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Unlike the scrapbook, the humble press cutting has never quite broken the surface in the theoretical and methodological discourses of historiography, whether for film or other kinds of histories. In today's radically changed archive-scape where old volumes of printed media are digitized by the shelf-load, the blessings and curses of the curated collection may rapidly fade from short-term memory. At the same time, this novel sense of distance towards them can prove useful for discussing the impact of the collections' provenance and bias. In tracing the press-cuttings collection in Swedish press discourse during the twentieth century, the article argues that its meaning has shifted over time, most clearly signalling status, progress and knowledge optimism in the 1940s to 1960s. Lastly, the article maps the discourse and history of cuttings at the Swedish Film Institute and suggests that the press-cutting archive is now more interesting in its entirety as collection than by virtue of its individual scraps and pieces. [ABSTRACT FROM AUTHOR]

This article analyzes a content-based market position that developed during the mid-1960s, situated in-between the pornographic and the accepted. By studying Swedish men's magazines and sex films from the time period, the argument is made that these media products profited from both the advantages of pornography, i.e., more or less sexual explicit images, and the advantages of the accepted, i.e., common distribution channels, the possibility of having regular advertising and placards and being sold in ordinary kiosks (for magazines) and shown at ordinary cinemas (for films). For some years, this balancing act between the accepted and the pornographic was maintained, and the genre became enormously popular. From the mid-1970s onward, however, the division between pornography and accepted media became more clear-cut. The critique against pornography and the in-between media products intensified, and the uncertainty about pornography's future role after the legalization in 1971 was followed by new ways of separating the pornographic from the accepted. While there were some differences between the two media formats, such as their degree of internationalization and the importance of advertising, they shared much in terms of content formulas and used the same female actors and models. It is argued that both formal regulations and the informal norms of gender and sexuality at the time and their change throughout the 1970s are key for understanding the development and the disappearance of the in-between genre. [ABSTRACT FROM AUTHOR]

This article is about the French film La Sorcière (André Michel, 1956), which was shot partly in Sweden during a few weeks in the summer of 1955, on location in the environs of Falun and Mora, as well as Askersund and Hasselsfors. The locations, and especially Old Skagerhult Church in Hasselfors, provide here an analytical springboard for studying the staging of film locations and the creation of fictional spaces. The article begins with a contextual backdrop to the production of the film La Sorcière, addressing the adaptation process, the choice of film locations and the staging of die plot in the landscape. This is followed by a textual analysis of the actual film, based on its mise-en-scène: the creation of its own filmic spaces. In the analysis, then, it is the different elements of the mise-en-scène and its relations which occupy the forefront, and this in turn is followed by a discussion of the notional world thereby constructed and projected. The theoretical approach employed ties in with research concerning the film melodrama, with reference to emotions - moods and actions - in conjunction with acting. In this article, an unresearched and virtually forgotten film recording is studied, and in the process an almost equally forgotten, but interesting and significant, piece of cinema history is unravelled. [ABSTRACT FROM AUTHOR]