Tonje Haugland Sørensen
Biographic Data
| ID | 3766400 |
|---|---|
| NAME | Tonje Haugland Sørensen |
| GIVEN NAMES | Tonje Haugland |
| FAMILY NAME | Sørensen |
| SIGNATURE | SØRENSEN T H |
| AFFILIATIONS | University of Bergen |
| ORCID | 0000-0002-9118-7645 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Destruction of a Sacrosanct Past
Central to this reflection upon the interconnectedness between the destruction of a monument in Norway after the Second World War and iconoclasm will be work by Swiss art historian Dario Gamboni who, in The Destruction of Art (1997), argues that any understanding of modern and contemporary iconoclasm must be contextualized via the redefinition of art and its actual autonomy. In so doing, this article will open a twofold reflection concerning icon…
The Trails of Memory – Remembering the Heavy Water Raid in Norway
A Second World War sabotage act targeting the production of Heavy Water (D20, deuterium oxide) in inland Norway, figure among the best known and best-remembered acts of sabotage in Norwegian history. This article considers the various acts of remembrance regarding this event and explores the intermedial intertwining of its trails of memory. It looks at the semi-documentary film released in 1948, the industrial factory turned World Heritage Site, …
The last western— Deadwood and the end of American empire
Dansk film under nazismen
Historical Film
Of the peculiarity of historical films, Pierre Sorlin remarked that these films were ‘defined according to a discipline that is completely outside the cinema: [...], and when we speak of them we refe
European Cinema and Intertextuality. History, Memory and Politics
Ewa Mazierska, Basingstoke/London, Palgrave Macmillan, 2011 xi+285 pp., illus., bibliography, index, £55.00 (cloth) European Cinema and Intertextuality: History, Memory and Politics by Ewa Maziersk
Destruction of a Sacrosanct Past
Central to this reflection upon the interconnectedness between the destruction of a monument in Norway after the Second World War and iconoclasm will be work by Swiss art historian Dario Gamboni who, in The Destruction of Art (1997), argues that any understanding of modern and contemporary iconoclasm must be contextualized via the redefinition of art and its actual autonomy. In so doing, this article will open a twofold reflection concerning icon…
European Cinema and Intertextuality. History, Memory and Politics
Ewa Mazierska, Basingstoke/London, Palgrave Macmillan, 2011 xi+285 pp., illus., bibliography, index, £55.00 (cloth) European Cinema and Intertextuality: History, Memory and Politics by Ewa Maziersk
European Cinema and Intertextuality. History, Memory and Politics
Ewa Mazierska, Basingstoke/London, Palgrave Macmillan, 2011 xi+285 pp., illus., bibliography, index, £55.00 (cloth) European Cinema and Intertextuality: History, Memory and Politics by Ewa Maziersk
Historical Film
Of the peculiarity of historical films, Pierre Sorlin remarked that these films were ‘defined according to a discipline that is completely outside the cinema: [...], and when we speak of them we refe
The last western— Deadwood and the end of American empire
Dansk film under nazismen
The Trails of Memory – Remembering the Heavy Water Raid in Norway
A Second World War sabotage act targeting the production of Heavy Water (D20, deuterium oxide) in inland Norway, figure among the best known and best-remembered acts of sabotage in Norwegian history. This article considers the various acts of remembrance regarding this event and explores the intermedial intertwining of its trails of memory. It looks at the semi-documentary film released in 1948, the industrial factory turned World Heritage Site, …
Destruction of a Sacrosanct Past
Central to this reflection upon the interconnectedness between the destruction of a monument in Norway after the Second World War and iconoclasm will be work by Swiss art historian Dario Gamboni who, in The Destruction of Art (1997), argues that any understanding of modern and contemporary iconoclasm must be contextualized via the redefinition of art and its actual autonomy. In so doing, this article will open a twofold reflection concerning icon…
Art (4 works) · History (4 works) · History (3 works) · Art history (2 works) · European history and politics (2 works) · Italian Fascism and Post-war Society (2 works) · Law (2 works) · Law (2 works) · Materials Science (2 works) · Memory, Trauma, and Commemoration (2 works)