My research interest is in the field of new cinema history. Currently I am busy with a project on audience memories of cinemagoing in Sweden in the 1950s and 60s.
Research Data Journal for the Humanities and Social Sciences, 2020
This showcase presents a fully harmonized data set originating from different research projects o... more This showcase presents a fully harmonized data set originating from different research projects on post-war cinema programming. The creation of this data collection was inspired by the New Cinema History, which focuses on the wider contexts of the production, distribution and consumption of films. The database consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952 (here a cinema was defined as a venue where 35mm and 16mm feature films were screened that were announced to and accessible by a general audience).
The choice of these cities was partly a result of the focus and research intentions of earlier projects, but the places do also have important features in common that justify their inclusion in the data set and contribute to a framework that allows mutual comparisons.
The origin of this data collection goes back to the work by Karel Dibbets in the 1970s. This formed the basis for the later Cinema Context database, from which data about Rotterdam were extracted. The Rotterdam data set was subsequently supplemented with film programming data collected in the other participating research projects.
The 1950s was a decade of major social transformation in Sweden when the welfare state was being ... more The 1950s was a decade of major social transformation in Sweden when the welfare state was being realized, and it has been suggested (Gunnemark, 2006) that the youth of this age became proponents of modernity, caught between the old and the new structures of society. With the film Hon dansade en sommar (One Summer of Happiness, 1951) as a reference, this chapter discusses how youth became more defined as category and identity in Sweden in the post-war period through its relation to leisure culture, not least cinema. Cinema had evolved in rural areas as part of a modern associational culture with progressive roots in the temperance movement and oppositional roots in the worker’s movement. In the post-war period, the government supported this culture and contributed to its expansion. It became a space in which youth throughout the country could come together, or individually, and submit themselves to, as well as reflect upon, images and narratives of the rapid and intense ongoing chan...
Cinemagoing in Sweden in the 1940s : Civil society organisations and the expansion of rural film ... more Cinemagoing in Sweden in the 1940s : Civil society organisations and the expansion of rural film exhibition
Research Data Journal for the Humanities and Social Sciences, 2020
This data paper and the data collection from which it emerges aim to present a fully harmonized d... more This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.
Research Data Journal for the Humanities and Social Sciences, 2020
This showcase presents a fully harmonized data set originating from different research projects o... more This showcase presents a fully harmonized data set originating from different research projects on post-war cinema programming. The creation of this data collection was inspired by the New Cinema History, which focuses on the wider contexts of the production, distribution and consumption of films. The database consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952 (here a cinema was defined as a venue where 35mm and 16mm feature films were screened that were announced to and accessible by a general audience).
The choice of these cities was partly a result of the focus and research intentions of earlier projects, but the places do also have important features in common that justify their inclusion in the data set and contribute to a framework that allows mutual comparisons.
The origin of this data collection goes back to the work by Karel Dibbets in the 1970s. This formed the basis for the later Cinema Context database, from which data about Rotterdam were extracted. The Rotterdam data set was subsequently supplemented with film programming data collected in the other participating research projects.
The 1950s was a decade of major social transformation in Sweden when the welfare state was being ... more The 1950s was a decade of major social transformation in Sweden when the welfare state was being realized, and it has been suggested (Gunnemark, 2006) that the youth of this age became proponents of modernity, caught between the old and the new structures of society. With the film Hon dansade en sommar (One Summer of Happiness, 1951) as a reference, this chapter discusses how youth became more defined as category and identity in Sweden in the post-war period through its relation to leisure culture, not least cinema. Cinema had evolved in rural areas as part of a modern associational culture with progressive roots in the temperance movement and oppositional roots in the worker’s movement. In the post-war period, the government supported this culture and contributed to its expansion. It became a space in which youth throughout the country could come together, or individually, and submit themselves to, as well as reflect upon, images and narratives of the rapid and intense ongoing chan...
Cinemagoing in Sweden in the 1940s : Civil society organisations and the expansion of rural film ... more Cinemagoing in Sweden in the 1940s : Civil society organisations and the expansion of rural film exhibition
Research Data Journal for the Humanities and Social Sciences, 2020
This data paper and the data collection from which it emerges aim to present a fully harmonized d... more This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level.
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Journal Articles by Asa Jernudd
The choice of these cities was partly a result of the focus and research intentions of earlier projects, but the places do also have important features in common that justify their inclusion in the data set and contribute to a framework that allows mutual comparisons.
The origin of this data collection goes back to the work by Karel Dibbets in the 1970s. This formed the basis for the later Cinema Context database, from which data about Rotterdam were extracted. The Rotterdam data set was subsequently supplemented with film programming data collected in the other participating research projects.
Papers by Asa Jernudd
The choice of these cities was partly a result of the focus and research intentions of earlier projects, but the places do also have important features in common that justify their inclusion in the data set and contribute to a framework that allows mutual comparisons.
The origin of this data collection goes back to the work by Karel Dibbets in the 1970s. This formed the basis for the later Cinema Context database, from which data about Rotterdam were extracted. The Rotterdam data set was subsequently supplemented with film programming data collected in the other participating research projects.