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Swedish Sex Education in 1970s London
Adrian Smith

In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.

Film Studies
Open Access (free)
An enduring legacy

This book on Swedish filmmaker Ingmar Bergman contains eighteen new scholarly chapters on the director’s work, mainly in the cinema. Most of the contributors—some Swedish, others American or British—have written extensively on Bergman before, some for decades. Bergman is one of the most written-about artists in film history and his fame still lingers all over the world, as was seen in the celebrations of his centenary in 2018. The book was specifically conceived at that time with the aim of presenting fresh angles on his work, although several chapters also focus on traditional aspects of Bergman’s art, such as philosophy and psychology. Ingmar Bergman: An Enduring Legacy thus addresses a number of essential topics which have not featured in Bergman studies before, such as the director’s relations with Hollywood and transnational film production. It also deals at length with Bergman’s highly sophisticated use of film music and with his prominence as a writer of autobiographical literature, as well as with the intermedial relations to his films that this perspective inevitably entails. Finally, the book addresses Bergman’s complex relations to Swedish politics. Many different approaches and methods are employed in the book in order to show that Bergman remains a relevant and important artist. The analyses generally focus on some of his most memorable films, like Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, Persona, and Fanny and Alexander; but some rarer material, including Hour of the Wolf, The Lie, and Autumn Sonata, is discussed as well.

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Steven Peacock

for all. As Brown recalls, tongue firmly wedged in his cheek, in recounting his first acquaintance with some Swedish friends on his home turf, ‘I was probably the first man they had met in Wales who didn’t expect all Scandinavians to be imaginatively compliant nymphomaniacs.’210 In Death in a Cold Climate, Barry Forshaw develops this notion, and links it to Swedish cinema of the ‘sexual revolution’: A constant source of annoyance – or wry acceptance – among Swedes visiting Great Britain is the fondly-held, slightly envious British notion (also nurtured by Americans

in Swedish crime fiction
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Media Database and the Swedish Film Database, an online catalogue containing information on almost 80,000 Swedish films and international productions screened in Swedish cinemas. Because the archivists do not work with single tags but on the basis of a full text search, LGBTQ-​related terms need to be part of the text that describes the film. Since this text is often retrieved from older information to be found in the databases mentioned above, the discursive space for the articulation of LGBTQ identities is very limited. For instance, before 2017, when an updated

in The power of vulnerability
Representations, address and assumptions about influence
Elisabet Björklund

displaying sexual acts when lecturing needs consideration of context and audience. At times, I have also worried that my choice of topic – a genre that in Swedish cinema of the late 1960s and early 1970s was at the verge of crossing the border to pornography – would mean that I would not be taken seriously in certain environments. Because of this, I have occasionally felt a need to legitimize my work, for example by emphasizing the importance of sex

in Communicating the history of medicine
Steven Peacock

1960s was an interesting decade in Swedish cinema – just as it was in many other countries around the world – with a number of developments going on simultaneously. Institutional changes included the creation of Svenska filminstitutet (Swedish Film Institute) in 1963 with its influential financial support, the removal of the cinema tax, and rapidly falling cinema attendance after the introduction of television in Sweden in 1956. Among technological changes one should mention the improved documentary-based 16mm equipment, which would now be used in a number of feature

in Swedish crime fiction
Ingmar Bergman’s filmmaking
Laura Hubner

. The first one, which is part of an extended dream sequence, occurs about two-thirds of the way through the film when Isak dozes off to sleep while his daughter-in-law Marianne has taken over the driving, and he is ‘haunted by vivid and disturbing nightmares’. It is pertinent that the role of Isak is played by Victor Sjöström, the esteemed actor and illustrious director from Swedish cinema’s Golden Age. Isak, like Sjöström, has reached the pinnacle of his long, hard-earned career, and is at the final

in Ingmar Bergman
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Winterbottom and a body of work
Brian McFarlane
Deane Williams

Magic Lantern . 6 Presumably because of his knowledge obtained from the earlier project, producer Kevin Brownlow took on the same team for the ‘Art’s Promised Land [Sweden]’ section of Cinema Europe , a six-hour documentary series made for television. Winterbottom directed while Peter Cowie acted as consultant. In the main, ‘Art’s Promised Land’ is concerned with the first ‘Golden Age’ of Swedish

in Michael Winterbottom
Don Fairservice

particular (see Chapter 5). Between Ingeborg Holm and Terje Vigen (A Man There Was) , which was released in 1916, Sjöström made more than twenty films, all of them now lost. His next film, The Outlaw and His Wife (Berg-Ejvind och hans Hustru , 1917) was acclaimed as a breakthrough film in Swedish cinema. Set in mid-eighteenth-century Iceland, and based on actual events, the film was adapted from a stage-play by Johann

in Film editing: history, theory and practice
Abstract only
Steven Peacock

social-political film, and the combination of subtle acting, authentic locations, and bit parts played by drug addicts increased the film’s credibility. Also, the film had a special atmosphere engendered largely by the unstable camera and the restless music characterised by the use of a flute. But the really unique feature for Swedish cinema was the large-scale action scenes: a killer makes his stand on a rooftop in central Stockholm and shoots down a police helicopter that crashes onto the crowd below. The filming of this sensational helicopter crash, with thousands

in Swedish crime fiction