Åsa JernuddTitle: Senior Lecturer School/office: School of Humanities, Education and Social Sciences
Phone: +46 19 302129
About Åsa Jernudd
Åsa Jernudd is associate professor in Media- and Communication Studies at the School of Humanities, Education and Social Sciences. She earned her PhD in Cinema Studies at Stockholm University in 2007.
Åsa Jernudd’s research is in the field of “new cinema history” and concerns film exhibition as social and cultural event. Her thesis offered a social history of the first decade of film exhibition in Sweden, tracing how the medium was introduced in a small town setting by appealing to and adjusting to modern forms of social infrastructure provided by the free churches, the temperance and worker’s societies. She has published on ethnographic method in Film and Media Studies; on cinematic space in the early period of cinema; on film programming in the pre-cinema period and she has also examined the complexity of memories of cinema going. In collaboration with human geographer prof. Mats Lundmark, Jernudd has mapped the practice of film distribution and exhibition in the rural county of Jämtland teasing out differences in the town as opposed to rural contexts during the war and in the immediate post war period. The research addressed the paradox that the number of cinemas increased in rural Sweden at a time when urbanization was intense. The collaboration with Lundmark continues with a location analysis of cinema over time (1936-2003) in the region of Bergslagen considering kinds of cinema ownership as well as population size and concentration.
Jernudd was awarded the Orebro University and Student Union Teaching Award (1999) and an Excellence-in-Teaching Grant from the Swedish Foundation for International Cooperation in Research and Higher Education that gave her the opportunity to teach at the Wee Kim Wee School of Communication and Information at Nanyang Technological University, Singapore (Aug-Dec 2011).
Background and Community Outreach/Collaboration
Film featured also in Jernudd’s background in cultural affairs at Örebro Municipality, as a film projectionist and as director of the art cinema Bio Roxy. Bio Roxy (still) screens film for school children in the region, offers film literacy education, has regular public screenings of commercial film, offers film festivals and other film events. For a decade she regularly contributed with film critic in the regional daily paper, Nerikes Allehanda. Jernudd has also served six years as a jury member for the national film awards. More recently, she has been chairperson for Örebro Filmförening (2017-2018), a society devoted to the promotion of film culture in Örebro. The society curates a project (2017-2019) financed by Allmänna arvsfonden with the aim of creating opportunities for film production in the region.
A research initiation project, European Research on the Historical Experience of Cinema Going (Jernudd) (2016-2017), funded by the Swedish Foundation for Humanities and Social Sciences, brought together a group of international scholars to collaborate in the historical study of cinema exhibition and cinema-going. It gave Jernudd the opportunity to become part of another space for collaboration, in the large-scale AHRC-funded project, European Cinema Audiences: Entangled Histories and Shared Memories (Treveri-Gennari) (2018-2021). Jernudd contributes to the European Cinema Audiences project as member of the steering committee and as national advisor for the parts that concern Sweden (Gothenburg is one of the case studies).
Recently, Jernudd was awarded funding from the Swedish Research Council for a 3 year project with the title, Swedish Cinema and Everyday Life: A study of cinema-going in its peak and decline. The purpose of the project is to further our knowledge of cinema as part of everyday life in 1950s and 1960s Sweden and to deepen our understanding about how cinema-going is remembered as woven into the fabric of everyday life. One objective of the study is to understand what is specific to experiences of cinema-going in the region of Bergslagen. Another objective involves collaborating with The National Library in digitalizing and making assessable visual and textual evidence of cinema exhibition. A third objective aims at collecting video-recordings of memories of audience’s experiences of cinema-going at this time in Bergslagen and to perform a triangulated analysis to understand the experience of cinema audiences when cinema-going was routine and ordinary as well as of its period of decline. The final objective concerns how this project can contribute to the further understanding of the nature of gendered cinema memory.
The project will record and make available an important cultural heritage. It will offer a fresh perspective on canonized film history by providing a history of cinema-going from below. Furthermore, by combining ethnographic methods and archival research, the study will open up new perspectives on the relationship between institutional contexts of film consumption and audience memories of cinema-going.