Women Filmmakers and the Welfare State : Transnational Film Cultures During the Long 1970s in Canada and Sweden.

Format:

Book

Author/Creator:

Stenport, Anna.

Series:

Film Culture in Transition Series

Language:

English

Physical Description:

1 online resource (315 pages)

Edition:

1st ed.

Place of Publication:

Oxford : Taylor & Francis Group, 2026.

Summary:

Women Filmmakers and the Welfare State compares conditions for diverse women filmmakers in relation to cultural movements, politics, and welfare state policy during the long 1970s.

Contents:

Cover

Endorsement Page

Half Title

Series Page

Frontispiece

Title Page

Copyright Page

Table of Contents

Notes on the Contributors

Acknowledgements

Chapter 1: Introduction: Women Filmmakers and the Welfare State

The Long 1970s in the Context of Women's Film History

United Nations Year of the Woman, Women's Film Festivals

Transnational Mobility and Practitioner Agency

Rediscovery, Archives, Memories, Circulation, and the Current Moment

Part II: What the Book Is and Does

Bibliography

Chapter 2: Canada and Sweden: Welfare States and Film Production

Part I Canada: Welfare State, Gender, Film Policy

Canadian Film Policy, Production, and Political Contexts: Cinema as a Nation-Building Project

The Québec Context

The State, Nation Building, and Women at the NFB/ONF and Beyond

"The Cinema We Need": Women's Experimental Film

Part II: Sweden, Welfare State, Gender, Film Production

The Welfare State and Film Policy

Gender Equality and Women in the Film Industry

Alternate Routes for Women Filmmakers

Concluding Remarks

Part I: Art Cinema and the Woman Auteur

Chapter 3: When Gender Talks: The Auteur Journey to Art Cinema Directing for Mireille Dansereau and Gunnel Lindblom

Introduction

Dansereau in the 1970s Québec Film Production Context

Dreaming of a Different Film Industry: Meta-cinematic aspects of Dream Life

Women in the Swedish Film Industry of the 1970s

Gunnel Lindblom's Summer Paradise as Gender Talk

Navigating a Male-Dominated Industry

Conclusion: The Welfare State, Art Cinema, and Gender Talk

Notes

Chapter 4: Love, Mai Zetterling: A Woman Auteur in a Canadian Context

Zetterling's Previous Experience and Connections to Canada

Love as an Omnibus Film

Love, Love, Love

Food, Sex, and Incest.

Duplicity and Ambiguity

Part II: Constructing the Welfare State Child and Educational Media

Chapter 5: The Filmmaker as Useful Social Animator: National and Transnational Perspectives on Stefania Börje and FilmCentrum around 1970

Writing Stefania Börje into a History of Swedish Useful Film Culture

New National and Transnational Perspectives on FilmCentrum's Usefulness

The Gärdesskolan-Project: The Useful Filmmaker and the Untutored Eye

Archival Sources

Chapter 6: Women in Swedish Children's Television in the 1970s

Ideological Changes and Political Reforms

Swedish Children's Television and Radical Ideas on Children's Culture

Gunila Ambjörnsson's Political Satire about Ville, Valle, and Viktor

Margareta Strömstedt's Pioneering Nonfiction Programs

Tjejerna gör uppror and the Second Wave of Feminism in Sweden

Chapter 7: The Magic of Make Believe and Play in Mr. Dressup

Mr. Dressup and a Canadian Cultural Curriculum

Personal Experiences with Mr. Dressup: Autobiographical Positioning

Mr. Dressup and Early Childhood Curriculum

Mr. Dressup, Children's Television, and the Canadian Welfare State

Feminist Politics, Puppetry, Performance, and Judith Lawrence

Imagination and Mr. Dressup

Part III: Geopolitics, Gender, and the Public Sphere

Chapter 8: Geopolitics, the Welfare State, and Feminist Anti-War Documentary in the Nuclear Age

Maj Wechselmann and Viggen 37: Ett militärplans historia (Sweden, 1972)

Viggen in its Documentary History Context

The Politics of Aesthetics to Challenge the Military-Industrial Complex

The Wechselmann Legacy

If You Love This Planet: A Cold War Controversy, Banned in the USA

Conclusion.

Bibliography

Chapter 9: Loving and Not Loving Not a Love Story: Contexts of Reception in Canada and Sweden

Sexuality and the Canadian Screen in the Long 1970s: From Maple Syrup Porn to Educational Films

International Context for Not a Love Story: Feminism and the Anti-Porn Movement

Canadian Critical and Theoretical Responses to Not a Love Story

The Swedish Context

The Reception of Not a Love Story in Sweden

Press Articles

Part IV: Indigenous Presences and Absences

Chapter 10: It's a Long Way from Invisibility to Visual Sovereignty: The Absence of Sámi Women in Film During the 1970s

The Sámi Political Movement

Absence, Silence, and Visual Sovereignty

Sámi and the Media

Sámi in Swedish Film Policy

From Absence to Visual Sovereignty

From Silence and Absence to Visual Sovereignty for Sámi Women Filmmakers?

Chapter 11: "It Was the Voice of a Nation": Alanis Obomsawin's Documentary Activism in the 1970s

First Nations Women, Indigenous Nationhood, and the Welfare State

Production Contexts

Activism and Agency

Visual Portraiture

Educational Ethos

Close-up: Mother of Many Children (1977)

Conclusion

References

Part V: Women's Practice, Collectives, and Partnerships

Chapter 12: Polyphony and Performativity in Québec's Vidéo Femmes

Creating French Feminist Video Works in Québec: The Emergence and Flourishing of the Vidéo Femmes Collective

Performativity and Testimony in Chaperons rouges

Realizing Women's Testimony in Tous les jours, tous les jours, tous les jours…

Conclusion: Creating A Polyphonic Archive of Québécois Women's Experience

Bibliography.

Chapter 13: Feministisch Filmkollektief Cinemien and the First International Feminist Film and Video Conference (1981): Feminist Film Activism, the Dutch Welfare State, and Global Networks

Foundation and Early Years

Welfare State Support

Building International Feminist Networks

First International Feminist Film and Video Conference in Amsterdam

Legacy and Contemporary Relevance

Acknowledgments

List of Swedish and Canadian Conference Participants

Swedish Participants

Canadian Participants

Chapter 14: Finding Zsóka Nestler: Archives, Databases, and Audiovisual Memory

Auteurism and the Limitations of Film Historiography

Knowledge Production in Archives and Databases

Reconceiving Authorship: From the 'auteur' Towards Creative Networks

Conclusion-Archival Afterlives and the Impact of Curation

Chapter 15: Film as a Catalyst for Change: Christina Olofson on Documentary Filmmaking in the 1970s

Canada, 1973

The Tent Project

The Swedish Women's Film Association

A Potential Continuation

Part VI: Experimental Film

Chapter 16: Feminist Bricoleurs: Collage and the Everyday in the Early Films of Joyce Wieland and Gunvor Nelson

Expatriate Filmmakers in the American Avant-Garde

Collective Histories of American Avant-Garde Influence and Exclusion

Feminist Bricoleurs

Conceptual Layering and Collaging of the Body in the Work of Wieland and Nelson

Chapter 17: Kay Armatage Interviews Joyce Wieland (1971)

Kay Armatage Interviews Joyce Wieland (1971)

Chapter 18: Barbara Hammer's Audience Encounters in the Early 1980s: Lesbian Potentiality and Transnational Film Feminism

Hammer's European Tour

Audience (USA, 1982)

Lesbian Potentiality Put into Movement

Acknowledgments.

Note

Index.

Notes:

Description based on publisher supplied metadata and other sources.

Other Format:

Print version: Stenport, Anna Women Filmmakers and the Welfare State

ISBN:

9781040841365

9781003709664

OCLC:

1592928118