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  • 1.
    Abdulla, Lana
    Halmstad University, School of Humanities (HUM).
    Kulturkonflikter: En komparativ studie av synen på ras och klass i Spike Lees Do The Right Thing & Mike Leighs Hemligheter och lögner2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I två analyser av filmerna; Do The Right Thing av Spike Lee (1989) och Hemligheter och lögner av Mike Leigh (1996), har jag undersökt  hur och varför samhällsproblematik  som berör klass- och rasfrågan presenteras på film utifrån hur cultural studies teoretiskt förhåller sig till problematiska relationer mellan kulturella identiteter i USA och Storbritannien. Jag kom fram till att identifikationen av den kulturella identiteten var olika i respektive länder; USA och Storbritannien. I USA var rastillhörigheten utgångspunkten för den kulturella identiteten och i Storbritannien var det klasstillhörigheten utgångspunkten för den kulturella identiteten.

  • 2.
    Ahlqvist, Thomas
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    När filmen kom till Karlskrona: Exempel på filmvisning i den svenska landsorten 1897 - 19052015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar filmförevisning i Karlskrona fram till nyårsafton 1905. Undersökningen, som utförts med 1897 som utgångsår, belyser också övrig bildvisning på orten. Uppsatsens huvuddel utgörs av en kronologisk genomgång av de filmvisningar som förekommit på orten.

    Uppsatsens arbetsmetod är arkivforskning. Som primärkälla har främst Karlskrona Veckoblad, som i den undersökta tidsperiodens slutskede utgavs med sex nummer per vecka, använts.

    Den första filmvisningen gick av stapeln 26 december 1898 i Ordenshuset på Ronnebygatan. Uppsatsen visar att denna lokal intagit en närmast monopolartad roll när det gällde uthyrning till kringresande filmvisare, vilka under tidsperioden framför allt visade ett blandat program med både kinematografi och skioptikonbilder. För mer religiösa filmer, som olika varianter av passionsspelet, erbjöd den vanliga kyrkan visningslokaler och dessa filmer verkar därmed ha nått en stor publik. Däremot har frikyrkorna och framför allt arbetarrörelsen i Karlskrona inte varit speciellt frekventerade som uthyrare.

    Kungsplanen var platsen för stadens enklare nöjesliv - hit kom både kringresande cirkus och tivoli. Just cirkusen verkar ha varit en viktig arena i Karlskrona för filmvisning under såväl det första som under undersökningens sista år. Under de mellanliggande åren var däremot cirkusen inte aktuell som filmvisningslokal. Den första fasta biografen etablerades i början av december 1905 i nära anknytning till området och den andra, som startade veckan efter, placerades i den cirkusbyggnad som uppförts på Kungsplanen. I Karlskrona existerade alltså en koppling mellan film och nöjesfält.

    I en avslutande del diskuteras också publiksammansättningen och en hypotes om att förevisarna ofta riktade sig till ung publik framförs.

  • 3.
    Aini, Sorush
    Örebro University, School of Humanities, Education and Social Sciences, Örebro University, Sweden.
    Från Rocky Balboa till Freddy Heflin: En komparativ stjärnstudie av Sylvester Stallone2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 4. Ajanovic, Midhat
    Dockorna som älskar och skrattar2011In: Göteborgs-Posten, no 30/1, 98-98 p.Article, book review (Other (popular science, discussion, etc.))
  • 5.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media Production.
    "Jag går efter min näsa"2010In: Göteborgs-Posten, Vol. 28 januari, 131-131 p.Article, book review (Other (popular science, discussion, etc.))
  • 6.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Tragajuci za kompleksnim kadrom: Roy Andersson, sadasnji i buduci klasik2010In: Sarajevske sveske/Sarajevo Notebok magazine, ISSN 1512-8539, no 29-30, 548-562 p.Article in journal (Other academic)
    Abstract [en]

    Midhat Ajanovic's My Choice paints an idiosyncratic portrait of the most well-known Swedish director, Roy Andersson, and provides a translation of an inspirational program text by this controversial filmmaker.

  • 7.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Animator in focus:  Caroline Leaf 2010In: Catalogue, 33rd Göteborg International Film Festival, no 33, 14-15 p.Article in journal (Other (popular science, discussion, etc.))
  • 8.
    Ajanovic, Midhat
    University West, Department of Economics and Informatics. University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Ohrozený megalopolis japaneského ANIME 32011In: Homo Felix, ISSN 1338-2268, no 1, 71-72 p.Article in journal (Other (popular science, discussion, etc.))
  • 9. Ajanovic, Midhat
    Crtic kao zanr: pristup zanru u filmskoj i digitalnoj animaciji2009In: Hrvatski filmski ljetopis, ISSN 1330-7665, no 43/45, 99-105 p.Article in journal (Other (popular science, discussion, etc.))
  • 10.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ženska crta britanskog animiranog filma/Feminine current of British animation: Bokumentarizam, društveni angažman i feminizam britanske animacije.2011In: Hrvatski filsmi ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 65/66, 24-46 p.Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    In the animated film of the 1970s and later, the modernist poetics of, for example, theZagrebSchoolstarted to feel outdated. This was the reason for the a whole group of new female and male authors to emerge and to tackle pressing social issues, including animated cinema as a new, alternative medium for public debate. Among a number of social issues tackled primarily in British and Canadian films, the field of gender inequality and the position of women in the society came to the foreground. The paper also follows the history of female presence in animated film and the history of female topics' affirmation in this medium, starting with Helen Smith Dayton, Lotte Reiniger and Mary Ellen Bute, to Marjut Rimminen and the influence of the Channel Four production (producer C. Kitson), or rather the authors such asCaroline Leaf, Angela Martin, Candy Guard, Alison Snowden, Karen Watson and Gillian Lacey. Special attention is dedicated to Alison De Vere and Joanna Quinn. Non.British authors are mentioned as well, such as Monique Renault. What is particularly interesting is the influence of British documentary tradition (alo0ng the lines of John Grierson( which blended with animated film and other visual arts traditions. However, in animated films women had to struggle for the right to comedy as an artistic choice as well because the prejudice related to female sense of humor was extremely strong. The author concludes by stating that contemporary animation does not discriminate against women at all.  

                                                                                                 

     

     

  • 11.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Anime ohrozený megalopolis japaneského 2010In: Homo Felix, no 1, 68-71 p.Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Little man at the turn of the worlds : A view of the origin, history and basis of the phenomenon of the Zagreb School of Animated Film 2010Other (Other (popular science, discussion, etc.))
  • 13.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Mannen som tecknade Musse Pigg2010In: Göteborgs-Posten, no 18/12, 114-114 p.Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Nedovrsena prica2010In: Kvadrat, ISSN 1845-8009, no 22, 93-95 p.Article in journal (Other (popular science, discussion, etc.))
  • 15.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The "Clayman" from Norway and his worlds2011In: Catalogue, 34th Göteborg International Film Festival, januari - februari 20011, Vol. 34, no 34, 16-20 p.Article in journal (Other (popular science, discussion, etc.))
  • 16.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Tamna strana Potemkinovih kulisa: sovjetski animirani film od animiranih agitki do animacije otopljavanja u filmovima Fjodora Hitruka 2010In: Hrvatski filmski ljetopis, ISSN 1330-7665, Vol. 63, 70-93 p.Article in journal (Other (popular science, discussion, etc.))
  • 17.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Procvat cjelovečernje animacije (Renaissance of full-length animation): Srastanje dokumentarnog i animiranog filma jedan je od najinteresantnijih fenomena u medijskoj industriji našeg doba, osobito stoga što se u toj formi neke važne teme, pogled na stvarnost i historiju tretiraju na sasvim drugačiji način od onog u standardnim medijima.2015In: Mediacentar, SarajevoArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Linking up documentary and animated film is one of the most interesting phenomena in the media industry of our time especially as animated documentaries treat some important topics, view of reality and history in a different way from that of the standard media. 

  • 18.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Throbbing Desire: During the 70s and 80s, a feminist animation movement grew forth with the Czech creator Michaela Pavlátová as one of the central figures. This year’s animator in focus is an exuberant fountain of ideas who with humor and rich imagery portrays inequality, masturbation and unhappy marriage.2015In: Catalogue, 38th Göteborg International Film Festival, ISSN 1102-6448, no 01, 23-28 p.Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Bizarre and Depoliticized2014In: FIPRESCI Fédération Internationale de la Presse Cinématographique 
International Federation of Film CriticsArticle, review/survey (Other (popular science, discussion, etc.))
  • 20.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    An Attempt at Reading and Understanding the Animated Film Don Quixote by Vladimir Kristl2015In: Animation: A World History: Volume II: The Birth of a Style / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, 71-75 p.Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om Zagrebskolan för animerad film.

  • 21.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Priit Pärn2015In: Animation: A World History: Volume III: Contemporary Times / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, 140-144 p.Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om animation i Estland

     

  • 22.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Usamljeni detektiv u svijetu pohlepe i lazi/Lonely detective in a world of greed and lies: Jedan pogled na  dugovječnu tradiciju tvrdo kuhanog trilera u literaturi i na filmu/One look at the long-lived tradition of hard-boiled thriller in literature and film.2016In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN ISSN 1330-7665, Vol. 22, no 85, 163-196 p.Article in journal (Other academic)
    Abstract [en]

    This essay is centred on the phenomenon of the specific socially critical so-called hard-boiled thriller that distinguished itself as a separate film genre in the USA already during 1920s. The reason for this should be looked for in the everyday life that provide versatile stimuli and inspiration, but first of all in hard-boiled literature that rose to stardom in this period. Another typical American genre, western, deals with the, not only geographically, but also strictly time-limited vision of American history in the years of expansion and settlement (the beginning of western coincides with the emergence of the Colt revolver and its end with the time when cars replaces horses) and in principle represents a glorification of American history and system. However, crime film has a tendency to adjust its framework to the changing historical circumstances, different and new media and is integrated in other cultures, most frequently as an eminent critique of capitalist society. Dashiell Hammett, author and screenwriter, played the most prominent role in the process of genre defining. He basically created the American-type thriller and made it an independent literary genre. Although he authored only a small number of literary works and although he has been more or less completely unrecognized by the academic and literary establishment, with is prose Hammett stimulated the development of the hard-boiled thriller and the aesthetic model on which it was based which transferred from literature to feature film and from there to other media as well, such as comic book and videogames. The model was successfully adapted to non-American environments as well in the form of original hybrids such as Scandinavian thriller for example. What Hammett inserted into crime literature, and indirectly into film and other media as well, is the perception of reality embodied through the modelling of protagonists and a complete relativisation of the line between good and evil. As a man who was all but apolitical, he contemplated society from the inside, from its darker and unembellished, but artwise much more stimulating side, formulating the hard-boiled thriller as a specific socially critical discourse.  On the one hand, this essay is constructed as an analytical overview of the development of genre, its characteristic and significance, and on the other hand as an attempt to provide arguments for the thesis on the stableness of the model, and its vitality, durability as well as pronounced presence in other media and non-American cultures. Regardless of time periods, different characteristics related to theme and style, and subgenres (crime film, gangster film, film noir, police drama, etc.), hard-boiled thriller is, just like Aristotle’s three-act structure, demonstrated as a magic formula on which a highly critical vision of the dominant modern civilisation system related to state, values and culture was based for almost an entire century.

  • 23.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Milan Blazekovic: life in a cartoon =  Život u crtanom filmu 2010 (ed. 1)Book (Other (popular science, discussion, etc.))
  • 24.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Swedish animated film - 100 Years: Animated children's films, commercials, animated documentaries, as well as films influenced by comics made by distinct individualists are the cornerstones this cinematic phenomenon is based on.2015Conference paper (Other academic)
  • 25.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Sketching Out the ”Proxy Space”2016In: / [ed] Franziska Bukner, 2016, 15-15 p.Conference paper (Other academic)
    Abstract [en]

    Animation is usually defined as the moving image that
 is not recorded from a real-time movement but the
 movement created artificially. My concern here is the 
visualisation of the space inaccessible for either pho
tographic film image or our sensory apparatus. I see it
 as the crucial attribute of animated image that is equally 
important for understanding of the animation medium
as the movement making. What the philosopher Paul 
Crowther labelled as "proxy space in animated film"
(quoted by Donald Crafton 2013: 147) could in my own
interpretation be distinguished as the creation of the diegetic space that only exists in the viewers' imagination, and only in the moment while they are watching the film. Mise-en-scène in animation is always a symbol for a space, no matter how convincing an illusion of three dimensions is created in some particular film. Actually, many animators who are active in our time exploit the fact that digital animation made a possible perception of space totally inaccessible to the photographic film technique. For instance the penetrating camera (fly-through) dissolves the restrictions associated with the pictorial space so that we can reach what we cannot see beyond the picture's surface. However, in this short presentation I aim to examine that aspect of animation in the realm of traditionally made animated films in order to verify the view on the "proxy space" being always an essential part of the animated image regardless technical or production conditions.In order to explore varied approaches toward the creation of "proxy space" I will look at some canonical films produced during the golden age of Zagreb School of Animation. Those films made by Vladimir Kristl, Dušan Vukotić, Borivoj Dovniković, Vatroslav Mimica and Nedeljko Dragić, provide lot of evidences that prove that animation space stands for an inherent liberation from the limitations of the laws of physics and entering into the world of the fantastic, symbolical and metaphorical. Employing various minimalistic methods the Zagreb animators created a complex multi-dimensional representation of space. By using several film examples I am going to emphasise five different methods in this paper.

  • 26.
    Albinsson, Emma
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    En glimt av Clint: En regissörs utveckling2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 27.
    Alexander, John
    Stockholm University.
    Screen play: audiovisual narrative & viewer interaction1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    How does the viewer, interact, with the on-screen narratives of film, television and computer? What new forms of interaction can be realised with the emerging narratives of CD-ROM and Internet?

    This study considers screen play in terms of the game the viewer plays with audiovisual narrative, and how the viewer negotiates with a story to interpret, revise and reconstruct new stories of their own.

    Aspects of game and narrative theories, cognitive psychology and phenomenology, as well as recent research in the fields of cinema, television and computer studies, are incorporated within a screen play theory, which positions the viewer both as player and storyteller. Thus, screen play can be defined as a fusion of the external screen narrative and the internal and individual scenario.

    In addressing the divide between player and game ?, the mystic gulf, between viewer and narrative ? a re-assessment of early film theory plays an important part in coming to terms with the fin du siècle playground represented by the cinematographe a century ago, and the digital IT playground of the present, and an emergent narrative, in whatever form it may take.

  • 28.
    Almerheim, Lars
    University College of Arts, Crafts and Design, Institutionen för Bildpedagogik (BI).
    Kunskapsfilm eller katastroffilm: om metoder i film- och TV-analys1987Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 29.
    Almgren, Anders
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Klippmakarna på YouTube: En uppsats om författarskap i nyare media2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    En uppsats som reder ut vad en författare är och vilken roll denne intar i ett nytt medium som YouTube. Genom att undersöka forskning om författarens roll i äldre media och analyser av tre olika författarroller på YouTube utreder den här uppsatsen hur rollen ser ut i ett nyare media. Här analyseras en tydligt enskild uppladdare på YouTube, klipp skapade och uppladdade av ett produktionsbolag och ett fenomen där olika uppladdare använder samma ursprungsmaterial för att skapa nya kreationer.

    Både litteratur och filmforskningen har överlag fokuserat på den enskilda författarrollen men den här uppsatsen påvisar dock att kollektivt författarskap blir tydligare i ett medium som YouTube.

  • 30.
    Ambjörnsson, Gunila
    Södertörn University College, School of Culture and Communication.
    Spela roll: filmregissör: Om tolkning, kommunikation och duktiga flickor2009Independent thesis Advanced level (degree of Master (One Year)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.

    The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.

    From the director’s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ”understanding” dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you don’t want your professional role to look like.

    The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script.

    The role of director is also a role, and must be played. Men and women often do it in very different ways. Much more is permitted for men, in the name of”art.” The role of the artist is as such, defined by men. Women are expected to be reasonable and the (their) stage for action appears to be more limited. This is what is expected of them, and is also what many women try to live up to, often in direct conflict with their own interests. It is important to become a less reasonable but clearly defined person.  This often requires training. To become a good director you need knowledge, empathy and experience gained through many mistakes, and not least, you need what Aritsoteles calls fronesis.

  • 31.
    Anderson, Adrian
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Dokumentärfilm och liminalitet: Transition, tillblivande och transformation2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 32.
    Andersson, Björn
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Geography, Media and Communication.
    Skräcken i Lådan: En studie om rumslig åskådarmedvetenhet i George A. Romeros tre klassiska skräckfilmer2013Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis focus on the presentation of the filmic room the viewer sees in George A. Romero´s three horror classics Night, Dawn and Day of the Dead. The hypothesis goes as follow; fear and element of tension becomes greater if the audience/viewer has a good knowledge about the filmic room in the film, in other words, a good spatial awareness. The conclusion is that it does. The environment is active in its becoming and in its presentation to the viewer. Rooms and places, even objects, is a catalyst and a mean to create emotion. To tackle the problem regards to human emotion, which is highly subjective, ANT (actant-network-theory) is used. This theory is a tool to help decode what it is we find emotionally enticing regards to room and objects in the films.

  • 33.
    Andersson, Carl
    Halmstad University, School of Humanities (HUM).
    Transhumanism: En studie av biomodifikation och makt i "Robocop" och "Gattaca"2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den mänskliga horisonten har alltid varit föremål för expandering. Sökandet efter att finna ny potential i vårt biologiska pussel har varit, och är, något som ständigt utvecklas. En kontroversiell gren i detta sökande utgörs av transhumanism. I denna uppsats tillämpas den teori och ideologi som utgör transhumanism, och återknyts övergripande till filmerna ”Robocop” och ”Gattaca” då dessa filmer belyser punkter som berör denna teori. Frågor som väcks utifrån denna teori är olika aspekter av makt, vilket knyts samman med en marxistisk teori om makten, men även utifrån Michel Foucaults biopolitik. Analysen avslöjar att det finns många bekymmer med transhumanismen, samtidigt som den inte på något sätt är en detaljerad redovisning av alla perspektiv av teorin – den är diskutabel, men tåls att kritiseras utifrån dess olika grenar och användningsområden.

    Studien utförs via en kvalitativ forskningsmetod, som fokuserar på frågeställningar anknutna till filmerna och teorierna, och där egna tolkningar utgör det resultat som framställs i uppsatsen.

  • 34.
    Andersson, Emelie
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Eventbubblan i syd: En studie av Film i Skånes eventverksamhet2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsen är en undersökning av eventkulturen i det regionala resurscentrumet Film i Skåne.

    Uppsatsens teoretiska utgångspunkter är befintlig forskning om den svenska filmproduktionens regionalisering, vilken är en förutsättning för Film i Skånes hela verksamhet, samt forskning om filmfestivalernas funktion för enskilda filmer och dess ursprungsland/region. Syftet med uppsatsen är att ta reda på hur eventkulturen främjar Film i Skånes verksamhet och vad eller vilka som gynnas av verksamhetens eventkultur.

    Tre stycken former av event som Film i Skåne arrangerar/samarrangerar förklaras och diskuteras i en analys med syftet att ta reda på hur eventkulturen fungerar och verkar. De utvalda eventen är CineSkåne, M:Dox och Filmbar. Med hjälp av de teoretiska utgångspunkterna utreds eventens funktion i Film i Skånes verksamhet.

    I slutdiskussionen argumenteras det för att eventkulturen i Film i Skånes verksamhet blir ett verktyg för att stärka sin egen position i filmsverige och säkra den egna tillväxten. Det argumenteras också för att eventkulturen gynnar filmklimatet i regionen genom ett brett arrangörsnätverk som når ut i stora delar av regionen samt att de möjligheter till möten och utveckling för filmarbetare som eventkulturen också bidrar med är till stor fördel för dem.

  • 35.
    Andersson, Emil
    University of Gävle, Faculty of Education and Business Studies, Department of Humanities.
    Scott Pilgrims resa från serie till film och spel2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 36.
    Andersson, Helen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Theology, Department of Theology, Studies in Faith and Ideologies, Ethics.
    Rått kött och tillagat: Monster i amerikansk skräckfilm2005In: Film och religion.: Livstolkning på vita duken / [ed] Tomas Axelson & Ola Sigurdson, Stockholm: Cordia , 2005, 243-265 p.Chapter in book (Other academic)
  • 37.
    Andersson, Josefin
    Örebro University, Department of Humanities.
    Produktplacering: i komedifilmer 20062008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 38.
    Andersson, Lars Gustaf
    et al.
    Lund University, Sweden.
    Sundholm, John
    Karlstad University, Sweden.
    Editorial: Film Workshops in Europe2011In: Studies in European Cinema, ISSN 1741-1548, Vol. 8, no 3, 167-169 p.Article in journal (Refereed)
    Abstract [en]

    An introduction is presented in which the authors discuss various reports within the issue on topics including the concept of film workshops, the politicized film culture in Spain, and the British workshop culture.

  • 39. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden2009In: Studies in European Cinema, ISSN 1741-1548, no 3, 207-218 p.Article in journal (Refereed)
    Abstract [en]

    This article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts ‘minor cinemas’ and ‘public sphere’ in order to enable a more diverse, open and heterogeneous film history.

  • 40.
    Andersson, Lars Gustaf
    et al.
    Lunds universitet.
    Sundholm, John
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden2008In: Studies in European Cinema, ISSN 1741-1548, Vol. 5, no 3, 207-218 p.Article in journal (Refereed)
  • 41. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    "Hellre fri än filmare": filmverkstan och den fria filmen2014Book (Other academic)
  • 42. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amatör och avantgarde: de mindre filmkulturerna i efterkrigstidens Sverige2008In: Välfärdsbilder: Svensk film utanför biografen / [ed] Erik Hedling och Mats Jönsson, Stockholm: Mediehistoriskt arkiv/Statens ljud- och bildarkiv , 2008, 228-245 p.Chapter in book (Refereed)
  • 43. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Amatör och avantgarde: de mindre filmkulturerna i efterkrigstidens Sverige2008In: Välfärdsbilder: Svensk film utanför biografen / [ed] red. Erik Hedling och Mats Jönsson, Stockholm: Mediehistoriskt arkiv/Statens ljud- och bildarkiv , 2008, 228-245 p.Chapter in book (Refereed)
  • 44. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Accented cinema and beyond: Latin American minor cinemas in Sweden, 1970–19902016In: Studies in Spanish & Latin American Cinemas, ISSN 2050-4837, Vol. 13, no 3, 227-245 p.Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.

  • 45. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, 156-167 p.Article in journal (Refereed)
    Abstract [en]

    The aim of the essay was to present the Stockholm Film Workshop (Filmverkstan, 1973–2001) and its significance as a transnational site of film production. The films and the filmmaking at the workshop are considered as part of a minor cinema film practice in David E. James’s sense. James’s theory is complemented by returning to Gilles Deleuze and Felix Guattari’s original concept of minor literature in order to stress an analysis that is based on film as a means of production and cultural intervention. This point is emphasized by a presentation and analysis of how various professional and non-professional filmmakers from Colombia, Egypt, Greece and Turkey made use of film at the Stockholm Film Workshop in order to intervene in their new cultural situations. Thus, the textual model of film analysis that is prevalent in Hamid Naficy’s seminal work on accented cinema is complemented with theories of cultural production in order to enable an analysis of a transnational film practice that is on a par with the immigrant experience.

  • 46. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Whose Public Sphere? The Discourse on Amateur and Experimental Film in 1940s and 1950s Sweden2007Conference paper (Refereed)
  • 47. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Söderbergh Widding, Astrid
    I skuggan av spelfilmen: Svensk experimentell film2006In: Konst som rörlig bild / [ed] red. Söderbergh Widding, Stockholm: Langenskiölds , 2006, 15-94 p.Chapter in book (Other academic)
  • 48.
    Andersson, Lars Gustaf
    et al.
    Lunds universitet.
    Sundholm, John
    Karlstad University, Faculty of Arts and Education, Department of Culture and Gender studies.
    Söderbergh Widding, Astrid
    Stockholms universitet.
    Experimentfilmens behov & filmarkivets möjligheter2012In: Skosmörja eller arkivdokument?: Om filmarkivet.se och den digitala filmhistorien / [ed] Mats Jönsson & Pelle Snickars, Stockholm: Mediehistoriskt arkiv/Kungliga biblioteket , 2012, 67-80 p.Chapter in book (Refereed)
  • 49. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I skuggan av spelfilmen: Svensk experimentell film2006In: Konst som rörlig bild: från Diagonalsymfonin till Whiteout / [ed] Söderbergh Widding, Stockholm: Langenskiölds , 2006, 15-94 p.Chapter in book (Other academic)
    Abstract [sv]

    Förord / av Richard Sangwill -- Sidospår : perspektiv på den svenska rörliga bildkonsten / av Astrid Söderbergh Widding -- I skuggan av spelfilmen : svensk experimentell film / av Lars Gustaf Andersson, John Sundholm och Astrid Söderbergh Widding -- Den tidiga monitorkonsten : TV-experiment i Sverige / av Gary Svensson -- Videokonst i Sverige : från alternativ till institution / av Gunnel Pettersson och Måns Wrange -- DVD med verk av Viking Eggeling, Gösta Werner, Rut Hillarp, Hans Nordenström, Pontus Hultén, Peter Weiss, P. O. Ultvedt, Åke Karlung, Olle Bonniér, Ralph Lundsten, Claes Söderquist, Jan Håfström, Gunvor Grundel Nelson, Hans Esselius, Kjartan Slettemark, Olle Hedman, Antonie Frank, Lola Mökker, Andrew Hibbert, Cecilia Parsberg, Erik Pauser, Johan Söderberg, Dorinel Marc, Teresa Wennberg, Marit Lindberg, Ann-Sofi Sidén, Johanna Billing, Cecilia Lundqvist, Miss Universum (Catti Brandelius), Petra Lindholm och Katarina Löfström.

  • 50.
    Andersson, Lars Gustaf
    et al.
    Lund University..
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies. Stockholm University.
    A History of Swedish Experimental Film Culture: From Early Animation to Video Art2010Book (Refereed)
1234567 1 - 50 of 1560
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