|Degrees:||MA and Ph.D (Stockholm University, Sweden)|
|Phone:||613-520-2600 x 2343|
|Office:||430 St. Patrick's Building|
Gunnar Iversen is interested in supervising graduate students and postdocs doing research in the following fields: Film and Media History, Sound Studies, Asian Cinema, Scandinavian Cinema, and Film Aesthetics. He also studies sound in film and television. He teaches courses on world cinema and film history, and sound in film and television.
Gunnar Iversen has published more than 20 books and 200 articles, in 8 different languages. He has co-written Nordic National Cinemas (Routledge, 1998) and Historical Dictionary of Scandinavian Cinema (Scarecrow, 2012) and co-edited Beyond the Visual: Sound and Image in Ethnographic and Documentary Film, 2010).
His co-edited anthology, Unwatchable (Rutgers UP), with Nicholas Baer, Maggie Hennefeld, and Laura Horak, was published in January 2019. With over 50 original essays by leading scholars, artists, critics, and curators, this is the first book to trace the “unwatchable” across our contemporary media environment, in which viewers encounter difficult content on various screens and platforms. The volume offers multidisciplinary approaches to the vast array of troubling images that circulate in global visual culture.
Recent publications in English include:
“Arctic Noir: Revitalizing Sámi Culture through Film Noir,” in Linda Badley et al. (eds.): Nordic Noir Adaptation and Appropriation: Film, Television, and Beyond. London: Palgrave Macmillan, 2020; 55-70.
“A Sámi in Hollywood: Nils Gaup’s Transnational and Generic Negotiations,” in Anna Westerståhl Stenport and Arne Lunde (eds.) Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh: Edinburgh University Press, 2019; 157-168.
“Storm Chasers and Adrenaline Tourists: Reimagining the Arctic in the New Norwegian Polar Expedition Film,” in Anna Westerståhl Stenport, Scott McKenzie and Lilya Kaganovsky (eds.) Arctic Cinema and the Documentary Ethos, Bloomington: Indiana University Press, 2019; 175-190.
“Tancred Ibsen’s failure to Ibsenize Hollywood,” in Journal of Scandinavian Cinema, vol. 8, no 3 (2018); 211-216.
“Bodies in Motion: Dancing and Boxing in Early Norwegian Cinema,” in Jan Olsson et al. (eds.) Viscera, Skin, and Physical Form: Corporeality and Early Cinema, Bloomingdale: Indiana University Press, 2018; 134-145.
“New Enemies, New Cold Wars: Reimagining Occupation and Military Conflict in Norway,” in Martin Löschnigg and Marzena Sokolowska-Paryz (eds.) The Enemy in Contemporary Film, Berlin: De Gruyter, 2018; 19-34.
“A View Aesthetic Without a View? – Space and Place in Early Norwegian Polar Expedition Films,” in Scott Curtis et al. (eds.) The Image in Early Cinema: Form and Material, Bloomingdale: Indiana University Press, 2018; 102-108.
“Structures of Feeling Bad: Identity, Guilt and Shame in Imagining Emanuel,” in Scandinavian Studies, vol. 89, no 4 (2017); 530-547.
“In the Contact Zone: Transculturation in Per Høst’s The Forbidden Jungle,” in Eirik Frisvold Hanssen (ed): Small Country, Long Journeys: Norwegian Expedition Films, Oslo: National Library of Norway, 2017; 212-242.
“The Dark Continent of Modernity: The Role of Black Lingerie in Norwegian Comedies in the 1950s,” in European Journal of Scandinavian Studies, vol. 47, no 2 (2017); 367-376.
“Of Unknown Origin: Identity, Nationality, and Ethnicity in Gipsy Anne (1920)”, in Kosmorama # 269 (September 2017) http://www.kosmorama.org/ServiceMenu/05-English/Articles/Of-Unknown-Origin.aspx
“An Alternative Digital Film Culture: The New Independent Norwegian Film Production,” Journal of Scandinavian Cinema, vol. 6, no. 1 (2016); 63-69.
“Between Art and Genre – An Introduction to New Nordic Horror Cinema,” in Mette Hjort and Ursula Lindqvist (eds.) The Blackwell Companion to Nordic Cinema, Oxford: Wiley-Blackwell, 2016; 332-350.
“Voices from the Past – Recent Nordic Historical Films,” in Tommy Gustafsson and Pietari Kääpä (eds.) Popular Nordic Genre Film: small nation film cultures in the global marketplace, Edinburg: Edinburgh University Press, 2015; 47-58.
“Arctic Carnivalesque: Ethnicity, Gender and Transnationality in the Films of Tommy Wirkola,” in Anna Stenport and Scott McKenzie (eds.) Films on Ice – Cinemas of the Arctic, Edinburgh: Edinburgh University Press, 2015; 106-117.
“Performing New Media and the Creation of National Identity – Kräusslich and Köpke in Norway before 1910,” in Kaveh Askari et. al. (eds.) Performing New Media, 1890-1915, London: John Libbey, 2014; 124-130.
“Roald Amundsen and the Documentary Canon,” Journal of Scandinavian Cinema vol. 3, no. 2 (2013): 151-155. (with Jan Anders Diesen).
“From Trauma to Heroism: Cultural Memory and Remembrance in Norwegian Occupation Dramas, 1946-2009,” Journal of Scandinavian Cinema vol. 2, no. 3 (2012): 237-248.
“‘And They Can See Half-Naked Dancers, Catching Young Men In Their Nets’: Teachers and the Cinema in Norway, 1907-1913,” in Marta Braun, et. al. (eds.): Beyond the Screen: Institutions, Networks and Publics of Early Cinema, London: John Libbey, 2012; 126-130.
“Inventing the Nation: Diorama in Norway 1888-1894,” Early Popular Visual Culture, vol. 9, no. 2 (May 2011): 119-125.
“‘Texas Norway’ – Mythic Space in Recent Norwegian Crime Films,” in Raphaëlle Moine, Brigitte Rollet, and Geneviève Sellier (eds.): Policiers et criminels : un genre populaire européen sur grand et petit écrans, Paris: L’Harmattan, 2009; 35-43.
“An Ocean of Sound and Image: YouTube in the Context of Supermodernity,” in Pelle Snickars and Patrick Vonderau (eds.): The YouTube Reader, Stockholm: The National Library of Sweden, 2009; 347-357.
“Charismatic Ordinariness: Ullmann before Bergman,” in Tytti Soila (ed.): Stellar Encounters – Stardom in Popular European Cinema, London: John Libbey, 2009; 75-82.