I believe all research is collaborative. It builds on what others have done before. It is affected by and responds to its time, place, and orbit of people. It leaves marks to be opposed or embraced in future explorations by new generations. Some collaborators and contexts are more pronounced than others and deserve special recognition.
First, I would like to acknowledge Annika Boholm, my co-researcher on the BLOD project and co-author of The BLOD method paper. She is my partner in art and we have been friends and collaborators since 1990. Without her deep knowledge, artistic integrity, generosity, and willingness to accommodate our film project to meet the needs of my research questions, my explorations of editing potential wouldn’t have been nearly as fruitful. And not as fun!
Juliette Mapp, my main supervisor, has followed my research from the start and her encouragement and critical sharpness has helped me navigate both the research and the politics of my project. Hers has been an outside perspective on film editing, which has focused my writing. Being a choreographer and teacher of dance, she has also been a great guide in my endeavor to develop compositional strategies that link choreography and editing. She has been my champion through it all, a fabulous and thorough text editor and I am so grateful for her part in this.
Karen Pearlman, my supervisor, joined the supervision team for the second half of the research. Our similar backgrounds in dance and editing combined with her extensive academic experience, has made her my perfect sparring partner and I am honored to include an academic article co-written with her in my thesis. Her research and vast body of publication is a rich source to build from, and the array of output her research generates, from films to video essays, books, and papers, is an inspirational example.
Maria Hedman Hvitfeldt, the head of the film and media department and my boss, has time and again provided great support for this PhD-project. She has accommodated my research needs in relation to my teaching, my hours, equipment, and studios. She has validated my ideas and been open to implementing them within the department and when needed, she has always been there.
My colleagues at the film and media department – teachers, administrators, technical staff, researchers – have facilitated, encouraged, embraced, and challenged me and the research along the way and made the walk to my office feel like home.
Cecilia Roos, vice-rector for research, and Stockholm University of the Arts with their focus on artistic craft and consideration for the ‘art of the hand’, has made it rewarding to be part of this research environment with its PhD-courses, conversations with fellow doctoral candidates, and opportunities for participation in conferences and research seminars. I have particularly appreciated the dialogue and critical exchange with profile professors Ellen Røed (who was my initial secondary supervisor) and Rebecca Hilton. I have gotten new perspectives on my project from Petra Bauer and through the formal structure of research presentations and the invitation of opponents/respondents John Jesurun, Malin Wahlberg, Gesa Marten, Kent Olofsson, and Mick Wilson.
I could not have pursued this without the unwavering support of my family, most of all from my husband Thomas Brennan, who challenges me, tells me to listen to my body and rest, supports any artistic risk-taking and is such a good sport about me revealing intimate details about myself. My parents continuously show me how proud they are of this endeavor, and it means the world to me that my adult children, Johan & Ruth, assist with film shoots and post-production, loyally attend screenings, and most importantly, keep me on my toes.
Juliette Mapp – main supervisor, copy editing
Karen Pearlman – supervisor, add. copy editing
Josefin Herolf – graphic design
Olof Halldin – head librarian
Annika Boholm – co-researcher
Klas Dykhoff - sound mix
Tom Brennan CSI - color grading
film production crew
Carolina Jinde - ADR
Ewa Wallin - animal heads/costume loans
Göran Wendel - carpenter
Magnus Andersson Lagerqvist - add. music recording
Nils Harning - costume loans
Lars-Göran 'Labbe' Nygren - gaffer
BTI - translation/subtitling
film production assistants
Arvid Friberg
Charlotte Markelund
Johan Pahlbäck
Ruth Pahlbäck
Sven Friberg
BLOD presentations crew
Christoffer Limér
David Smith
Leonardo Guzman
Max Edqvist
Robert Allstedt
Roland Engström
Saman Hoseini
Stefan Engman
Tobias Snäll
Thomas Brennan
Torulf Holmström
film extras
Annika Whittembury
Beatrice Pourbagher Garcia
Chloé de Buyl-Pisco
Debhora Vega
Desirée Olame Bayibsa
Diana Harbia Lundberg
Eli Bø
Emmanuelle Guichet
Hainan Zeng
Hanna Åhs
Lena Kempe
Meryam Dogan
Robin Bukhamseen
Sanna Ansgård
Yasmine Seifi
THANK YOU!
Aksel Ekblom
Anders Bohman
Ann-Britt Rönnell, SU
Anna & Per Steen
DIF Djurgården Boxning
Danderyds Tennisklubb
Erica Odell
Fritidsförvaltningen Danderyd
Gustavsbergs bibliotek
Gärdets Squashhall
Göran Lindeman, Wasakronan
Department of film and media
Mats Jörholt andstaff
Kent & Anki Grönström
Lilla Akademin
Loppis-Ingvar Olsson
Lotta Millde Luthander
Louise Scheja
Mihra Lindblom
Nils Pahlbäck
Per Bolkert
Pernilla Lesse, Färgfabriken
Roland Kristiansson
Stocksunds IF
Tove Loheman
Ulf Friberg
ÅVC Hemse
BLOD - the feature
produced by
Migma Film AB
with artistic research funds from
Stockholm University of the Arts
with support from
Filmpool Jämtland
producers
Anita Oxburgh
Annika Boholm
Kersti G. Brennan
© 2020 Migma Film AB, Annika Boholm & Kersti G. Brennan