The files of attorney Jens Chr. Gundersen dating from 1906 until 1927 are important sources of early Norwegian Film and Cinema History. The archive comprises 73 protocols and 17,674 documents about the silent film era in Norway. Gundersen owned many cinemas, importing and distributing films in the period before local municipalities took over ownership of most cinemas in Norway. The archive has been little used, but in the research programme SiFTi at Lillehammer University College an attempt has been made to introduce a system that will render the files more accessible. The hope is that in this way they will be more open to future film historians to deepen, find nuances and new perspectives, and to emphasize what is written about early Norwegian film history. The last part of the article is about Gundersen´s privately owned cinemas before Oslo municipality took over.

The most successful film producer in Norway in the period 1949 to 1959 was Otto Carlmar, whose company, Carlmar Film Ltd., which he owned and ran together with his wife Edith, is unique in Norwegian film history. In the space of ten years, the company produced nine feature films. In this article, I examine how Carlmar Film functioned in securing surplus and continuity through different strategies of production and launching, and discuss the company in an historical context.

The producer (and composer, conductor, theatre manager, record company executive, chairman of many cultural enterprises, among other things) Egil Monn-Iversen (b. 1928) was a renowned film producer in Norwegian film history. In the period 1962–1981, his company EMI Productions produced or co-produced 25 films. Monn-Iversen enjoyed a diverse career on the Norwegian musical and theatrical scene, establishing himself as an important and powerful figure in the entertainment business in the country. Many of his film productions were comedies that had considerable success, as had others in the fields of art cinema, historical drama and the only two musicals proper in Norwegian film history. An interesting aspect of his career as film producer was his patronage of the new wave generation of Norwegian directors that emerged in the mid-60s. This article looks into the production practice that Egil Monn-Iversen conducted throughout his career to find out how it was possible to maintain such an extensive and varied production over time.