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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.

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  • 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
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  • 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.

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  • 4.
    Al-Saqr, Ali
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Klipptekniker och konventioner: En teknisk och estetisk studie av Memento, City of God och 12 Years a Slave2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats är att ta reda huruvida filmklippning kan spela en avgörande roll i filmens berättelse med hjälp av olika verktyg och konventioner. De utvalda filmproduktionerna är Memento (2000), City of God (2002) och 12 Years a Slave (2013). Med hjälp av tre olika teoriböcker skall uppsatsen undersöka hur klippning skapar mening, vilka klipptekniker som används samt om de följer några historiska eller samtida konventioner. Det är en både teknisk och estetisk analys avfilmerna. Vi ska ta reda på om det framgår några tendenser i klippningen som kan appliceras i dagens filmproduktion. Filmklippning är ett ämne som inte får tillräckligt med uppmärksamhet inom filmvetenskapen, men trots det är filmklippning en av de allra viktigaste delarna av en filmproduktion – den bygger upp filmen och regissörens vision och är det vi som åskådare ser på bioduken. En kvalitativ analys av ämnet kan ge oss ett större inblick i hur en klippare arbetar men också vilka effekter det får på berättelsen i sin helhet. Idag studerar man film utifrån regissörens och auteurens vision och avtryck på berättelsen och det är lätt hänt att alla individer som arbetar med produktionen hamnar i skuggan, allt från musiker, produktionsdesigner, projektledare till filmklippare. Klipptekniker idag ser helt annorlunda ut än hur det var på 50-talet i och med att nya lösningar har utvecklats, och detta påverkar indirekt berättelsen. Nya tendenser och omfattningar inom yrket har gjort att klipparrollen blivit allt viktigare, och urvalet av vem som skall klippa vilken film kan få stora konsekvenser. 

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  • 5.
    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
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  • 6.
    Andersson, Denniz
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    The Shining -  Stanley Kubrick's film adaption of Stephen King's novel2024Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis studies the film adaptation of Stephen King’s The Shining (US 1977) by Stanley Kubrick (US 1980). The focus of this study lies on Kubrick’s approach towards the settings and the characters. How can we study the role of the auteur in the adaptation process and the differences between source text and film adaptation? How can we understand King’s negative reaction to Kubrick’s ways of altering and differentiate the storytelling? The summary presents a discussion of what adaptations can create and what the process from source text to film looks like. This thesis contributes to adaptation studies and their discussions of media specificity. 

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  • 7.
    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.

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    Andersson Emelie_Eventbubblan i syd
  • 8.
    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?

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  • 9.
    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)
  • 10.
    Andersson, Sara
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    "That is fucked up, Daisy!": Om gestaltningen av kvinnliga karaktärer med psykisk ohälsa inom den kommersiella filmen2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Genom en närläsning av filmerna Girl, Interrupted (James Mangold, 1999) och Min lilla syster (Sanna Lenken, 2015) söker denna uppsats att undersöka porträtteringen av kvinnliga karaktärer med psykisk ohälsa inom den kommersiella filmen. Huvudfokuset i uppsatsens undersökning är framförallt hur karaktärernas psykiska ohälsa framställs i enlighet med deras konformerande eller avvikande från acceptabel femininitet. Karaktärerna som är föremål för undersökningen är Susanna Kaysen (Winona Ryder), Lisa Rowe (Angelina Jolie) och Daisy Randone (Brittany Murphy) i Girl, Interrupted samt Katja (Amy Deasismont) i Min lilla syster. Med hjälp av feministisk filmteori söker uppsatsen att undersöka hur gestaltningen av karaktärernas psykiska ohälsa sammanflätas med dominerande föreställningar kring den kvinnliga könsrollen. Genom att använda termerna psykets estetik, delikat skärande, patientkarriär, fogliga kroppar och anorektiskt suicid blottlägger uppsatsen hur karaktärernas diagnoser genomsyras av kulturella föreställningar kring att vara kvinna och lida av psykisk ohälsa.

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  • 11.
    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
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  • 12.
    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)
  • 13. Arnman, Anna
    Clive Barker: Från Hellraiser till Abarat2005In: Hjärnstorm, ISSN 0348-6958Article in journal (Other (popular science, discussion, etc.))
  • 14. 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)
  • 15.
    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)
  • 16.
    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.

  • 17. Arnman, Anna
    Konst och katharsis: Döden som en sensuell upplevelse1994In: Paletten, ISSN 0031-0352Article in journal (Other (popular science, discussion, etc.))
  • 18. Arnman, Anna
    Recension av British Horror Cinema2004In: Film International, ISSN 1651-6826Article, book review (Other academic)
  • 19. Arnman, Anna
    Recension av Science fiction/Horror: A Sight and Sound Guide2002In: Filmhäftet, ISSN 0345-3057Article, book review (Other (popular science, discussion, etc.))
  • 20. Arnman, Anna
    Recension av The Satanic Screen2002In: Filmhäftet, ISSN 045-3057Article, book review (Other (popular science, discussion, etc.))
  • 21. Arnman, Anna
    Skräckfilm som terapi och frälsning2005In: Forskning och framsteg, ISSN 1651-6826Article in journal (Other (popular science, discussion, etc.))
  • 22.
    Arvidson, Mats
    et al.
    Lund University, Sweden.
    Askander, Mikael
    Lund University, Sweden.
    Wierød Borčak, Lea
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Jensen, Signe Kjaer
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Mousavi, Nafiseh
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Intermedial combinations2022In: Intermedial Studies: An Introduction to Meaning Across Media / [ed] Jørgen Bruhn;Beate Schirrmacher, London: Routledge, 2022, p. 106-137Chapter in book (Refereed)
    Abstract [en]

    Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.

    This chapter deals with different kinds of combinations of technical, basic and qualified media types in comics, films, radio drama, songs/singing and music videos. Some of them are more obvious in this aspect. The music video, for instance, integrates sound, words and (moving) images. The pages of comics display text and image, and these two basic media types communicate differently in the semiotic modality. In radio dramas or songs, the combination aspect is not as visually apparent. Still, the soundwaves of a song or a radio drama firmly integrate several auditory media types.

    With specific examples, we discuss how to understand the different intermedial aspects at play whenever different media types are brought together in a particular media product. Different perspectives are possible. Should one focus on the combination of different forms of meaning-making, or instead stress how deeply integrated these different media types are? Should one approach a song as the combination of different qualified media (poetry and music), or focus on the close integration of different auditory media types (words and organized sound)? When we approach media combinations with the four modalities, we can focus on both. When words, (moving) images, and organized sounds are brought together in media products, such as comics, songs and music videos, they form an integrated whole. We can focus on how different basic media types in the material and sensorial modality are firmly integrated. We can then explore how these integrations on pages, in soundwaves, on stages or in the studio enable an intricate combination of different forms of meaning-making that support and interact with each other in the spatiotemporal and semiotic modality.

    First, we will take a look at how words and images on pages convey a graphic narrative in comics. Then we will highlight the importance of sound effects in the complex combination of moving images and auditory media types in film. We then explore how different auditory basic and qualified media types together create a complex auditory narrative in radio drama, using the specific example of The Unforgiven (2018). We will also discuss how word and music combine on different levels in art and pop songs. The chapter will end with a few reflections on the audiovisual combinations of basic and qualified media types at work in music videos.

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  • 23.
    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
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  • 24.
    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.

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  • 25.
    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).

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  • 26.
    Audissino, Emilio
    University of Southampton, UK.
    A Gestalt Approach to the Analysis of Music in Films2017In: Musicology Research, Vol. 2, no 1, p. 69-88Article in journal (Refereed)
    Abstract [en]

    In the field of Film-Music Studies, Cognitive Psychology remains perhaps the stronger approach as an alternative to Post-Structuralism and Cultural Studies. Yet, Gestalt Psychology has recently seen a revival of interest. Gestalt can offer enlightening concepts not only to theorise how music and visuals combine in an audiovisual whole, but also productive tools to analyse concrete instances in films. While Cognitivism tends to be concerned with single mechanisms of how the brain processes the perceptual data and gives much salience to the higher cognitive operations, Gestalt is concerned with the holistic nature of our experience and attributes more importance to the lower perceptual operations. As Donnelly points out, the combination of sound and visuals into an audiovisual whole has not so much to do with cognitive elaborations as with that hard-wired orientation of our mind towards completeness and stableness that is studied by Gestalt.

    Employing the Gestalt concepts of Isomorphism, Prägnanz and Dynamic Self-Distribution, I propose an approach to the analysis of music in films based on the similarity/difference between the configuration (gestalt) of the music and that of the other cinematic components (cinematography, editing, acting, lighting, colour palette...). A stabilised experience of the audiovisual whole – the basis for both a formalistic analysis and a critical interpretation – is reached when their encounter makes the gestalts of the cinematic components reciprocally reconfigure and fuse to produce a wider all-including gestalt: the macro-configuration of the audiovisual experience. This Gestalt approach – being based on the fusion of the aural and visual factors into a whole that is 'different from the sum of its parts' – is also helpful to supersede the long-standing visual bias that influences Film Studies, which leads to think of music as something that is externally added to either reinforce or subvert what is already there in the visuals.

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  • 27.
    Audissino, Emilio
    University of Southampton, UK.
    A Matter of Form, Style, and Monsters: A Comparative Analysis of Reazione a catena and Friday the 13th2020In: L'avventura. International Journal of Italian Cinema and Media Landscapes, ISSN 2421-6496, Vol. 6, no 1, p. 3-22Article in journal (Refereed)
    Abstract [en]

    The Italian filmmaker Mario Bava was an influential master of genre films. Perhaps his most seminal contribution was to the American slasher films of the 1980s, in particular the Friday the 13th series, which paid overt homage to Mario Bava’s Reazione a catena (1971). While the similarities and borrowings have already been discussed elsewhere, this article examines the differences, through a comparative formal and stylistic analysis, between Friday the 13th (S.S. Cunningham, 1980) and Reazione a catena. It focuses specifically on the impalement scene in Friday the 13th Part 2 (S. Miner, 1981), which was borrowed almost verbatim from Bava’s film, but which makes substantial and meaningful changes.

  • 28.
    Audissino, Emilio
    Linnaeus University, Faculty of Arts and Humanities, Department of Media and Journalism.
    Aha, Ha! Moment: A Gestalt Perspective on Audiovisual Humour2022In: Cinéma & Cie, E-ISSN 2036-461X, Vol. 22, no 38, p. 97-116Article in journal (Refereed)
    Abstract [en]

    In my previous work about film music, I had adopted Gestalt as a theoretical framework to explain the functions and effects of music in film, from a perspective that did not stem from musicology but from film studies. I developed what I call ‘micro/macro configurations’ analysis. In films, music contributes to the overall form with its specific gestalt (the configuration of the musical structures), and such musical gestalt meets the gestalt of some other cinematic device/s. Besides music, any device (light design, colour schemes, dialogue, acting, camerawork, cutting…) has a specific micro-configuration that can fuse with those of the other devices, and it can be analysed in terms of micro/macro-configuration. The product of the fusion of these micro-configurations is a macro-configuration in which the devices create an audiovisual whole that is ‘something else than the sum of its parts’. In this article I apply this Gestalt-inspired analytical approach to audiovisual humour, more specifically to ‘audiovisual puns’, ‘sight gags’, and ‘perceptual pranks’. The bulk of the examples come from the cinema of the Zucker-Abrahams-Zucker trio, whose comedy is largely based on a clash of incongruous micro-configurations, on perceptual accumulation that creates results similar to multistable figures, and even on comical optical illusions. Closing the article is a proposal that links Gestalt to the Release Theories of humour, explaining the laughter engendered by humour as a ‘Aha, Ha! moment’.

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  • 29. Audissino, Emilio
    Behold the Newest Technological Sensation! With Music!: The Use of Music in the Silent Cinema2019In: Music and the Second Industrial Revolution / [ed] Massimiliano Sala, Turnhout: Brepols, 2019, p. 429-447Chapter in book (Other academic)
    Abstract [en]

    Cinema was not conceived as a form of visual narrative, and certainly not as a form of art. The moving-image technique was introduced, in the Positivist milieu of the late nineteenth century, as the latest technological marvel, to be used, in the noblest cases, as an instrument for scientific inquiry – for example, to capture and analyse motion, as in Étienne-Jules Marey’s photographic rifle. Or, in more commercial usages, as an attraction at fun-fairs and world expositions – ‘Behold the latest marvel! Animated photographs!’ While the animation of images had a long tradition – for example, the seventeenth-century Magic Lantern shows – the inception of cinema was precisely made possible by recent technological advances: the faster photographic emulsions, the flexible celluloid support, and the feeding mechanism of the industrial sewing machines. While, contrary to the common narrative, it is not sure that some musical accompaniment was regularly present during the first film projections, certainly music came soon to play an increasingly central role in the development and diffusion of film shows. The chapter surveys the changes in musical practices from the early cinema of the 1890s to the standardisation of the classical narrative cinema of the 1920s – a ‘Cinema of Attractions’ that gradually turned into a ‘Cinema of Narrative Integration’ – discussing the principal functions that music fulfilled, its typical forms, its accompaniment strategies, and also some early technical attempts at making synchronisation easier and closer. While the first applications of music typically had a practical rationale – for example, drowning the fastidious sound of the projectors – and music (any music) would be simply used to provide some silence-filler, gradually film-makers realised music’s powerful potential as a narrative tool, and more dramaturgically careful uses of music were implemented, increasingly putting music under the control of the film-makers, to the point that eventually even the performer’s human variable was mechanised, with the adoption of synchronised on-film sound that crystallised the musical performance and made it interlocked with the film-strip and repeatable ad infinitum.

  • 30. Audissino, Emilio
    Bernard Herrmann e il suono della paura2011In: Almanacco Horror Magazine, no 1, p. 116-119Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    [Bernard Herrmann and the Sound of Fear]: a celebration of the film works of composer Bernard Herrmann upon the centennial of his birth.

  • 31.
    Audissino, Emilio
    University of Southampton, UK.
    Bicycles, Airplanes and Peter Pans: Flying Scenes in Steven Spielberg's Films2014In: CINEJ Cinema Journal, ISSN 2159-2411, E-ISSN 2158-8724, Vol. 3, no 2, p. 103-119Article in journal (Refereed)
    Abstract [en]

    In Steven Spielberg's cinema the flight is a recurring theme. Flying scenes can be sorted into two classes: those involving a realistic flight – by aircraft – and those involving a magical flight – by supernatural powers. The realistic flight is influenced by the war stories of Spielberg's father – a radio man in U.S. Air-force during WWII – and it is featured in such films as Empire of the Sun (1987), Always (1989), and 1941 (1979). The magical flight is influenced by James M. Barries' character Peter Pan (Peter and Wendy, 1911), which is quoted directly in E.T. the Extraterrestrial (1982) and, above all, in Hook (1991), which is a sequel to Barrie's story. These two types of flying scenes are analysed as to their meanings, compared to the models that influenced them, and surveyed as to their evolution across Spielberg's films. A central case study is the episode The Mission from Amazing Stories (1985), in which the realistic and the magical flights overlap.

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  • 32. Audissino, Emilio
    Building an Emotive Framework: The Macro-Emotive Function of Film Music2014In: Music for Audio-Visual Media' conference, University of Leeds, U.K., 4-6 September 2014, 2014Conference paper (Other academic)
    Abstract [en]

    When thinking about film music, the clichéd situation of sentimental violin music accompanying a love scene often comes to mind. This is a classical occurrence of film music performing an emotive function: music projects its own emotive quality onto the visuals and thus boasts the emotive tone of the scene. We can call this “micro-emotive” function, as in said function music operates locally within the scene/sequence. However, music can fulfil a “macro-emotive” function too, i.e. it can work throughout the whole film to build up a global emotive framework. Structurally, through a gradual and consistent development of the music, the film score projects its own coherence and structural unity onto the film, which is then perceived as more structurally solid than it might be. An emotional effect is also produced: the progressive manipulation, gradual unfolding, and recurring reprises of the music produce what musicologist Leonard Meyer called the “Pleasure of Recognition” which ensures a powerful emotional pay-off.

    The case study is E.T. The Extraterrestrial (S. Spielberg, 1982). John Williams' score is fundamental in strengthening the film's overall form: all the major themes are coherently built around the musical interval of the upward perfect fifth (e.g. C–G), which comes to be the musical representation of Love. The score also creates an emotional extended climax – calibrated throughout the film in a very precise way – that strategically reaches its peak in the key moment, the famous sequence of the flight over the moon.

  • 33.
    Audissino, Emilio
    University of Southampton, UK.
    "Commutation Tricks” and “Forced Marriages”: The Manipulation of the Soundtrack as a Tool for Film/Music Analysis.2018In: Cinergie, ISSN 2280-9481, Vol. 7, no 13, p. 37-46Article in journal (Refereed)
    Abstract [en]

    The audiovisual object is like a product of visuals and sound, not a summation. Film analysis should track back to the separate factors and show how they multiply each other when combined. Music, in particular, can be an elusive element, especially for non specialists. But music can crucially perform a variety of functions in films, and its agency should therefore be taken in proper consideration during film analysis. After a preliminary discussion of some recent theory of how visuals and sound fuse into an audiovisual whole, the article presents the manipulations made possible by the videographic approach as a helpful analytical tool to draw attention to the music. Videographic manipulation can help analyse the factors separately to better understand how they combine. One effective way to make one notice the agency of music in a scene/sequence is to remove it or replace it with a musical piece of completely different mood. This latter operation is now made rather easy by the increased availability and user-friendliness of DVD ripping software and editing programmes. I discuss three examples of videographic manipulation of increasing sophistication. The first is the shower scene from Psycho which, in the 50th anniversary DVD, is also presented for comparison without the music track. The second example is a ‘mashup’ in which the door axing sequence from The Shining is turned into a silent-film-like chase gag. As a close, I provide my own videographic manipulation and discuss it: staying in the territory of The Shining I present an audiovisual clips of the opening sequence of the Kubrick with my annotations, and then one clip with the original music replaced with John Williams’s ‘Main Theme’ from Jurassic Park.

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  • 34. Audissino, Emilio
    Creative Energy without Creative Industry: Mario Bava2014In: NECS (European Network for Cinema and Media Studies) conference, Università Cattolica del Sacro Cuore, Milan, Italy, 21 June 2014, 2014Conference paper (Other academic)
    Abstract [en]

    Compared to Hollywood, Italian cinema is more a matter of craftsmanship than industry. Genre films, in particular, have typically been disregarded and had to struggle with dramatically slim budgets. Mario Bava was probably the most outstanding example: on many an occasion he managed to compensate the lack of a supporting creative industry with his own creative energy. 2014 marks the centennial of Bava's birth and the paper aims at illustrating his deftness in manufacturing very low-budget and yet ingenious films that have eventually come to exercise a seminal influence world-wide. The case study is a comparative stylistic analysis of excerpts from Bay of Blood (Reazione a catena, 1971), an outstanding model for the American slasher films of the 1980s, with Friday the 13th Part 2 (1981), a quasi-remake slasher by the Hollywood creative Industry (Paramount Pictures) which replicated some of Bava's set-pieces almost verbatim.

  • 35.
    Audissino, Emilio
    University of Southampton, UK.
    'Due note di credibilita': John Williams e Lo squalo2015In: Cinergie, ISSN 2280-9481, Vol. 4, no 7, p. 36-44, article id 6968Article in journal (Refereed)
    Abstract [en]

    A discussion of the importance of John Williams's music for the success of the 1975 film Jaws.

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  • 36.
    Audissino, Emilio
    University of Southampton, UK.
    Ennio Morricone: A Versatile Composer with a Distinct Sound2020In: The conversation, article id 7 JulyArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    An obituary celebrating the many musical achievements and innovations of the Italian composer Ennio Morricone.

  • 37.
    Audissino, Emilio
    Linnaeus University, Faculty of Arts and Humanities, Department of Media and Journalism.
    Film Music in concert: The Pioneering Role of the Boston Pops Orchestra2021 (ed. 1)Book (Refereed)
    Abstract [en]

    The Boston Pops Orchestra was the first orchestra of its kind in the USA: founded in 1885 from the ranks of the Boston Symphony Orchestra, its remit was to offer concerts of light symphonic music. Over the years, and in particular during the fifty-year tenure of its most famous conductor, Arthur Fiedler, the Pops established itself as the premier US orchestra specialising in bridging the fields of 'art music' and 'popular music'. When the Hollywood composer John Williams was assigned the conductorship of the orchestra in 1980, he energetically advocated for the inclusion of film-music repertoire, changing Fiedler's approach significantly. This Element offers a historical survey of the pioneering agency that the Boston Pops had under Williams's tenure in the legitimisation of film music as a viable repertoire for concert programmes. The case study is complemented with more general discussions on the aesthetic of film music in concert.

  • 38.
    Audissino, Emilio
    University of Southampton, UK.
    Film/Music Analysis: A Film Studies Approach2017 (ed. 1)Book (Refereed)
    Abstract [en]

    This book offers an approach to film music in which music and visuals are seen as equal players in the game. The field of Film-Music Studies has been increasingly dominated by musicologists and this book brings the discipline back squarely into the domain of Film Studies. Blending Neoformalism with Gestalt Psychology and Leonard B. Meyer's musicology, this study treats music as a cinematic element and offers scholars and students of both music and film a set of tools to help them analyse the wide ranging impact that music has in films.

  • 39.
    Audissino, Emilio
    Linnaeus University, Faculty of Arts and Humanities, Department of Media and Journalism.
    From Dionysia to Hollywood: An Introduction to Comedy’s Long (and Bumpy) Road2023In: The Palgrave Handbook of Music in Comedy Cinema / [ed] Emilio Audissino; Emile Wennekes, Cham: Palgrave Macmillan, 2023, p. 3-23Chapter in book (Refereed)
    Abstract [en]

    Comedy and humour have intrigued and puzzled philosophers and scholars since time immemorial. What is the difference between tragedy and comedy? What is the essence of comedy? What are the traits that qualify something as humorous? Why do we laugh? At the same time, with the philosophical curiosity came an inveterate suspicion: comedy and humour have been considered lowly genres not worthy of serious study and unbecoming for intellectually superior audiences; comedy can stir up base instincts that are better kept hidden behind the propriety of good manners; comedy can be immoral and malicious and hence is to be condemned. The chapter surveys this tension between scholarly curiosity and haughty condemnation in philosophy, religions, and aesthetic criticism. It presents the three principal theoretical families which have tried to account for the mechanics of humour and laughter: the superiority theories, the release theories, and the incongruity theories, from ancient Greece to the present day. Finally, the specificities of film comedy are considered—what devices make a comedy a film comedy and which techniques of the medium are deployed by film humour—and a summary and discussion are offered of the principal theories within film studies, from Gerard Mast’s to Jerry Palmer’s to Andrew Horton’s.

  • 40.
    Audissino, Emilio
    Linnaeus University, Faculty of Arts and Humanities, Department of Media and Journalism.
    From separation to integration: Strengths and weaknesses of sound-design film music2022In: Filigrane, ISSN 2261-7922, no 27, article id 1328Article in journal (Refereed)
    Abstract [en]

    In the scoring practice of contemporary cinema the boundaries between what has been traditionally called «music» and what has been traditionally called «sound effects» have gotten thinner and overlapping. This practice has been favoured by technical innovations in sound reproductions – Dolby, THX, DTS… – and by the technological convergence and digitalisation of the processes of film-making: film are being edited on a computer station, sound effects manipulated on a computer station, music composed on and often partly played from a computer station, and the master copy finalised on a computer station. While once all the ingredients were produced not only in separate departments but through separate technological procedures, now everything goes into the computer, and hence the past categorical differences get blurred and fused into the common journey through binary codes. Hans Zimmer has been a pioneer of this technological convergence, anticipating (and influencing) the contemporary style of film music, one that integrates closely with the overall sound design of the film.

    Sound-studies scholars and sound designers have typically provided accounts of the positive sides, of the strengths and opportunities, of new «integrated soundtrack» and the interchanges between sound design and music, concentrating on the novel results, away from the cliches of symphonic film scoring, the elision of barriers between the sonic categories, and the expansion of creative solutions. In this article, after providing a short summary of the path to the contemporary integrated soundtrack and sound-design style and after summarising the strengths and opportunities, I discuss some of the potential threats and risks of this new trend. These threats and risks can have an impact on the film-music practitioners, on the viewers, and on film music in general. In the conclusions, I propose a more balanced approach when the current trend in film sound is considered and accounted for.

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  • 41. Audissino, Emilio
    Golden Age 2.0: John Williams and the Revival of the Symphonic Film Score2014In: Film in Concert: Film Scores and their Relation to Classical Concert Music / [ed] Sebastian Stoppe, Glücksstadt: VWH Verlag , 2014, p. 109-123Chapter in book (Other academic)
    Abstract [en]

    The chapter looks into John Williams' contribution to the return of symphonic film scores in the Hollywood cinema of the late 1970s.

    In the first part, it traces an outline of the context, i.e. the pop-music fad that characterised Hollywood during the 1960s and early 1970s. Due to many reasons, the symphonic film score entered a gradual demise at the end of the 1950s. In particular, 1966 is a highly symbolic landmark, as in that year Hitchcock rejected Bernard Herrmann's symphonic score for Torn Curtain in favour of a more pop and market-oriented one: thus one of the most successful director/composer relationship ended abruptly. In those years, the symphonic score was replaced either by pop-music scores whose piece de resistance was a marketable song – as in Henry Mancini's film scores. Although the symphonic score did not disappear completely, it decidedly became a second option and an old-fashioned one.

    In the second part, the chapter shows how John Williams reverted the trend. The unanimously recognised landmark is the release of Star Wars in 1977 which launched the so-called “Film Music Renaissance.” However, the chapter shows how Williams' penchant for the classical Hollywood music and for symphonic writing can be also spotted in his early 1960s works – e.g. in the 1967 comedy Fitzwilly and in the picaresque 1969 film The Reivers. Also, before Star Wars it was Jaws that demonstrated that a symphonic score could still be a very powerful cinematic tool, more powerful than any pop score. After almost a decade, Jaws was the first major film set in the the present day, telling a contemporary story and designed to be a popular success that did not resort to pop music or marketable songs. Instead, Jaws employed a symphonic score reminiscent of Herrmann, on the one hand, and Korngold, on the other, which was awarded an Oscar.Williams' restoration was completed two years later with Star Wars, a film boasting a grand-orchestral almost continuous symphonic scoring sounding like the old Korngold scores for the Errol Flynn films, brilliantly performed by the London Symphony Orchestra. With the success confirmed by another Oscar and by unprecedented sales – in two months the symphonic album sold 650,000 copies – Star Wars brought back symphonic scoring as a major option for block-buster films and confirmed that the symphonic score could not only be enormously effective to film narration but also successfully marketable.

    If it is historically imprecise to state that John Williams brought back symphonic music as the Hollywood music, as it used to be in the old days, it is safe to say that he launched a successful neoclassical trend within the eclectic style of contemporary Hollywood cinema, and he was responsible like no other for bringing the symphonic score back to the general attention and appreciation.

  • 42. Audissino, Emilio
    Gottfried Huppertz's Metropolis: The Acme of “Cinema Music"2016In: Today's Sounds for Yesterday's Films: Making Music for Silent Cinema / [ed] K. J. Donnelly; Ann-Kristin Wallengren, Basingstoke: Palgrave Macmillan, 2016, p. 45-63Chapter in book (Refereed)
    Abstract [en]

    The chapter concerns Gottfried Huppertz’s original score by highlighting two of its merits. First, the lushly orchestrated, leitmotiv-driven, and tightly synchronised score can be seen as the major and last achievement of ‘cinema music,’ following Peter Larsen’s distinction (Larsen 2005: 26) between the music composed for silent films and played live (cinema music) and the music composed for the sound films and interlocked with the visuals on the film strip (film music). In its musical richness and narrative precision, Huppertz’s score seems even to prefigure the typical Hollywood score that would emerge in the following decade. Secondly, Huppertz’s score is one of the few original scores for a silent film that has survived in its entirety to the present day – notoriously, Honegger’s full score to Abel Gance’s Napoleon is lost. More importantly, the fact that Huppertz’s score has survived – and that it was composed so as to be so closely adherent to the film narrative – has been a fundamental recovery aid for the film itself, which up to 2008 had been considered to be irreparably lost in its full and original form.

    The chapter is divided into three sections. The first one provides some background information on the complex restoration and reconstruction process that has finally brought Metropolis very close to the original 1927 Berlin version. In particular, I concentrate on how the music helped the reconstruction. Then, I move on and give a short biographical background of Gottfried Huppertz, after which I analyse the structure of the score, its main leitmotivs and how they operate within the film. Finally, the third section surveys the recent multimedia screenings of Metropolis, with the film accompanied live by a symphony orchestra, and how the film with its original music is perceived today. Among the questions being raised: With such a high-quality musical score, can these shows be defined films with live musical accompaniment, or concerts with visual accompaniment? (In 2011 Metropolis was projected at ‘Teatro alla Scala’ in Milan, with the official in-house orchestra playing.) After years of familiarity with Moroder’s version – or other versions with spurious musical accompaniments – how has Huppertz’s score modified the perception, reception, and interpretation of Metropolis? Huppertz’s score was rather ambitious and even up-to-date at the time in terms of musical language, blending late-romantic idiom, medieval modes, Wagnerian instrumentation and harmonies with 1920s avant-garde idioms. Today, the score sounds somewhat old-fashioned and Hollywood-ish – because we have been exposed to the Hollywood music of the Golden Age before being exposed to Huppertz’s music; and most people have experienced Metropolis with the Moroder compilation, which sounds like pop/art music and has given Metropolis the spurious aura of an art film with an experimental, anti-Hollywood scoring.

  • 43. Audissino, Emilio
    Hollywood Film Music and Ethnic Diversity2013In: Multicultural America: A Multimedia Encyclopedia / [ed] Carlos E. Cortés, Thousand Oaks: Sage Publications, 2013, p. 1101-1103Chapter in book (Other academic)
    Abstract [en]

    Throughout its history, Hollywood film music has had a number of influences from various ethnic groups. It moved from the abstract musical universalism of the classical period to the cosmopolitan eclecticism of the present day. This encyclopedia entry surveys how film music has representated and portrayed ethnicity throughout its history.

  • 44.
    Audissino, Emilio
    University of Southampton, UK.
    How One Man Changed the Landscape of Film Music2014In: The Conversation, article id 25 JulyArticle in journal (Other (popular science, discussion, etc.))
  • 45. Audissino, Emilio
    Il cinema, l'automobile e la morte al lavoro [Cinema, Cars and Death at Work]2009In: 10th International Conference 'Da Ulisse a... Il viaggio in auto: mito e attualità' [From Ulysses To... Car Travelling: Myth and Contemporaneity], University of Genoa, Imperia, Italy, 1-3 October 2009, 2009Conference paper (Other academic)
    Abstract [en]

    In the 20th century, the inventions of cinema and automobile represented an expansion of the human limits: time and spatial limits, respectively. However, every overcoming of human limits brings about the "risk of Icarus": the often deathly realisation of human fragility, a Memento Mori. Borrowing from Jean Cocteau the concept of the mirror as "death at work" and by extension of cinema as “death at work on the actors”, the paper traces the frequent presence of the threat of death that can be found in the cinema-automobile coupling, for example in such films as Il sorpasso (1962), the Toby Dammit episode of Histoires extraordinaires (1968), or Christine (1983). A site of convergence of the theoretical reflections is Grindhouse: Death Proof (2007), a film that presents, in an emblematic way, the "death at work" encapsulated both in the automobile machine and in the cinema machine.

  • 46. Audissino, Emilio
    Il cinema è la morte al lavoro [Cinema Is Death at Work]2013In: International conference 'Immagini della morte' [Images of Death], University of Pisa, Italy, 19 April 2013, 2013Conference paper (Other academic)
    Abstract [en]

    Following the public presentation of the Lumière brothers’ cinematograph in 1895, some witnesses commented enthusiastically: "Now death is no longer invincible." The cinema makes it possible to expand the temporal horizon of human beings by immortalizing their moving image, thus preserving a part of them beyond their physical death. One of the founding principles of the Aesthetics / Ontology of André Bazin's cinema theory is the "the mummy complex", that is the aspiration of cinema to "mummify" reality and preserve it, an aspiration that is at the base of each art - sculture, painting, photography, etc ... - but has never reached the completeness of cinema, whose conquest is the mummification of movement.

    However every time humans overcome their limits, they face the "risk of Icarus": being confronted with their human fragility, a Memento Mori. Similarly, when cinema crystallizes a place or a person to preserve their image, that very image also becomes the damning testimony of the passing of time. In the following years, comparing that image with the real place portrayed in it, it will be possible to notice the architectural and urban changes happened during the unstoppable course of history. More importantly, the cinematographic image of a person becomes a merciless mirror in which the real person can see her or his own progressive aging process. The cinema preserves the image beyond the existential boundaries of those who have been filmed, but that image is a lifeless and immutable phantom that, in front of the passage of time and the aging of the real persons in the flesh, is a reminder of how death is inexorably working on them. The definition attributed to Jean Cocteau is a famous one: "Cinema is death at work on the actors." Every single film is a Cocteauian mirror, in which the actor can compare her or his mortal person with the eternal celluloid person.

    The paper aims to provide a general framework of the Cocteauian definition and then to investigate the case of three films in which this lugubrious conceptualisation of the cinema machine is particularly evident: Sunset Boulevard (Billy Wilder 1950), What Ever Happened to Baby Jane (Robert Aldrrich, 1962), and The Shootist (Don Siegel, 1976). All three films, more or less markedly, show death at work on their respective stars – Gloria Swanson, Bette Davis, and John Wayne. These films, thanks to the presence within of inserts from past films featuring the same stars, showcase the eternal youth conquered on the screen by celluloid stars, but at the same time they reveal the unstoppable aging to which the actors in flesh and blood are submitted in real life.

    But films themselves constitute an illusion of eternity. The material support of which they are made is extremely fragile and unstable, as shown by the spasmodic struggle of archives and restorers that work against death at work on the filmstrips. The celluloid simulacrum too is far from eternal, as shown in such films as Grindhouse (Quentin Tarantino, 2007), in which the physical damages that typically the film copies accumulate over the years is recreated and deliberately foregrounded, or in (Nostalgia) (Hollis Frampton, 1971), an experimental film examining the slow destruction by burning of a series photographic portraits.

  • 47. Audissino, Emilio
    Il terrore viene dagli abissi: John Williams e la musica de Lo Squalo2011In: Almanacco Horror Magazine, no 2, p. 116-119Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    [Dread from the Abyss. John Williams and the Jaws Score]

  • 48. Audissino, Emilio
    Introduction: John Williams, Composer2018In: John Williams: Music for Films, Television, and the Concert Stage / [ed] Emilio Audissino, Turnhout: Brepols, 2018, p. ix-xxivChapter in book (Other academic)
  • 49.
    Audissino, Emilio
    University of Pisa, Italy.
    Italian Doppiaggio Dubbing in Italy: Some Notes and (In)famous examples2012In: Italian Americana, ISSN 0096-8846, Vol. 30, no 1, p. 22-32Article in journal (Refereed)
    Abstract [en]

    A survey of the history of film dubbing in Italy, and the aesthetic consequences that adaptation and media translation can cause to the original texts.

  • 50.
    Audissino, Emilio
    Linnaeus University, Faculty of Arts and Humanities, Department of Media and Journalism. University of Southampton, UK.
    It’s “Shirley” Something to Remember: Airplane! 40 Years Later2020In: JewThink, article id 4 NovemberArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    A celebration of the 40th aniversary of the comedy Airplane! by the Zucker-Abrahams-Zucker trio, discussing its innovative traits and the influence of the trio's Jewish heritage.

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