{"id":2483,"date":"2016-04-13T16:10:22","date_gmt":"2016-04-13T20:10:22","guid":{"rendered":"https:\/\/carleton.ca\/filmstudies\/?post_type=cu_people&p=2483"},"modified":"2026-03-02T12:56:59","modified_gmt":"2026-03-02T17:56:59","slug":"gunnar-iversen","status":"publish","type":"cu_people","link":"https:\/\/carleton.ca\/filmstudies\/people\/gunnar-iversen\/","title":{"rendered":"Gunnar Iversen"},"content":{"rendered":"
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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.<\/p>\n\n\n\n

Gunnar Iversen has published more than 20 books and 200 articles, in 8 different languages. He has co-written Nordic National Cinemas<\/em> (Routledge, 1998) and Historical Dictionary of Scandinavian Cinema<\/em> (Scarecrow, 2012) and co-edited Beyond the Visual: Sound and Image in Ethnographic<\/em> and Documentary Film<\/em>, 2010).<\/p>\n\n\n\n

His co-edited anthology Mapping the Rockumentary: Images of Sound and Fury<\/i><\/a>, with Scott MacKenzie, was published by Edinburgh University Press in May 2021. The first book about rockumentaries, with contributions about the genre in Europe, Asia, South America and the US, the book has been considered a milestone in the study of the rockumentary as a genre and the way it reflects history.<\/p>\n\n\n\n

His co-edited anthology, U<\/a>nwatchable<\/a> <\/a><\/em> (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 \u201cunwatchable\u201d 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.<\/p>\n\n\n\n

\"Book<\/img> \"Book<\/img><\/p>\n\n\n\n

Selected Recent Publications in English:<\/h3>\n\n\n\n

“Acts of Remembering: Audiovisual Memory and the New Norwegian Occupation Drama,” in Marianne Stecher-Hansen (ed.): Nordic War Stories: The Second World War as Fiction, Film, and History<\/i>. New York: Berghahn Books 2021; 302-313.<\/p>\n\n\n\n

“Arctic Noir: Revitalizing S\u00e1mi Culture through Film Noir,” in Linda Badley et al. (eds.): Nordic Noir Adaptation and Appropriation: Film, Television, and Beyond<\/em>. London: Palgrave Macmillan, 2020; 55-70.<\/p>\n\n\n\n

“A S\u00e1mi in Hollywood: Nils Gaup’s Transnational and Generic Negotiations,” in Anna Westerst\u00e5hl Stenport and Arne Lunde (eds.) Nordic Film Cultures and Cinemas of Elsewhere<\/em>. Edinburgh: Edinburgh University Press, 2019; 157-168.<\/p>\n\n\n\n

\u201cStorm Chasers and Adrenaline Tourists: Reimagining the Arctic in the New Norwegian Polar Expedition Film,\u201d in Anna Westerst\u00e5hl Stenport, Scott McKenzie and Lilya Kaganovsky (eds.) Arctic Cinema and the Documentary Ethos<\/em>, Bloomington: Indiana University Press, 2019; 175-190.<\/p>\n\n\n\n

“Tancred Ibsen’s failure to Ibsenize Hollywood,” in Journal of Scandinavian Cinema, <\/em>vol. 8, no 3 (2018); 211-216.<\/p>\n\n\n\n

\u201cBodies in Motion: Dancing and Boxing in Early Norwegian Cinema,\u201d in Jan Olsson et al. (eds.) Viscera, Skin, and Physical Form: Corporeality and Early Cinema<\/em>, Bloomingdale: Indiana University Press, 2018; 134-145.<\/p>\n\n\n\n

\u201cNew Enemies, New Cold Wars: Reimagining Occupation and Military Conflict in Norway,\u201d in Martin L\u00f6schnigg and Marzena Sokolowska-Paryz (eds.) The Enemy in Contemporary Film<\/em>, Berlin: De Gruyter, 2018; 19-34.<\/p>\n\n\n\n

\u201cA View Aesthetic Without a View? – Space and Place in Early Norwegian Polar Expedition Films,\u201d in Scott Curtis et al. (eds.) The Image in Early Cinema: Form and Material<\/em>, Bloomingdale: Indiana University Press, 2018; 102-108.<\/p>\n\n\n\n

\u201cStructures of Feeling Bad: Identity, Guilt and Shame in Imagining Emanuel<\/em>,\u201d in Scandinavian<\/em> Studies<\/em>, vol. 89, no 4 (2017); 530-547.<\/p>\n\n\n\n

\u201cIn the Contact Zone: Transculturation in Per H\u00f8st\u2019s The Forbidden Jungle,<\/em>\u201d in Eirik Frisvold Hanssen (ed): Small Country, Long Journeys: Norwegian<\/em> Expedition Films<\/em>, Oslo: National Library of Norway, 2017; 212-242.<\/p>\n\n\n\n

\u201cThe Dark Continent of Modernity: The Role of Black Lingerie in Norwegian Comedies in the 1950s,\u201d in European Journal of Scandinavian Studies<\/em>, vol. 47, no 2 (2017); 367-376.<\/p>\n\n\n\n

“Of Unknown Origin: Identity, Nationality, and Ethnicity in Gipsy Anne<\/em> (1920)”, in Kosmorama<\/em> # 269 (September 2017)  http:\/\/www.kosmorama.org\/ServiceMenu\/05-English\/Articles\/Of-Unknown-Origin.aspx<\/a><\/p>\n\n\n\n

\u201cAn Alternative Digital Film Culture: The New Independent Norwegian Film Production,\u201d Journal of Scandinavian Cinema<\/em>, vol. 6, no. 1 (2016); 63-69.<\/p>\n\n\n\n

\u201cBetween Art and Genre \u2013 An Introduction to New Nordic Horror Cinema,\u201d in Mette Hjort and Ursula Lindqvist (eds.) The<\/em> Blackwell Companion to Nordic Cinema<\/em>, Oxford: Wiley-Blackwell, 2016; 332-350.<\/p>\n\n\n\n

\u201cVoices from the Past \u2013 Recent Nordic Historical Films,\u201d in Tommy Gustafsson and Pietari K\u00e4\u00e4p\u00e4 (eds.) Popular Nordic Genre Film: small nation film cultures in the global marketplace<\/em>, Edinburg: Edinburgh University Press, 2015; 47-58.<\/p>\n\n\n\n

\u201cArctic Carnivalesque: Ethnicity, Gender and Transnationality in the Films of Tommy Wirkola,\u201d in Anna Stenport and Scott McKenzie (eds.) Films on Ice \u2013 Cinemas of the Arctic<\/em>, Edinburgh: Edinburgh University Press, 2015; 106-117.<\/p>\n\n\n\n

\u201cPerforming New Media and the Creation of National Identity \u2013 Kr\u00e4usslich and K\u00f6pke in Norway before 1910,\u201d in Kaveh Askari et. al. (eds.) Performing New Media, 1890-1915<\/em>, London: John Libbey, 2014; 124-130.<\/p>\n\n\n\n

\u201cRoald Amundsen and the Documentary Canon,\u201d Journal of<\/em> Scandinavian Cinema<\/em> vol. 3, no. 2 (2013): 151-155. (with Jan Anders Diesen).<\/p>\n\n\n\n

“From Trauma to Heroism: Cultural Memory and Remembrance in Norwegian Occupation Dramas, 1946-2009,” Journal of Scandinavian Cinema<\/em> vol. 2, no. 3 (2012): 237-248.<\/p>\n\n\n\n

“‘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<\/em> Screen: Institutions, Networks and Publics of Early Cinema<\/em>, London: John Libbey, 2012; 126-130.<\/p>\n\n\n\n

“Inventing the Nation: Diorama in Norway 1888-1894,” Early Popular Visual<\/em> Culture,<\/em> vol. 9, no. 2 (May 2011): 119-125.<\/p>\n\n\n\n

“‘Texas Norway’ \u2013 Mythic Space in Recent Norwegian Crime Films,” in Rapha\u00eblle Moine, Brigitte Rollet, and Genevi\u00e8ve Sellier (eds.): Policiers et criminels : un genre populaire europ\u00e9en sur grand et petit \u00e9crans<\/em>, Paris: L\u2019Harmattan, 2009; 35-43.<\/p>\n\n\n\n

“An Ocean of Sound and Image: YouTube in the Context of Supermodernity,” in Pelle Snickars and Patrick Vonderau (eds.): The YouTube Reader<\/em>, Stockholm: The National Library of Sweden, 2009; 347-357.<\/p>\n\n\n\n

“Charismatic Ordinariness: Ullmann before Bergman,” in Tytti Soila (ed.): Stellar Encounters \u2013 Stardom in Popular European Cinema<\/em>, London: John Libbey, 2009; 75-82.<\/p>\n","protected":false},"author":2,"featured_media":2498,"template":"","meta":{"_acf_changed":false,"cu_people_first_name":"Gunnar","cu_people_last_name":"Iversen","cu_people_initials":"","footnotes":"","_links_to":"","_links_to_target":""},"cu_people_type":[16],"cu_people_expertise":[],"class_list":["post-2483","cu_people","type-cu_people","status-publish","has-post-thumbnail","hentry","cu_people_type-full-time-faculty"],"acf":{"cu_people_job_title":"Full Professor (on sabbatical, Winter 2026)","cu_people_degree":"MA and Ph.D (Stockholm University, Sweden)","cu_building":"","cu_people_office_num":"","cu_people_pronoun":"","cu_people_designation":"","cu_people_email":"gunnar.iversen@carleton.ca","cu_people_phone":"","cu_people_phone_ext":"","cu_people_linkedin":"","cu_people_bluesky":"","cu_people_twitter":"","cu_people_instagram":"","cu_people_facebook":"","cu_people_website":"","cu_people_orcid":""},"_links":{"self":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people\/2483","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people"}],"about":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/types\/cu_people"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/users\/2"}],"version-history":[{"count":5,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people\/2483\/revisions"}],"predecessor-version":[{"id":6281,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people\/2483\/revisions\/6281"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/media\/2498"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/media?parent=2483"}],"wp:term":[{"taxonomy":"cu_people_type","embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people_type?post=2483"},{"taxonomy":"cu_people_expertise","embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_people_expertise?post=2483"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}