This section is a space for my film writing that hasn't been published by other outlets. The subject is not always science fiction, but most of the time about the relationship between film and technology. Some pieces are new, and some are recent English translations of previous work. I used to write for a Swedish audience only, see this page for my film writing in Swedish.
Attempts at accompanying film screenings with scents were made already ten years after the birth of cinema when Samuel Roxy Rothafel treated his audience with an air of rose water, spread throughout the theatre using an ordinary table fan. Follow along for the story of how the film industry tried and failed at making scented cinema a thing.
The replicants in Blade Runner (Ridley Scott, 1982) live with a forced delineation between human and machine. They know they were created by humans and are painfully aware that their makers designed them to die after four mere years of existence. An exploration of robotic identity based on my master’s thesis on cyborgs in film and television.
Films starring computers are becoming rare. As wave after wave of technology permeates society, the invented artefacts themselves become less interesting. Electric Dreams (Steve Barron, 1984), on the other hand, is full of uninhibited tech-enthusiasm. The intersection of modern technology and its disintegration is examined here by free association.
In her essay “Inscribing Ethical Space: Ten Propositions on Death, Representation and Documentary” Vivian Sobchack discusses, among other things, how the way we view death has changed throughout history, especially regarding the “natural” death and its relation to an “unnatural” one. A short analysis of what we might find between the frames.