This interdisciplinary series addresses the relation between media and cultural memory. Its publications study how media construct, store, and disseminate memory. The series' focus is on different ...media and technologies, such as text and image, the cinema and the new digital media, on transmediality, intermediality, and remediation, as well as on the social (and increasingly transnational and transcultural) contexts of mediated memory. The aim of the series is to provide a vibrant international platform for research and scholarly exchange in the field of media and memory studies. Manuscripts submitted to the series are peer reviewed by expert referees.
Archival holdings help us to better understand the collaborative process involved in screenplay development. This article mobilizes archival findings around the screenwriting process in order to ...contribute to recent debates within adaptation studies (Hutcheon, Bryant, Elliott, Elleström, Bruhn/Gjelsvik/Frisvold Hanssen, Stam, Rossholm). Setting out to bridge the gap between screenwriting studies and adaptation studies, this article argues that the study of screenplay versions, drafts and letters foregrounds the often overlooked artistic process involved in developing film adaptations. This article presents the case of the film adaption of Åsa-Hanna, based on the novel of the Swedish writer, journalist, suffragette, eco-critic and peace activist Elin Wägner (1882-1949) and the screenplay versions by Barbro Alving (1909-1987). It studies different script versions and ephemera at the manuscript collection at the Swedish Film Institute (Stockholm) as well as Wägner’s notebooks, drafts and letters at KvinnSam (Göteborg). The aim of this article is twofold: first, to contribute to adaptation studies by highlighting the role of the screenplay and the process of screenwriting in the process of transmediation. Second, to stress the importance of the industrial context of film production and distribution for adaptation studies.
Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification ...struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification ...struggles. Post-punk 'retromania' (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts %26 Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester's post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of 'ranscultural memory'. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley's documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester's postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
Archives, just like museums or libraries, are agents which contribute to the creation of our cultural memory. Inextricably linked to the notion of cultural heritage, they highlight some narratives, ...while sidelining or excluding others. Therefore it is important to critically reflect on the question “whose heritage” (Stuart Hall) is created in the process of archiving. This article looks at the politics of creating access to audiovisual heritage in European film archives via online video streaming opportunities. Examining audiovisual archives as agents in the construction of transnational memories, my research aims to provide new ways of reflecting on diversity practices in archival selection. As case study, this article examines the archival politics of the national film archives in Sweden, especially the way archivists are curating the site Filmarkivet.se.
The impact of digital global media, geopolitical changes and migration demands new theorizations within memory studies. Despite the growing field of media memory studies, the impact from film and ...media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer look at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike.
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