LÜBECK FILM STUDIES COLLOQUIUM FRI. 3RD NOV. AND SAT. 4TH NOV CENTRE FOR CULTURAL RESEARCH (ZFKL) KÖNIGSTRASSE 42 SATURDAY 4 NOVEMBER

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1 FRIDAY 3 NOVEMBER WELCOME AND INTRODUCTION ANDERS MARKLUND (LUND) DAGMAR BRUNOW (VÄXJÖ) & INGRID STIGSDOTTER (STOCKHOLM): INTRODUCING JSCA SPECIAL ISSUE SCANDINAVIAN CINEMA CULTURE AND ARCHIVAL PRACTICES CINEMA AND ARCHIVES CHAIR: STEPHAN SCHRÖDER (KÖLN) CASPER TYBJERG (COPENHAGEN): WHAT I LEARNED FROM THE ORIGINAL PRINT OF LA PASSION DE JEANNE D ARC EIRIK FRISVOLD HANSEN (NATIONAL LIBRARY, OSLO): THE LOST, THE FRAGMENTARY, AND THE EXTRANEOUS: THE MATERIAL AND GEOGRAPHIC LIMITS OF NORWEGIAN 1910S CI- NEMA CLAIRE THOMSON (LONDON): THE BEST FILMS NEVER MADE: THE UNFILMED FILM IN DREYER S AND BERGMAN S ARCHIVES BREAK IMMIGRANT FILMMAKERS AND ARCHIVES CHAIR: THOMAS WEBER (HAMBURG) JOHN SUNDHOLM (STOCKHOLM & LARS GUSTAF ANDERSSON (LUND): ARCHIVING IMMIG- RANT FILMMAKING KAY HOFFMANN (STUTTGART): PETER NESTLER AND THE FOREIGNERS TONE KRISTINE KOLBJØRNSEN (BERGEN): IRAM HAQ AND NORWEGIAN MIGRANT CINEMA: FAMILY AND LOVE BREAK REMEMBERING AND RECREATING POSTWAR WORK IMMIGRATION IN SEPPAN CHAIR: ANDERS MARKLUND Q&A: AGNETA FAGERSTRÖM OLSSON AND SEPPAN CA POST-COLLOQUIUM SPECIAL EVENT: Book Launch of Beyond The Bridge: Contemporary Danish Television Drama. Introduced by authors Tobias Hochscherf & Heidi Philipsen. CA POST-COLLOQUIUM SPECIAL EVENT: Journal of Scandinavian Cinema Meeting with editors and board members. Everyone welcome! SATURDAY 4 NOVEMBER CINEMA AND MIGRATION CHAIR: KIMMO LAINE (OULU) CORNELIA LUND (HAMBURG/BERLIN): RUSTY STEREOTYPES OR HOW TO THINK DIFFE- RENTLY ABOUT MIGRATION ANNA MROZEWICZ (POZNAŃ) AND ANDERS MARKLUND (LUND): LIVING GHOSTS OF THE FUTURE: GLOBALIZING SCANDINAVIA IN AKI KAURISMÄKI S THE OTHER SIDE OF HOPE (2017) AND MAHSUN KIRMIZIGÜL S I SAW THE SUN (2009) MATTHIAS BAUER (FLENSBURG): NEW CITIZENS IN CONTEMPORARY SCANDINAVIAN TV BREAK TRANSNATIONAL NORDIC TELEVISION CHAIR: ANDERS MARKLUND (LUND) PIETARI KÄÄPÄ (WARWICK): NORDIC GENRE INVASION/BOOST PROGRAMME TOBIAS HOCHSCHERF (KIEL/FLENSBURG): THE TEAM AND PAN-EUROPEAN COLLABORA- TION BETWEEN DENMARK, BELGIUM AND GERMANY HEIDI PHILIPSEN (ODENSE): NORDIC NOIR IN BROADCHURCH BREAK ARCHIVING: SPECIAL ISSUE AND FILMMAKER CONVERSATION CHAIRS: DAGMAR BRUNOW (VÄXJÖ) & INGRID STIGSDOTTER (STOCKHOLM) DAGMAR BRUNOW & INGRID STIGSDOTTER: JSCA SPECIAL ISSUE REFLECTIONS Q&A: CITIZEN SCHEIN-FILMMAKERS: KERSTI GRUNDITZ BRENNAN, JANNIKE ÅHLUND, AND REBECKA HAMBERGER CONCLUDING REMARKS ANDERS MARKLUND LÜBECK FILM STUDIES COLLOQUIUM FRI. 3RD NOV. AND SAT. 4TH NOV CENTRE FOR CULTURAL RESEARCH (ZFKL) KÖNIGSTRASSE 42 1

2 FRIDAY 3 NOVEMBER Welcome and introduction Anders Marklund (Lund) DAGMAR BRUNOW (VÄXJÖ) & INGRID STIGSDOTTER (STOCKHOLM): INTRODUCING JSCA SPECIAL ISSUE SCANDINAVIAN CINEMA CULTURE AND ARCHIVAL PRACTICES Cinema and archives Chair: Stephan Schröder (Köln) Bio: Stephan Schröder is Professor of Scandinavian Studies at the University of Cologne, Germany. His areas of research include Scandinavian silent cinema, relations between literature and film and literary practices around CASPER TYBJERG: WHAT I LEARNED FROM THE ORIGINAL PRINT OF LA PASSION DE JEANNE D ARC Abstract: In April 2013 I had the opportunity to examine the original 1928 premiere print of Dreyer s La Passion de Jeanne d Arc, conserved at the nitrate vault of the Danish Film Institute. This is the same print that was discovered at a Norwegian hospital in the early 1980s. There was much to be learned from the physical artifact itself, and I will talk about some of these things in my presentation. I shall discuss how we may think of an original film print like this as a document in terms of historical Quellenkritik, and I shall argue that it would be advantageous to adopt the term film ecdotics to describe the auxiliary discipline that covers both films as physical artifacts and the textual variations between different versions or prints of the same title. Bio: Casper Tybjerg is Associate Professor of Film Studies at the Department of Media, Cognition and Communication at the University of Copenhagen. His current research interests include film historiography, the history of film style, and the relation between Danish and German filmmaking in the silent period. He has written extensively on Carl Th. Dreyer and Danish and Scandinavian silent cinema, and also helped restore the Dreyer films Once Upon a Time and Love One Another, and recorded DVD audio commentaries for key Scandinavian silent films. EIRIK FRISVOLD HANSEN: THE LOST, THE FRAGMENTARY, AND THE EXTRANEOUS: THE MATERIAL AND GEOGRAPHIC LIMITS OF NORWEGIAN 1910S CINEMA Abstract: Similar to many other national cinemas, the history of Norwegian narrative film during its formative years, throughout the 1910s, is for the most part available in the form of fragments. In this presentation I will consider three recent and/or ongoing projects by the National Library of Norway, all relating to cinema of the 1910s, that contest the material and geographic delineation of what can be termed a national Norwegian film collection. First, Tracing the Silents, an exhibition on Norwegian narrative film before 1920, to a large extent dealing with the nature and poetics of the lost film, activating material traces as both textual and visual objects, as empirical sources of information, imagination, and aesthetic experience. The two other projects deal with material produced outside Norway: one is the Silent Ibsen project, collecting and disseminating international silent film adaptations of works by Henrik Ibsen, and the other is a project on researching and collecting film and other types of material relating to Aud Egede-Nissen s career in Germany as an actress, film producer and founder of the company Egede Nissen Film Compagnie. Bio: Eirik Frisvold Hanssen is Head of the film and broadcasting section in the Department of Research and Collections at the National Library of Norway in Oslo. He has a PhD in cinema studies from Stockholm University (2006), and has published extensively on film history, colour, intermediality and visual culture in journals such as Film History, Journal of Visual Anthropology, Montage AV and numerous edited collections. He has also edited two DVD collections, and is the co-editor (with Maria Fosheim Lund) of Small Country, Long Journeys: Norwegian Expedition Films (National Library of Norway, 2017). 2

3 CLAIRE THOMSON: THE BEST FILMS NEVER MADE: THE UNFILMED FILM IN DREYER S AND BERGMAN S ARCHIVES Abstract: My article for the Journal of Scandinavian Cinema theme issue explores the phenomenon of the unfilmed film, using as a case study Carl Th. Dreyer s screenplay Medea, later adapted for Danish television by Lars von Trier. The article was a first foray into a larger project investigating how and why the traces of auteurial unfilmed films remain in some archives, and how these materials and their archival preservation and mediation might help us to understand why some films remain the best films never made. In Autumn 2017, I have begun to explore Ingmar Bergman s archival materials, which provides the opportunity to compare and contrast a selection of Bergman s unfilmed films with Dreyer s. This presentation is thus a snapshot of a project that is under construction. On the one hand, this is about comparing the filmakers own working and archival practices: what research materials are archived, how they are organised, and what this might tell us about the process of filmmaking and how and why it is truncated in a given case. On another level, this is a study of the respective archives themselves, as their established practice intersects with the filmmakers records, public funding and reporting, the material conditions for preservation, and the possibilities of mediation. Bio: Claire Thomson (PhD Edinburgh 2003) is a Senior Lecturer in Scandinavian Film at the Department of Scandinavian Studies at UCL in London. Her books include Thomas Vinterberg s Festen (Nordic Film Classics, University of Washington Press, 2013) and Short Films from a Small Nation: Danish Informational Cinema (forthcoming in January 2018 with Edinburgh University Press). She has also edited the anthology Northern Constellations: New Readings in Nordic Cinema (Norvik Press, 2006) and is an editor of the journals Scandinavica and Kosmorama Immigrant filmmakers and archives Chair: Thomas Weber Bio: Thomas Weber is Professor for media studies at the University of Hamburg and project leader of the project Topics and aesthetics of the documentary film as part of the DFG project History of German Documentary Film after 1945 as well as the project Transforming Authenticity. LARS GUSTAF ANDERSSON & JOHN SUNDHOLM: THE CULTURAL PRACTICE OF MINOR CINEMA ARCHIVING: THE CASE OF IMMIGRANT FILMMA- KERS IN SWEDEN Abstract: Our aim is to present the archival practices that we have discerned concerning immigrant filmmaking in Sweden. We will stress in particular that the archive is a locus of power, and that the struggle for archival acknowledgement is a question of how to establish an archival artefact. This question is crucial when it comes to minor cinema practices of immigrant filmmaking, often executed in the margins of ordinary distribution and archival routines. Bio: Lars Gustaf Andersson is Professor of Film Studies at Lund University. He has published on Swedish minor and experimental cinemas and on European art cinema. Together with John Sundholm he has co-authored A History of Swedish Experimental Film Culture (2010) as well as Historical Dictionary of Scandinavian Cinema (2012) and a monograph in Swedish on the Stockholm Film Workshop and Swedish film policy (2014). Forthcoming is a book on minor immigrant cinemas in Sweden to be published by Intellect. Bio: John Sundholm is Professor of Cinema Studies at Stockholm University and Head of Department of Media Studies. He has published extensively on memory studies and Swedish minor and experimental cinemas. Together with Lars Gustaf Andersson he has co-authored A History of Swedish Experimental Film Culture (2010) as well as Historical Dictionary of Scandinavian Cinema (2012) and a monograph in Swedish on the Stockholm Film Workshop and Swedish film policy (2014). Forthcoming is a book on minor immigrant cinemas in Sweden to be published by Intellect. 3

4 KAY HOFFMANN: PETER NESTLER AND THE FOREIGNERS Abstract: Peter Nestler, born 1937 in Freiburg, grew up in Germany where he also began his career. In 1968, Jean-Marie Straub named him the most important postwar German filmmaker, because he doesn t follow conventions. With his very political and left films, Nestler saw no opportunities in Germany, and instead emmigrated to Sweden in 1966 where he continued making documentary films in his special way. Among other topics, he made a four-part series on foreigners in 1977/78 for Swedish television. Linking the current fate of foreigners (Iranians) and minorities (Roma) in Sweden to a broad historical perspective; Foreigners. Part 1. Boats and Canons deals with Belgian and German workers on the island of Gotland in the middle ages. At the Nordic Film Days, his film Foreigners, Part 2. Gypsies will be screened in the retrospective. This paper will discuss how Nestler handles the topic of foreigners and minorities in his very special style. Bio: Kay Hoffmann is a film journalist and film historian, since 2007 head of research at the Documentary Film Center (Haus des Dokumentarfilms) in Stuttgart. He has regularly organized and contributed to film and television festivals, and he is the editor of the Peter Nestler DVD-Edition (2012). Contributing to the DFG-research project on German documentary history before 1945 as a co-editor of volume 3 ( ), he is currently the coordinator of the project s continued work covering the years TONE KRISTINE KOLBJØRNSEN: IRAM HAQ AND NORWEGIAN MIGRANT CINEMA: FAMILY AND LOVE Abstract: TBA Bio: Tone Kristine Kolbjørnsen is an associate professor in Information Science and Media Studies at Bergen University. Her research interests include gender and reception studies. She is currently involved in a research project on immigration and Norwegian film and television. Break Remembering and recreating Postwar work immigration in Seppan Chair: Anders Marklund Q&A: AGNETA FAGERSTRÖM-OLSSON AND SEPPAN Abstract: Conversation and Q&A with the director Agneta Fagerström-Olsson, concerning her two-part television film Seppan (1986), also released as feature film (1987). 4

5 Saturday 4 November Cinema and migration Chair: Kimmo Laine (Oulu) Bio: Kimmo Laine is a University lecturer of film studies at the University of Oulu, Finland. He has published two books and a number of articles on film history. His ongoing research seeks ways to analyze film style with awareness of contextual factors. CORNELIA LUND: RUSTY STEREOTYPES - OR HOW TO THINK DIFFERENTLY ABOUT MIGRATION Abstract: Overcrowded boats, people trying to overcome fences, people waiting in queues the representation of the so-called European refugee or migration crisis in the mass media is dominated by some stereotyped images and ideas. This is not to say, however, that there are no attempts at developing a more nuanced view of the situation, in documentary and fictionalized films, for example. While these films generally evolve around individuals whose story is told as an example for the difficulties refugees encounter on their long way to Europe or once they are arrived, another, rather small group of short films directly targets the stereotypes that dominate the Western, European discourse. Taking the traditional form of charity campaigns as a starting point, they give an ironic twist to the stereotypes these campaigns work with, confronting the viewers with their inherent absurdity. The most prominent examples for this approach are probably the short films produced under the label of Africa for Norway by the SAIH, the Norwegian Students and Academics International Assistance Fund in the context of the Rusty Radiator Award. They address the still widely spread image of Africa as a poor continent heavily afflicted by war, corruption, hunger, and disease, unable to help itself and spitting masses of migrants towards Europe. I propose to analyze these films in comparison to some similar ironic approaches to campaigning like Adopt a Dane (2016) and against the backdrop of the discourse about migration developed in documentary and fictionalized feature films. Bio: Cornelia Lund is an art and media theorist and curator living in Berlin. She currently holds a position as senior researcher in the DFG project History of German Documentary Film after 1945 at the University of Hamburg. ANNA MROZEWICZ & ANDERS MARKLUND: LIVING GHOSTS OF THE FUTURE: GLOBALIZING SCANDINAVIA IN AKI KAURISMÄKI S THE OTHER SIDE OF HOPE (2017) AND MAHSUN KIRMIZIGÜL S I SAW THE SUN (2009) Abstract: Aki Kaurismäki s films are known for their dated look, mise-en-scène and props from other decades and create confusion as to when the plot unfolds. This is also the case of The Other Side of Hope (2017). Still, the plot is precisely specified as contemporary, among other things by inclusion of real news reports covering the war in Syria and by addressing the topical issue of migration. The overlapping spatial and temporal layers convey an ironic vision of contemporary globalized Finland and Europe. This spatio-temporal compression will be studied employing the metaphor of the living ghost (Peeren 2014), which conceptualizes those made socially invisible by processes of globalization, like exiles, homeless, migrants and refugees. Kaurismäki s living ghosts resist social exclusion by representing the transnational future, as opposed to the nationally coded Finland of the past. The second part of this presentation contrasts this representation of living ghosts, created by a Finnish filmmaker for a western/international arthouse audience, with Mahsun Kirmizigül s highly successful Turkish film I Saw the Sun (2009), a story which attempts to focalize ghosts, in this case asylum seekers from northern Kurdistan who eventually reach a haven in Norway, beyond our western perspective. Bio: Anna Estera Mrozewicz is an assistant professor at the Department of Film, Television and New Media at the Adam Mickiewicz University in Poznań, Poland. She pursued post-doctoral studies at the Department of Scandinavian Studies and Linguistics, University of Copenhagen ( ). Her current research project investigates representations of Russia and Eastern Europe in contemporary Nordic cinemas. Bio: Anders Marklund is a Senior Lecturer in film studies at Lund University. He is cofounder and primary editor of Journal of Scandinavian Cinema. His current research interests concern various aspects of contemporary super-popular European films, as well as the uses of history, memory and remediation in cinema. 5

6 MATTHIAS BAUER: NEW CITIZENS IN CONTEMPORARY SCANDINAVIAN TV Abstract: TBC Bio: Matthias Bauer is Professor at Europe University Flensburg. His research concerns literary history, culture studies and media analysis. Recent publication: Antonioni. Bild Wirklichkeit Projektion. München Break Transnational Nordic Television Chair: Anders Marklund PIETARI KÄÄPÄ: THE END OF THE SCANDIBOOM? KILLER MOSQUITOES AND IRONIC VIKINGS Abstract: This paper evaluates the cultural and political impact of contemporary strategies used by Nordic producers to create competition spaces for their products. Such spaces are largely premised, on one hand, on festival circuits and professional and online networks, and rely on the producers expert knowledge of international genre cinema, and on the other, on a version of strategic essentialism playing up national stereotypes to construct a self-conscious Nordic brand. I focus on two case studies to evaluate Nordic media s global position. The first is to do with the transnational joint venture the Nordic Genre Invasion, a PR platform and a talent pool for sourcing coproduction arrangements. Much of the reputational capital comes from the individual roles performed by significant trend setters such as Dead Snow (2008) and Iron Sky (2012) all of whom construct coolness as a deliberate marketing strategy. Yet, do these business models actually imply an invasion of global markets or effectively a reconfirmation of its status quo? These arguments are further compounded by international media coverage of the Scandiboom that suggests that Nordic genre film is quickly becoming a parody of itself. The last half of the talk focuses on the Norwegian television show Norsemen/Vikingarna to evaluate how strategic essentialism and self-lampooning may signify the end to this boom Bio: Pietari Kaapa is an associate professor in media and communications at the Centre for Cultural Policy Studies at University of Warwick. He has published widely on Nordic cinema and his latest books are Ecology and Contemporary Nordic Cinema (Bloomsbury, 2014) and Nordic Genre Film: Small Nation Film Cultures in the Global Marketplace (Edinburgh University Press 2015). TOBIAS HOCHSCHERF: THE TEAM AND PAN-EUROPEAN COLLABORATION BETWEEN DENMARK, BELGIUM AND GERMANY Abstract: WBA Bio: Tobias Hochscherf is Professor of Film, Radio and Television at Kiel University of Applied Sciences, Germany. Previously he worked as a senior lecturer at Northumbria University, UK. He is the author of The Continental Connection: German- speaking Émigrés and British Cinema, and has co- edited the anthologies Divided, But not Disconnected: German Experiences of the Cold War and British Science Fiction Film and Television: Critical Essays. He is Associate Editor of the Historical Journal of Film, Radio and Television. HEIDI PHILIPSEN: NORDIC NOIR IN BROADCHURCH Abstract: North-European television dramas have gained success in both national and international markets, especially due to Nordic Noir in series such as Wallander, The Killing, Lilyhammer and The Bridge. With high audience figures, sales to international markets and awards, these and other series anticipate success for North-European television. A success one often promotes by the label Nordic noir (Creeber 2015, Hochscherf and Philipsen 2017). The Killing started a Nordic Noir wave that have inspired lots of contemporary series home and abroad. Saga Norén in The Bridge is no doubt formed by the experiences from Sarah Lund. Sarah has also served as a kind of inspiration and scaffolding for lots of later polyphonic characters like: Birgitte Nyborg in Borgen or Irene Huss in Irene Huss. And if we take a look at the British crime-drama 6

7 Broadchurch (ITV, ) it is highly influenced by both the Nordic Noir moods as well as the way characters are illustrated as polyphonic characters (Horton 1994: 107). Just think of the long breaks in Broadchurch which give the audience time to reflect. Creativity researcher Csikszentmihalyi (1996) would describe The Killing and The Bridge as creative dramas in terms of changing a drama domain and receiving acceptance from audiences and stakeholders in the television industry. They have also influenced later drama series - like Broadchurch - and are thus useful and actionable (Amabile 1998). In my presentation I will illustrate the impact from Nordic Noir in terms of dark moods and characters carried out in the British Broadchurch. Bio: Heidi Philipsen is Associate Professor at University of Southern Denmark in Odense. She is in charge of the education Screen-development at SDU and has in the beginning of 2017 published Beyond the Bridge Contemporary Danish Television Drama (I.B. Tauris) together with Professor Tobias Hochscherf Break Archives: Special Issue and filmmaker conversation Chairs: Dagmar Brunow & Ingrid Stigsdotter DAGMAR BRUNOW & INGRID STIGSDOTTER: JSCA SPECIAL ISSUE REFLECTIONS Abstract: Reflections on the work with the JSCA special issue on archives and archiving Bio: Dagmar Brunow is a senior lecturer at Linnaeus University in Växjö. Her research interests include aspects of migration and memory studies, feminist experimental cinema, collective filmmaking and politics of archiving, as well as queer cinema and transnational filmmaking. In 2017 she will, together with Ingrid Stigsdotter (Stockholm), edit the special issue of Journal of Scandinavian Cinema on Scandinavian cinema culture and archival practices: collecting, curating and accessing moving image histories. Bio: Ingrid Stigsdotter is a researcher in Cinema Studies at Stockholm University whose current research interests include the work and representation of women in Swedish film history and moving images of Stockholm. She collaborates with the Swedish Film Institute on the Horizon 2020-funded European initiative I-Media Cities ( and the Women s Film History Network: Norden, supported by the Nordic Council of Ministers and related to the web page Nordic Women in Film ( Q&A: CITIZEN SCHEIN-FILMMAKERS: KERSTI GRUNDITZ BRENNAN, JANNIKE ÅHLUND, AND REBECKA HAMBERGER Abstract: Conversation and Q&A with the filmmakers behind Citizen Schein (2017): directors Kersti Grunditz Brennan and Jannike Åhlund, and producer Rebecka Hamberger Concluding remarks Anders Marklund 7