Mark Sandberg
PhD, University of California, Berkeley
Professor, Department of Film and Media
(Jointly appointed as: Professor, Department of Scandinavian)
Address
Department of Film and Media
7408 Dwinelle Hall #2670
University of California
Berkeley, CA 94720-2670
E-mail: sandberg@berkeley.edu
Bio
Much of Mark Sandberg’s research and teaching engages with late nineteenth-century visual culture and silent film as a medium. He has specific film specialties in American Silent Comedy, Scandinavian cinema history, in certain Scandinavian directors (Sjostrom, Stiller, Dreyer, Bergman, von Trier), and in the contributions of visual culture (museology) and architectural theory to the paracinematic visual culture around the birth of cinema. He regularly teaches courses on Film Historiography, on Pre-cinema, Silent Film Comedy, Scandinavian auteurs, and other topics in early and silent cinema. Current film-related research includes projects on the history and theory of location shooting and a new project on the TV series Mad Men.
Selected Publications
Book:
Living Pictures, Missing Persons: Mannequins, Museums and Modernity (Princeton University Press, 2003).
Articles:
“Location, ‘Location’: Place Substitution in Danish Silent Cinema.” In Border Crossings: Rethinking Silent Cinema, eds. Jennifer M. Bean, Laura Horak, and Anupama Kapse, forthcoming from Indiana University Press, 2012.
“The Interactivity of the Model Home.” In History of Participatory Media: Politics and Publics, 1750-2000, eds. Anders Ekström, Solveig Jülich, Frans Lundgren, and Per Wisselgren. New York: Routledge, 2010. 63-80.
“The Figuration of Temporality in Literary History.” In Vesa Haapala, Hannamari Helander, Anna Hollsten, Pirjo Lyytikäinen, and Rita Paqvalén, eds. The Angel of History: Literature, History, and Culture. Helsinki: University of Helsinki, 2009. 33-47.
“The Architecture of Forgetting.” Ibsen Studies 7.1 (2007): 4-21.
“Doll Housing.” In Sanda Tomescu, ed., Henrik Ibsen, special issue of Studia Universitatis Babes-Bolyai, Philologia (Cluj, Romania; November 2006), 53-60.
“John Gabriel Borkman’s Avant-Garde Continuity.” Modern Drama 49.3 (September 2006).
“Mastering the House: Performative Inhabitation in Carl Th. Dreyer’s The Parson’s Widow.” In C. Claire Thompson, ed. Northern Constellations: New Readings in Nordic Cinema. Norwich: Norvik Press, 2006.
“Multiple-Reel Feature Films: Europe.” In Richard Abel, ed., Encyclopedia of Early Cinema. New York: Routledge, 2005. 452-456.
“Wax Museums: Europe.” In Richard Abel, ed., Encyclopedia of Early Cinema. New York: Routledge, 2005. 686-87.
“The Metropolitan Threshold: Material Mobility and the Folk-Primitive.” Kristin Kopp and Klaus Müller-Richter, eds. Die “Großstadt” und das “Primitive”: Text-Politik-Repräsentation. Stuttgart: Verlag J.B. Metzler, 2004. 93-112.
“Pocket Movies: Souvenir Cinema Programs and the Danish Silent Cinema,” Film History 13.1 (Fall 2001).
“Ibsen and the Mimetic Home of Modernity,” Ibsen Studies 2 (Spring 2001).
“Maternal Gesture and Photography in Victor Sjostrom’s Ingeborg Holm.” Ann-Charlotte Gavel Adams and Terje I. Leiren, eds. Stage and Screen: Studies in Scandinavian Drama and Film. Essays in Honor of Birgitta Steene (Seattle: Dream Play Press Northwest, 2000).
“Writing on the Wall: The Language of Advertising in Knut Hamsun’s Sult.” Scandinavian Studies 71.3 (Fall 1999), 265-296.
“Tracking Out: The Bergman Film in Retrospect.” Review Essay. Scandinavian Studies 69.3 (Summer 1997), 357-376.
“Effigy and Narrative: Looking into the Nineteenth-Century Folk Museum.” In Cinema and the Invention of Modern Life, Eds. Leo Charney and Vanessa Schwartz (University of California Press, 1995), 320-361.
“Rewriting God’s Plot: Ingmar Bergman and Feminine Narrative.” Scandinavian Studies 63.1 (1991), 1-29.