An encyclopaedic overview of the staff at the Department of Film and Media at the Stockholm University of the Arts.This book is a message to the future. It provides a picture of how patterns of thought and action took shape in relation to higher education and research at the Department of Film and Media in the years 2025–2026. It is more than a book. It is a time capsule.It will journey into the future and bear witness to the breadth, the generosity towards students’ ideas and the respect for artistic freedom upon which our higher arts education is founded – where we regard film, radio, sound and the moving image both as artistic languages and as ways of understanding the world. It bears witness to what occupied the minds of those who taught, conducted research and ensured that the work ran smoothly in collaboration with the students. A place where the storytellers of the future are shaped within a context where experimentation, reflection and care form part of the artistic mission.The book is the result of a collaboration between the Department of Film and Media and the Library to produce a publication in the form of an anthology presenting all staff members and subjects within the Department of Film and Media.The aim of the publication is, in a changing world, to highlight the depth and breadth of the department’s education and research, and to make the results accessible to the wider community.

“The Toolbox” is an artistic intervention at the conference which gathered a set of choreographic tools for how to organize the space and present one’s paper within the conference, relating to hierarchical structures, spatiality, time and the embodied experience of “conference-ing”. Participating members in the crew were scholars and artists presenting papers within the conference, taking on the role to facilitate and help other conference presenters to use the toolbox in their own way throughout the conference.

Based on a practice called "The circular voice practice" the performance trio Tender motor (Kajsa Wadhia, Moa Franzén and Tove Salmgren) guide the participants through an improvisational session based on listening, voicing and moving.

This practice-led research investigates orality as a methodological framework for constructing authenticity in documentary filmmaking through the concept of “Voice-as-a-Method.” Drawing on personal material and the production of the short film Un Vague Souvenir (2026), the study explores how spontaneous spoken narration can be integrated into the development of voice-over. Situated within documentary theory and informed by scholars such as Bill Nichols, Michel Chion, and Paul Ward, the research interrogates authenticity as a constructed, relational effect shaped by performance, narrative structure, and audience perception. Through five iterative experiments—ranging from unscripted voice recordings to structured and performed narration—the study identifies a productive tension between spontaneity and formal coherence. The findings demonstrate that neither pure orality nor fully scripted narration alone sustains perceived authenticity; instead, a hybrid approach emerges as most effective. This approach, defined as “structured improvisation with semantic anchors,” allows the voice to retain its oral, performative qualities while operating within a flexible narrative framework. The paper ultimately proposes Voice-as-a-Method as a practice-led toolkit that foregrounds performance, embraces the instability of authenticity, and enables filmmakers to balance intuitive expression with intentional construction in the pursuit of a more embodied and affective documentary voice.