Suchergebnisse

Inception : mediale Reflexion im Film / Oliver Jahraus -- Zeit-Bild und Roman : Gilles Deleuze, Walter Benjamin, Michail Bachtin und die Krise des Erzählens in Film und Literatur / Jens Bonnemann -- Sichtbar gemachtes Sehen : Medienreflexion als ästhetische Erfahrung von Film / Thomas Metten -- Mockumentary als Reflexion von dokumentarischer Authentizität / Andreas Böhn -- Die Errettung der äusseren Wirklichkeit : Siegfried Kracauer und DOGMA 95 / Timo Rouget -- Ist die Kamera schon an? : Selbstreflexion, Wirklichkeit und Authentizität im Handkamerafilm / Rüdiger Heinze --Transmediale Selbstreflexivität in Stephen Poliakoffs Shooting the Past (1999) / Cristoph Houswitschka -- Adaptation : Interpretation / Michael Meyer -- Das Gespenst als Medium und das Medium als Gespenst : (Re-)Medialisierung in Almereydas postmodernem Hamlet (2000) / Martin Holtz -- Positionsbestimmungen Bollywoods : selbstreflexive Hindi-Filme / Lucia Krämer -- Metafiktion im neueren Animationsfilm : von Who framed Roger Rabbit über The Curse of the Were-Rabbit und Despicable Me bis Frankenweenie / Stefan Neuhaus -- Die Errettung der gezeichneten Wirklichkeit : Harvey Pekars transmedialer Comic-Realismus in American Splendor / Andreas Rauscher -- "Screening Back" : Found-Footage-Musikvideos als postkoloniale Strategie der De- und Rekonstruktion filmischer Wirklichkeiten / Lisa Hrubesch -- Selbstreflexive Implikationen des animierten Dokumentarfilms : Ari Folmans Waltz with Bashir / Sebastian Domsch -- Nur dabei statt mittendrin? : Selbstreferenzialität und Selbstreflexivität im interaktiven Dokumentarfilm / Frank Thomas Meyer -- Der Betrachter ist im Bilde : Reflexivität im ethnografischen Film / Andreas Ackermann -- Labore des Visuellen : zum Verhältnis von wissenschaftlichem, dokumentarischem und fiktionalem Film / Angela Krewani

AbstractIn this paper we present the first estimate of the full income distribution in pre‐industrial Sweden (including present‐day Finland). We draw on the schedule and the individual assessments devised by the authorities to distribute the 1613 Älvsborg ransom taxation to estimate income inequality, as well as the income shares of the top quantiles and of various social groups. We find that Sweden was relatively equal compared with other early modern European societies, for two main reasons: first, because the nobility, the clergy, the burghers, and other middle‐rank social groups all held relatively small shares of the total income, and second, because the landless groups were less numerous in Sweden than in other societies. This resulted in a large share of the total income going to the relatively homogeneous group of landed peasants, who made up the majority of the population. Our study thus speaks to the political historiography of early modern Sweden, within which negotiation and collaboration between the landed peasantry and the state has been seen as pivotal to the state formation process.

This article tries to illuminate the political conceptualisation of gender in twentieth‐century Sweden. It is argued that the notion of gender is partly shaped through a conceptual similarity between an older societal structure with patriarchal principles, marked by a strong gender division of labour, called brukssamhällen (rural industrial communities) and the Swedish welfare state. The local 'spirit of compromise' of rural industrial community life survived the industrialisation as an idea, especially the ideas of inclusiveness and the importance of welfare for social cohesion, based on gainful employment. These ideas have also affected the conceptualisation of gender during the twentieth century. This development is brought to light in analyses made by feminist historians, specifically concerning the development of gender relations within the labour movement as well in the general debate.

Film Implosion! is an exhibition dedicated to Swiss experimental cinema. It sheds light on a less known aspect of the country's art history by presenting a panorama of genres and practices within the mediums of film and video from the 1960's until today. Artists challenge the traditional codes of cinema through formal interventions directly on the celluloid, unconventional documentaries, political, feminist, animated, and fiction films.