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| Acknowledgements | |
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| The Writing of a History of Swedish Experimental Film | |
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| Minor Histories of Minor Cinemas | |
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| Minor Cinemas and Experimental Film | |
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| Discourse Analysis and Historiography | |
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| New Film History and Emergent Film Histories | |
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| Practices of Closure: Culture and Memory | |
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| Experimental Film and Intermediality | |
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| National or International Cinema? | |
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| Swedish Experimental Film until the 1950s: The Pre-History from Cartoon to Feature Film | |
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| Film Culture and Experimental Cinema | |
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| The European Context and the Swedish Condition | |
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| Animation Culture: Victor Bergdahl and Early Animation | |
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| Reluctant Modernism: The Swedish Artists and the European Modernist Movement | |
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| Viking Eggeling and the Quest for Universal Language | |
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| The Lost Arabesques of Reinhold Holtermann | |
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| Early Film Criticism and Theory | |
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| Young Writers, Early Cinephilia and the Cinema | |
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| The Film Society Movement and the Film Journals | |
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| "Experimental Film is Dead, Long Live Experimental Film!" | |
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| Gerd Osten: Interlude with Dance | |
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| Gosta Werner: Cinephilia and the Art of the Craft | |
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| Arne Sucksdorff: Documentarist in a Poetic Mode | |
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| Rune Hagberg: Film Noir and Post-War Angst | |
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| The Aporias of Early Experimental Film Culture in Sweden | |
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| The Emergence of Experimental Film | |
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| Arbetsgruppen f�r film/The Independent Film Group | |
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| Eivor Burbeck and R�land H�ggbom: Early Film Production at The Independent Film Group | |
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| The Discourse on Amateur and Experimental Film | |
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| Peter Weiss: Resistance and Underground | |
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| Kinetic Art and Moderna Museet | |
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| Pontus Hult�n and his Companions: Chance and Play | |
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| A New Venue for Film: The Opening of Moderna Museet | |
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| The Art Movements of the 1960s: Film and the Art Scene | |
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| Billy Kl�ver and the New Art of the 1960s | |
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| Venues of the Avant-garde: Fylkingen, Pistolteatern and Marionetteatern | |
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| Regional Avant-garde and Beyond | |
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| Carl Sl�ttne and the Poetry of Politics and Place | |
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| Music and Film | |
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| The Creative Producer and his Director | |
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| The Expanded Field of Experimental Film | |
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| Jan H�fstr�m and Claes S�derquist: Matter and Memory | |
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| The Extension of Independent Film Production | |
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| A New Form of Support: State Funding and the Swedish Film Institute | |
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| Leo Reis and Optical Architecture | |
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| Bo Jonsson and His Contemporaries at the Film School | |
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| Multimedia and Performance Art: �ke Karlung, �yvind Fahlstr�m | |
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| Pre- and post-1968: Peter Kylberg and the Making of Experimental Features | |
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| The Swedish Reception of New American Cinema | |
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| The Changing Landscape of Independent Film Production | |
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| FilmCentrum/Film Centre: A Political Avant-garde | |
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| The (Re)Turn to Documentary | |
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| Filmverkstan/The Film Workshop: Film as Public Sphere | |
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| Films and Filmmakers at the Film Workshop | |
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| The Rise of Animation | |
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| Experimental Animation and the Aesthetics of Immersion: Olle Hedman | |
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| Gunvor Nelson and the Unboundedness of the Moving Image | |
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| The Expanded Field of the Experimental Moving Image | |
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| The Emergence of Video Art | |
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| Institutional Frames for a New Art Form | |
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| From Documenting Technique to Art Form | |
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| Ann-Sofi Sid�n: Explorations into the History of Mentality | |
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| Returns and Openings | |
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| Bibliography | |
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| Endnotes | |
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| Name Index | |
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| Film Index | |