory: Knowledge Production in Digital Film Archives2016In: The Politics of Film Archival Practice: Stockholm 16-18 Nov, 2016, 2016, p. 13-13Conference paper (Refereed)
    Abstract [en]

    This paper is situated at the intersection of archivology, film studies and memory studies. Drawing on theorizations of the archive by Foucault and Derrida and leaving behind notions of the archive as a neutral storage, this paper regards the archive as an agent in its own right. As opposed to current tendencies in film studies to focus on issues of preservation and digitization of film stock, my paper highlights the role of the archivist as a curator. In foregrounding the modes of selection and exhibition, it analyses the use of metadata in the process of creating online content.

    „Metadating the image“ (Manovich) is an act of power which regulates access to the archive. On the one hand, it might run the risk of reducing the multiple meaning of images and sounds to a few concepts, attributed by the archivist(s). Moreover, the choice of terminology can contribute to 'othering' individuals whose histories are often sidelined and marginalised. Therefore, archival practice needs to reflected upon, e.g. by taking a self-reflexive stand. On the other hand, metadata could entail a utopian potential: they could be a means of intervention into hegemonic power structures and could actively contribute to creating a polyvocal memory. This paper presents my current research project on archival practice in digital film archives (“The Cultural Heritage of Moving Images”, VR, 2016-2018). Examining the use of metadata within video-sharing websites of the British Film Institute (BFI) and the Swedish Film Institute (SFI), my talk offers critical perspectives on the construction of audiovisual heritage and cultural memory.

  • 65.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Mobile cinema as an archive in motion: A Wall is a Screen and urban memories2018In: NECSUS : European Journal of Media Studies, E-ISSN 2213-0217Article in journal (Refereed)
  • 66.
    Brunow, Dagmar
    Halmstad University.
    Modernist Cinema as Black (Atlantic) Historiography: Aesthetic Strategies in Black British Filmmaking2009In: Panels of the Eighth Conference of the Collegium for African American Research, 2009Conference paper (Refereed)
    Abstract [en]

    How do artists deal with the lack of discursive space for the representation of Blackhistory? While Spike Lee depicts the story of Malcolm X in an epic mode, the British Black AudioFilm Collective (BAFC) rather focuses on the ruptures, gaps and fissures of Black history. Theirfilm Seven Songs for Malcolm X (1993), which hit the cinema screens only a few months later than its US-counterpart, thus forms an interesting contrast to Lee’s feature film, in particular as itwas photographed by Spike Lee’s and Julie Dash’s cinematographer Arthur Jafa. Moreover, boththe BAFC-productions Handsworth Songs (1986) and Isaac Julien’s Looking for Langston (1989)acknowledge that Black history cannot be told in a linear mode. Instead, in centring around memoryand oblivion they focus on the “ghosts of stories” rather than on a chronological positivist narrative.My argument is that during the 1980s the BAFC (John Akomfrah, Reece Auguiste, Edward George,Lina Gopaul, Avril Johnson, David Lawson, and Trevor Mathison) as well as other British filmcollectives like Sankofa (Isaac Julien, Martina Attille, Maureen Blackwood and Nadine Marsh-Edwards) developed a modernist filmmaking that consciously employs formalistic means in orderto undermine the traditional depiction of history and memory inscribed into the Industrial Mode ofRepresentation.My paper explores the following questions: In what way did the industrial context in the 1980s enablethe avant-garde practices of British independent filmmaking? What aesthetic devices does the BAFCemploy to point at the “absence of ruins” (Derek Walcott)? How are modernist poetic strategies usedto reveal the “ghosts of history”? And in what way can Black British filmmaking be regarded as a siteof remembrance, as a part of postcolonial historiography?

  • 67. Brunow, Dagmar
    Multiple occupancies: de-essentialising strategies in filmic memory on migration2012In: Migration, Memory, and Place, Köpenhamns universitet, 5-7 december 2012, 2012Conference paper (Refereed)
  • 68.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Naming, shaming, framing: Ambivalence of queer visibility in audiovisual archives.2018In: The Power of Vulnerability: Mobilizing Affect in Feminist, Queer and Anti-racist Media Cultures.  / [ed] Anu Koivunen, Katariina Kyrölä & Ingrid Ryberg, Manchester: Manchester University Press, 2018Chapter in book (Refereed)
    Download full text (pdf)
    fulltext
  • 69.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    »PARIS kein Tag ohne dich« – ein Essayfilm: Ulrike Schaz im Gespräch mit der Filmwissenschaftlerin Dagmar Brunow2020Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Samtal med filmskaparen Ulrike Schaz om hennes film "Paris - kein Tag ohne dich" (Tyskland, 2020)

  • 70.
    Brunow, Dagmar
    Halmstad University.
    Performativity, Self-reflexivity, and the Archive: Transnational family memory as national counter-historiography in Fatih Akin‘s Wir haben vergessen zurückzukehren (2001) and Sandhya Suri’s I for India (2005)2009In: Families and Memories, a Committee on Family Research OSLO, JUNE 15-17, 2009: ABSTRACTS, 2009Conference paper (Refereed)
    Abstract [en]

    Acclaimed German film director Fatih Akin‘s documentary Wir haben vergessen zurückzukehren (We forgot to return home, 2001) and Sandhya Suri’s film essay I for India (2005) both deal with questions of memory and belonging. Both films employ a parallel strategy of the filmmakers interviewing their parents, who migrated to Germany (from Turkey) or to Britain (from India) respectively. Suri’s film is based on super8-footage shot by her father that was originally sent to his family in India, recording the life of this 1st generation migrant family in Britain. In turn, Suri’s family received films and tapes from India. Thus, the home movie footage forms an epistolary account of the creation of transnational memory production. Furthermore, her film shows how some experiences are silenced and how a certain (official) narration of home and belonging is created. Also Akin’s film not only documents migrant history, but is in itself a document of the construction of memory.I would like to focus on the following questions: How does individual memory become collective memory? What aesthetic devices (use of archive footage, modes of self-reflexivity) do the filmmakers employ to broaden the narrative, to make the personal political? In what way do these films form a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible?In what way can these films become a source for migrant historiography? Do they even exceedthe representational level? My point is that these films are not mere documentaries and should not only be read from a mimetic perspective, as “representations” of “ethnicity”, but are more interesting to look at from the perspective of performativity. They show in what way memory is shaped, how a narrative is constructed and how individuals create their own perception of reality. Thus, they take an anti-essentialist stand and avoid presenting their characters as objects, granting them agency and subjectivity instead.

  • 71.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Postpunk Manchester als homosozialer Nostalgietummelplatz: Retromania in Zeiten neoliberaler Stadtpolitik2017In: testcard #25: Kritik / [ed] Roger Behrens, Jonas Engelmann, Frank Apunkt Schneider, Anna Seidel, Jana Sotzko, Holger Adam, Johannes Ullmaier, Mainz: Ventil Verlag , 2017, 25, p. 112-121Chapter in book (Refereed)
  • 72.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Preserving queer cultural heritage: How to present lesbian home movies and video productions in audiovisual archives2017In: Lesbian Lives Conference 2017 : Lesbian Love/s: Book of Abstracts : University of Brighton, 24–25 February 2017, 2017, p. 47-47Conference paper (Refereed)
    Abstract [en]

    The work of lesbian archives is a labour of love and a memory work dedicated to the preservation of traces of lesbian lives. This paper looks at the ethics and politics of archiving lesbian video productions and home movies.  The situation is urgent: the videos and films are decaying and therefore in need of immediate restoration. Digitisation is increasingly being used to preserve the film footage. Digitisation, however, also offers the possibility of widely disseminating the films, for example online, either on the archives' own websites or via video sharing websites, such as YouTube or Vimeo. Yet, what happens if personal memories enter the (heteronormative) public sphere? What are the ethics of making lesbian heritage accessible?  Drawing on the works of the Lesbian Home Movie Projekt in Maine and of bildwechsel in Hamburg, a feminist archive for women visual artists, this paper outlines two different archival strategies of preserving lesbian audiovisual heritage.

  • 73.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queer Cinema2019Other (Other (popular science, discussion, etc.))
    Download full text (pdf)
    fulltext
  • 74.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queer German Cinema2020In: The German Cinema Book / [ed] Tim Bergfelder, Erica Carter, Deniz Göktürk, Claudia Sandberg, London: Bloomsbury Academic, 2020, 2, p. 371-382Chapter in book (Refereed)
  • 75.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Queering the archive: Amateur films and LGBT+ memory2019In: Making the invisible visible: Reclaiming women’s agency in Swedish film history and beyond / [ed] Ingrid Stigsdotter, Nordic Academic Press, 2019, p. 97-117Chapter in book (Refereed)
    Download full text (pdf)
    fulltext
  • 76.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Radio Archiving Practice: Remediating Sonic Memories2015In: Radio Archives in European Community Media, Halle (Saale), juni 2015, 2015Conference paper (Other academic)
  • 77.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Recognizing ethnic and social minorities in audiovisual archives in Europe: archival challenges, community ethics and inclusive heritage2018In: POEM Opening Conference: Participatory Memory Practices : Connectivities, Empowerment, and Recognition of Cultural Heritages in Mediatized Memory Ecologies. 13.-14.12.2018. Museum der Arbeit, 2018Conference paper (Refereed)
    Abstract [en]

    Heritage institutions, such as museums, galleries or archives, have been increasingly attempting to acknowledge ethnic and social minorities (Steorn 2012; Sandell & Nightingale 2012; Axelsson & Åkerö 2016; National Trust 2017). They are some of the stakeholders in the process of heritage construction during which different interest groups negotiate political recognition (Smith, 2007). Attempts to counter previous the marginalization of lives and histories in collection and exhibition practice have coincided with diversity politics and the digital turn. Curating access to digitised collections still implies a number of challenges for official heritage institutions. Most prominently discussed are technological and legal issues, such as the interoperability of metadata and legal aspects, such as national property rights legislation. Less observed are today’s national directives and regulations for diversity politics with their quest for an inclusive heritage. Situated at the interface of film studies and memory studies, my paper will look at archiving as a ‘memory work’, intended to create future engagements with the past. Memory is understood as constantly in flux, as dynamic, transnational and transcultural (Rigney 2009, 2012 Erll 2011, 2014), as entangled, multidirectional (Rothberg 2009), always situated and pervaded by power relations (Radstone/Hodgkin 2010) and as mediated (Brunow 2015).

    The insight that memories are always mediated still needs further theorization, especially in terms of the production and circulation of images and narratives. My current research looks at the remediation of archival footage as an intervention into our audiovisual memory, which I have defined as the images circulating in a specific society at a given historical moment. My research project “The Cultural Heritage of the Moving Image”, financed by the Swedish Research Council, look at the practices of recognition in national and grass-root film archives.

    Drawing on the findings of my current research project “The Cultural Memory of the Moving Image” (Swedish Research Council 2016-2018 I will look at the works of audiovisual archives and their politics of recognizing diversity when curating access to digitized collections. In my research project I have been examining access strategies to digitised collections in national film archives in Sweden and the UK, as well as in community archives in Europe and the US. It analyses how film archives in Sweden and the UK, following their diversity policies, address and mobilise notions of ‘queer’, ‘Black’, ‘roma’ or ‘sami’, recognising and making visible marginalised lives and histories and how they negotiate the risks of increased visibility. In this approach, the archive is positioned as 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 examining how minorities as a priori identities are included in the archives, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer, 2008; Thomas et al., 2017).

    Archival practices enacting recognition and regulation include the choice of metadata, the modes of selection for public screenings and online exhibition and 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). I argue that collaborations between official film archives and community archives with their participatory memory work are highly necessary. Drawing on case studies regarding the recognition of ethnic minorities as well as LGBTQ-lives I will give an overview over possible modes of collaborations setting out to rework hegemonic scopic regimes, attempting to walk the fine line between surveillance and empowerment.

  • 78.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Remediating Archival Content2016In: Presented at Symposium 'Rhetoric of the Past'. Koninklijk Nederlands Historisch Genootschap (KNHG), Den Haag, 22 sept. 2016, 2016Conference paper (Other academic)
  • 79.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Remediating transcultural memories of postpunk Manchester: homosocial nostalgia and contemporary city branding2015In: Atrocity Exhibition. A two day symposium on Joy Division. University of Limerick, 25 – 26 November 2015, 2015Conference paper (Refereed)
    Abstract [en]

    Remediating transcultural memories of postpunk Manchester: homosocial nostalgia and contemporary city brandingThis paper offers a memory studies perspective on the remediation of cultural memories around Joy Division and their legacy. Drawing on my research which situates itself at the interface of memory studies and film studies, I will introduce the notion of 'transcultural memory' (Erll 2011) into the study of postpunk memories and their adaptations. In the former industrial cities of the Northwest of England, especially in Liverpool and Manchester, the heritage of popular music has contributed to relaunching the cities as creative clusters. This paper critically examines the highly gendered remediation of popular music heritage and the appropriation and reworking of postpunk memories into an official narrative. I argue that remediation creates certain nodal points around which a number of narratives of the past are constructed.  Alongside with, for example, Factory Records and The Hacienda, Joy Division is one of the nodal points of the current memory boom around postpunk Manchester. These nodal points (or chronotopes in the Bakhtinian sense) are perpetuated by the ongoing remediation. At the same time remediation both opens and closes discursive spaces for different subject positions. This process in turns has repercussions on canon formation: it highlights some bands (especially Joy Division), while side-lining others (for instance The Fall or The Durutti Column). Moreover, remediation constructs mnemonic spaces which are predominantly heteronormative and male-oriented – all the more surprising since Manchester has been a traditional stronghold for LGBT-culture for decades. Therefore, the formation of Manchester's cultural memory is a highly gendered process. In most of the ’memory works’ around 1980s Manchester the dominant narrative is defined by a homosocial (Sedgwick) and patriarchal perspective, which is white and heteronormative and in which feminist, queer or Black voices are excluded.

  • 80.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Remediating Transcultural Memory: Documentary Filmmaking as Archival Intervention2015Book (Refereed)
  • 81.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Representation and performativity: Methodological considerations on film and historiography. The example of Baader-Meinhof2009In: Historier: Skönlitteratur från arton- och nittonhundratalen som historisk källa / [ed] Christer Ahlberger, Henric Bagerius, Carl Holmberg, Ulrika Lagerlöf Nilsson, Pia Lundqvist, Tomas Nilson, Brita Planck, Göteborg: Göteborgs universitet, 2009, p. 44-56Chapter in book (Other academic)
    Download full text (pdf)
    fulltext
  • 82.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Rethinking Remediation and Reworking the Archive: Transcultural Reappropriations of Documentary Images of Migration2017In: In Search of Transcultural Memory in Europe / [ed] Barbara Törnquist-Plewa, Niklas Bernsand, Marco La Rosa, Lund: Centre for European Studies at Lund University , 2017, p. 39-58Chapter in book (Refereed)
    Download full text (pdf)
    fulltext
  • 83.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Hamburg University, Germany.
    Rethinking Remediation and Reworking the Archive: Transcultural Reappropriations of Documentary Images of Migration2013Report (Refereed)
    Abstract [en]

    Arguing that the relation between documentary images and the dynamics of cultural memory needs to be theorized more fully, the article readdresses the concepts of the ‘archive’ and ‘remediation’. The article examines how archival newsreel footage from the now iconic arrival of the Windrush in Britain in 1948 is remediated on YouTube. It suggests that remediations of documentary images can be used to acknowledge the cultural memory of migration, and, more specifically, the legacy of Black immigration and its impact on contemporary Britain. In order to understand the remediation of cultural memory and its inherent power structures, the article argues, we need to analyse its media specificity, its genre, the politics of representation at work, its discursive as well as its industrial context (production, distribution and exhibition).

    The article also discusses the remediation of archival footage as a possible way to rework a colonial and Eurocentric perspective. Critical interrogations into the archive can create alternative and vernacular memories which might offer emancipatory potential instead of stabilizing essentialist notions of belonging. This perspective could allow cultural memory studies to get away from essentializing concepts of cultural or transcultural memory as based on the notions of container cultures.

    Download full text (pdf)
    fulltext
  • 84.
    Brunow, Dagmar
    Halmstad University.
    [ Review of ] Borderline: Ein Film von Kenneth Macpherson2009In: testcard #18: Regress / [ed] Atlanta Athens, Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Mainz: Ventil Verlag , 2009, p. 294-295Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of the DVD edition of Macpherson's experimental film "Borderline", a British avant-garde classic negotiating issues of race and sexuality.

  • 85. Brunow, Dagmar
    [ Review of ] Robin Griffiths (Ed.) British Queer Cinema2007In: testcard #16: Extremismus / [ed] Roger Behrens, Martin Büsser, Tine Plesch, Johannes Ullmaier, Mainz: Ventil , 2007, p. 282-282Chapter in book (Other academic)
  • 86. Brunow, Dagmar
    [ Review of ] Sabine Hess & Ramona Lenz Geschlecht und Globalisierung. Ein kulturwissenschaftlicher Streifzug durch transnationale Räume2003In: testcard #12: Linke Mythen / [ed] Roger Behrens, Martin Büsser, Tine Plesch, Johannes Ullmaier, Mainz: Ventil , 2003, p. 276-276Chapter in book (Other academic)
  • 87.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    [ Review of ] Tanja Thomas, Lina Brink, Elke Grittmann, Kaya de Wolff (Hg.): Anerkennung und Sichtbarkeit. Perspektiven für eine kritische Medienkulturforschung: Bielefeld: Transcript 2017 (Critical Studies in Media and Communication, Bd. 18), 258 S., ISBN 9783837640113, EUR 29,992018In: MEDIENwissenschaft Rezensionen | Reviews, E-ISSN 2196-4270, no 4, p. 386-387Article, book review (Refereed)
    Download full text (pdf)
    fulltext
  • 88.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. University of Hamburg, Germany.
    [ Review of ] The Nine Muses, directed by John Akomfrah (DVD, 92 minutes): Smoking Dogs Films, United Kingdom, 20102015In: Palimpsest: A Journal on Women, Gender, and the Black International, ISSN 2165-1604, Vol. 4, no 2, p. 218-219Article, book review (Refereed)
  • 89.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    [Review of] Annamaria Motrescu-Mayes, Heather Norris Nicholson: British Women Amateur Filmmakers: National Memories and Global Identities2020In: MEDIENwissenschaft: Rezensionen | Reviews, Vol. 37, no 1, p. 28-29Article, book review (Refereed)
  • 90.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Review of Der Essayfilm. Ästhetik und Aktualität: Sven Kramer and Thomas Tode (Eds)2012In: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 32, no 4, p. 637-639Article, book review (Refereed)
  • 91. Brunow, Dagmar
    Review of Don Lett's Culture Clash. Dread Meets Punk Rockers2010In: testcard #19: Blühende Nischen / [ed] Atlanta Athens, Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2010, p. 262-263Chapter in book (Other (popular science, discussion, etc.))
  • 92.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    [Review of] Joseph Garncarz : Wechselnde Vorlieben. Über die Filmpräferenzen der Europäer 1896-19392016In: Medien & Kommunikationswissenschaft, ISSN 1615-634X, Vol. 64, no 3, p. 408-409Article, book review (Refereed)
  • 93. Brunow, Dagmar
    [ Reviews of ] Marie-Hélène Gutberlet and Hans-Peter Metzler's Afrikanisches Kino & Olivier Barlet's Afrikanische Kinowelten. Die Dekolonisierung des Blicks.2003In: testcard #12: Linke Mythen / [ed] Roger Behrens, Martin Büsser, Tine Plesch, Johannes Ullmaier, Mainz: Ventil , 2003, p. 286-287Chapter in book (Other academic)
  • 94.
    Brunow, Dagmar
    Hamburg University, Germany.
    Reworking the archive: the essay film as an intervention into cultural memory2013In: Visible Evidence XX. International Conference on Documentary Film and Media, Stockholm, Sweden, August 18, 2013, 2013Conference paper (Refereed)
    Abstract [en]

    In its highly self-reflexive mode, questioning the notion of filmic images as ‘visible evidence’, the essay film is an epistemological tool for the study of visual politics. Therefore, it can offer useful insights into the mediatization of cultural memory. This paper will look at the use of the essay film by minoritized groups (Black, diasporic, feminist, queer), focussing on the remediations of archival footage. How can essay films be conceptualised as an emancipatory practice opening up discursive spaces for vernacular and alternative memories without lapsing into essentialism? Using Black British avant-garde filmmaking as an example, this paper examines filmic interventions into the visual archive. It outlines three practices of an anti-essentialist use of images defying notions of ‘truth’ and ‘authenticity’:  reworking the archive as a) ways of deconstructing hegenomic representation, b) as archaeological excavations into the archive, and c) as a mode of carving out discursive spaces for utopian visions.

  • 95. Brunow, Dagmar
    "She’s lost control?": 1980s Manchester and the gendered spaces of pop-cultural memory2012In: g12 - nationell konferens för genusforskning, Göteborgs universitet, 28-30 november 2012, 2012Conference paper (Refereed)
  • 96. Brunow, Dagmar
    Soundscapes als akustisches Gedächtnis der Stadt: Künstlerische Strategien gegen Gentrifizierung2011In: testcard #20: Access denied / [ed] Jonas Engelmann, Holger Adam, Frank Apunkt Schneider, Sonja Vogel, Johannes Ullmaier, Mainz: Ventil , 2011, p. 37-41Chapter in book (Other academic)
  • 97.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Stuart Hall: Aktivismus, Pop und Politik2015Collection (editor) (Other academic)
    Abstract [de]

    Über Stuart Halls Einfluss auf die deutschsprachige ­Kulturtheorie Was macht Stuart Hall, der im Februar 2014 verstarb, zu einem der meistzitierten Autoren der testcard? ­Dieser Band geht dem Einfluss des britischen Soziologen und Kulturtheoretikers im deutschsprachigen Kontext nach.

    Stuart Hall, diese »Popikone mit Grips«, wie ihn der Regisseur John Akomfrah einmal nannte, gilt als ­wichtigster Vertreter der britischen Cultural Studies. Sein Themengebiet ist breit gefächert und umfasst Untersuchungen zu Jugendkulturen, Rassismus, ­Polizeipraktiken, Identität, Hybridität, ­Multikulturalismus, Thatcherismus, künstlerischen Praktiken, Film und Fotografie, medialen Repräsentationspolitiken und ihrer Rezeption. Mit seiner kritischen Perspektive auf die Mechanismen von Hegemonie und Macht verortet sich Halls Werk an der Schnittstelle von ­Aktivismus und Akademie, Popkultur und Politik.

    Stuart Hall, der die New Left in Großbritannien ebenso geprägt hat wie die Cultural Studies, hat die Grenzen zwischen den Disziplinen gesprengt und wurde vor allem für seine Offenheit, seine Neugier und seine Bereitschaft zum Dialog geschätzt. In teils sehr persönlich gehaltenen Beiträgen berichten deutschsprachige AktivistInnen und KulturtheoretikerInnen von Stuart Halls Inspiration für ihr Denken und ihre Arbeit – auf Stadtforschung, Pop, kritische Theorie, Antirassismus, Kolonialismus, Migration, Hafenstraße, Stilpolitiken und Gentrifizierungskritik. Damit gibt der Band Impulse für die deutschsprachige Hall-Rezeption und zeigt eine Vielzahl von Andockmöglichkeiten seiner Ideen auf. Stuart Hall nannte sein Werk einmal eine »unfinished conversation«. Die Unterhaltung ist noch lange nicht beendet.

    Mit Beiträgen von Tobias Nagl, Nanna Heidenreich, Vassilis Tsianos, Kathrin Wildner, Simon Dickel, Simone Borgstede, Moritz Ege, Janek Niggemann und Benjamin Opratko und einem Grußwort von Bill Schwarz.

    Inhaltsverzeichnis

    Denken als Aktivismus: Stuart Hall zwischen Popkultur und Politik

    Simon Dickel: Omar, Johnny und Ich

    Nanna Heidenreich: Identität eins, Identität zwei, Identität x

    Moritz Ege: Stuart Hall und Stil: vier Annäherungen

    Kathrin Wildner: Stuart Hall und die Stadtforschung. Ein Blick zurück auf die ­Gentrifizierung der Lower East Side in New York

    Vassilis S. Tsianos: »That part of me comes from a ­plantation, when you owned me. You don’t lose that, it ­becomes stronger.« Stuart Hall in ­Hamburg

    Simone Beate Borgstede: Geschichte ist immer offen: Denken und ­kämpfen mit Stuart Hall

    Janek Niggemann?/?Benjamin Opratko: Das Lächeln nicht verlieren! Stuart Hall als sozialistischer ­Intellektueller

    Tobias Nagl: The After-Life of Stuart Hall: Why Hall?

  • 98.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Stuart Hall and Memory Studies2016In: Wrestling with the Angels : Exploring Stuart Hall's Theoretical Legacy: International Conference, 25-27 February 2016, Technische Universität Dortmund, 2016Conference paper (Refereed)
    Abstract [en]

    Within the vast interdisciplinary field of memory studies and among its most influential voices (such as Maurice Halbwachs, Pierre Nora, Aleida Assmann, Astrid Erll, Michael Rothberg, Bill Schwarz and Susannah Radstone), the name of Stuart Hall has been conspicuously absent. Drawing on my theorizations within the emerging field of media memory studies, my paper argues that Stuart Hall’s ideas provide important insights into the mediation of transnational memories and their mediatisation. Revisiting some of Stuart Hall’s theorisations put forward in texts such as “New Ethnicities”, “Whose Heritage” and “Reconstruction Work”, my paper suggests new ways to reconceptualise notions such as transculturality, remediation and the archive. Overall, I claim that memory studies could profit from Stuart Hall’s valuable theorisations on anti-essentialism, representation and the workings of cultural heritage.

    Download full text (pdf)
    fulltext
  • 99.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    The cultural heritage of collective filmmaking in Germany: The archival practice of independent film and video workshops2011In: 21st International Screen Studies Conference, University of Glasgow, Scotland, 1-3 July 2011, 2011Conference paper (Refereed)
    Abstract [en]

    Collective filmmaking practice in Germany is still a blind spot in film historiography. This is all the more surprising since independent film and video workshops established a nationwide network of political media practice during the 1970s. Inspired by Brecht and Tretjakov, Negt/Kluge and Enzensberger, their aims were twofold: first, to empower political activists departing from Tretjakov’s idea of “operative” art and second, to establish film archives and distribution networks. Yet, currently the archives are facing severe problems concerning  preservation: as the video tapes slowly disintegrate, the memory of the various media practices of the last decades is fading away. As digitization is costly and time-consuming, many video productions will not survive. This has, as I will argue, consequences not only for (left-wing) historiography, but also for the visual iconography of cultural memory. My paper focusses on the archival practice of two workshops in Hamburg: the mpz (Medienpädagogikzentrum, 1973-) and bildwechsel, the feminist film archive (1979-).  International influences such as the independent workshop sector in the UK as well as questions of auteurism and canonisation will be discussed.

  • 100.
    Brunow, Dagmar
    Halmstad University.
    The Ghosts of History and Cities as Palimpsest: Colonial spaces and visual archives in British avant-garde filmmaking2009In: NECS/Network of European Cinema Studies, 24-28 June, 2009, Lund University, Lund, Sweden, 2009Conference paper (Refereed)
123 51 - 100 of 119
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • 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