[ecrea] Special Issue of Journal of Scandinavian Cinema 6.2

Intellect is thrilled to announce the new issue of /Journal of 
Scandinavian Cinema 6.2 /is now available.

For more information about this journal, please click here 
<http://www.intellectbooks.co.uk/journals/view-issue,id=3231/> or email 
(katy /at/ intellectbooks.com) <mailto:(katy /at/ intellectbooks.com)>

This Special Issue focuses on contemporary Scandinavian documentary 
cinema. Guest Editors Ilona Hongisto and Malin Wahlberg present a 
collection of contemporary scholarship that illuminates Scandinavian 
documentary cinema through meticulous case studies, while also 
addressing the broader notions of belonging, identity and, ‘Scandinavia’ 
in relation to film production, distribution and the politics of media 
practice and cultural memory.

Articles in the issue include (partial list):

Can catalogues be dangerous? The anti-catalogue of FilmCentrum 
<http://www.intellectbooks.co.uk/journals/view-Article,id=23116/>

*Authors: *Stefan Ramstedt

Page Start: 101

This article offers a survey of the film distribution of FilmCentrum 
during the first years of the organization. Like the catalogues of other 
film cooperatives that were working with distribution, FilmCentrum’s was 
open, which meant that the organization accepted all submitted films. 
This openness is discussed at length, both in terms of the discourses 
around it and the controversies that it aroused, but also as a form of 
democratization of the film distribution. The notion of the open 
catalogue is also put into the context of a larger counter-cultural 
movement and connected to the notion of the anti-catalogue. The film 
distribution of FilmCentrum is also placed in the context of the history 
of Swedish cinema.

Contemporary experimental feminist Sámi documentary: The first person 
politics of Liselotte Wajstedt and Elle-Máijá Tailfeathers 
<http://www.intellectbooks.co.uk/journals/view-Article,id=23120/>

*Authors: *Scott MacKenzie and Anna Westerståhl Stenport

Page Start: 169

This article examines two experimental documentary feminist Sámi films 
by Liselotte Wajstedt and Elle-Máijá Tailfeathers. Their works deploy 
experimental techniques such as cell and computer animation, time-lapse 
photography and superimposition, along with autobiographical 
voice-overs, thereby challenging many dominant tropes of Sámi 
filmmaking, including the preponderance of realism and cultural 
revivalist narratives. Through ‘first person’ filmmaking, Wajstedt’s 
/Sami Daughter Yoik/ (2007) and /Tailfeathers’ Rebel/ (2014) and 
/Colonial Gaze Sámi Artists’ Collective/ (co-directed with Nango, 2012) 
explore the hybridity of identity, trauma, cultural memory and the 
status of documentary films as artistic practice. The films are situated 
within larger recent developments in Sámi filmmaking, including 
initiatives by the International Sámi Film Institute. This article 
reframes the perimeters of both Sámi and Scandinavian documentary 
filmmaking in the twenty-first century.

Expanded epistemologies: Animation meets live action in contemporary 
Swedish documentary film 
<http://www.intellectbooks.co.uk/journals/view-Article,id=23122/>

*Authors: *Johnathan Rozenkrantz

Page Start: 189

This short subject studies configurations of animation and live action 
in contemporary Swedish documentary film. While digitization has 
challenged the indexical image’s verifying function, animation has been 
elevated to the level of legitimate document. The epistemological 
boundaries of documentary film have consequently been expanded, and now 
include the inner worlds of social subjects. In /Gömd (Hidden)/ 
(Heilborn and Aronowitsch, 2002), animation and live action are 
repeatedly juxtaposed in order to visualize a refugee child’s 
experienced Otherness. In /Still Born/ (Sandzén, 2014), ultrasound 
footage is fused with digital film and animation to manifest the merging 
perspectives of a mourning mother and her aborted child.


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