Mariah Larsson – författare

"Såra tukt och sedlighet tecknar en fascinerande bild av svensk  idéutveckling, sedd genom underlivet. En särskild eloge till språket; de enskilda studierna har integrerats på en gemensam, glasklar sakprosa." Respons

”Boken är sprängfylld av så gott som varje intressant anekdot på temat som går att tänka sig, och dokumenterar politiska förflyttningar, teknisk utveckling, sexbranschen och offentlig debatt om pornografin genom 100 års föränderlig kulturell kontext.”Flamman

”Som läsupplevelse är Såra tukt och sedlighet relativt lätt för en lekman att ta till sig, med populärvetenskapligt tilltal, tydligt upplägg och regelbundna sammanfattningar /…/ en utmärkt introduktionsbok till ämnet, både lärorik och intresseväckande. ”Svenska Dagbladet

"En bok full av lust och av fakta. En bok att avnjuta innan man sedan tycker till."Arbetaren

"Fyra kunniga forskare bjuder i boken ”Såra tukt och sedlighet” på en initierad och läsvärd översikt av 100 år av censur, moraldebatt, sexualupplysning och svensk synd."Uppsala Nya tidning

För 100 år sedan anhölls i Sverige en person för att ha ”sårat tukt och sedlighet”, som lagen uttryckte det, genom att ha visat en oanständig film. För 50 år sedan upphävdes lagen och pornografin legaliserades. Idag kan pornografi konsumeras gratis på internet.

Pornografins svenska historia innehåller många vändningar och starka känslor. Den involverar såväl politikens finrum som den torftigaste sexbutiken. Några har blivit rika på pornografin, andra har tvingats till den för att klara livhanken. Den svenska synden, sexliberalism och feminism är exempel på idéer och strömningar som påverkat utvecklingen, liksom teknologiska fenomen som fotografi, film, tv, video och internet.

I denna första heltäckande skildring av modern svensk pornografihistoria ryms allt detta och mycket mer. Skriven av de fyra forskarna Mariah Larsson, Klara Arnberg, Tommy Gustafsson och Elisabet Björklund vid Linnéuniversitetet och Stockholms universitet.

This book presents a close look at the golden age of Swedish pornography in the 1970s, with a specific focus on pornographic films screened in Malmö between 1971 and 1976. How, Mariah Larsson asks, was that one small city’s embrace of the era’s sexual liberation both representative and unique in relation to the rest of Sweden?Combining historical case studies with comprehensive analyses of advertisements, critical responses and censorship records, Larsson deconstructs the complexities and paradoxes of the Swedish porn scene. Looking as closely at the exhibition spaces where porn was seen as at the productions themselves and their audiences, Larsson reveals the conditions and social changes that allowed pornography in Sweden to flourish in the period.

Mai Elizabeth Zetterling (1925-94) is among the most exceptional postwar female filmmakers. Born in Sweden, she lived in England and France for most of her life, making her directorial debut in 1964 with the Swedish art film Loving Couples after a fraught transition from working in front of the camera as a successful actress.Critics have compared her work to that of Ingmar Bergman, Luis BuÑuel, and Federico Fellini, but Zetterling had a distinct style - alternately radical and reactionary - that straddled the gendered divide between high art and mass culture. Tackling themes of sexuality, isolation, and creativity, her documentaries, short and feature films, and television works are visually striking. Her oeuvre provoked controversy and scandal through her sensational representations of reproduction and motherhood.Mariah Larsson provides a lively and authoritative take on Zetterling's legacy and complicated position within film and women's history. A Cinema of Obsession provides necessary perspective on how the breadth of an artist's collected works keeps gatekeepers from recognizing their achievements, and questions why we still distinguish between national and global visual cultures and the big and small screens in the #MeToo era.

The Face of AIDS film archive at Karolinska Institutet, Sweden, consists of more than 700 hours of unedited and edited footage, shot over a period of more than thirty years and all over the world by filmmaker and journalist Staffan Hildebrand. The material documents the HIV/AIDS pandemic and includes scenes from conferences and rallies, and interviews with activists, physicians, people with the infection, and researchers. It represents a global historical development from the early years of the AIDS crisis to a situation in which it is possible to live a normal life with the HIV virus. This volume brings together a range of academic perspectives – from media and film studies, medical history, gender studies, history, and cultural studies – to bear on the archive, shedding light on memories, discourses, trauma, and activism. Using a medical humanities framework, the editors explore the influence of historical representations of HIV/AIDS and stigma in a world where antiretroviral treatment has fundamentally altered the conditions under which many people diagnosed with HIV live. Organized into four sections, this book begins by introducing the archive and its role, setting it in a global context. The first part looks at methodological, legal and ethical issues around archiving memories of the present which are then used to construct histories of the past; something that can be particularly controversial when dealing with a socially stigmatized epidemic such as HIV/AIDS. The second section is devoted to analyses of particular films from the archive, looking at the portrayal of people living with HIV/AIDS, the narrative of HIV as a chronic illness and the contemporary context of particular films. The third section looks at how stigma and trauma are negotiated in the material in the Face of AIDS film archive, discussing ideas about suffering and culpability. The final section contributes perspectives on and by the filmmaker as activist and auteur. This interdisciplinary collection is placed at the intersection of medical humanities, sexuality studies and film and media studies, continuing a tradition of studies on the cultural and social understandings of HIV/AIDS.

The Face of AIDS film archive at Karolinska Institutet, Sweden, consists of more than 700 hours of unedited and edited footage, shot over a period of more than thirty years and all over the world by filmmaker and journalist Staffan Hildebrand. The material documents the HIV/AIDS pandemic and includes scenes from conferences and rallies, and interviews with activists, physicians, people with the infection, and researchers. It represents a global historical development from the early years of the AIDS crisis to a situation in which it is possible to live a normal life with the HIV virus. This volume brings together a range of academic perspectives – from media and film studies, medical history, gender studies, history, and cultural studies – to bear on the archive, shedding light on memories, discourses, trauma, and activism. Using a medical humanities framework, the editors explore the influence of historical representations of HIV/AIDS and stigma in a world where antiretroviral treatment has fundamentally altered the conditions under which many people diagnosed with HIV live. Organized into four sections, this book begins by introducing the archive and its role, setting it in a global context. The first part looks at methodological, legal and ethical issues around archiving memories of the present which are then used to construct histories of the past; something that can be particularly controversial when dealing with a socially stigmatized epidemic such as HIV/AIDS. The second section is devoted to analyses of particular films from the archive, looking at the portrayal of people living with HIV/AIDS, the narrative of HIV as a chronic illness and the contemporary context of particular films. The third section looks at how stigma and trauma are negotiated in the material in the Face of AIDS film archive, discussing ideas about suffering and culpability. The final section contributes perspectives on and by the filmmaker as activist and auteur. This interdisciplinary collection is placed at the intersection of medical humanities, sexuality studies and film and media studies, continuing a tradition of studies on the cultural and social understandings of HIV/AIDS.

Swedish cinema became recognized for daring representations of sexuality with such films as One Summer of Happiness (1951), The Silence (1963), I Am Curious (Yellow) (1967) and a wave of sex films in the late 1960s and 1970s. The association between Swedish film and sexuality shows up frequently in popular culture. From Taxi Driver (1976) to Mad Men (2007-2015), dirty Swedish movie references abound. Yet the connection has attracted little critical attention.In this collection of new essays, Swedish and American scholars go beyond popular misconceptions to explore the origins, influences and reception of sexuality in Swedish cinema during the "sexual revolution" on both sides of the Atlantic. A broad range of topics are covered, from analyses of key films, to a behind-the-scenes study of the Swedish Film Institute, which played a significant role in opposing Swedish film censorship.

This book expands the notion of sexual fantasies from the field of psychology into the realms of cultural studies, anthropology, philosophy, and sociology. So far, much research on sexual fantasies has dealt with issues of gender differences, the effect of sexual fantasies on people’s sex lives, or how problematic fantasies can be treated in therapy. In this volume contributors from different academic disciplines explore sexual fantasies at the convergence of the cultural and the individual, taking into account that fantasies are paradoxical: highly individualised and private, and at the same time dependent on a world that supplies structures, images, symbols, and narratives.

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. The book examines the expansion of women’s filmmaking and transnational collaboration across a range of genres, styles, and forms, foregrounding that film practices of the time were highly varied, ranging from women’s political and "consciousness-raising" films to fiction, art cinema, animation, documentary, experimental, and educational cinema. Welfare states such as Canada and Sweden had related but different approaches to public support for filmmaking by women, which also influenced Indigenous, queer, and migrant and immigrant access to film production. At the height of second-wave feminism, this expansion took root through transnational collaboration as well as collectives, co-ops, activist networks, film festivals, public television, and government organizations, including in relation to environmentalist, pacifist, and UN Year and Decade of the Woman initiatives. The book includes interviews with filmmakers and also explores the current state of access, circulation, and archival practice. This book is aimed at a scholarly audience with applicability for undergraduate and graduate students, as well as for adoption across a variety of cinema, media, gender, political science, cultural policy, transnationalism, and gender and women’s studies courses.