Only second to the Holocaust, the Rwandan genocide is the most audio-visually recreated genocide with approximately 200 films and documentaries produced in 39 countries between 1994 and 2021. Historical Media Memories of the Rwandan Genocide studies the construction, development and recreation of the transnational historical media memory of the genocde against the Tutsi i Rwanda. 

This comprehensive work traces the international media image and the creation of historical media memories of the Rwandan genocide, starting with the day-to-day television news reporting in 1994, and continues with analysing how the genocide has been used and reproduced in films and documentaries in a global scale as well in Rwanda, which has created its own images of the genocide in film and television production to support a new national identity.  

This article examine what notions of nation and nationality that are connected to the early ponographic film and how this, in turn, connected to the production and distribution of early pornographic films. The article is primarily built on three unique court cases from 1922, 1932, and 1943, respectively, where illegal screenings of pornographic films were prosecuted, that is, long before the notion of "Swedish sin" was created. By putting these three trials into a historical context, I am able to discuss how the pornographic genre interchangeable is connected to nation and nationality through sexual geographies that included the "French film", notions of German decadence as well as American immorality, altough many of the films in trial were in fact Swedish made.  

Vad händer i gränslandet mellan franskspråkig litteratur och nordafrikansk kultur? Om detta berättar lektorn och litteraturforskaren Kirsten Husung i det här avsnittet av HumPodd. Bland annat får vi höra om hur postkoloniala perspektiv kan berika vår förståelse av algeriska författare som uttrycker sig på europeiskt språk. Vi får här veta ett och annat om den kända författaren och filmskaparen Assia Djebar som hade en intressant position som kvinna, muslim och liberal och pendlade mellan olika världar.

I Johanna Forsmans och Kjell Sundstedts bok står filmmanuset och dess författare i fokus. Det är synd att tidigare filmhistoria och ideologiska val påverkar bokens inriktning, men arbetet är utan tvekan en pionjärinsats.