This paper examines the marketing and management efforts that have been undertaken to make the Falun World Heritage Site a successful tourist destination in terms of hegemonic, visual representations and narrative constructions. Visual representation is assumed to be a vital aspect of the construction of narratives used to promote tourist destinations. The idea of a narrative as something that constructs sites as comprehensible places through visual representation can be used to illuminate the logic of heritage tourism and branding destinations. The paper argues that representations of a heritage site that are closely related to hegemonic ideas of the site’s history are not necessarily the most profitable ones. If the heritage site is to contribute to local development and tourism, it is essential to understand what the representations of heritage communicate. Using the Falun World Heritage Site as a case study, the article aims to show how the attraction of a site can be hindered by hegemonic assumptions of its history, and therefore of its most interesting and valuable aspects. Analyses of Falun’s marketing, as well as the site itself, show that the constructed hegemonic narratives about the Falun Mine primarily concern men, masculinity and nationalism. Visitors are offered an opportunity to take part through narratives of the Swedish Great Power Period, as constructed and experienced by male geniuses and male mineworkers. These are the stories that correspond to the hegemonic view of those who manage and market the site.

Boken är resultatet av ett samarbete mellan Svenska Filminstitutet och forskare inom det regionala nätverket Penta Plus. Den inleder en förlagsserie om forskning vid SFI:s arkiv i Grängesberg för icke-biografdistribuerad film. En kort redogörelse för projektets bakgrund, uformning och syfte följs av två delstudier. Uifrån begreppen kulturarv och identitet jämför den första bilder av Västmanland i filmen Salabygd (1953) med nutida länslanseringar. Den andra delstudien analyserar ett stort antal privatfilmer från 1960- 70- och 80-talen. I detta digra material studeras i synnerhet individers förhållande till kamera och motiv.

Formspråket i fyra dokumentärfilmer från 90-talet. Hans och Bengt Danneborns Hoppet är en vakande dröm, Ingela Romares Om den mänskliga själens värdighet, Beate Grimsruds En film om fotboll och Anders Bohmans Stålbadet.

Fotohandlaren Sven Nilsson (1909-1982) ägnade en stor del av sitt liv åt att filma landskapet Dalarna, i synnerhet staden Falun. Hans filmproduktion, som sammantaget består av över 500 titlar i varierande längd, är förmodligen inte kända utanför Dalarnas gränser annat än för de verkliga lokalfilmsentusiasterna. Men i Dalarna hålls hans filmgärning vid liv genom inte minst Dalarnas Museums försorg. Det ordnas filmvisningar runt om i länet och Nilssons filmer ges ut på DVD. Nu hör det till saken att det framgår tydligt av filmerna att Nilsson vurmade för det moderna framskridandet under framför allt 1960-talet, vilket inkluderar exempelvis rivningar av staden Faluns 1600-talskvarter till förmån för mer funktionella byggnader, och att han hade ett påtagligt nationellt perspektiv: Hans mission var att försöka inlemma det lite efterblivna Dalarna i en nationell moderniseringsagenda. Ändå lyckas man idag få honom att framstå som en person som värnade om det lokala kulturarvet i allmänhet och rötterna bakåt i tiden till Falu gruvas storhetstid i synnerhet. Hur går det till? Detta vill jag utreda i mitt paper, bland annat med hjälp av David Lowentahls argument för att ett kulturarv är en konstruktion av fakta och myter stadd i ständig förändring och Peter Aronssons idé om att även om själva kulturarvsbegreppet ursprungligen skapades för att tjäna nationella syften, så formas dagens kulturarv utifrån specifikt regionala eller lokala behov.

This dissertation focuses on Swedish films from 1967 and 1972; an epoch that is marked by a critical view on society. My purpose is to examine how the social criticism was manifested and communicated to the contemporary audience. The theoretical frameworks and discussions that have come up from the study of documentary films - above all from the studies of Bill Nichols - have proved to stress matters that are characteristic of the films. Therefore I make use of these, even though I focus on fiction films.

In the first chapter there is a survey of the influences from earlier debates and earlier film production as well as an examination of how the film companies reacted to the debate's demand for a social committed film. Furthermore, I speculate in why the socially committed fiction films suddenly disappeared from the cinema theatres.

The second chapter deals with the melodramatic structure in the films. I argue that the Swedish society functions as the perpetrator of the films and that the dichotomy between perpetrator and victim is a matter of class.

In the third chapter I further examine the argumentative structures; how they stand out in the over all fictive discourse of the films. I use Aristotle's demonstrative proof along with Edward Branigan's narrative scheme in order to show how the rhetoric functions.

The fourth chapter, finally, focuses on the way the films strive to realise indexical bounds to reality by means of the camera's supposed ability to represent without interfering. The signs that Charles Saunders Peirce calls indexical that are at work are to be understood as historically predicted. The reason why they are used is not that they offer a more "true" representation per se but that they correspond to a contemporary idea of an accurate representation.

Some years ago the Swedish government decided that non-commercial 16 mm, 9,5 mm and 8 mm films, including amateur films, should be filed and accessible for scholars. In 2003 a special film archive was established in the small town of Grängesberg. Hundreds of private film collections have been donated since, and in 2005 I had the opportunity to analyze some of them (published in 2006 in Swedish with Mats Jönsson,Självbilder: Filmer från Västmanland, Stockholm: Svenska Filminstitutet). One major problem with analyzing private film collections is that they usually lack written documentation, that is, textual analysis must include guessing in terms of who is who and why people behave in certain ways (even if the lack of detailed information about a specific collection does not prevent overall, culturally determined inferences like the fact that all of the collections are focused on versions of ‘the sunny side of life’ rather than everyday life). So, last summer I interviewed some of the donators of the collections I had previously studied in order to get some complementary information. In this paper I re-analyze the film collections, focusing on the discrepancy between how I conceived them before and after the interviews and using theories of “place” – for example French historian Pierre Nora’s theory about milieux de memoire and lieux de memoire – as a framework. The presentation will include moving images from the collections.

Humans’ perceived relationship to nature and non-human lifeforms is fundamental for sustainable development; different framings of nature – as commodity, as threat, as sacred etc. – imply different responses to future challenges. The body of research on nature repre-sentations in various symbolic contexts is growing, but the ways in which nature is framed by people in the everyday has received scant attention. This paper aims to contribute to our understanding of the framing of nature by studying how wild-boar hunting is depicted on YouTube. The qualitative frame analysis identified three interrelated frames depicting hunting as battle, as consumption, and as privilege, all of which constitute and are constituted by the underlying notion of human as superior to nature. It is suggested that these hegemonic nature frames suppress more constructive ways of framing the human-nature relationship, but also that the identification of such potential counter-hegemonic frames enables their discursive manifestation.