Strålande tider, härliga tider? Konsumtion av pilsnerfilmer och äldre svenska komiska filmer i en nutida kontext
In Sweden there has been a surge of interest in the films classified as pilsnerfilms, i.e. comicalfilms produced for little money in the 1930's and containing a more working class and/or ruralsetting then the so called "champagne comedies" from the same era. The concept"pilsnerfilm" is how ever a little vague and although the main focus of this paper ispilsnerfilms, it will also cover other types of comical films made in Sweden between the1930's and 1940's.This paper examines the now-existing network of people interested in these types of movies.It will do so by interviewing seven of the most prominent fans of movies made during the1930's and 1940's. Most of them are living in Stockholm. The paper discuss how through theconsumption of these types of films, a nostalgic gaze is created. With a nostalgic gaze theenthusiasts for pilsnerfilms can in the present create a history of a bygone Sweden and theycan also try to establish a form of contact with the actors in the movies from the 1930's and1940's. The contact can be by collecting the movies, but more prominently the contact is evenmore grounded in a physical world, by having contact with still living actors who were activeduring that time or the now deceased actors relatives or by visiting the departed actors grave.The paper also discuss questions regarding cultural heritage and how the network thinks aboutthe treatment the pilsnerfilms and other comical films from 1930's and 1940's have receivedfrom the owner's of the movies. Particularly the main company the owns the large majority ofSwedish films; SF. It evokes questions regarding how to present movies as cultural heritageand which people should have to power to do that.The aspects brings the question of knowledge and feelings to mind. The network ofenthusiasts can be viewed as a affective alliance, meaning it exists a emotional connectionbetween cultural expression and individuals. It is the networks affective alliance that theconnoisseur can organize it's knowledge. Emotions and knowledge can't be separated. To bothhave the right knowledge and the right emotions is crucial for the network. And through thenetworks emotions and knowledge, the fragments that create the story of pilsnerfilm is puttogether.