The 1977 catalogues The Traveler and Playtime have been used as a basis for comparing the earlier versions of Marimekko construction of the female consumer to the most recent, as their themes encompass the ideas of the professional, independent Mari Girl of Armi Ratia’s leadership (1951-1979). The material chosen for investigation includes: Marimekko anthologies Phenomenon Marimekko (Rahikainen-Haapman, Kaarakka & Vuorimaa Eds., 1986) and Marimekko: fabrics, fashion architecture (Aav Ed., 2003) journal, newspaper and online articles in addition to Annual Reports from 1999 to 2006 and Marimekko News from 1999 to 2006. Textual materials written in the English language have been used to gauge the way that ‘Marimekko (Finnish) women’ are being constructed and marketed to an international audience. Concepts of the ‘monument-Finnish woman’ as examined and described by Koivunen (2003) have provided the framework through which representations of Marimekko’s female leaders, staff and consumers are connected to various Finnish national discourses. These are then linked to the Finnish socio-historic context. This is done by observing repetition and usage of symbols, expressions and descriptions in media and anthology texts, and pictorial and textual advertising material. To decipher these narratives, analysis of articulation is employed.
#Discografia ari koivunen torrent series#
Homi Bhabha’s (1990) theory on the formation of national identities through series of narratives is used to read and reconstruct the narratives of Marimekko in relation to Finnish national discourse. Nation is also a central theme, as in this research gender is considered to be a series of culturally bound performances.
The theoretical basis of this analysis consists of Judith Butler’s (1990) concept of ‘performativity’ and the notion of gender as a performance, in addition to ‘interpretive framing’ as described and demonstrated by Anu Koivunen (2003). This is furthered by a discussion of the gender hierarchies at play in the fields of design and craft (textiles being traditionally classified as craft and a domain historically dominated by females). The thesis also examines how these representations have changed in the 56 years of the company’s existence, and how gender has played a part in defining the nature of Marimekko production. This research investigates the representations of prominent female corporate leaders (Armi Ratia and Kirsti Paakkanen), staff and female consumers in the advertising, media and anthology texts of the Marimekko Corporation – a Finnish textiles and clothing company. Through processes of citation, repetition, and re-cycling the films have acquired not only a heterogeneous and contradictory interpretive legacy, but also an affective force. Based on extensive empirical research, Koivunen argues that the Niskavuori films have mobilized readings in terms of history and memory, feminist nationalism and men’s movement, left-wing allegories and right-wing morality as well as realism and melodrama.
Close-reading posters, advertisements, publicity-stills, trailers, review journalism, and critical commentary, she demonstrates how The Women of Niskavuori (19), Loviisa (1946), Heta Niskavuori (1952), Aarne Niskavuori (1954), Niskavuori Fights (1957), and Niskavuori (1984) have operated as sites for imagining “our agrarian past”, our Heimat and heritage as well as “the strong Finnish woman” or “the weak man in crisis”.
In Performative Histories, Foundational Fictions, Anu Koivunen analyzes the historicity as well as the intertextuality and intermediality of film reception by focusing on a cycle of Finnish family melodrama and its key role in thinking about gender, sexuality, nation, and history. In the age of television, “old films” continue to live as history and memory. Moreover, films themselves become signs to be cited and recycled as illustrations of cultural, social, and political history as well as national mentality. Through such interpretive framings by contemporaries and later generations, popular cinema is embedded both in national imagination and endless intertextual and intermedial frameworks. Reviewers assess new films with reference to other films and cultural products as well as social and political issues. Promotional publicity markets “domestic films” not only as entertaining, exciting, or moving, but also as topical and relevant in different ways. Films are integral to national imagination.
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