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Christina Svens focuses on feminist performance affects designed to expose and displace everyday racism in contemporary Swedish society. Kurdish-Swedish performer Nisti Stêrk brings audience members on stage and places them in partially improvised comic scenarios involving her place as a foreign other in the midst of a prosperous and tolerant Western society that now intersects and contends with neoliberalism. Svens analyses the peculiar work of affect in Stêrk's performances, which address unarticulated feelings about racial and ethnic identity, as well as gender and class. Stêrk, Svens argues, fosters feelings of equality based not on sameness but on difference; her activism is located in an affective relationality in which otherness, instead of 'sticking' to Stêrk's body, becomes an object that all can remake.

En film är en berättelse visualiserad genom rörlig bild och ljud. Men vad är en filmberättelse som aldrig filmatiseras? Runtomkring i världen ligger de, i lådor, staplar, pärmar och kartonger, i väskor, lönnfack, på vindar och i källare; prydliga, tummade, nedklottrade, fläckade, vitsläta eller skrynklade – oräkneliga filmmanuskript, berättelser utfunderade in i minsta detalj och som under långa perioder uppfyllt en människa, men som aldrig nått eller någonsin kommer att nå läsare eller publik. Tillsammans utgör dessa berättelser en omätlig, osynlig gravgård. Rapporten OFILMATISERAT, som ges ut av Nordiskt Filmarkiv, ställer frågan om filmmanuskriptet besitter egenvärde och funktion bortom syftet att transponera text till kropp, röst, ljud och scenografi. Vad kan i så fall dessa, av olika skäl ratade, berättelser erbjuda forskare inom till exempel litteratur- och filmvetenskap, etnologi, genusstudier, idé- och mentalitetshistoria? Rapporten presenterar (facsimile!) ett kanske lite udda textfynd bestående av tre kortfilmsmanuskript, och ett försök till kontextualisering görs. Manuskripten kompletteras med en serie polaroidbilder från något som kan ha varit tänkta eller verkliga inspelningsplatser, samt avfotograferade föremål från själva fyndplatsen. Läsaren bjuds in att själv visualisera de orealiserade filmberättelserna. För som arkivarie Ingrid M. Ripa skriver kanske det är ”just i texten, i narrativets ansiktslösa partitur, vi möter filmens själva väsen?” 

The knowledge created in the professional meeting between tutor and student is crucial for the student’s ability to develop the screenwriting skills, not only the tools for writing and the necessary ability to be a good listener, but to be brave enough to master the art by making conscious choices. Further to develop the different writing abilities needed, especially the skill of rewriting. Silent knowledge is crucial in the tutoring and how the tutor responds to the student is very important.

What is in this silent knowledge? How is it used and pedagogically transformed in the tutoring process? In order to investigate this we analyse the tutoring process from pitch to final script, of our own students during the spring semester 2014. The script developing process is an unexplored area and for instance held behind locked doors in the film business. The goal of both a tutor and professional dramaturge is a good script, but a tutor works with a student for a longer time in order to also make a good screenwriter, though both of them have an interest in the process of rewriting.

The tutoring process of Lindbom will be followed, observed and analyzed by Svens. Student interviews give perspectives on the process. From the different perspectives of a tutor and a scientist we hope to clarify some of what takes place in the process and how silent knowledge is used in order to make the student realize the importance of rewriting. How does this knowledge emerge and how does the student realize how to use it? What is it in the tutor’s feedback that makes the student rewrite and develop the script?

The knowledge created in the professional meeting between tutor and student is crucial for the student’s ability to develop the screenwriting skills, not only the tools for writing and the necessary ability to be a good listener, but to be brave enough to master the art by making conscious choices. Further to develop the different writing abilities needed, especially the skill of rewriting. Silent knowledge is crucial in the tutoring and how the tutor responds to the student is very important.

What is in this silent knowledge? How is it used and pedagogically transformed in the tutoring process? In order to investigate this we analyse the tutoring process from pitch to final script, of our own students during the spring semester 2014. The script developing process is an unexplored area and for instance held behind locked doors in the film business. The goal of both a tutor and professional dramaturge is a good script, but a tutor works with a student for a longer time in order to also make a good screenwriter, though both of them have an interest in the process of rewriting.

The tutoring process of Lindbom will be followed, observed and analyzed by Svens. Student interviews give perspectives on the process. From the different perspectives of a tutor and a scientist we hope to clarify some of what takes place in the process and how silent knowledge is used in order to make the student realize the importance of rewriting. How does this knowledge emerge and how does the student realize how to use it? What is it in the tutor’s feedback that makes the student rewrite and develop the script?