Vad ska utbildning resultera i? Vilken är skolans roll i samhället? Vilken kunskap ska prioriteras? Vad ska ämnena fokusera på? Hur ska vi lära ut? Vilka metoder och teorier är de mest ändamålsenliga och för vem ska utbildning vara ändamålsenlig?

Antologin Lärande som samhällsutmaning i en osäker samtid har ett vitt fokus på utbildningsfrågor. Antologins skribenter frågar sig dels vari de största utmaningarna för dagens skola och högre utbildning ligger, dels hur samhällets utmaningar identifierats och presenterats i olika samhälleliga kontexter. Författarna tar inte etablerade samhällsutmaningar för givna, inte heller själva begreppet samhällsutmaning, utan har här snarare en prövande hållning.

Kapitelförfattarna verkar inom disciplinerna engelska, filmvetenskap, genusvetenskap, idéhistoria, litteraturvetenskap, medie- och kommunikationsvetenskap och religionsvetenskap.

The chapter provides a general view of Swedish film policy during the period from the end of the second world war until the late 1970s. One of the crucial moments in the history of Swedish film is the introduction of a new film policy in 1963. The “film reform” of 1963—with the founding of the Swedish Film Institute (SFI) and the national system of film subsidies—led to changes in the strategies of national film production, but also to an institutionalised national film culture based on art cinema values. With the film reform, and the debates and ideas behind its establishment in 1963, the public persona and debates concerning its founder Harry Schein, and the labour movement and its intense doings in Swedish film industry and film culture, this article covers three major themes in the history of Swedish film politics in the 20th century.

From the mid-1940s until the early 1960s, youth delinquency was such a frequent motif in Swedish cinema that it was almost regarded as a genre of its own. This article investigates how the theme survived in Swedish television in the 1960s, focusing on three case studies, Trängningen (‘The squeeze’) (1962), Väcka åtal (‘Prosecution’) (1970) and Konfrontation (‘Confrontation’) (1969). 

The longest-running TV-drama serial in the history of Swedish television is Hem till byn (Home to the village). The first episode was shown in November 1971, and the last one was aired in October 2006. Hem till byn was originally intended as a mini-series of six episodes, but popularity gave it seven more seasons during more than three decades. 

The broad historical context of Hem till byn was the urbanization of Sweden in the 1960s and early 1970s. With the national project “miljonprogrammet” [the million programme], a mass housing public program, the Swedish government intended to put an end to the housing shortages. About one million new dwellings were built during a ten-year period (1.005.578 dwellings 1965-1974). The suburbs of the three largest cities – Stockholm, Gothenburg and Malmö – are the most usual examples of this huge project, but most Swedish cities were subject to a massive change concerning the design of the cityscape. 

During all seasons of Hem till byn, the centre of the story is a small rural village in the south-west of Sweden, and its inhabitants. Domestic migration and urbanization are main themes all through Hem till byn, especially during the first three seasons 1971-1976. 

A narrower historical context of Hem till byn is the production strategy of Swedish Television during the late 1960s and early 1970s. With influences from foremost recent developments of semi-documentary narration in British TV-drama, Swedish public service broadcasting company Sveriges Radio radically changed the drama production policy in the late 1960s. Swedish TV-drama was now focusing social issues. Rural depopulation was one such issue. In this paper I will discuss and analyse this theme in the first three seasons of Hem till byn, as well as in other contemporary drama productions. Key concepts are among others urbanisation, (anti-)modernism, environmental critique and realistic drama.     

Denna artikel om svensk TV-dramatik anknyter till bokens båda teman människan i samtiden och existentiell kultur. De TV-produktioner som behandlas är visserligen långt ifrån nya, men gjordes med ambitionen att skildra livsvillkoren för sin samtids människor. På så sätt är de också exempel på existentiell kultur. Bilden av det svenska välfärdssamhället som sekulärt är etablerad. Utifrån en genomgång av samhällskritisk svensk TV-dramatik som producerades under åren runt 1970 visas dock här att det i offentligheten fanns ett tydligt intresse för moral och tro. I artikeln ges inledningsvis en överblick av den dramatik Sveriges Radio producerade för TV. Sedan diskuteras några konkreta exempel på svenskt TV-drama från tiden ifråga. Några av dem behandlar explicit frågor om religion och tro. Andra är snarare exempel på hur livsåskådningsfrågor och idealitet tematiseras även i produktioner som inte primärt fokuserar kyrkliga eller ens religiösa kontexter. En viktig del av analysen utgör de ideal och värderingar som det offentliga mottagandet av TV-dramatiken i dagspressen rymmer, men även innehållsliga och estetiska aspekter diskuteras.

We have our own song - The music movie (Vi har vår egen sång – musikfilmen) is a Swedish musical documentary produced in 1976 that documented the so-called alternative music festival that was aired live from Stockholm by the public service channel TV2 on March 21, 1975. This film is a rare case of interaction between different institutional contexts in the Swedish 1970s associated with national left-wing culture and an example of how the radical zeitgeist was manifested in an alternative media event. The film will be discussed from two different perspectives. First, it will be presented as a well-documented case-study of the strategies of Swedish film producers to gain subsidies from the Swedish film institute in creative manners. Second, its qualities as a unique audiovisual representation of the alternative music movement of Sweden in the 1970s, which at the time was reaching its peak, will be highlighted.