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The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Media Database and the Swedish Film Database, an online catalogue containing information on almost 80,000 Swedish films and international productions screened in Swedish cinemas. Because the archivists do not work with single tags but on the basis of a full text search, LGBTQ-​related terms need to be part of the text that describes the film. Since this text is often retrieved from older information to be found in the databases mentioned above, the discursive space for the articulation of LGBTQ identities is very limited. For instance, before 2017, when an updated

in The power of vulnerability
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

Institute takes centre stage, also attracting much international attention. The current CEO Anna Serner has, since launching a programme for gender equality in Swedish cinema in 2013, held seminars at several top-​tier film festivals and inspired policymaking within the British Film Institute and Eurimages.4 In the midst of the #MeToo campaign, Serner announced that the institute would launch an education programme about sexual harassment, mandatory for all production companies seeking its support (Keslassy, 2017). Against the extraordinary institutionalisation of

in The power of vulnerability