Javascript är avstängt eller blockerat i din webbläsare. Detta kan leda till att vissa delar av vår webbplats inte fungerar som de ska. Sätt på javascript för optimal funktionalitet och utseende.

Webbläsaren som du använder stöds inte av denna webbplats. Alla versioner av Internet Explorer stöds inte längre, av oss eller Microsoft (läs mer här: * https://www.microsoft.com/en-us/microsoft-365/windows/end-of-ie-support).

Var god och använd en modern webbläsare för att ta del av denna webbplats, som t.ex. nyaste versioner av Edge, Chrome, Firefox eller Safari osv.

Ulrika Holgersson

Ulrika Holgersson

Ulrika Holgersson

Historisk spelfilmsanalys : exemplet Gustaf Molanders Vi som går köksvägen 1932

Historical feature film analysis-the example of Gustaf Molander's Vi som gar köksvägen 1932

Författare

  • Ulrika Holgersson

Summary, in English

The aim of this article is to offer an object lesson in how historians could make use of feature film as primary source material if they were to use the analytical tools developed in the field of film studies and by historians who started to work with film in the 1970s and 1980s. My own work on representations of maidservants in Swedish feature films in the 1930s and 1940s is used as a case in point. As a concrete example, I consider the trail- blazing blockbuster Vi som går köksvägen (Gustaf Molander, 1932, ‘Servants’ Entrance’, though not to be confused with the American film of the same name of 1934).

In dialogue with the fields of film studies and ”film and history”, I argue for a historically informed film analysis that treats feature film’s form and style, and its ‘re-historicization’, by relating it to the wider context of its production, reception, and the film culture in general. Further, a natural starting-point in any study of the representations of a certain category of people, such as maidservants, would be the different characters in the films in mind. Following the film scholar Richard Dyer, I suggest concentrating in the first instance on how the film stars act in their roles, considering each as a complex intersection between film, film culture, and society as a whole. Again referring to Dyer, I hold that each character captures a certain set of societal principals and values, sifting out types from stereotypes, iden- tifying the ones who represent the overall ideology of the film’s narrative and those who do not.

Taking a close look at Vi som går köksvägen, I demonstrate how all these things come together, in an analysis that deepens our understanding of this particular film as a historical source for Swedish society in the 1930s. Paying especial attention to the characters in the film, I discuss various aspects of the film’s form (story, plot, narration, parallelisms) and style (setting, properties, acting, make-up, and lightning), in the course of which

I relate to other types of material, shedding light on the film’s production and reception and on the construction of Tutta Rolf as a Swedish film star. I conclude that it is a surprisingly radical film, celebrating the strong new woman who was part of the new modern Sweden.

Avdelning/ar

  • Historia

Publiceringsår

2014

Språk

Svenska

Sidor

36-65

Publikation/Tidskrift/Serie

Scandia

Volym

80

Issue

2

Dokumenttyp

Artikel i tidskrift

Förlag

Stiftelsen Scandia

Ämne

  • History

Nyckelord

  • film history
  • Swedish feature films
  • film stars
  • Vi som går köksvägen
  • Tutta Rolf

Status

Published

Projekt

  • Between Prejudice and Popularity – the Maid in Swedish Feature Films 1930–1950

ISBN/ISSN/Övrigt

  • ISSN: 0036-5483