Louise Wallenberg is Professor in Fashion Studies at Stockholm University, Sweden. She was the establishing director of the Centre for Fashion Studies between 2007 and 2013. Among her publications are the collections Ingmar Bergman at the Crossroads (2022); Fashion and Modernism (2018); Harry bit för bit (2017); Fashion, Film, and the 1960s (2017); Mode och modernism (2014); Nordic Fashion Studies (2011); and MODE (2009).Frantzeska Papadopoulou is Professor of Intellectual Property Rights at the Law Faculty, Stockholm University, Sweden. She is the editor-in-chief of the Stockholm Intellectual Property Law Review and a member of the Advisory Board of the National Library of Sweden. She is the author of several books and articles such as “Evergreening Patent Exclusivity in Pharmaceutical Products” (2021) and “The Protection of Traditional Knowledge in Genetic Resources” (2017).Maaret Koskinen is Professor in Film Studies at Stockholm University, Sweden. She was also film critic in Sweden’s largest daily Dagens Nyheter (1981-2011) and Board Member of the Swedish Film Institute (2011-2016). Her latest publication is “Involuntary Dogma restrictions: Orca and COVID-19 screen culture” (2021). Other publications include Ingmar Bergman at the Crossroads (2022); Ingmar Bergman y sus primeros escritos. En el principio era la palabra (2017); and Ingmar Bergman’s THE SILENCE. Pictures in the Typewriter, Writings on the Screen (2010).Tytti Soila is Professor Emeritus in Film Studies and former Vice Dean at the Faculty of Humanities Stockholm University, Sweden. She is the editor of Stellar Encounters. Stardom in European Film (2009) and The Cinema of Scandinavia (2005). Her most recent publications include “Featuring Monica Zetterlund: Jazz in early Swedish television” (2021); ”Ingrid Bergman” (2019); and “Activism, ideals and film criticism in the 70s Sweden” (2019).

Now About All of These Women in the Swedish Film Industry is a triumph! Not only for the academic feminism and film movement which dates from 1975, but also for the contemporary struggle for gender diversity in national film and television industries worldwide. While other nations remain frustrated in their attempts to achieve gender diversity in the media industry workplace, Sweden achieved their goal of “50/50 by 2020,” only to back off the commitment in the name of “artistic freedom.” Around this recent drama in which they came so close, four Swedish feminist academics position historical profiles, case studies, and interviews from the 1910s to the present. Then, they tell the rest of the world not to give up. There is no other industry that has come this close—and there is no other book quite like this one that has ever been published in either film and media studies or feminist studies.

• AcknowledgementsBiographiesList of IllustrationsForewordAnna Serner (former CEO of the Swedish Film Institute)IntroductionLouise Wallenberg (Stockholm University, Sweden) I. “Frameworks: The Power of Institutions”1. The Sex of the Author: On authorshipFrantzeska Papadopoulou (Stockholm University, Sweden) 2. Gendering Film DistributionFrantzeska Papadopoulou (Stockholm University, Sweden) 3. In the Crossfire: Anna Serner and the Swedish Film InstituteMaaret Koskinen (Stockholm University, Sweden) II. “Histories, Herstories, and Representation”4. Women on Screen I, 1910s-1960sLouise Wallenberg (Stockholm University, Sweden) 5. Women on Screen II, 1970s-2020 Louise Wallenberg (Stockholm University, Sweden) III. “Routines, Practices, and Practitioners”6. Making a Living: On the Working Conditions and Salaries for Actors and Extras within Swedish Film Production, 1930-1955Tytti Soila (Stockholm University, Sweden) 7. Bibi Lindström: Easy to Work withTytti Soila (Stockholm University, Sweden) 8. Lisa Langseth: “Make sure that what’s in your heart is done, so it doesn’t drown and stay in the heart” Maaret Koskinen (Stockholm University, Sweden) Afterthoughts Louise Wallenberg (Stockholm University, Sweden) BibliographyFilmographyIndex

Louise Wallenberg is Professor in Fashion Studies at Stockholm University, Sweden. She was the establishing director of the Centre for Fashion Studies between 2007 and 2013. Among her publications are the collections Ingmar Bergman at the Crossroads (2022); Fashion and Modernism (2018); Harry bit för bit (2017); Fashion, Film, and the 1960s (2017); Mode och modernism (2014); Nordic Fashion Studies (2011); and MODE (2009).Frantzeska Papadopoulou is Professor of Intellectual Property Rights at the Law Faculty, Stockholm University, Sweden. She is the editor-in-chief of the Stockholm Intellectual Property Law Review and a member of the Advisory Board of the National Library of Sweden. She is the author of several books and articles such as “Evergreening Patent Exclusivity in Pharmaceutical Products” (2021) and “The Protection of Traditional Knowledge in Genetic Resources” (2017).Maaret Koskinen is Professor in Film Studies at Stockholm University, Sweden. She was also film critic in Sweden’s largest daily Dagens Nyheter (1981-2011) and Board Member of the Swedish Film Institute (2011-2016). Her latest publication is “Involuntary Dogma restrictions: Orca and COVID-19 screen culture” (2021). Other publications include Ingmar Bergman at the Crossroads (2022); Ingmar Bergman y sus primeros escritos. En el principio era la palabra (2017); and Ingmar Bergman’s THE SILENCE. Pictures in the Typewriter, Writings on the Screen (2010).Tytti Soila is Professor Emeritus in Film Studies and former Vice Dean at the Faculty of Humanities Stockholm University, Sweden. She is the editor of Stellar Encounters. Stardom in European Film (2009) and The Cinema of Scandinavia (2005). Her most recent publications include “Featuring Monica Zetterlund: Jazz in early Swedish television” (2021); ”Ingrid Bergman” (2019); and “Activism, ideals and film criticism in the 70s Sweden” (2019).

Now About All of These Women in the Swedish Film Industry is a triumph! Not only for the academic feminism and film movement which dates from 1975, but also for the contemporary struggle for gender diversity in national film and television industries worldwide. While other nations remain frustrated in their attempts to achieve gender diversity in the media industry workplace, Sweden achieved their goal of “50/50 by 2020,” only to back off the commitment in the name of “artistic freedom.” Around this recent drama in which they came so close, four Swedish feminist academics position historical profiles, case studies, and interviews from the 1910s to the present. Then, they tell the rest of the world not to give up. There is no other industry that has come this close—and there is no other book quite like this one that has ever been published in either film and media studies or feminist studies.

• AcknowledgementsBiographiesList of IllustrationsForewordAnna Serner (former CEO of the Swedish Film Institute)IntroductionLouise Wallenberg (Stockholm University, Sweden) I. “Frameworks: The Power of Institutions”1. The Sex of the Author: On authorshipFrantzeska Papadopoulou (Stockholm University, Sweden) 2. Gendering Film DistributionFrantzeska Papadopoulou (Stockholm University, Sweden) 3. In the Crossfire: Anna Serner and the Swedish Film InstituteMaaret Koskinen (Stockholm University, Sweden) II. “Histories, Herstories, and Representation”4. Women on Screen I, 1910s-1960sLouise Wallenberg (Stockholm University, Sweden) 5. Women on Screen II, 1970s-2020 Louise Wallenberg (Stockholm University, Sweden) III. “Routines, Practices, and Practitioners”6. Making a Living: On the Working Conditions and Salaries for Actors and Extras within Swedish Film Production, 1930-1955Tytti Soila (Stockholm University, Sweden) 7. Bibi Lindström: Easy to Work withTytti Soila (Stockholm University, Sweden) 8. Lisa Langseth: “Make sure that what’s in your heart is done, so it doesn’t drown and stay in the heart” Maaret Koskinen (Stockholm University, Sweden) Afterthoughts Louise Wallenberg (Stockholm University, Sweden) BibliographyFilmographyIndex

Louise Wallenberg is Professor in Fashion Studies at Stockholm University, Sweden. She was the establishing director of the Centre for Fashion Studies between 2007 and 2013. Among her publications are the collections Ingmar Bergman at the Crossroads (2022); Fashion and Modernism (2018); Harry bit för bit (2017); Fashion, Film, and the 1960s (2017); Mode och modernism (2014); Nordic Fashion Studies (2011); and MODE (2009).Frantzeska Papadopoulou is Professor of Intellectual Property Rights at the Law Faculty, Stockholm University, Sweden. She is the editor-in-chief of the Stockholm Intellectual Property Law Review and a member of the Advisory Board of the National Library of Sweden. She is the author of several books and articles such as “Evergreening Patent Exclusivity in Pharmaceutical Products” (2021) and “The Protection of Traditional Knowledge in Genetic Resources” (2017).Maaret Koskinen is Professor in Film Studies at Stockholm University, Sweden. She was also film critic in Sweden’s largest daily Dagens Nyheter (1981-2011) and Board Member of the Swedish Film Institute (2011-2016). Her latest publication is “Involuntary Dogma restrictions: Orca and COVID-19 screen culture” (2021). Other publications include Ingmar Bergman at the Crossroads (2022); Ingmar Bergman y sus primeros escritos. En el principio era la palabra (2017); and Ingmar Bergman’s THE SILENCE. Pictures in the Typewriter, Writings on the Screen (2010).Tytti Soila is Professor Emeritus in Film Studies and former Vice Dean at the Faculty of Humanities Stockholm University, Sweden. She is the editor of Stellar Encounters. Stardom in European Film (2009) and The Cinema of Scandinavia (2005). Her most recent publications include “Featuring Monica Zetterlund: Jazz in early Swedish television” (2021); ”Ingrid Bergman” (2019); and “Activism, ideals and film criticism in the 70s Sweden” (2019).

Now About All of These Women in the Swedish Film Industry is a triumph! Not only for the academic feminism and film movement which dates from 1975, but also for the contemporary struggle for gender diversity in national film and television industries worldwide. While other nations remain frustrated in their attempts to achieve gender diversity in the media industry workplace, Sweden achieved their goal of “50/50 by 2020,” only to back off the commitment in the name of “artistic freedom.” Around this recent drama in which they came so close, four Swedish feminist academics position historical profiles, case studies, and interviews from the 1910s to the present. Then, they tell the rest of the world not to give up. There is no other industry that has come this close—and there is no other book quite like this one that has ever been published in either film and media studies or feminist studies.

• AcknowledgementsBiographiesList of IllustrationsForewordAnna Serner (former CEO of the Swedish Film Institute)IntroductionLouise Wallenberg (Stockholm University, Sweden) I. “Frameworks: The Power of Institutions”1. The Sex of the Author: On authorshipFrantzeska Papadopoulou (Stockholm University, Sweden) 2. Gendering Film DistributionFrantzeska Papadopoulou (Stockholm University, Sweden) 3. In the Crossfire: Anna Serner and the Swedish Film InstituteMaaret Koskinen (Stockholm University, Sweden) II. “Histories, Herstories, and Representation”4. Women on Screen I, 1910s-1960sLouise Wallenberg (Stockholm University, Sweden) 5. Women on Screen II, 1970s-2020 Louise Wallenberg (Stockholm University, Sweden) III. “Routines, Practices, and Practitioners”6. Making a Living: On the Working Conditions and Salaries for Actors and Extras within Swedish Film Production, 1930-1955Tytti Soila (Stockholm University, Sweden) 7. Bibi Lindström: Easy to Work withTytti Soila (Stockholm University, Sweden) 8. Lisa Langseth: “Make sure that what’s in your heart is done, so it doesn’t drown and stay in the heart” Maaret Koskinen (Stockholm University, Sweden) Afterthoughts Louise Wallenberg (Stockholm University, Sweden) BibliographyFilmographyIndex