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  • 1.
    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.

  • 2.
    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
  • 3.
    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.

  • 4.
    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
  • 5.
    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.

  • 6.
    Andersson, Louise
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Jaget, könet, action: En kvalitativ undersökning om könsrollers påverkan på åskådarens identifikation2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att med hjälp av en kvalitativ undersökning undersöka förhållandet mellan kön och identifikation. Diskussionen kommer att utgå från uppsatsens hypotes och frågeställning som är följande: Hur viktigt är det för en genres popularitet att få åskådarna att identifiera sig med karaktärerna i verk som tillhör genren? Kan åskådarnas identifikation med karaktärer i verk som tillhör genren action underlättas av att det finns en stark eller framträdande karaktär av samma kön som åskådaren?

     

    Med hjälp av olika informationskällor, så som teorier, intervjuer och recensioner, kommer diskussioner samt analyser om förhållandet presenteras utifrån olika infallsvinklar. Studien visar att ämnet samt frågeställningen är väldigt komplex och att vidare forskning bör göras för att få ett konkret svar. Analysen har dock visar på tre viktiga aspekter som har stor påverkan på arbetet. Identifikation: Vad identifierar jag med mig? Mitt kön, min ålder, min hudfärg? Representation: Hur representeras de olika karaktärerna i verken? Porträtteras de olika könen på olika sätt och hur påverkar de identifikationsprocessen? Genre: Vad förväntar åskådarna av en genre? Vad händer om förväntningarna inte blir besvarade?

  • 7.
    Andersson, Robert
    et al.
    Linnaeus University, Faculty of Social Sciences, Institute of Police Education.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, Anne
    NTNU, Norway.
    The Corners of Crime2015In: The Wire and America's Dark corners: Critical Essays / [ed] Arin Keebler and Ivan Stacy, New York: McFarland, 2015, p. 81-94Chapter in book (Refereed)
  • 8.
    Angbäck, Gustaf
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Yippie Kay Yay Motherfucker: En uppsats om den manliga protagonisten i amerikansk 80-tals actionfilm2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 9.
    Arnberg, Klara
    et al.
    Stockholm University.
    Larsson, Mariah
    Stockholm University.
    Sexualskildringar inför lagen: kommentar till pornografianklagelser2015In: Sexualpolitiska nyckeltexter / [ed] Pia Laskar, Klara Arnberg, Fia Sundevall, Stockholm: Leopard förlag , 2015, p. 219-227Chapter in book (Other academic)
  • 10. Arnman, Anna
    Clive Barker: Från Hellraiser till Abarat2005In: Hjärnstorm, ISSN 0348-6958Article in journal (Other (popular science, discussion, etc.))
  • 11. Arnman, Anna
    Francis Bacon och Clive Barker: Köttets konstnärer1999In: Mannen med filmkameran: Studier i modern film och filmisk modernism / [ed] Lars Gustaf Andersson och Erik Hedling, Lund: Absalon , 1999Chapter in book (Other academic)
  • 12.
    Arnman, Anna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Harry Potter och skräckfilmen2012In: Ett trollspö på katedern: Att arbeta med fantasy i skolan / [ed] Helene Ehriander och Maria Nilson, Lund: BTJ förlag , 2012, p. 48-63Chapter in book (Other academic)
  • 13.
    Arnman, Anna
    Språk- och litteraturcentrum, Lunds universitet.
    Hellraiser - Om Clive Barkers film2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this dissertation I will discuss horror film as a genre and study how Hellraiser relates to its themes and problems. First I describe the production of the film and after that I present Clive Barker - his background, authorship, film-making and artwork. Next I study the problems of the genre and the different ways in which this genre is defined. I look at narrative characteristics as well as, for instance, how a film belonging to the genre is launched and how it is received by critics and the audience. Furthermore, I describe the response this film has had from reviewers and fans and how it is perceived in academic texts. The principal part of the dissertation follows: a comprehensive close reading of the film in which I delve into the film 21 times to describe and interpret scenes. I conduct readings based on the film’s substance and form and juxtapose minor details with major developments. The themes I focus on in particular concern the film’s relation to the body, gender, sexuality, family, the house, and religion. I introduce a discussion about the genre, e.g. about British versus American horror films, the conditions in which a film production takes place, the status of the genre, censorship and some thoughts about the significance of excess to the film. I have used the narrative structure and plot of Hellraiser as a starting point for the dissertation and I have let the film guide my choice of themes as much as possible. The method of my choice is founded on making the segmentation on the basis of the colloquial understanding that narratives are constituted of momentary parts. With these sequential analyses as my starting point I allow myself to deviate and delve into larger thematic areas that are collected in my summarising discussion of the dissertation. In the third part of the dissertation I thoroughly study how the Cenobites were conceived and designed and how they look and act. Furthermore, I study how they relate to archetypal monsters, such as Frankenstein’s Monster and Dracula, in order to look at how Barker is playing with these monstrous characters. I also discuss the Cenobites’ peculiar power of attraction at the same time as I stress that it is not necessarily self-evident to regard the Cenobites as the monsters of the film. In the final part of the dissertation I look at the film’s approach to body, pain and suffering and how the boundaries occasionally are erased and pain becomes pleasure. I refer to, among other things, to how the Cenobites’ appearances have similarities with the aesthetic expressions of the punk movement. Physical violence against the body, in the form of body piercings and tattoos, symbolises resistance against good taste. This form of alienation can also be seen as a characteristic of horror film as a genre and it seems as if the Cenobites only reach the satisfaction they crave through opening bodies and delve underneath the skin.

  • 14. Arnman, Anna
    Konst och katharsis: Döden som en sensuell upplevelse1994In: Paletten, ISSN 0031-0352Article in journal (Other (popular science, discussion, etc.))
  • 15. Arnman, Anna
    Recension av British Horror Cinema2004In: Film International, ISSN 1651-6826Article, book review (Other academic)
  • 16. Arnman, Anna
    Recension av Science fiction/Horror: A Sight and Sound Guide2002In: Filmhäftet, ISSN 0345-3057Article, book review (Other (popular science, discussion, etc.))
  • 17. Arnman, Anna
    Recension av The Satanic Screen2002In: Filmhäftet, ISSN 045-3057Article, book review (Other (popular science, discussion, etc.))
  • 18. Arnman, Anna
    Skräckfilm som terapi och frälsning2005In: Forskning och framsteg, ISSN 1651-6826Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Arvidsson, Lina
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Independentfilmens utveckling: Kritiken som kom av sig2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 20.
    Askerfjord, Christer
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    The American Film Musical Genre Today: A New Breed or Just More of the Same?: The Development of the American Film Musical 2000-20132014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Since the introduction of synchronized sound at the end of the 1920s the film musical has had a special place in American film. But even with that special place the interest in the film musical has varied a lot during the 20th century. From the high interest during the  “Golden Age” in the 1930s, 1940s, and 1950s, through low interest in the following decades and then renewed interest in musicals with the animated film musicals from Disney in the 1990s. But what has happened after the millennium? Has there been any development in the American film musical genre or is it just more of the same? This thesis tries to answer the question by analyzing three successful film musicals from the period 2001-2013, Moulin Rouge! (Baz Luhrmann, 2001), The Phantom of the Opera (Joel Schumacher, 2004), and Les Misérables (Tom Hooper, 2012) and comparing them to classical traditional musicals. According to this thesis there is a split answer, some areas of the classical  American film musical have developed while other areas still remains the same.

  • 21.
    Askerfjord, Christer
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Tid för film: Introduktion av konceptet diegetisk tid genom en jämförande analys av filmerna The Magnificent Seven och The Wild Bunch.2016Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Filmer, texter och andra former av beskrivningar skildrar både den tid de beskriver och den tid då de produceras, både medvetet och omedvetet. För att analysera och jämföra dessa båda berättarnivåer i filmer krävs tydliga metoder och effektiva verktyg. Begreppen diegetisk tid, icke-diegetisk tid och meta-diegetisk tid introduceras i uppsatsen som verktyg för att förenkla och effektivisera analysarbetet och presentationen av tid i och kring film. Som stöd för användningen av begreppen analyseras och jämförs två västernfilmer som producerades under perioden från mitten av 1950-talet till slutet av 1960-talet. De två filmerna som analyseras är The Magnificent Seven (7 vågade livet, John Sturges, 1960) och The Wild Bunch (Det vilda gänget, Sam Peckinpah, 1969).

  • 22.
    Bengtsson, Andreas
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Berättandets utformning i transnationell actionfilm: komparativ studie av en kinesisk och amerikansk storproduktion2017Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper means to examine a Chinese language blockbuster in comparison to an American counterpart. The point is to examine the cultural differences and similarities in two similar stories produced in two different production environments. Two films that display both remarkable similarities and differences due to their respective cultural context of production. Here David Bordwell’s narratological schematics is applied to investigate how a Chinese film using a similar approach to Hollywood storytelling differentiates itself. In conclusion, the storytelling and plot construction are slightly less sophisticated in the Chinese film, and the reliance on computer generated imagery plays a bigger part than the physical performances usually associated with Chinese language action-cinema. The result of this study also highlight the differences in the depiction of the detective character and the analysis also raises the question of how we could attribute the cultural differences that emerges in this analysis.

  • 23.
    Bengtsson, Andreas
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Kina, Hollywood och samproduktioner: en transnationell studie av produktionsförhållanden och mottagandet av filmen Man of Tai Chi2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I följande text avser jag att analysera Man of Tai Chi och undersöka förhållandet mellan Kina och Hollywood. Kina blir en alltmer viktig marknad för filmbolag från Hollywood och hur de förhåller sig till varandra på film.Kung fu-filmens spridning har inneburit andra kulturella uttryck, från Bruce Lee som symbol mot imperialistiskt förtryck i tredje världen, till att bidra med formande av nya bildsspråk i filmer som The Matrix. Hur kan en transnationell samproduktion mellan kinesiska och västerländska bolag se ut? I följande uppsats undersöker jag produktionsförhållanden och mottagande av filmen Man of Tai Chi och i slutsatsen kommer jag fram till att filmen misslyckats ur ett kommersiellt perspektiv.

  • 24.
    Bengtsson, Daniel
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Kvinnosynen i Jesús Francos skräckfilmer 1962-19712006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 25.
    Berg, Andrea
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    När metropoliten flög över Atlanten och blev kosmopolit: Woody Allens skildring av europeiska storstäder2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Min uppsats handlar om Woody Allens skildring av staden. Det är inte New York denna uppsats handlar om, utan om de europeiska storstäderna London, Barcelona, Paris och Rom. I dessa städer har Woody Allen spelat in fem filmer. Dessa filmer är Match Point (2006), Scoop (2007), Vicky Cristina Barcelona (2008), Midnight in Paris (2011) och To Rome With Love (2012). Det ryktas även att hans nästa filmprojekt kommer att utspela sig i en europeisk storstad.  Varje film visar utvalda sidor av respektive stad. Allen väljer att visa utvalda sidor av staden, som utgör vilket uttryck staden ger till filmens berättande. Därav får åskådaren motsvarande intryck av hur Woody Allen ser på staden. Exempelvis handlar dessa val om hur filmen kartlägger staden, hur karaktären förändrar sina åsikter när den befinner sig i staden, och hur moraliska imperativ i storstadsturism framkommer genom filmen. Allen har nämligen använt sig både av ikoniska byggnader som indikerar respektive stad, som Eiffeltornet för Paris, men samtidigt visat mindre kända miljöer av respektive stad. Han har med andra ord varvat klichéklassade stadsvyer med mer personliga vyer av andra, mindre kända, delar av respektive stad.

                          Trots att de första filmerna Match Point (2006) och Scoop (2007), som utspelas i London, inte nödvändigtvis handlar om turism, handlar de ändå om en amerikanska som besöker en icke-amerikansk stad, på andra sidan Atlanten. Samtliga filmer jag undersöker i denna uppsats handlar om olika typer av amerikaner som besöker europeiska städer. På olika sätt påverkas nämligen dessa amerikaner av respektive stad. Dessa sätt jämförs med hur med 1920-talets stadssymfonier och 1950-talets ”runaway romances”. I urvalda filmer från 1950-talet fungerade nämligen Europa som en tillflyktsort för amerikaner som ville hitta sitt jag och inleda affärer. Jag har kommit fram till att identitetssökande och otrohet i Woody Allens filmer är mer legitimerade än det var på 1950-talet. Dessutom liknar Allens Parisfilm och Romfilm stadssymfonier från 1920-talet. Dessa filmtrender från 1900-talets första hälft hänger då ihop med Allens filmer från 2000-talet. Detta förklaras i en djupgående närläsning av Woody Allens sätt att skildra europeiska städer. I denna analys dissekeras turistbegreppet, hur den skiljer sig från resenärsbegreppet och hur tiden har förändrat hur amerikanska turisterna förhåller sig till respektive stad och invånarna i respektive stad.

  • 26.
    Björklund, Elisabet
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    'Mom might have a job (or be socializing too much!)': 'The right to love', children’s sexuality and parenthood2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 1, p. 13-25Article in journal (Refereed)
    Abstract [en]

    Having been unavailable for many years, the Swedish film Rätten att älska (‘The right to love’) was restored by the Swedish Film Institute in 2013 and made accessible for research. In many ways a typical example of the sex education film genre of its time, the film is simultaneously unusual because it deals with children’s sexuality. This article explores and discusses the representation of children in the film in relation to how it connects to issues of parenthood.

  • 27.
    Björklund, Elisabet
    Lund University.
    Statlig sexpropaganda?: UR:s och RFSU:s sexualupplysningsfilm Sex på kartan2014In: Den nya svenska filmen: Kultur, kriminalitet & kakofoni / [ed] Erik Hedling, Ann-Kristin Wallengren, Stockholm: Bokförlaget Atlantis, 2014, p. 245-268Chapter in book (Other academic)
  • 28.
    Björklund, Elisabet
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Uppsala University.
    The Limits of Sexual Depictions in the Late 1960s2016In: Swedish Cinema and the Sexual Revolution: Critical Essays / [ed] Elisabet Björklund, Mariah Larsson, Jefferson, NC: McFarland, 2016, p. 126-138Chapter in book (Refereed)
  • 29.
    Björklund, Elisabet
    Lund University.
    The Most Delicate Subject: A History of Sex Education Films in Sweden2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to present a history of sex education films in Sweden, from their beginnings until the late 1970s, relating the films to the changing historical context of the Swedish welfare society. Within this framework, the dissertation explores two main sets of questions. First, utilizing a contextual understanding of genre, the dissertation analyzes how the films were produced, exhibited, and censored, what position and status they had, and where the borders were understood to be to kindred types of film, such as exploitation and pornography. Second, the norms and ideas about sexuality that the films construct are explored from a social constructionist perspective and put in historical context. Apart from the films themselves, the material used consists of censorship records, archival material, and articles and reviews from the daily press and the trade press.

    The study demonstrates that the sex education film has always been a delicate genre, and that this delicacy is related to the medium and to the fact that cinema is part of the commercial market. The sex education film came to Sweden through imported films during the silent era and was relatively common at Swedish movie theaters from the 1920s to the early 1970s. Very quickly, it became a contested genre thought to be in need of regulation, which can be seen in the censorship procedures. For instance, until the 1950s, screenings were often restricted through gender segregation. When film censorship was liberalized in the 1960s, sex education films could show more than before, and when the films in the sexually explicit Language of Love series (1969–1972) were released, their relationship to pornography became a central point of discussion. The changing views on using film in school sex education are also examined. Here, it is shown that if film was seen as a potentially helpful tool in the 1920s and 1930s, this view had changed into a more skeptical position by the early 1970s.

    In the analysis of the content of the films, only Swedish examples are studied. In the first group of theatrically shown films of this kind, which appeared in the 1940s and 1950s, sexuality is represented as problematic through the themes of venereal disease and abortion. Here, casual sex is seen as immoral and abortion is condemned. At the same time, the films display how traditional and modern views on sexuality and gender were under negotiation during this period. While reproduction was the dominating perspective in school films well into the 1970s, the Language of Love films display a radically different perspective on sex, not least because of their focus on sexual pleasure. However, while the films advocate a liberal idea about sexuality according to which science leads to liberation, a focus on romantic long-term relationships can also be noted. Throughout the period, there is an emphasis on rationality and science and on a secular perspective on sex in which love is seen as more important than matrimony. In this way, the films in general reflect a strong belief in modernity and progress that was characteristic of Sweden during the welfare era.

  • 30.
    Björklund, Elisabet
    Lund University.
    "This Is a Dirty Movie": Taxi Driver and "Swedish Sin"2011In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 1, no 2, p. 163-176Article in journal (Refereed)
    Abstract [en]

    This article examines a well-known sequence in Martin Scorsese’s 1976 film Taxi Driver in which the main character Travis Bickle takes his date Betsy to the movies and convinces her to see a Swedish sex education film. The article analyses the representation of Swedish cinema and Swedish sexuality in Taxi Driver, but also discusses the short sequence from a Swedish perspective, revealing a contemporary popular Swedish misconception about it. For this purpose, the sequence as well as the subsequent Swedish interpretation of it are contextualized and considered in relation to the widespread notion of ‘Swedish sin’.

  • 31.
    Björklund, Elisabet
    Lund University.
    Å lære seg kjærlighetens språk: om svensk seksualopplysningsfilm på kino på 60- og 70-tallet2013In: Z filmtidsskrift, ISSN 0800-1464, E-ISSN 0807-271X, no 2Article in journal (Other (popular science, discussion, etc.))
    Abstract [no]

    Den mest kjente svenske seksualopplysningsfilmen er uten tvil Ur kärlekens språk fra 1969. Zs skribent plasserer filmen og dens oppfølgere i sin samtid og ser også filmene i lys av en lengre tradisjon av svensk seksualopplysningsfilm.

  • 32.
    Björklund, Elisabet
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Brauerhoch, Annette
    Holmlund, Chris
    Editorial2015In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 5, no 2, p. 75-80Article in journal (Other academic)
  • 33.
    Björklund, Elisabet
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Brauerhoch, AnnetteHolmlund, Chris
    Journal of Scandinavian Cinema: Special Issue: Sexuality in Scandinavian Cinema2015Collection (editor) (Refereed)
  • 34.
    Björklund, Elisabet
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Uppsala University.
    Larsson, Mariah
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Introduction: Beyond Swedish Summers2016In: Swedish Cinema and the Sexual Revolution: Critical Essays / [ed] Elisabet Björklund, Mariah Larsson, jefferson, North Carolina: McFarland, 2016, 1, p. 1-7Chapter in book (Refereed)
  • 35.
    Björklund, Elisabet
    et al.
    Uppsala University.
    Larsson, MariahLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Swedish Cinema and the Sexual Revolution: Critical Essays2016Collection (editor) (Refereed)
  • 36.
    Brandt, Tommie
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Quis custodiet ipsos custodes? En adaptionsstudie med Watchmen som utgångspunkt2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Serier, film och adaption. Detta är tre ord som den senaste tiden har blivit allt mer förknippade med varandra. Med titlar som Spider-man (Sam Raimi, 2002), The Dark Knight (Christpher Nolan,2008) och The Avengers (Josh Whedon, 2012) har serier satt sitt avtryck i filmhistorien. Men hur ser dessa båda medium ut och vad är det som gör adaptioner av serier så attraktiva? Detta kommer undersökas närmare i denna uppsats. Inledningsvis kommer vi se närmre på Watchmen (Grafisk roman: Alan Moore & Dave Gibbons, 1986, Film: Zack Snyder, 2009) då denna kommer användas som exempel genom uppsatsen. Därefter kommer serier att diskuteras. Hur de är uppbyggda och vilka premisser dessa medium utgår ifrån. Sedan kommer film studeras med Watchmen (2009) som utgångspunkt. Hur är filmen uppbyggd, vilka stilistiska knep används för att nå ut till publiken och vilka likheter/skillnader finns det mellan film och serie? Sedan kommer tidigare adaptionsstudier granskas och diskuteras. Avslutningsvis kommer en närläsning av en scen ur Watchmen (2009) där de ovan nämnda premisserna kommer att appliceras för att se hur en adaption från serie till film kan gå till.

  • 37.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Now a Major Soundtrack! – Madness, Music, and Ideology in Shutter Island2013In: Adaptation, ISSN 1755-0637, E-ISSN 1755-0645, Vol. 6, no 3, p. 320-337Article in journal (Refereed)
    Abstract [en]

    In this article I shall focus on the novel Shutter Island by Dennis Lehane, briefly refer to a graphic novel by De Metter, and Scorseses film by the same name, as well as the compiled musical soundtrack for the film. I will discuss general methodological and theoretical questions raised by these works, but the entire discussion is directed towards Scorseses film (including its soundtrack) as well as the music of film generally: why did Scorsese and his team choose such a relatively special soundtrack for the film; what is the role of music in the general adaptation process of turning a novel into film; and what is the relation between the musical soundtrack and the originating novel? Madness, I will argue, will be part of both the problem and the answer to the methodological and theoretical investigations, and I will argue that we ought to consider music as an important aspect in Scorseses Shutter Island, and that my specific discussion will have repercussions beyond the study of this particular novel and film.

  • 38.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Rethinking Adaptation2010Conference paper (Other academic)
  • 39.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, Anne
    NTNU, Trondheim.
    David Simon’s Novel Cop Show2013In: New Review of Film and Television Studies, ISSN 1740-0309, E-ISSN 1740-7923, Vol. 11, no 2, p. 133-153Article in journal (Refereed)
    Abstract [en]

    Is the acclaimed HBO series The Wire comparable to (a certain kind of) literature? In this paper we investigate this claim by both situating the series within the tradition of American television and by way of intermedial comparisons. We suggest that comparing The Wire with literature may prove productive. Specifically, we suggest that selected aspects of M.M. Bakhtin's theory of the novel (heteroglossia and chronotopics) are helpful tools in an analysis of this cop show. Our aim is to demonstrate how and why David Simon and Ed Burns' work may be legitimately considered a ‘novel cop show’, which means that, through The Wire, television is able to achieve some of the functions that are often referred to as typical of novelistic discourse.

  • 40.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, Anne
    NTNU, Trondheim.
    Ginsberg’s Animating Typewriter: Mixing Senses and Media in Howl (2010)2015In: Word and Image, ISSN 0266-6286, E-ISSN 1943-2178, Vol. 30, no 4, p. 348-361Article in journal (Refereed)
    Abstract [en]

    Epstein and Friedman’s 2010 movie Howl is partly a portrait of Allen Ginsberg, author of the poem ‘Howl’, and partly a documentary about the 1957 obscenity trial against his publisher Lawrence Ferlinghetti. The film thus follows the ‘biopic’ trend of the last decades, where authors and their work are made the subject of feature films (Finding Neverland, Becoming Jane, Capote, Bright Star, etc.). This particular case, however, is more complicated and perhaps more demanding than the conventional biopic, because the movie also adapts Ginsberg’s Howl from poetry to animation film. Consequently, the beat poem exists in several medial forms in the film: it is represented through poetry reading as performance; it is read aloud as evidence in court; it is shown as written text; and, finally, it is transformed into the visual animation work of artist Eric Drooker. This article demonstrates how complex media relations in cinema, in this caseHowl, can be discussed using perspectives developed in intermedial theory. By way of a formal and sensorial analysis of selected scenes the article also discusses the views on the artist and artistic creation constructed in the film, in order to reframe the formal analysis as an ideological interpretation.

  • 41.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Gjelsvik, Anne
    NTNU Trondheim.
    “Jan Troell’s Fleeting Still Moments”2012In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 2, no 1, p. 55-72Article in journal (Refereed)
    Abstract [en]

    This article investigates the role of photography in the Swedish auteur Jan Troell's film Maria Larssons eviga ögonblick/Everlasting Moments (2008) in the light of different perspectives on medium specificity, photography and adaptation. We argue that Jan Troell, by way of cinema, discusses key characteristics and functions of photography. In so doing, the film, in addition to telling the tale of a historical female photographer, raises a number of questions concerning media theory, media ontology and history. We introduce the term 'fleeting still moments' in order to account for Troell's particular cinematic strategy, negotiating movement and stills. Accordingly, the central questions in our study are as follows: what are the differences and similarities between cinema and photography? And to what degree can the differences be framed within the traditional divide between cinema's movement and photography's stillness?

  • 42.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, Anne
    Norwegian University of Science and Technology, Norway.
    Å lese, se og høre film: En intermedial analyse av Dag Johan Haugeruds Som du ser meg2015In: Edda. Nordisk tidsskrift for litteraturforskning, ISSN 0013-0818, E-ISSN 1500-1989, no 4, p. 265-281Article in journal (Refereed)
    Abstract [en]

    Artikkelen tar utgangspunkt i norske filmkritikeres mottakelse av Som du ser meg (Dag Johan Haugerud 2012). Et flertall av norske filmkritikere fremhevet filmen som umiddelbart gjenkjennelig og realistisk, men overså med det mange av filmens formale kvaliteter. Vi argumenterer for en mer formal lesning av filmen som synliggjør viktigheten av de intermediale og metafiktive grepene Haugerud benytter. Artikkelen undersøker særlig litteraturen og musikkens tilstedeværelse i filmen, både som innhold og formelementer, men også som strukturerende prinsipp for filmen som helhet. Vårt argument er dermed at filmens tilsynelatende realisme er et resultat av et sofistikert formgrep, at den er farget av en «litterær» stil, og at filmen dermed kan leses i lys av Bertholt Brechts ideer om Verfremdrung og en distansert kunstopplevelse.

  • 43.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    ‘A fragment of the world’: An interview with Petra Bauer2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 189-193Article in journal (Other academic)
  • 44.
    Brunow, Dagmar
    Halmstad University.
    Amateur home movies and the archive of migration: Sandhya Suri's I for India (2005)2010In: Tourists and Nomads. Amateur Images of Migration. Second Interdisciplinary Conference on Amateur Images 22 – 24 April 2010, 2010Conference paper (Refereed)
    Abstract [en]

    Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.

  • 45.
    Brunow, Dagmar
    Halmstad University ; Hamburg University, Germany.
    Amateur Home Movies and the Archive of Migration: Sandhya Suri's I for India (UK, 2005)2012In: Tourists & Nomads: Amateur Images of Migration / [ed] Sonja Kmec, Viviane Thill, Marburg: Jonas Verlag , 2012, p. 153-160Chapter in book (Refereed)
  • 46.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    "And the Winner Is...": The Hamburg EUFA Jury Meetings2017In: Alphaville: Journal of Film and Screen Media, ISSN 2009-4078, no 14, p. 214-218Article in journal (Refereed)
  • 47.
    Brunow, Dagmar
    Högskolan i Halmstad, Kontext & kulturgränser (KK).
    Archiv und Gedächtnis im autobiografischen Film: Maria Langs experimentelles Home Movie Familiengruft. Liebesgedicht an meine Mutter (BRD, 1981/82)2013In: material, experiment, archiv: Experimentalfilme von Frauen / [ed] Annette Brauerhoch, Florian Krautkrämer & Anke Zechner, Berlin: b_books , 2013, 1, p. 89-111Chapter in book (Refereed)
  • 48.
    Brunow, Dagmar
    Hamburg University, Germany ; Halmstad University.
    Archival practice as counter memory: Preserving the cultural heritage of independent video workshops2011In: NECS (European Network for Cinema and Media Studies) – The London Conference, Sonic Futures: Soundscapes and the Languages of Screen Media, University of London, June 23-26, 2011, 2011Conference paper (Refereed)
  • 49.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival tactics and queer vulnerability: Curating access to audiovisual heritage in Europe2018In: media tactics and engagement, The NECS 2018 Conference: Amsterdam, Netherlands. June 27-29, 2018, 2018Conference paper (Refereed)
    Abstract [en]

    How can heritage institutions deal with the challenges of diversity policies and possibly work as an intervention into hegemonic memory? This paper looks at the dynamics of recognition and queer visibility in audiovisual heritage. Setting out to examine on what terms queer lives are made visible, it analyses how national film archives in Sweden and the UK acknowledge queer vulnerability when following their diversity policies. This approach positions the archive into an object of analysis, shifting the focus on the archive as a site of knowledge retrieval to a site of knowledge production (Foucault 1972, Stoler 2002). Instead of looking at ways of including minorities as a priori identities, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer 2008, Thomas et al 2017). These archival practices include the choice of metadata, the modes of selection for public screenings and online exhibition as well as the curation and contextualisation of online content. The case studies will be ‘The BFI Player’, the online portal of the British Film Institute, and the Swedish website ‘Filmarkivet.se’, which has created access to some of the digitised collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).

  • 50.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archiving AIDS activist video: A conversation with Jim Hubbard2018In: A Visual History of AIDS: Exploring the Face of AIDS film archive / [ed] Elisabet Björklund, Mariah Larsson, London & New York: Routledge, 2018, p. 183-190Chapter in book (Refereed)
1234567 1 - 50 of 382
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