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  • 101.
    Björnlund, Stefan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Att vandra i Daedalus hus: En analys av katabasis-motivet i Mark Z. Danielewskis House of Leaves2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Walking in the house of Daedalus – An analysis of the katabasis motif in Mark Z. Danielewski’s House of Leaves

     

    This study analyses the depiction of the labyrinth as a symbolic landscape in regard to both subject and form in the multi-layered novel House of Leaves by Mark Z. Danielewski. Using the mythological katabasis motif as a structural principle, this study discusses modern labyrinthine narratives wherein selfhood is constructed through an infernal journey between a descent and a return. This study analyses the novel with a thematic perspective from two points of view; how the labyrinth acts as central motif for the self in the novel and how the novel visually depicts the narrative through typographical choices throughout the text. The study’s main question is how the novel depicts the labyrinth in regard to its historical and cultural context and how it inscribes itself into a tradition of narratives that depicts the labyrinth as a metaphor for the mind and as a symbol for the exploration of the self.

     

    The result shows that House of Leaves uses a complex cluster of narratives to tell a katabatic story, both through the narrative and the form. Through the symbolic landscape and through the use of a genre typical and uncanny horror story, House of Leaves tells a story about alienation, guilt and love where the characters psychological developments changes in regard to confrontations with the labyrinth and through the symbolical tests that exists throughout the katabatic journey. The characters ascends traumatized from the labyrinth, but are at the same time rewarded with personal insight

  • 102.
    Björnlund, Stefan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    To Justify the Ways of Satan by Men: En analys av kritiska tolkningspositioner av Satan i John Miltons Paradise Lost2017Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study analyses readings and interpretations of the satanic figure in John Milton´s epic Paradise Lost. The study highlights positions from the literature debate about Satan, the main character, and analyses interpretations of Milton´s Satan in order to investigate the critical positions about the relation between text and interpretation. The study has a meta-perspective and analyses the character of Satan in relation to the two main positions that have occupied the debate. The central question for this study is the role of the satanic figure in Paradise Lost. Have the critics read him as a tragic hero or is he being portrayed as the embodiment of evil? By reading which strategies have been used for interpretation by critics in order to come to conclusions about Satan, I have also shown what views exist concerning literary texts and character presentation. The result shows two clear traditions, satanists and anti-satanists, the former interpreting Satan as a positive character and the latter viewing him as a negative one. This study has shown that the debate concerning Satan has touched upon a wide spectrum of subjects where questions concerning authority, revolt and the closeness/distance to a text has been part of the interpretations. The satanic figure has at the same time shown to be an ambivalent 'round' character which makes simple interpretations of him more difficult.

  • 103.
    Blom, Marika
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature. Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Friberg, Anette
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Kön föds man med, men genus är något man formas till.: En studie om förskollärares genusmedvetenhet och förhållningssätt om genusstereotypa föreställningar i barnlitteratur.2014Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med den här undersökningen har varit att ta reda på med vilken medvetenhet förskollärare väljer barnlitteratur ur ett genusperspektiv. Våra frågeställningar var: Hur ser pedagogers genusmedvetenhet ut när de väljer barnlitteratur? Och hur arbetar pedagoger i förskolan genusmedvetet med barnböcker i syfte att utveckla barns språk?

    Vi valde att göra en kvalitativ intervjustudie där vi intervjuade fyra stycken förskollärare. Två av dem var genuspedagoger, vilket påverkade resultatet en del. Vi har kommit fram till att genusarbetet anses som viktigt men att det inte har en hög prioritet. Detta kan bero på att det inte lyfts fram som viktigt av informanterna. Vi har kunnat se i vårt resultat att utbildning inom detta område inte är prioriterat då båda genuspedagogerna hade gått sin utbildning på eget initiativ. De som arbetade inom kommunal regi hade fått en kortare kurs genom RFSL och de som arbetade på föräldrakooperativ hade ingen utbildning alls i ämnet. Av detta kan vi dra slutsatsen att det behövs utbildning i genus och normkritiskt tänkande. Om vi ska få ett jämställt samhälle behöver vi börja redan på förskolan och det måste genomsyra hela verksamheten.

  • 104.
    Bohlin, Jenny
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Bilderbokens förmåga att skildra relationer: Analys av fem bilderböcker med fokus på relationen mellan barn och vuxna2015Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study analyses five different picture books from the last few decades. The aim of the analysis was to investigate how relations between children and adults are presented in the picture books. One way to achieve this has been to focus on the adults’ presence or absence in the narrative, and also what kind of authority the adult(s) can have in the action and how it can affect relations between children and adults. The idea is that this degree project can be adapted for practical use in school. It is hoped that teachers will receive inspiration for how they can work on the topic of relations between children and adults with the aid of picture books.A literary analysis which embraces the interplay between text and image, and with a focus on the different characters, has been used to analyse the picture books. The analysis shows that the absence and presence of the adults is depicted in different ways and can be divided into different groups: always absent, partly absent, physically present but absent in mind, and present. Another finding is that, in three of the five books, some adult character is portrayed as an authority, and this too affects how relations between the children and the adults are depicted.

  • 105.
    Borg, Alexandra
    et al.
    Uppsala University, Sweden.
    Hedberg, AndreasUppsala University, Sweden.Karlsson, MariaUppsala University, Sweden.Määttä, JerryUppsala University, Sweden.Warnqvist, ÅsaLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. The Swedish Institute for Children's Literature, Sweden.
    Konstellationer: Festskrift till Anna Williams2017Collection (editor) (Other academic)
  • 106.
    Borčak, Fedja
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    A Children’s Literature?: Subversive Infantilisation in Contemporary Bosnian-Herzegovinian Fiction2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The past two decades of political and social disintegration in Bosnia and Herzegovina have given birth to literary counterreactions against hegemonic ways of imagining social life in the country. This thesis deals with a particular practice in BosnianHerzegovinian war and post-war literature, which uses infantile perspectives to critically address issues related to the socialist history of Bosnia as part of Yugoslavia, the war in the 1990s, and the socalled transitional post-war period. Drawing on an old Western literary tradition of using the child character to estrange conventional experiences of the world, the texts (by authors such as Miljenko Jergović, Nenad Veličković, Alma Lazarevska, Aleksandar Hemon, and Saša Stanišić) use the skewing and dislocating outlook associated with the infantile subject to expose and undermine perceivably problematic mechanisms in socialist, ethnonationalist, and Western liberal hegemonic discourses.

    In contrast to previous research on the topic, which has primarily focussed upon the narratological conditions for the infantile perspective, the focus here is on the subversive infantilisation of hegemonic discourse—that is, the very discursive act of representing and contesting dominant concepts, narratives, and representations. The texts are seen as transitional areas through which input from the social world passes and, in this process, is restructured and ultimately transformed into a configuration slightly or radically different from the original input. Theoretically inspired by discourse theory and ideas from New Historicism, the study isolates and investigates a set of techniques through which this reconfiguration occurs. Apart from discussing the use of the basic infantile perspective as such a technique, the study also considers how the notion of the infantile influences techniques of dichotomisation (the production of positional counterpoints), appropriation (the critical subsuming of dominant discourse), and blending (the mixing of dominant and childish imagery).

    The thesis also addresses the possible political implications of the strategy of subversive infantilisation. Here the approach is influenced by the political philosophy of Jacques Rancière, which enables an understanding of the aesthetic reconfiguration of how Bosnian social life is imagined as a way of constituting a new form of subjectivity that evades the excluding and oppressive framework of hegemonic discourse.

  • 107.
    Borčak, Fedja
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Exilens samtidighet2016In: Standart, Vol. 1, p. 50-51Article in journal (Other (popular science, discussion, etc.))
  • 108.
    Borčak, Fedja
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Litteraturens kraft2014In: Smålandsposten, ISSN 1104-0009, no 05-19, p. 21-Article in journal (Other (popular science, discussion, etc.))
  • 109.
    Borčak, Fedja
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Re-rigging Othering: Subversive Infantilisation in Contemporary Bosnian-Herzegovinian Prose2014In: Culture Unbound. Journal of Current Cultural Research, ISSN 2000-1525, E-ISSN 2000-1525, Vol. 6, no 7, p. 1259-1273Article in journal (Other academic)
    Abstract [en]

    In this article I put forward the concept of subversive infantilisation to designate a phenomenon in contemporary Bosnian literature, which by using a certain kind of childish outlook on the world undermines paternalistic and balkanist Western discourse on Bosnia and Herzegovina. By analysing primarily the portrayal of the role of mass media in a few literary texts, principally books by Nenad Veličkovié and Miljenko Jergovié, I highlight the way in which these texts “re-rig” and by means of irony and exaggeration illuminate the problematic logic inherent in the subject position from which one represents the other. Textual characteristics of subversive infantilisation are contextualised further and seen as a discursive continuation of experiences of the 1990s war in Bosnia and Herzegovina.

  • 110.
    Borčak, Fedja
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Suprotnost duplog?: Savremena bosanskohercegovačka književnost dijaspore u Skandinaviji2015In: Sarajevske sveske, ISSN 1512-8539, no 45-46, p. 163-176Article in journal (Other academic)
  • 111.
    Bouroncle, Maria
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Den färgglada kullen: En berättelse om att komma hem2018Independent thesis Basic level (degree of Bachelor), 20 HE creditsStudent thesis
  • 112.
    Bradling, Björn
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Diskurs och dissonans: "den Samme" och "den Andre" i Mary Shelleys Frankenstein ; or, the Modern Prometheus2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay – Discourse and Dissonance – deals with Mary Shelley’s gothic novel Frankenstein; or, the Modern Prometheus (1818). The focal point is the construction of “Them and Us”, as defined by scholars such as Stuart Hall, viewed in terms of the following categories: race, gender and family, class, and sexuality. Rather than applying an outside perspective, e.g. a feminist or Marxist one, to the text, I use Cultural Criticism as described by Arthur Asa Berger in order to deconstruct and reconstruct the discourse, as explained by Michel Foucault, within Shelley’s work. In doing so, I view the hermeneutics of suspicion as the starting point due to its recognition of every text’s hidden truth. Stephen Greenblatt’s term dissonance is useful for the study’s aim of finding the differences and similarities in the voices of the novel’s characters. Intersectionality functions as the tool with which I intertwine the above categories in my analysis.     In conclusion Frankenstein; or, the Modern Prometheus does not convey a message of conformity. Its class-, race- and gender-bound discourse is reproduced in the text, but simultaneously challenged. The dissonant voices of the novel show the discourse from different perspectives and make it obvious that there are cracks on the surface of the discourse, which Shelley deepens by putting it into writing – whether she was aware of it or not.

  • 113.
    Bradling, Björn
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Oi! Oi! Oi?: - en kulturkritisk studie av identitetsframställningen i Oi!-punken2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This master’s thesis suggests that Oi! - lyrically – gives voice to a youth community whose identity lies in everyday working class life. The identity in question is based upon class, gender, sexuality, nationality, and community awareness. As these are intertwined, the thesis shows a more complex genre than that of Matthew Worley’s “Oi! Oi! Oi!: Class, Locality, and British punk”.   On the other hand, using the above categories - derived from the studies of Kathryn Woodward – allows this essay to detect a genre identity made from a distinct “the Same” and “the Other” – us and them, as described by Stuart Hall. The latter consists of members of the middle and upper classes along with all kinds of intellectuals. “The Same” is based upon a common belonging to the working class and its local communities, but also on nationhood. On the contrary, the male gender in general and the male sexuality in particular adds to the idea of Oi!´s “the Same”. In contrast to the idea of “the Same”, Stephen Greenblatt’s idea of dissonance works to explain cracks in the façade of Oi! as explained in the spatiotemporal discourse.  Moreover, Oi!’s “the Same” is quite alike the subaltern of Antonio Gramsci. This concept suggests that the members of the proletariat are too unaware to be ideologically enlightened and therefore their culture expresses the way of working class life as it is, complete with eventual moral flaws. Whereas Gramsci uses the subaltern as a description of the rural proletariat of southern Italy and suggests folklore as the cultural outcome of that particular discourse, this essay aims to use it similarly but with Britain of the 1980’s and Oi! at its focal point.  Furthermore, this essay describes the “Circuit of Culture” - as explained by Woodward - and puts Oi! into that model, which enables an understanding of the genre as an expression of produced, consumed, regulated, and represented identity.  In conclusion, this master’s thesis do not refute Worley´s description of Oi! as a socioeconomic product, but rather adds to that by intertwining Woodward´s categories. The intersectional understanding of Oi! states that class, gender, community, sex, and nationality work together to create a genre, which represents a Gramscian subalternative proletariat. However, Hall’s “the Other” makes it perfectly clear that there is a distinct gap between Oi! and white power-music, which is also proved - throughout the essay -  by the two genres regard to whiteness studies.

  • 114.
    Brandt, Daniel
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Transit2015Independent thesis Advanced level (degree of Master (One Year)), 20 HE creditsStudent thesis
  • 115.
    Brandt, Daniel
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Ultima Ratio2019Independent thesis Advanced level (degree of Master (Two Years)), 20 HE creditsStudent thesis
  • 116.
    Brandt, Daniel
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Vän av ordning2014Independent thesis Basic level (degree of Bachelor), 20 HE creditsStudent thesis
  • 117.
    Brandt, Kerstin
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Britt2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 HE creditsStudent thesis
  • 118.
    Brnic, Anita
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Rue de l'Orient2016Independent thesis Basic level (degree of Bachelor), 20 HE creditsStudent thesis
  • 119.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Adaption: et litterært grænsefænomen2016In: Litteratur mellem medier, Aarhus: Aarhus Universitetsforlag, 2016Chapter in book (Refereed)
  • 120.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Afterword: Notes on a pedagogical experiment – and on Superpowers of Ten2017In: Intermedial Mediations of the Anthropocene / [ed] Miriam Vieira, Jørgen Bruhn, Belo Horizonte: Viva Voz , 2017, p. 79-90Chapter in book (Refereed)
  • 121.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Dialogising Adaptation Studies: From One-way transport to a Dialogic Two-way process2013In: Adaptation Studies: New Challenges, New Directions / [ed] Jörgen Bruhn, Anne Gjelsvik and Eirik Frisvold Hanssen, Bloomsbury Academic, 2013, p. 69-88Chapter in book (Refereed)
  • 122.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Ecology as pre-text ?: The paradoxical presence of ecological thematics in contemporary Scandinavian quality TV2018In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 10, no 2, p. 66-73Article in journal (Refereed)
    Abstract [en]

    The Scandinavian middle classes have been trained in feeling guilty and shameful about their social and economical privileges as well as these privileges in combinations with gender and/ or ethnicity. But "eco-guilt" or "eco-shame" has hardly been represented properly in cinema and TV series to this day. In this article, I want to offer a kind of prediction, rather than a description, of what may be an upcoming major theme in Scandinavian visual narratives: eco-guilt and eco-shame. I see signs of this in the recent TV series Jordskott from Sweden, the Norwegian Okkupert and the Danish Bedrag, but my point will be that the ecological issues here are used as a useful background or a dramaturgical starting point rather than as a major theme: as pretexts, in the double sense of the word. The use of ecology as pretext in Scandinavian TV series will be the subject of this article where I intend to focus on the way that the question of eco-guilt seems to be an alluring and tempting as well as repressed thematic, a fact that can be read out of the three series' paradoxical opening sequences.

  • 123.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Introduction to the Anthropocene theme2017In: Ekfrase: Nordisk Tidsskrift for Visuell Kultur, ISSN 1891-5752, E-ISSN 1891-5760, p. 7-9Article in journal (Refereed)
  • 124.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    ”La lettre au cinéma n’est pas une excellente solution”: A Heteromedial analysis of Chantal Akerman’s Proust Adaptation2013In: The Art of the Text: Visuality in Nineteenth- and Twentieth-Century Literary and Other Media / [ed] Susan Harrow, University of Wales Press, 2013, p. 201-215Chapter in book (Refereed)
  • 125.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Meeting the Other in a Medieval Literary Chivalric Novel2014In: Europe and its Interior Other(s) / [ed] Helge Vidar Holm et al, Aarhus: Aarhus Universitetsforlag, 2014, p. 23-35Chapter in book (Refereed)
  • 126.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Mikhael Bachtin2016In: Kulturteori og kultursociologi / [ed] Bjørn Schiermer, København: Hans Reitzels Forlag, 2016, p. 253-280Chapter in book (Refereed)
  • 127.
    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.

  • 128.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Post-Medium Literature? Two examples of Contemporary Scandinavian "Literature"2013In: Acta Universitatis Sapientiae, Philologica, ISSN 2067-5151, Vol. 5, no 1, p. 79-94Article in journal (Refereed)
  • 129.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Representation: Courtly Love as a Problem of Literary Sense-Representation2015In: The Saturated Sensorium: Principles of Perception and Mediation in the Middle Ages / [ed] Hans Henrik Lohfert Jørgensen, Henning Laugerud, Laura Katrine Skinnebach, Aarhus: Aarhus Universitetsforlag, 2015, p. 112-129Chapter in book (Refereed)
  • 130.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    ”’Seeing without Understanding’: Mediality aspects of Literature and Memory in Vladimir Nabokov’s ”Spring in Fialta”2015In: Orbis Litterarum, ISSN 0105-7510, E-ISSN 1600-0730, Vol. 70, no 5, p. 380-404Article in journal (Refereed)
    Abstract [en]

    Taking as my starting point the intermedial idea that all literary texts exhibit some kind of medial mixture, the article argues that Vladimir Nabokov's formally exquisite and existentially moving short story Spring in Fialta (which I analyze in Nabokov's own English translation from Russian) is best understood when it is considered a mixed mediality text. I hope to demonstrate the general idea that when a conventionally literary text is being read as a medially mixed text the role of media turns out to be crucial for the understanding of the entire text. More specifically, I shall argue that the schism between artistic representation and life in itself, condensed into the problem of how to represent and recall memory traces, is a major theme in Spring in Fialta.

  • 131.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Stacy Alaimo : Exposed: Environmental politics & pleasures in posthuman times2016In: Ekfrase: Nordisk Tidsskrift for Visuell Kultur, ISSN 1891-5752, E-ISSN 1891-5760, no 1-2, p. 78-80Article, book review (Refereed)
  • 132.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    The Intermediality and Narrative Literature: Medialities Matter2016Book (Refereed)
  • 133.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    “Visionary Cartography”: The Aesthetic Mediation of the Anthropocene in Kaspar Colling Nielsen’s Mount Copenhagen2018In: Nordic Narratives of Nature and the Environment: Ecocritical Approaches to Northern European Literatures and Cultures / [ed] Reinhard Hennig, Anna-Karin Jonasson, Peter Degerman, Lexington: Lexington Books, 2018Chapter in book (Refereed)
  • 134.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Arbex, MárciaUniversidade Federal de Minas Gerais, Brazil.Flores Nogueira Diniz, ThaïsUniversidade Federal de Minas Gerais, Brazil.
    Aletria : Revista de Estudos de Literatura: Literatura e arte : as fronteiras em discussão2017Collection (editor) (Other academic)
  • 135.
    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.
    Cinema Between Media: An Intermediality Approach2018Book (Refereed)
    Abstract [en]

    Cinema has always been a mixed medium, sharing its basic form with photography, borrowing heavily from performing arts and the novel, and combining medialities like painting and music. But although it could be argued that cinema is the intermedial art form par excellence, this insight has not affected film analysis as much as might be expected. Seeking to change our perceptions of cinema as a medium, Cinema Between Media draws on case studies of films like Zero Dark Thirty, Citizen Kane, Howl and Birdman to rethink cinema as an aesthetic form, and to raise new ideas about the practice of film analysis.

  • 136.
    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.

  • 137.
    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.

  • 138.
    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.

  • 139.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, AnneFrisvold Hanssen, Eirik
    Adaption Studies: New Challenges, New Directions2013Collection (editor) (Other academic)
  • 140.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Gjelsvik, Anne
    Norweigian University of Science and Technology.
    Hanssen, Eirik Frisvold
    Norweigian University of Science and Technology.
    "There and Back Again'": New challenges and new directions in adaption studies2013In: Adaption studies: new challenges, new directions / [ed] Jörgen Bruhn, Anne Gjelsvik and Eirik Frisvold Hanssen, Bloomsbury Academic, 2013, p. 1-16Chapter in book (Other academic)
  • 141.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Intermedialitet och litteraturanalys: [ ingår i Lärportalens modul Språk-, läs- och skrivutveckling (Läslyftet), Perspektiv på litteraturundervisning, Del 4: Intermedialitet och litteraturanalys, gymnasiet ]2016Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Syftet med denna text är att presentera en metod för analys ac skönlitterära texter i gymnasieskolan, inom Skolverkets satsning på Läslyftet. Denna metod, kallad intermedial analys, tar sin utgångspunkt i hur olika medier blir synliga i skönlitteraturen. Intermediala analyser har en hel del gemensamt med intertextuella analyser, det vill säga relationer mellan olika texter, men den intermediala kan vara enklare för eleverna att ta till sig.

  • 142.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Löwe, CorinaLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Lutas, LiviuLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Rossholm, Anna SofiaLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.Salmose, NiklasLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Tornborg, EmmaLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.Almgren White, Anette
    Ekfrase: Nordisk Tidsskrift for Visuell Kultur2016Collection (editor) (Refereed)
  • 143.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Thune, Henriette
    University of Stavanger, Norway.
    In between Life and Death: Sophie Calle’s Rachel, Monique (2014)2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Petersson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 25-48Chapter in book (Refereed)
    Abstract [en]

    This chapter is dedicated to Sophie Calle’s aesthetically rich and existentially moving art exhibition Rachel, Monique (2014), representing her mother’s death in 2006. Calle’s well-known dichotomies between private and public, random acts and aesthetic form are repeated in a new dichotomy between life and death, and the nuances in between these. The authors suggest a combination of some of the fundamental notions of intermedial studies combined with the aesthetic theory of Mikhail Bakhtin in order to grasp the exhibition and the experience of it.

  • 144.
    Brundin, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Åtskildheten: En lacansk läsning av Birgitta Trotzigs roman Sjukdomen2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 145.
    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)
  • 146.
    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)
  • 147.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival narratives: Curating history and memory in digitized collections2019In: Structures and Voices: Storytelling in Post-Digital Times: The NECS 2019 Conference, Gdańsk 13-15. 06. 2019, 2019Conference paper (Refereed)
    Abstract [en]

    How do archives employ narratives and storytelling to curate access to their digitized collections? Drawing on the results of my research project “The Cultural Heritage of the Moving Image” (2016-2018), this paper examines how film archives recontextualise and contemporize historical content online, how they reflect upon it and how they cope with legal constraints and ethical considerations. It presents findings from studying the processes of regulation according to which some stories become ‘acknowledgeable’ while others are not recognized. This paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management. It will look at ways of reflecting on hegemonic power structures in the curation of online content. The cases, looking especially at issues of race, class and sexuality, stem from both national film archives and ‘minor archives’, such as grass-root or community archives. Among these are ‘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 digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB), as well as the Lesbian Home Movie Project (Maine) and bildwechsel, based in Hamburg.

  • 148.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Archival power and audiovisual memory: recognizing social inequality in film archives2019In: Power & the media. XXVII IAMHIST Conference: 16-18 July 2019, Northumbria University, UK, Newcastle: Northumbria University , 2019, p. 23-23Conference 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 visibility in national film archives. Setting out to examine on what terms marginalised lives of social and ethnic minorities are made visible, it analyses the work of national film archives in Sweden and the UK. 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). The paper discusses how archives can foreground archival social inequalities as a result of collection policies, colonial representations or metadata management.  It will look at ways of reflecting on hegemonic power structures in the curation 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 digitized collections from the Swedish National Film Archives, administered by the Swedish Film Institute (SFI) and the Royal Library (KB).

  • 149.
    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).

  • 150.
    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)
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