This paper discuses three different freakshow-attractions at the amusement park Gröna Lund in Stockholm during the 20th century; two tribes from the African continent, the exhibit of people with dwarfism and all female striptease. These attractions have been examined with international and intersectional perspective aswell as their effect on the possible heritage status of the amusement park Gröna Lund and their part in creating a so-called dissonant heritage. The thesis does not examine individual freaks or the amusement often refereed to as burlesque that also was an important part of the amusement park Gröna Lund. By studying the amusement park Gröna Lund’s company archive at the Centre for business history in Stockholm I found the main source material for this thesis. This material consisted of pictures, commercial flyers given out at exhibitions, advertising banners and articles from various Swedish newspapers. The material has then been exposed to both textual and image analysis. The result is that the human attractions at Gröna Lund can, and should, be seen as a part of an international freakshow market - although influenced by social and political trends and institutions. I also argue that the amusement park, and the human attractions are a part of a dissonant heritage, a more intersectional Swedish heritage. This is a two years master’s thesis in Archive, Library and Museum studies.

This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American folk art painting methodologies, which fail to investigate banner painting style, format, and artistic training associated with banner work.

<p>This thesis discusses the representation of bodies in todays non-fiction television in Sweden. I have chosen to focus on deviant bodies (sexual, deformed or unhealthy) on display in reality-shows and documentaries on SVT, TV4 but especially on the commercial channels TV3 and Kanal5. Also discussed are the viewers emotional and bodily reactions. Altough these shows are different from one another in many respects, I argue that there is also a common thread between them. From a sociological and cultural perspective, and with help of some historical examples, I try to illustrate how we view these shows and what their function is. I conclude that the body is a site of powerstruggle and that these shows have many different levels of meaning. We cathegorize and value these deviant bodies but also our own. It is about making creating a ”us and them” and in the long run it has to do with making class and identity. The voyeuristic pleasure in watching these people displayed on TV is made possible from the safe distance of our livingroom.</p>

<p>Syftet med denna studie är att undersöka och diskutera samtidens porträttering av maskulinitet och avvikelser inom populärkulturen. För att genomföra denna studie analyseras två olika teveserier varav den ena är en dokusåpa och den andra en dramaserie. Båda serierna uppstod vid en och samma tidpunkt på olika delar av världen. Den likhet som fanns mellan dem var att de porträtterade framväxten av en och samma fenomen, nördar som ny manlighet. Analysen genomförs utifrån teoretiska verktyg med grund inom remedering samt teorier om immersivitet och manlighet men även en återkoppling till begreppet freakshow. Uppsatsen är förankrad för att lyfta fram tankar och aspekter kring framväxt av den manliga identiteten men även väcka nya diskussioner.</p> / <p>The purpose of this study is to examine and discuss the current ways of portraying masculinity and deviations within popular culture. For this study, I’ve focused on two different sources, one being a reality-show and the other being a fictional series. Both of these series aired for the first time during 2005, though not in the same country. Despite the distance, both of these series portrayed the appearance of new masculinity, in this case, the fact of being a nerd as a new masculinity. The analysis focuses on examining the series with roots in the remediation theories as well as concepts of the immersive media and masculinity. Also, placing these series in a context where they can be compared to the late freakshow phenomena. This study aims to bring up thoughts around appearances of masculine standards as well as plant seeds for future discussions.</p>

This thesis discusses the representation of bodies in todays non-fiction television in Sweden. I have chosen to focus on deviant bodies (sexual, deformed or unhealthy) on display in reality-shows and documentaries on SVT, TV4 but especially on the commercial channels TV3 and Kanal5. Also discussed are the viewers emotional and bodily reactions. Altough these shows are different from one another in many respects, I argue that there is also a common thread between them. From a sociological and cultural perspective, and with help of some historical examples, I try to illustrate how we view these shows and what their function is. I conclude that the body is a site of powerstruggle and that these shows have many different levels of meaning. We cathegorize and value these deviant bodies but also our own. It is about making creating a ”us and them” and in the long run it has to do with making class and identity. The voyeuristic pleasure in watching these people displayed on TV is made possible from the safe distance of our livingroom.

Syftet med denna studie är att undersöka och diskutera samtidens porträttering av maskulinitet och avvikelser inom populärkulturen. För att genomföra denna studie analyseras två olika teveserier varav den ena är en dokusåpa och den andra en dramaserie. Båda serierna uppstod vid en och samma tidpunkt på olika delar av världen. Den likhet som fanns mellan dem var att de porträtterade framväxten av en och samma fenomen, nördar som ny manlighet. Analysen genomförs utifrån teoretiska verktyg med grund inom remedering samt teorier om immersivitet och manlighet men även en återkoppling till begreppet freakshow. Uppsatsen är förankrad för att lyfta fram tankar och aspekter kring framväxt av den manliga identiteten men även väcka nya diskussioner. / The purpose of this study is to examine and discuss the current ways of portraying masculinity and deviations within popular culture. For this study, I’ve focused on two different sources, one being a reality-show and the other being a fictional series. Both of these series aired for the first time during 2005, though not in the same country. Despite the distance, both of these series portrayed the appearance of new masculinity, in this case, the fact of being a nerd as a new masculinity. The analysis focuses on examining the series with roots in the remediation theories as well as concepts of the immersive media and masculinity. Also, placing these series in a context where they can be compared to the late freakshow phenomena. This study aims to bring up thoughts around appearances of masculine standards as well as plant seeds for future discussions.

Last summer, when I began thinking about my thesis, I tried to look back on my earlier work with a more critical eye. I noticed that my focus had largely been on trying to find my own idiom, and improving my construction skills. In the middle of my education I discovered the freedom in draping, and I challenged myself by putting the pen aside and instead make three-dimensional sketches. Looking back, I believe that I succeeded in producing the organic expression I had envisioned. I had still to explore materials more deeply, though, and therefore I made a summer course with exclusive focus on materials. These were the first steps towards beginning my thesis. There were a lot of things I wanted to explore in my thesis, and many techniques I wanted to try. I wanted to believe in myself and my strong sides, but also dare to explore completely new things and go one step further than before, without fear- ing failure. Being very comfortable with construction and cutting, I can quickly try my ideas to see if they work out or not. My sketching is uncontrolled, coarse and pretty abstract, it is through sketching my ideas evolve. I am fast when I make my sketches, be it by pen or three-dimensionally, but I work much more slowly towards the end when it’s time to work on the details, where I am meticulous.