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  • 151.
    Buyukada, Utkan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Filmmanusens funktion i Quentin Tarantinos bildspråk: Jämförelseanalys av två manus - Hateful Eight och Reservoir Dogs2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay is a comparative analysis of Quentin Tarantino´s first, Reservoir Dogs (Quentin Tarantino, 1992), and his latest screenplay, Hateful Eight (Quentin Tarantino, 2015). Focus of the essay is Tarantino as a screenwriter and investigates the correlation between visual intentions and formation of their effects on film.

    The starting point of the essay is a theoretical approach where the connection between screenplay and film is discussed as a continuous process. A description of the screenplay and the rules of its format precedes the analysis part of the essay. Focus on the analysis is the visual instructions in screenplay text and correlation between these instructions and the film. Two versions of each script will be used in the essay. The analysis is divided in three parts. First, the two different version of the screenplay will be compared separately; second, each script will be compared with the film and third, the two scripts from each movie will be compared with one and other.

    The conclusion of the thesis summarizes, the function of the screenplay in Tarantino´s work and discusses the possibilities for the screenplay in the filmmaking process and the complex relationship between script and film as well as the intentions of the script mirrored in the film.

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  • 152.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Det reciproke plagiat: Charlataneri og negativ identitet hos Elmyr de Hory i anledning af Orson Welles' F for Fake2013In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no 34, p. 170-188Article in journal (Refereed)
    Abstract [en]

    Orson Welles’ last film, F for Fake from 1973, not only doubles several figures from Clifford Irving’s biography of the forger Elmyr de Hory, the character ‘Orson Welles’ doubles the character ‘Elmyr de Hory’ as well in their common denominator as charlatans> Orson as a non-filming movie-maker, Elmyr as a non-artist painter and draughtsman. Whereas this for Orson was an intentional ambition in his film-making, it seems for Elmyr to have been an unintentional involutarism. As most artists, Elmyr strived for recognition of his own works under his own name. The problem was, however, that he did not have any real identity. With regard to quality, Hory could not really see the difference between a Modigliani portrait painted by Modigliani in 1910’s and another Modigliani portrait by Elmyr. This indifference towards the logic of artistic fame, established by different avantgardes, Hory probably had in common with all our lesser known artists, who thought that aesthetical qualities could be exchanged to artistic value. Elmyr’s paradoxical success – starting with Clifford Irving’s biography and Orson Welles’ film – illuminates a strategy for traditional or mediocre artists, to test artistic value, with a type of retrogardian chock-effect: reciprocal plagiarism.

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  • 153.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Art, Denmark.
    Statyn: Grunddrag till en mediatopologi2017In: Chorus final event: Lecture and performance: Inter Arts Center, Malmö, 31 mars 2017, Inter Arts Center , 2017Conference paper (Other academic)
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  • 154.
    Cariboni Killander, Carla
    et al.
    Lund University, Sweden.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Strukelj, Alexander
    Lund University, Sweden.
    A New Look on Ekphrasis: an Eye-tracking Experiment on a Cinematic Example2014In: Ekphrasis. Images, Cinema, Theory, Media, ISSN 2067-631X, Vol. 12, no 2, p. 10-31Article in journal (Refereed)
    Abstract [en]

    Taking the modern definition of ekphrasis as a verbal representation of a work of art as a starting point, we try tobroaden it in this contribution. We agree with intermediality theorist Lars Elleström that ekphrasis falls into the categoryof “media representation”, defined as the representation of a source medium in a target medium. We argue that thetarget medium does not need to be a verbal one and what matters is the energeia, the vividness of the description,leading in turn to enargeia, a vivid image in the mind of the receiver. The energeia-enargeia relation is an aspect thatis often neglected in modern theoretical debates about ekphrasis. We believe that there cannot be ekphrasis without adescription making the receiver “see” the object with his/her inner eye. At the same time, following Seymour Chatmanand Werner Wolf, we argue that description is not a prerogative of the verbal medium and that even the cinematicmedium can describe, using different strategies.In the second part of this contribution, these hypotheses are tested empirically with the help of the eye-trackingtechnique. A short sequence of Christian Petzold’s film Barbara (2012), which constitutes an example of cinematicekphrasis, is shown to thirty-three participants. The evidence gathered from the recording of their eye-movementsconfirms the relevance of the energeia-enargeia relation: the eyeactivity increases at some particular points of the sequence, pointscorresponding to the descriptive activity of the camera. Ekphrasisis thus a kind of embodied experience.

  • 155.
    Carlsson, David
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Skapandet av minnen i US-amerikansk och kinesisk krigsfilm under efterkrigstiden2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsens fokus ligger i mångt och mycket på Kinas och USA:s ombytliga relation med Japan under efterkrigstiden. Japanernas illdåd i Östasien och Stilla Havet under andra världskriget lämnade ett stort avtryck i både den kinesiska och US-amerikanska filmkulturen. Den japanska karaktären i film har varit lika ombytlig som de kinesisk/japanska och US-amerikanska/japanska politiska relationerna sedan andra världskrigets slut.

       Uppsatsens analys kommer jämföra ett mindre antal kinesiska och US-amerikanska filmer med varandra och peka på likheter och olikheter i hur man framställt japaner med hjälp av olika konventionella stilgrepp inom film såsom kinematografi, musik och ljud. Från propagandafilmer och dokumentära redogörelser, till humanistiska skildringar och dramatiska återberättelser; den japanska karaktären har tagit sig många olika skepnader genom åren. Det är svårt att definiera några absoluta drag som sammankopplar de otal av japanska rollkaraktärer som kommit och gått. Något som man kan vara ganska säker på dock är att politik, historia och film i många avseenden går hand i hand med varandra.  

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    Karlsson, David - skapande av minnen
  • 156.
    Carlsson Gras, Emelie
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    REEL ME: När home movies flyttar hemifrån – Om vloggar som en del i filmhistorien2017Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Amatörfilmandet har med digital teknik fått en explosionsartad utvecklig och ett offentligt rum genom internet. Om amatörfilmer i hem, home movies, främst skapades av familjefadern, så har ny teknik gett upphov till nya grupper av filmskapare då många är unga kvinnor eller barn. Ny teknik har också bidragit till uppluckrade gränser mellan det offentliga och privata samt fört amatörfilmaren närmare den professionella filmskaparen. På YouTube har ett nytt filmyrke vuxit fram, en YouTuber eller vloggare som producerar digitala filmer, även kallade videor eller vloggar. Denna uppsats undersöker ett antal populära vloggar i Sverige på YouTube och sätter dessa i ett filmhistoriskt sammanhang samt visar hur dessa uttryck kan utmana ett mer traditionellt filmskapande.

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    Reel Me
  • 157.
    Chinita, Fátima
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature. Polytechnic Institute of Lisbon, Portugal.
    Tapping into the senses: corporeality and immanence in The Piano Tuner of EarthQuakes (Quay Brothers, 2005)2019In: Empedocles: European Journal for the Philosophy of Communication, ISSN 1757-1952, E-ISSN 1757-1960, Vol. 10, no 2, p. 151-166Article in journal (Refereed)
    Abstract [en]

    In The Piano Tuner of EarthQuakes (2006), the Quay Brothers’ second feature, the sensual form and the meta-artistic content are truly interweaved, and the siblings’ staple animated materials become part of the theme itself. Using Michel Serres’s argument in Les cinq sens (2014, whose subtitle in English is A Philosophy of Mingled Bodies), I address the relationship between the Quays intermedial animation and the way the art forms of music, painting, theatre and sculpture are used to captivate the film viewer’s sensorium in the same way that some of the characters are fascinated by the evil Droz, a scientist and failed composer who manipulates machines and people alike, among them Felisberto, a meek piano tuner with the ability to stir the natural elements. I further proceed to posit the entire film as an intended allegory of animation on the Quays part. Their haptic construction of a three-dimensional world which they control artistically is replicated in the film in Droz’s and Felisberto’s activities vis-à-vis Malvina van Stille, an abducted opera diva who is kept in a suspended animation state (just like a marionette) and several hydraulic automata with musical resounding properties, some of them made up of an uncanny assortment of body parts. The artificial life of these creatures is contrasted, in two ways, with their physical reality as beings that exist in the world: first, via Serres’s sensorial strategy to transform a body into a conscious entity (i.e., endowed with a soul), an embodiment I call ‘Corpo-Reality’, and second, by resorting to Deleuze and Guattari’s theory of the body without organs (BwO) in its advocacy of ‘hard’ nature and the rejection of a rigid assortment of body parts (either biological or social). The paradoxical organic objectivity of the ‘marionettized’ Malvina is pitted against the seemingly subjective doings of the mechanical automata, especially an android woodcutter. However, just as in the story things are not what they seem, and the automata actually reflect the ‘real’ world of Felisberto’s tuning of them (and vice versa, in a process entitled ‘vertical mise en abyme’), so the film itself can be a ‘crystal-image’ (per Deleuze), offering itself to the senses of the spectator.

  • 158. Chinita, Fátima
    et al.
    Lutas, LiviuLinnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Ekphrasis. Images, Cinema, Theory, Media. Vol. 22, Issue 2/2019: Crossing Narrative Boundaries between Cinema and Other Media2019Collection (editor) (Refereed)
    Abstract [en]

    From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.

  • 159.
    Chinita, Fátima
    et al.
    Polytechnic Institute of Lisbon, Portugal.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Foreword2019In: Ekphrasis: Images, Cinema, Theory, Media, ISSN 1320-3606, E-ISSN 1083-589X, Vol. 22, no 2, p. 5-5Article in journal (Other academic)
    Abstract [en]

    From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.

  • 160.
    Christensen, Johan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Dolph Lundgren: En auteur inom action?2020Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats är att undersöka Dolph Lundgrens karriär som skådespelare, från mitten av 80-talet fram till nuet. Sett till antalet filmer som han har medverkat i eller regisserat och även hur många som har sett hans filmer har han inte fått det erkännande som han förtjänar. Han har likt många av de många karaktärer han porträtterat i sina filmer också fått kämpa hårt för att nå dit han är. Till skillnad från auteuren som har blivit en ikon och i viss mån kanoniserad inom filmvetenskapen har skådespelare som Lundgren aldrig fått något större erkännande. Detta är synd eftersom man inte kan bedöma dem på samma meriter.

    Jag vill även göra en jämförelse av filmerna från Dolph Lundgrens guldålder som var ungefär runt 1985–1993 med hans senare verk för att se vad som har förändrats i de filmer som han skrivit och regisserat på senare år. Hur har han utvecklat sig som skådespelare under den 35 år långa karriär han haft?

    Uppsatsen får genom sin analys med hjälp av Andrew Sarris texter svar på frågan varför Dolph Lundgrens karriär har varit varierande i sin framgång. Genom att ha studerat många av hans filmer har det gått att se hur bland annat tveksamma val av filmroller genom karriären påverkat hans rykte som skådespelare.

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  • 161.
    Cruceat, Dragos
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    "Det var en gång...": En ideologisk fördjupning inom Lejonkungen och Den lilla sjöjungfrun2010Independent thesis Basic level (degree of Bachelor)Student thesis
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  • 162.
    Diurlin, Lars
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    ”Att vidmakthålla och stärka allmänhetens intresse och stöd”: SIDA:s attitydförändrande informationsstrategier2019In: Efterkrigstidens samhällskontakter / [ed] Fredrik Norén, Emil Stjernholm, Lund: Mediehistoria, Lunds universitet , 2019, p. 317-360Chapter in book (Refereed)
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  • 163.
    Diurlin, Lars
    Lund University, Sweden.
    Egrets in the porno swamp: the Swedish Film Institute and Swedish sin2016In: Swedish cinema and the sexual revolution: critical essays / [ed] Mariah Larsson & Elisabet Björklund, Jefferson, North Carolina: McFarland, 2016, p. 168-181Chapter in book (Refereed)
  • 164.
    Diurlin, Lars
    Lund University, Sweden.
    "Filmreformens förste avantgardist": Experimentfilmaren Peter Kylberg2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is about the Swedish filmmaker, painter and composer Peter Kylberg (1938–). The study examines how Swedish film-cultural and film-political actors interacted with Kylberg in his ambition to create a particular type of expression in the film medium. Thus, not only Kylberg stands in focus, but also the surrounding film-cultural and film-political climate that Kylberg related to. Kylberg’s nine productions produced between the years 1959 and 1996 serves as a historical delimitation. The approach of the dissertation is essentially chronological, as it enables a presentation of Kylberg’s artistry as an emerging development process. The bulk of the source material which constitutes the basis of the study comprises unprocessed primary sources from public and private archives as well as articles and reviews from the daily press and trade press.

    A purpose of the study, with Kylberg as a point of departure, is to critically review the existing historical writing surrounding Swedish film culture and film politics, during the years Kylberg was active. The dissertation is also a study of the type of expression that Kylberg tried to convey, as well as a discussion of what can be said to construe Kylberg’s concept of art. The study revolves around two problem areas which can be summarized in the words position and expression. These areas deal with Kylberg’s prerequisites as an artist and his aesthetics respectively. Kylberg’s experimental films were generally state funded and produced by major film companies for commercial exhibition. They were thus included into a film culture which essentially encompassed narrative films in feature-length format. An argument that carries through the study is that positioning Kylberg as a filmmaker is problematic. A classic romanticized definition of the avant-gardist experimental filmmaker, arguing for a clear polarization between autonomous avant-garde film and commercial industry, does not fit Kylberg. In the study, he is therefore categorized as a within-industry experimental filmmaker sandwiched between the two seemingly separated spheres “minor” and “major cinemas” – a conceptual apparatus mainly developed by film scholar David E. James.

    Kylberg was seen by several contemporary critics as a “traditional” modernist. The dissertation fixes on this track and argues for a reading of Kylberg as a belated modernist. Kylberg’s artistic activity is discussed as an extension – or reflection – of various modernistic approaches and perspectives, which linked several of the experimental films and synthesized art’s pioneers in the 1910s and 1920s. Furthermore, Kylberg’s films have striking similarities to a number of the trends, genres and approaches that several experimental film researchers have identified as characteristic of experimental films, mainly European and American, in the 1900s – such as city symphonies, trance films, exile films, diary films, structural films and expanded cinema. The comparison between Kylberg’s work and expressions in earlier and contemporary experimental films make it possible to see his artistry in the light of an international experimental film context.

    Furthermore, the study wishes to demonstrate that the basic conditions for Kylberg’s position, can be derived from a number of cultural-political reforms which took shape during the beginning of the 1960s. Emphasized in the dissertation is the dependency relationship between Kylberg and a number of cultural-political actors, which were crucial in allowing Kylberg to place minority expressions within the framework of such a resource-dependent art form as the studio-produced nationally and internationally, marketed and theatrically screened film. The dissertation studies the film artist’s role in the Swedish welfare state and problematizes the avant-garde concept in this specific context. The study argues that Kylberg’s production conditions were directly related to a Social Democratic overall culture policy goal to promote the production of what the representatives of the implemented policy called “cultural benefits”. In 1966 a film critic identified Kylberg as “The first avant-gardist of the film reform” – a categorization that tells us something decisive about Kylberg’s social role as a film artist. If he were an avant-gardist he was neither his own, nor his artistic medium’s avant-gardist, but the cultural policy reform’s. Throughout the study, Kylberg functions as an indicator of which of the institutions of the Swedish welfare state were at the time able to finance, or not finance, the kind of experimental expression he wished to create. It can be said that the acceptance of these institutions gave Kylberg an artistically legitimate, as well as economically possible, front-runner position as one of the welfare state’s sanctioned avant-gardists.

  • 165.
    Duncan, Rebecca
    Stirling University, UK.
    From Cheap Labour to Surplus Humanity: World-Ecology and the Postapartheid Speculative in Neill Blomkamp’s District 92018In: Science Fiction Film and Television, ISSN 1754-3770, E-ISSN 1754-3789, Vol. 11, no 1, p. 45-72Article in journal (Refereed)
    Abstract [en]

    Conventions appropriated from certain forms of speculative fiction – sf, gothic and horror among them – have become increasingly discernible features of diverse contemporary postcolonial imaginaries. In this article, I consider Neill Blomkamp's District 9 (2009) in light of questions posed by these developments. Drawing on world-ecological thinking (Moore 2015) and highlighting legacies of South African political economy (Wolpe 1972), I suggest the film deploys sf and horror traditions alongside invocations of local history in response to the reorganisation of 'Nature' in South Africa in the wake of the transition from apartheid to neoliberal governance. I show that Blomkamp manipulates speculative forms to register the febrile climate of this anxious time, and to contest the logic undergirding historic and ongoing unevenness. In conclusion, I point to key limitations to his project in this last regard.

  • 166. Duncan, Rebecca
    South African Gothic: Anxiety and Creative Dissent in the Post-apartheid Imagination and Beyond2018Book (Refereed)
  • 167.
    Duncan, Rebecca
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Cumpsty, Rebekah
    Weber State University, USA.
    Introduction: The Body in Postcolonial Fiction after the Millennium2020In: Interventions: International Journal of Postcolonial Studies, ISSN 1369-801X, E-ISSN 1469-929XArticle in journal (Other academic)
  • 168.
    Duncan, Rebecca
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Cumpsty, RebekahWeber State University, USA.
    The Body Now: Somatic Vocabularies from the Millennial Global South2020Collection (editor) (Refereed)
  • 169.
    Edwards, Justin D.
    et al.
    University of Stirling, UK.
    Höglund, JohanLinnaeus University, Faculty of Arts and Humanities, Department of Languages.
    B-Movie Gothic: International Perspectives2018Collection (editor) (Refereed)
    Abstract [en]

    Following the Second World War, low-budget B-movies that explored and exploited Gothic narratives and aesthetics became a significant cinematic expression of social and cultural anxieties. Influencing new trends in European, Asian and African filmmaking, these films carried on the tradition established by the Gothic novel, and yet they remain part of a largely neglected subject. B-Movie Gothic: International Perspectives examines the influence of Gothic B-movies on the cinematic traditions of the United States, Britain, Scandinavia, Spain, Turkey, Japan, Hong Kong and India, highlighting their transgressive, transnational and provocative nature. It shows how B-movie Gothic is a relentlessly creative form, filled with political tensions and moving from shocking conservatism to profound social critique.

  • 170.
    Ekenberg, Jonatan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Olika leka bäst: En studie i samspel mellan olika berättarmodeller och element från slow cinema2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i det klassiska- respektive konstfilmsberättandet och jämför vidare de typiska elementen från de två berättarmodellerna med formatet slow cinema. I definitionen av slow cinema utgår jag ifrån filmvetaren Matthew Flanagans utredning av vad formatet innebär samt de tre byggstenarna han anser vara mest väsentliga. Dessa är långa tagningar, en ickeberättande struktur och skildringar av realistiska, vardagliga skeenden. Med en utgångspunkt i detta utför jag en närläsning av Alfonso Cuaróns film Gravity (2013). Analysen fokuserar på hur element från slow cinema kan adapteras till en mer kommersiellt accepterad film med ett klassiskt berättande. Gravity visar sig exemplifiera dels Cuaróns personliga stil men även ett samspel av element från de två berättarmodellerna, och slow cinema. Avslutningsvis förs en diskussion där jag jämför analysens resultat dels med tidigare forskning samt ett antal andra filmexempel. Slutsatsen blir således att konstnärlig auktoritet och filmisk kvalitet likväl kan uppstå inom kommersiella modeller som konstnärliga sådana. Dagens filmklimat och dess vidare utveckling kan gynnas av en uppluckring av de föråldrade konventioner som Bordwells berättarmodeller innebär. Istället skall filmskapare fritt kunna röra sig mellan olika stilar, tillvägagångsätt och berättande, likt Cuaróns förkroppsligade kamera.

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    Olika leka bäst
  • 171.
    Engelbertsen, Mikael
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Attraktionsförmågan hos samtida Hollywoodfilm2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 172.
    Enting, Staffan
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Politisk kommunikation genom film: En studie kring hur den realpolitiska agendan speglas i den moderna spelfilmen2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The aim of this study is to explore the correlation between contemporary political agenda and film themes, how and if the antagonists’ behavior is depicted in relation to whom the political opponent was at the time of the making of the film.

    The literature is concurrent: movies are used to spread norms and political messages. There are several examples; during the Cold War people and antagonist behavior could clearly be linked to the Soviet Union. During the Gulf War the antagonists was often depicted as Arabic terrorists, but after the war the villain character became unclear and was often represented by natural disasters, organized crime, corruption etc. Following the September 11, 2001 terrorist attacks on the United States, Arabic terrorists once again became the new antagonists.

    The film selection is made out of the five most profitable movies (adjusted for inflation) that take place in our world that was produced during the Cold War, and five films that fill the same criteria that was produced after the Cold War. My goal was to see if I could see a correlation between the political agenda at the time of the making of the movie, how the antagonists are portrayed and what political themes were addressed.

    Unexpectedly, I found no such correlation in my film selection. However, I could see similarities in certain genres, such as action, thrillers and adventure movies, that support the theories in the literature.

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  • 173.
    Ericsson, Petter
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Svensk dokumentärfilm 2006 till 2010: Hur ekonomiska premisser avspeglas i dokumentärproduktionen2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 174.
    Eriksson, Martina
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Kvinnornas roller i jämförelse med männen i The Lord of the Rings: med inriktning på specialversionerna av filmerna2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Sammanfattning: The Lord of The Rings-trilogin slog världen med storm då första filmen kom ut år 2001. J.R.R Tolkiens böcker var väldigt omtyckta och framförallt omtalade men det hade aldrig funnits icke-animerade filmer på dem. Peter Jackson tog på sig att skapa filmerna och klarade detta åtagande väldigt bra.

    Däremot var kvinnorollerna, precis som i böckerna, väldigt små och inaktiva. Detta är därför någonting jag valt att ta upp i min uppsats. Kvinnornas roller i jämförelse med männens. Uppsatsen jämför de olika rollfigurerna mot varandra och deras roller överlag i specialversionerna av filmerna.

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  • 175.
    Ernstad, Linus
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Darren Aronofsky's Pi och Requiem for a dream: Subjektiv förmedling och dess förhållande till de auditiva och visuella elementen2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 176.
    Fermvik, Emma
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Allt är film, allt är konstruktion, och ändå gör det ont: En kognitiv och tematisk studie av Christoffer Boes Reconstruction (2003)2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Detta är en C-uppsats inom ämnet Filmvetenskap. Syftet är att med hjälp av kognitiva och tematiska teorier analysera Christoffer Boes film "Reconstruction" (2003). Analysen bygger på en scenförteckning där varje scen analyseras för sig baserat på kognitiv filmteori. Därefter följer en tematisk analys av hela filmen.

    Då det är en film med otydlig kausal ordning är det svårt att komma fram till ett konkret vetenskapligt resultat. Därför resulterar analysen snarare i möjliga hypoteser som författaren anser adekvata. I korthet resulterade den kognitiva analysen i en hypotes som föreslår att filmen utspelar sig i två världar vilka efterhand vävs in i varandra. Föreslagna teman i den tematiska analysen är kärlek som primärtema och staden Köpenhamn som sekundärtema. Även dessa två vävs in i varandra och samspelar filmen igenom.

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  • 177.
    Fältander, Ida
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Genus i förändring: En studie av mammor i SVT:s julkalendrar2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I denna uppsats undersöks gestaltningen av mammor i kärnfamiljer i SVT:s julkalendrar. Fokus är på ett urval av fyra kalendrar: Sunes jul (1991), Mysteriet på Greveholm (1996), Håkan Bråkan (2003) och Mysteriet på Greveholm-Grevens återkomst (2012). Syftet är att granska om kalendrarna uppvisar en stereotyp eller en feministisk bild av moderns roll i familjen samt om denna syn har förändrats från 1991 till 2012.

    För att besvara frågeställningen nyttjas genusteori, feministisk filmteori och ekonomisk-historiska och statistiska perspektiv på den svenska och västerländska kvinnan i förhållande till arbete och familj. Den teoretiska utgångspunkten för analysen finns i genusvetenskap och består i att genus är något icke-biologiskt som kvinnor och män agerar genom att följa sociala och kulturella konventioner. I västvärlden lever vi i en samtid där traditionella genus- och familjeroller förändras i mycket stor utsträckning. Eftersom kalendrarna produceras i en kontext, borde de visa på den genussyn, och de sociala förhållanden mellan kvinnor och män, som råder bland människorna i Sverige.

    Slutsatserna av analysen blir bland annat att alla de fyra kalendrarna ger den stereotypa framställning av kvinnor och mödrar som är vanligt förekommande även i annan svensk media. Via julkalendrarna får därmed tittarna en traditionell bild av kvinnor som moderliga och vårdande, med en tydlig koppling till hemmet. Men de får dessutom en mer modern feministisk bild av kvinnor som självständiga familjeförsörjare med egna yrkeskarriärer.  

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  • 178.
    Ghosh, Amrita
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Hållén, Nicklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages. Uppsala University .
    Wakanda: The Knotted Politics of Hollywood’s African Dreams2019In: Cerebration, no springArticle in journal (Refereed)
  • 179.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Hållén, Nicklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages. University of York, UK.
    Anthropomorphism and the Representation of Animals as Adversaries2015In: Animal Horror Cinema: Genre, History and Criticism / [ed] Katarina Gregersdotter, Johan Höglund, Nicklas Hållén, Palgrave Macmillan, 2015, p. 206-223Chapter in book (Other academic)
    Abstract [en]

    In his 1977 essay ‘Why Look at Animals?’ John Berger writes about the place of animals in the visual cultures of modernity and postmodernity. The actual animal has all but disappeared from human life in modernity, Berger points out. Numerous species that used to be close to us humans, including animals that are still bred for their meat and hide, have been Largely removed from the lives of the vast majority of the population of the Western world. Few people ever have to think about the animal that the meat they eat once was. The animals that people do encounter are usually not ‘wild’ animals who behave as such: pets are seen as family members and zoo animals are domesticated and some are trained to perform tricks. However, while we have all but rid the urban and suburban West of animals, we have filled the resulting void with signs that remind us of their absence — though the wild animals themselves are gone, images of animals that invade human culture proliferate. The visual aspect of human-animal relations, in other words, did not disappear with the animal, but has lived on in forms ranging from anthropomorphic renderings of animals in Beatrix Potter’s books and numerous Disney cartoons to displays of live animals at aquariums and zoos — and, of course, animal and nature films. Urban Western modernity thus seems almost to dissolve the animal ‘into pure spectral-ity’ (Burt, 2002, pp. 26–7). The animal in (post)modern visual culture is a ghostly presence that the actual wild animal leaves behind.

  • 180.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Hållén, Nicklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages. University of York, UK.
    Höglund, Johan
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    A History of Animal Horror Cinema2015In: Animal Horror Cinema: Genre, History and Criticism / [ed] Johan Höglund, Katarina Gregersdotter, Nicklas Hållén, Palgrave Macmillan, 2015, p. 19-36Chapter in book (Refereed)
    Abstract [en]

    This chapter outlines the history of Animal Horror Cinema and highlights important periods and discursive developments within the genre. The chapter also discusses this type of cinema in relation to other kinds of horror films and observes that the focus on the relation between animality and humanity makes films like Jaws (1975), The Birds (1963) and Cujo (1983) different in theoretically significant ways from supernatural horror narratives and from ‘eco-horror’ films. Economic and technical restrictions often mean that animal horror films are not realist in a strict sense. The size of animals is often exaggerated and they are given human traits. Even so, human characters’ encounters with animals in animal horror cinema is more ‘real’ than the kind of encounters with the invisible, supernatural forces from beyond the realm of reality that have dominated the history of horror cinema.

  • 181.
    Gregersdotter, Katarina
    et al.
    Umeå University, Sweden.
    Hållén, Nicklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages. University of York, UK.
    Höglund, Johan
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Introduction2015In: Animal Horror Cinema: Genre, History and Criticism / [ed] Johan Höglund, Katarina Gregersdotter, Nicklas Hållén, Basingstoke: Palgrave Macmillan, 2015, p. 1-18Chapter in book (Refereed)
    Abstract [en]

    The introduction to this volume is intended as a tool for future study of Animal Horror Cinema. It first defines this type of Cinema as films that describe how a particular animal or an animal species commit a transgression against humanity and then recounts the punishment the animal must suffer as a consequence. The introductory chapter then discusses how Animal Horror Cinema both cements and complicates the basic conceptual separation of the human and non-human animal and how it raises crucial questions concerning human and animal ethics and the Anthropocene; the present era when humanity itself has become a destructive geological force. This chapter also discusses how the study of Animal Horror Cinema frequently explores matters of colonialism and postcolonialism, and how the genre interrogates gender and sexuality through the animal.

  • 182.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Höglund, JohanLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Hållén, NicklasLinnaeus University, Faculty of Arts and Humanities, Department of Languages. University of York, UK.
    Animal Horror Cinema: Genre, History and Criticism2015Collection (editor) (Refereed)
    Abstract [en]

    The first academic study of the genre of animal horror cinema is essential for cinema and animal studies scholars as well as for fans of horror film. It defines this popular sub-genre, outlines its history and studies recent films as well as cult classics from a variety of perspectives. A central idea in the book is that animal horror cinema mirrors socially entrenched fears of and attitudes toward animals. Thus, animal horror cinema reveals attitudes toward the fabric of social life, the fragility of the eco-system and a deep uncertainty about what makes humans different from animals. The book contains chapters by scholars with different national and disciplinary backgrounds, and therefore offers a wide range of interpretations on the significance of the animal in modern horror film.

  • 183.
    Grennberger, Martin
    et al.
    Walden, Sweden.
    Holmström, Andreas
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Andas i alexandriner: Intervju2019In: Apropå Eric M.: En antologi om Eric M. Nilssons filmer / [ed] Andreas Holmström, Stockholm: Trolltrumma , 2019, p. 17-42Chapter in book (Other academic)
  • 184.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    A Fight over Souls: Documentary Films on the Rwandan Genocide with a Christian Theme2017In: Journal of Religion and Film, ISSN 1092-1311, E-ISSN 1092-1311, Vol. 21, no 2, p. 1-40, article id 14Article in journal (Refereed)
    Abstract [en]

    The 1994 genocide against the Tutsis in Rwanda have spawned over 150 feature films and feature-length documentaries, making it into the second most audio-visually recreated genocide after the Holocaust. Within this large body of historical films a subgenre have emerged with a distinctive Christian theme. This article explores these Christian themed documentary films about the Rwandan genocide and positions them within a film historical perspective as well as analyzes and contextualizes them as a subgenre of films about the Rwandan genocide within films about genocide in general. Of note are how memory and historiography are used, and the links between these films’ educational, religious, and commercial elements.

  • 185.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    A New Perspective on Americanisation: Interactions Between Sweden and America in Swedish Silent Film Culture in the 1920s2005In: Nordic Association for American Studies Conference, Växjö, 26-29/5 2005, 2005Conference paper (Refereed)
    Abstract [en]

    It is an established notion that the silent movies were more international in their character than sound films. The arrival of talkies set up language barriers that often turned into national boundaries for smaller countries like Sweden. However, before this happened the international interaction between mainly European countries and America was vivid, exchanging directors, actors, and importing and exporting movies. For a short period (1917-1923) Sweden was among the leading countries that exported its movies to about 50 different countries – something that certainly sparked a national pride. However, during the same period the Hollywood film industry became world leading in the film market. Sweden, like most other European countries, had a condemning attitude towards the growing “Americanization” of the consumer and entertainment culture, mainly manifested in the thousands of imported films that the audience enjoyed in Swedish movie theatres. On reading overviews of Swedish film history it seems apparent that it was this Americanization that “destroyed” the national Swedish cinema, a belief that has lived on since some Swedish film critics saw it as a betrayal of the national glory when Swedish filmmakers sometimes turned to Hollywood films for inspiration. This paper will discuss this Americanization in a new light by doing a closer examination of some of these movies, excluded from the canon and therefore forgotten, and the material surrounding them. This will reveal that the vital exchange continued, although on a different level. Furthermore, a closer look at the Swedish film and entertainment culture of the 20s shows that the condemnation of the Americanization is not as single-minded as one first might expect. It is true that some saw it as something all bad which undermined the traditional society, but many others, particularly among the young, saw it as something new and good. The Swedish filmmakers were of course aware of this contemporary turbulence surrounding the film and consumer culture and they also put it into use in their films, using intertextual reference to Hollywood films that the Swedish audience knew well. And in the process they did not make American copies but distinct Swedish films with American allusions

  • 186.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    A New Perspective on Americanisation: Interactions Between Sweden and America in Swedish Silent Film Culture in the 1920s2005In: Society for Cinema and Media Studies Conference, London, 31/3-3/4 2005, 2005Conference paper (Refereed)
  • 187.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    A Socialist History Lesson: the Use of History in Swedish Children’s Television in the 1970s2012Conference paper (Refereed)
  • 188.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    American Retakes on Historical Traumas: The Rwandan Genocide in the Hands of the Evangelical Right2015Conference paper (Refereed)
  • 189.
    Gustafsson, Tommy
    Lunds universitet, Språk - och litteraturcentrum, Filmvetenskap.
    An Enduring History Lesson: National Honour and Hegemonic Masculinity in the Early Swedish Blockbuster Karl XII2009In: Media and Monarchy in Sweden / [ed] Mats Jönsson, Patrik Lundell, Göteborg: Nordicom , 2009, p. 69-81Chapter in book (Other academic)
  • 190.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    And the Oscar goes to…: Ecoheroines, Ecoheroes andthe Development of Ecothemes from TheChina Syndrome (1979) to GasLand(2010)2013In: Transnational Ecocinema: Film Culture in an Era of Ecological Transformation / [ed] Tommy Gustafsson & Pietari Kääpä, Bristol and Chicago: Intellect Ltd., 2013, p. 137-162Chapter in book (Refereed)
  • 191.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Den privata stjärnan2011In: Filmens 1900-tal: en konferens om och kring filmarkivet.se, 2011Conference paper (Other academic)
  • 192.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Det var en gång...: God historieskrivning och problematiska könsroller2010In: Sveriges kvinno- och genushistorikers konferens, Göteborg 2-3/12 2010., 2010Conference paper (Refereed)
  • 193.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Det var en gång: Historia för barn i svensk televison under det långa 1970-talet2014 (ed. 1)Book (Other academic)
    Abstract [sv]

    Under det långa 1970-talet såg barnprogrammen annorlunda ut än idag. Tv-serierna skulle vara pedagogiska samtidigt som de skulle vara underhållande. Emellanåt tog den pedagogiska och politiska uppfostringsivern över och förvandlade barnprogrammen till socialistisk, nationalistisk och eurocentrisk propaganda. Historia är ett av de mest inflytelserika områdena för skapandet av en föreställd gemenskap. Historien kan användas för att öka förståelsen för andra kulturer men den kan även utnyttjas för att dela upp samhället i ett vi och dem. Den här boken studerar hur svensk television försökte lära ut historia till barn i hyllade tv-serier som Huset Silfvercronas gåta, Det var en gång… och Trälarna.

  • 194.
    Gustafsson, Tommy
    Lunds universitet, Historiska institutionen.
    En fiende till civilisationen: manlighet, genusrelationer, sexualitet och rasstereotyper i svensk filmkultur under 1920-talet2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The setting for this study is Swedish film culture of the 1920s, which has been studied with a focus on representations of masculinity and gender relations according to four themes: 1) children and youth 2) fatherhood and love 3) sexuality and popularity 4) ethnicity and racial stereotyping.

          The rise of new consumer culture in the first decades of the 20th century created turmoil between traditional and modern values, not least when it came to conceptions of gender. Studies on masculinity have often directed its efforts towards writing a history of ideals, bound by the concept of hegemonic masculinity; a concept that exclude women as insignificant for the social construction of masculinity. One ambition with this thesis has been to counter the long-lasting concept of hegemonic masculinity, and in the process, try to build a bridge between men and women studies.  

          One other ambition has been question the canonisation of the “Golden Age” of Swedish silent filmmaking by introducing the concept of “the pluralism of film”, and by using a vast material including: Swedish feature films, reviews, articles from fan magazines and trade paper, screen plays, censorship cards, official reports, etc; thereby circumventing the concept of film as “art” in order to focus on film as representation in a more reliably way.

          One conclusion is the revelation of the diversity that surrounds social constructions of masculinity and gender relations in both film culture and society. In addition, Swedish film of the 20s hardly contained any male characters that upheld the hegemonic ideal, giving way to a more prominent presence of strong female characters, often in the shape of the New Woman. Women did as well have a great influence on the formation of masculinity. However, a notion of a Swedish normative masculinity became visible when contrasted with numerous racial stereotypes, such as malicious representations of Black people and Travellers. The emphasis on gender relations, rather than on ideals, has also contributed to a wider understanding of gender, where criteria such as generation, class, ethnicity and sexuality ought to be included.   

          When it comes to the canonisation of the “Golden Age”, a strong notion exists about the integrated use of nature in film narratives as being a Swedish national trait, when in fact this could be linked only to a few films. If one would point out a trait that permeates Swedish film of the 1920s, it would not be the use of nature, but instead the flagrant racism and xenophobia.

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  • 195.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    En kvinna med makt att skapa manlighet: Karin Swanström och svensk mellankrigsfilm2013In: Kvinnorna gör mannen: Maskulinitetskonstruktioner i kvinnors text och bild 1500-2000 / [ed] Kristina Fjelkestam, Helena Hill, David Tjeder, Göteborg: Makadam Förlag, 2013, p. 77-109Chapter in book (Other academic)
  • 196.
    Gustafsson, Tommy
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Ett steg på vägen mot en ny jämlikhet?: Könsrelationer och stereotyper i ung svensk ungdomsfilm på 2000-talet2006In: Solskenslandet: Svensk film på 2000-talet / [ed] Erik Hedling, Ann Kristin Wallengren, Stockholm: Atlantis , 2006, p. 171-193Chapter in book (Other academic)
  • 197.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Ghouls, Vittror and the Devil: The Rise of the Low-Budget Nordic Horror Film2014Conference paper (Refereed)
  • 198.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Gösta Ekman (I)2012In: Historical Dictionary of Scandinavian Cinema / [ed] John Sundholm, Isak Thorsen, Lars Gustaf Andersson, Olof Hedling, Gunnar Iversen & Birgir Thor Møller, Lanham, MD: Scarecrow Press, 2012, p. 135-135Chapter in book (Other academic)
  • 199.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    Historieförmedling och världsåskådning riktad tillbarn i TV-serien Det var en gång…2012In: Barnlitteraturens värden och värderingar / [ed] Sara Kärrholm & Paul Tenngart, Lund: Studentlitteratur AB, 2012, 1, p. 273-288Chapter in book (Other academic)
  • 200.
    Gustafsson, Tommy
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    "Kan verka skrämmande på små barn": Våld, sex och historiebruk i tv-serien Trälarna2012In: Barnboken, ISSN 0347-772X, E-ISSN 2000-4389, Vol. 35, p. 1-18Article in journal (Refereed)
    Abstract [en]

    This article examines the television adaption and reception of Swedish youth novelist Sven Wernström’s series of historical youth novels called Trälarna  (‘‘The Thralls’’) in the late 1970s and early 1980s. The book series as well as the Danish animated televisions series used a noticeable class perspective in order to make comparisons between the condition of slaves in medieval times and Swedish working class of the 19th and 20th centuries. In accordance with the novels, the television series therefore displays a strong moral historical perspective. The analysis in the article focuses mainly on the abundant use of violence and sex as political and pedagogical instruments to promote class consciousness among its child viewers. In contrast to the novels, the television series was able to create more explicit audiovisual images of violence and sex that, in fact, were censored by Swedish state television before it was aired on a child friendly timeslot. Although some scenes in the television series were censored, the final analysis reveals that ‘‘The Thralls’’ can be seen as a rather typical example of the politically and aesthetically radical Swedish children’s culture of the 1970’s.

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