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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.

Includes bibliography and filmography. ; The South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.

An exploration of the terrain of how to engage learners effectively and why that matters. Using fan engagement in the field of film history reveals that encouraging learners to self-identify as fans shifts the power balance, placing the learner in the position of expert, thereby increasing the chances of learner engagement and enabling learners to gain a more nuanced understanding of their field while also making for a more invested, lively, and varied learning and teaching experience. Based on firsthand experience designing and delivering a research-focused undergraduate film history module combined with a multidisciplinary pedagogical approach, this work demonstrates that treating students as fans with affective stakes in history and exploring historical moments experientially offers learners significant benefits.

Die Inspiration zu dieser Arbeit wurde durch Godards inflationär zitierten Satz "Man muss keine politischen Filme machen, sondern Filme politisch machen" ausgelöst.Ich möchte mich in dieser Arbeit mit Fragen und Überlegungen beschäftigen, die mir als Filmemacher neue Möglichkeiten geben, Filme politisch zu machen.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's City of Sadness and Lou Ye's Summer Palace and novels such as Ye Zhaoyan's Nanjing 1937: A Love Story and Wang Xiaobo's The Golden Age collectively reimagine past horrors and give rise to new historical narratives.Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incid