Filtyp
Following the formal diplomatic recognition of the German Democratic Republic (GDR) by the Nordic countries in 1972, an intensive collaboration over the Baltic Sea was initiated in a number of societal fields (Almgren, 2009; Hentilä, 2006; Linderoth, 2002; Åkerlund, 2011), one of which was broadcasting, particularly public service television. As an accommodating yet non-aligned neighbour of the So
Distributing sexual content has historically been more strictly regulated in Finland than in Denmark or Sweden. Airing Emmanuelle (1974), a French softcore erotic film by Jaeckin, on Finnish television in 1987 was shocking and front-page news. The article discusses the public reception of Emmanuelle in 1987 in the context of the commercialization of television in Finland.
This article presents the key findings of a Finnish memory-work project conducted in 2012 on consumer experiences and associations related to pornography. The memory-work material points to a high degree of reflexivity in definitions of pornographic preference as well as to drastic shifts in the ubiquity of pornography from the pre-1990s ‘age of scarcity’ to the current ‘age of plenty.’ At the sam
The introduction to the volume lays out the rationale and ambitions of the book, delineates its chronological and geographical focus and situates it in the existing historiography of civil defence. One central ambition is to advance civil defence history by attuning it more explicitly to the study of science and technology and to pave the way for transnational and comparative efforts. We do so in
Millions of Westerners went on holiday behind the Iron Curtain during the Cold War. This article considers the place of Eastern Europe in the international travel industry through the prism of Folkturist, a travel agency owned by the Communist Party of Sweden. By analysing Folkturist's business strategies and interactions with the East European tourist industries, the article shows the competing i
This study examines painted copies from the sixteenth and seventeenth centuries to gain a richer understanding of the phenomenon of copies and of copying as a common artistic practice. The study findings suggest that copies painted in Sweden in the seventeenth century were, in general, free copies. In that century, the Swedish economy was booming, and a semi-regulated art market had developed, and
