| Acknowledgements |
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8 | (2) |
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The Writing of a History of Swedish Experimental Film |
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10 | (18) |
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Minor Histories of Minor Chinemas |
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11 | (1) |
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Minor Cinemas and Experimental Film |
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11 | (2) |
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Discoursse Analysis and Historiography |
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13 | (1) |
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New Film History and Emergent Film Histories |
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14 | (2) |
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Practcies of Closure: Culture and Memory |
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16 | (3) |
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Experimental Film and Intermediality |
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19 | (4) |
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National or International Cinema? |
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23 | (5) |
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Swedish Experimental Film until the 1950s: The Pre-History from Cartoon to Feature Film |
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28 | (40) |
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Film Culture and Experimental Cinema |
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29 | (1) |
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The European Context and the Swedish Condition |
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30 | (1) |
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Animation Culture: Victor Bergdahl and Early Animation |
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31 | (3) |
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Reluctant Modernism: The Swedish Artists and the European Modernist Movement |
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34 | (2) |
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Viking Eggeling and the Quest for Univesal Language |
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36 | (5) |
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The Lost Arabesques of Reinhold Holterman |
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41 | (2) |
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Early Film Criticism and Theory |
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43 | (2) |
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Young Writers, Early Cinephilia and the Cinema |
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45 | (6) |
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The Film society Movement and the Film Journals |
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51 | (4) |
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"Experimental Film is Dead, Long Live Experimental Film!" |
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55 | (2) |
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Gerd Osten: Interlude with Dance |
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57 | (2) |
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Gosta Werner: Cinephilia and the Art of the Craft |
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59 | (2) |
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Arne Sucksdorff: Documentarist in a Poetic Mode |
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61 | (2) |
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Rune Hagberg: Film Noir and Post-War Angst |
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63 | (3) |
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The Aporias of Early Experimental Film Culture in Sweden |
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66 | (2) |
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The Emergence of Experimental Film |
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68 | (32) |
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Arbetsgruppen for film/The Independent Film Group |
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69 | (4) |
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Eivor Burbeck and Raland Haggbor: Early Film Production at the Independent Film Group |
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73 | (2) |
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The Discourse on Amateur and Experimental Film |
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75 | (4) |
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Peter Weiss: Resistance and Underground |
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79 | (8) |
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Kinetic Art and Moderna Museet |
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87 | (4) |
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Pontus Hulten and his Companions: Chance and Play |
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91 | (7) |
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A New Venue for Film: The Opening of Moderna Museet |
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98 | (2) |
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The Art Movements of the 1960s: Film and the Art Scene |
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100 | (22) |
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Billy Kluver and the New Art of the 1960s |
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101 | (1) |
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Venues of the Avant-garde: Fylkingen, Pistolteatern and Marionetteatern |
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102 | (2) |
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Regional Avant-garde and Beyond |
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104 | (2) |
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Carl Slattne and the Poetry of Politics and Place |
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106 | (2) |
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Music and Film: Jan W. Morthenson and Ralph Lundsten |
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108 | (5) |
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Lennart Ehrenborg and Eric M. Nilsson: The Creative Producer and his Director |
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113 | (2) |
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The Expanded Field of Experimental Film |
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115 | (2) |
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Jan Hafstrom and Claes Soderquist: Matter and Memory |
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117 | (5) |
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The Extension of Independent Film Production |
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122 | (56) |
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A New Form of Support: State Funding and the Swedish Film Institute |
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123 | (1) |
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Leo Reis and Optical Architecture |
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124 | (1) |
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Bo Jonsson and His Contemporaries at the Film School |
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125 | (4) |
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Multimedia and Performance Art: Ake Karlung, Oyvind Fahlstrom |
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129 | (8) |
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Pre- and post-1968: Peter Kylberg and the Making of Experimental Features |
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137 | (5) |
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The Swedish Reception of New American Cinema |
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142 | (3) |
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The Changing Landscape of Independent Film Production |
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145 | (1) |
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FilmCentrum/Film Centre: A Political Avant-garde |
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146 | (7) |
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The (Re)Turn to Documentary |
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153 | (1) |
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Filmverkstan/The Film Workshop: Film as Public Sphere |
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154 | (4) |
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Films and Filmmakers at the Film Workshop |
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158 | (2) |
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160 | (2) |
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Experimental Animation and the Aesthetics of Immersion: Olle Hedman |
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162 | (5) |
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Gunvor Nelson and the Unboundedness of the Moving Image |
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167 | (11) |
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The Expanded Field of the Experimental Moving Image |
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178 | (20) |
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The Emergence of Video Art |
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179 | (3) |
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Institutional Frames for a New Art Form |
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182 | (5) |
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From Documenting Technique to Art Form |
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187 | (3) |
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Ann-Sofi Siden: Explorations into the History of Mentality |
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190 | (4) |
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194 | (4) |
| Bibliography |
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198 | (14) |
| Endnotes |
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212 | (24) |
| Name Index |
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236 | (8) |
| Film Index |
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244 | |
