lnu.sePublications
Change search
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Plattform Produktion: A Platform for New Sensations of the Real
Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.ORCID iD: 0000-0002-0101-0580
2012 (English)Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

This paper will explore sensations of the real presented in films produced by the Gothenburg-based company Plattform, established by the filmmakers Ruben Östlund and Erik Hemmendorff in 2002. Since then Plattform has made a number of noteworthy independent Swedish films; some of them fictional, some documentary; all sharing an interest in the borders between fact and fiction. The main focus of my paper will be Östlund’s internationally recognised feature films, in particular Play (2011), winner of the Coup de Coeur at the 2011 Cannes Film Festival and Involuntary (De Ofrivilliga, 2008). However, the individuals involved with Plattform contribute to each other’s projects in various ways, and therefore my discussion will also reference films by other directors.When interviewed about their production methods and aesthetic ideals, the Plattform filmmakers tend to use words like ’true’, ’authentic’ ’genuine’ and other (similarly worn-out) expressions closely associated with realism. Amateur actors, static long takes, location shooting in recognisable urban settings, improvised dialogue, people on the street looking into the camera, sequences in real-time, background noises – all of these formal strategies have been used to signify the real before. Nevertheless, there is something very distinct and particular about the realism in Östlund’s films. This paper will explore the relationship between the world of the audience and the materiality of the screen in these film examples with theoretical help from phenomenology (Sobchack’s Carnal Thoughts, 2004) and new approaches to realism (Nagib’s World Cinema and the Ethics of Realism, 2011) in an attempt to contextualise Östlund’s realist aesthetics as well as the intense journalistic debate around Play’s representation of ethnicity following its Swedish cinema release in November 2011.

Place, publisher, year, edition, pages
2012. 42-43 p.
Keyword [en]
Plattform, documentary, realism, Ruben Östlund
National Category
Studies on Film
Research subject
Humanities, Film Studies
Identifiers
URN: urn:nbn:se:lnu:diva-25661OAI: oai:DiVA.org:lnu-25661DiVA: diva2:621391
Conference
The Cinema of Sensations, Cluj-Napoca, Sapienta University, Rumänien, 25-27 May 2012.
Available from: 2013-05-14 Created: 2013-05-14 Last updated: 2014-12-12Bibliographically approved

Open Access in DiVA

No full text

Other links

Abstract

Authority records BETA

Stigsdotter, Ingrid

Search in DiVA

By author/editor
Stigsdotter, Ingrid
By organisation
School of Language and Literature
Studies on Film

Search outside of DiVA

GoogleGoogle Scholar

urn-nbn

Altmetric score

urn-nbn
Total: 240 hits
CiteExportLink to record
Permanent link

Direct link
Cite
Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf