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  • 1.
    Ahmed, Ishtiaq
    Stockholm University, Faculty of Social Sciences.
    The Lahore film industry: a historical sketch2012In: Travels of Bollywood cinema: from Bombay to LA / [ed] Anjali Gera Roy, Beng Huat Chua, New Delhi: Oxford University Press, 2012, p. 55-77Chapter in book (Refereed)
  • 2.
    Alexander, John
    Stockholm University.
    Screen play: audiovisual narrative & viewer interaction1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    How does the viewer, interact, with the on-screen narratives of film, television and computer? What new forms of interaction can be realised with the emerging narratives of CD-ROM and Internet?

    This study considers screen play in terms of the game the viewer plays with audiovisual narrative, and how the viewer negotiates with a story to interpret, revise and reconstruct new stories of their own.

    Aspects of game and narrative theories, cognitive psychology and phenomenology, as well as recent research in the fields of cinema, television and computer studies, are incorporated within a screen play theory, which positions the viewer both as player and storyteller. Thus, screen play can be defined as a fusion of the external screen narrative and the internal and individual scenario.

    In addressing the divide between player and game ?, the mystic gulf, between viewer and narrative ? a re-assessment of early film theory plays an important part in coming to terms with the fin du siècle playground represented by the cinematographe a century ago, and the digital IT playground of the present, and an emergent narrative, in whatever form it may take.

  • 3. Andersson, Axel
    et al.
    Wahlberg, Malin
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    In the Wake of a Postwar Adventure: Myth and Media Technologies in the Making of Kon-Tiki2017In: Small country, long journeys: Norwegian expedition films / [ed] Eirik Frisvold Hanssen, Maria Fosheim Lund, Oslo: Nasjonalbiblioteket , 2017, p. 178-211Chapter in book (Other academic)
    Abstract [en]

    Kon-Tiki stands out as the most internationally successful and popular documentary ever produced by the Scandinavian film industry. Its box office success and 1951 Academy Award ensured this spectacular and risky sea crossing, a reenactment of a prehistoric voyage, would be seen around the world. In 1947, Thor Heyerdahl and five crewmembers covered the 8000 kilometres of ocean between Peru and a Polynesian island on a balsa raft that was constructed almost entirely without the benefit of modern tools, ropes, or nails. Heyerdahl undertook this voyage to prove his theory that prehistoric white people, who had initiated the great civilizations of the Americas, had sailed on to Polynesia. Basing his theory on pseudoscientific studies on “race” developed by writers like Arthur de Gobineau in the 19th century and further elaborated by the eugenicist movement of the early 20th, Heyerdahl proposed a constitutive link between whiteness and civilization. To bolster his argument, he interwove it with idiosyncratic interpretations of myths from the Americas and Polynesia. The Kon-Tiki project was designed to explore “non-western myths”, but the supposed verification provided by the expedition was based on colonial preconceptions, which were themselves expressions of racist and mythical assumptions of whiteness. The project also provided a new narrative that enshrined the event, including the word “Kon-Tiki”, in popular post-war culture.

    In this chapter, we argue that the Kon-Tiki as a historical expedition and a film deserves renewed attention beyond merely Norwegian film history. Most importantly, it reveals a transnational production history that in compelling ways yields new insights into the expedition film as media culture, screen event, and intercultural narrative in the post-war era. In the following chapter, we propose a critical reassessment of the Kon-Tiki to illuminate some historiographic aspects of myth and myth-making, and to look more closely at the international interests, transnational influences, and media technologies involved in how Heyerdahl created this narrative.

  • 4. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Accented cinema and beyond: Latin American minor cinemas in Sweden, 1970–19902016In: Studies in Spanish & Latin American Cinemas, ISSN 2050-4837, Vol. 13, no 3, p. 227-245Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to map and present professional and non-professional Latin American film-making that took place in Sweden from the early 1970s to the early 1990s. Most of the films from this period have been excluded from the established, canonical film history, both nationally and internationally. Another aim of the article is to argue for the importance of the concept of ‘minor cinemas’. This concept has the benefit of overcoming generalizing and reductive models of analysis and the historiography of Latin American film-making beyond that continent. Owing to an extensive focus on political documentary, third cinema, or the aesthetics of accented cinemas, the diversity of Latin American film-making in countries like Sweden has been neglected. Thus, this article calls for a transnational historiography that also encompasses minor histories and presents a critique of Hamid Naficy’s seminal theory of an accented cinema. In terms of theory, the article argues for a return to the theoretical interventions of the concept of minor cinemas made by David E. James and for a reactualization of Zuzana M. Pick’s early study on exilic Chilean cinema.

  • 5. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden2009In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, no 3, p. 207-218Article in journal (Refereed)
    Abstract [en]

    This article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts ‘minor cinemas’ and ‘public sphere’ in order to enable a more diverse, open and heterogeneous film history.

  • 6. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Amatör och avantgarde: de mindre filmkulturerna i efterkrigstidens Sverige2008In: Välfärdsbilder: Svensk film utanför biografen / [ed] Erik Hedling och Mats Jönsson, Stockholm: Mediehistoriskt arkiv/Statens ljud- och bildarkiv , 2008, p. 228-245Chapter in book (Refereed)
  • 7.
    Andersson, Lars Gustaf
    et al.
    Lund University, Sweden.
    Sundholm, John
    Karlstad University, Sweden.
    Editorial: Film Workshops in Europe2011In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 8, no 3, p. 167-169Article in journal (Refereed)
    Abstract [en]

    An introduction is presented in which the authors discuss various reports within the issue on topics including the concept of film workshops, the politicized film culture in Spain, and the British workshop culture.

  • 8. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    "Hellre fri än filmare": filmverkstan och den fria filmen2014Book (Other academic)
  • 9. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, p. 156-167Article in journal (Refereed)
    Abstract [en]

    The aim of the essay was to present the Stockholm Film Workshop (Filmverkstan, 1973–2001) and its significance as a transnational site of film production. The films and the filmmaking at the workshop are considered as part of a minor cinema film practice in David E. James’s sense. James’s theory is complemented by returning to Gilles Deleuze and Felix Guattari’s original concept of minor literature in order to stress an analysis that is based on film as a means of production and cultural intervention. This point is emphasized by a presentation and analysis of how various professional and non-professional filmmakers from Colombia, Egypt, Greece and Turkey made use of film at the Stockholm Film Workshop in order to intervene in their new cultural situations. Thus, the textual model of film analysis that is prevalent in Hamid Naficy’s seminal work on accented cinema is complemented with theories of cultural production in order to enable an analysis of a transnational film practice that is on a par with the immigrant experience.

  • 10. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The cultural practice of minor cinema archiving: The case of immigrant filmmakers in Sweden2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 79-92Article in journal (Refereed)
    Abstract [en]

    The aim of this article is to present the archival practice behind two extensive research projects that we have worked on during the last decade: the Stockholm Film Workshop and minor immigrant filmmaking in Sweden. Archive has become a general catchword in today’s academia that encompasses several practices of collecting, storing, distributing and displaying. We will stress in particular – partly against the idealism of digital activism – that the archive is a locus of power. The struggle for archival acknowledgement is a question of how to establish an archival artefact, an object that may be stored and repeated, and thus to affirm it as something that cannot be disregarded. This is a practice in the way that theory also constitutes a practice: a way of intervening that is case sensitive and that constantly cuts across those four principles that Giovanna Fossati famously coined as ‘film as original’, ‘film as art’, ‘film as dispositif’ and ‘film as state of the art’.

  • 11. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    A History of Swedish Experimental Film Culture: From Early Animation to Video Art2010Book (Refereed)
  • 12. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Sverige.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Experimentfilmens behov & filmarkivets möjligheter2012In: "Skosmörja eller arkivdokument?": Om filmarkivet.se och den digitala filmhistorien / [ed] Mats Jönsson & Pelle Snickars, Stockholm: Kungliga biblioteket , 2012, p. 67-80Chapter in book (Refereed)
  • 13. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I skuggan av spelfilmen: Svensk experimentell film2006In: Konst som rörlig bild: från Diagonalsymfonin till Whiteout / [ed] Söderbergh Widding, Stockholm: Langenskiölds , 2006, p. 15-94Chapter in book (Other academic)
    Abstract [sv]

    Förord / av Richard Sangwill -- Sidospår : perspektiv på den svenska rörliga bildkonsten / av Astrid Söderbergh Widding -- I skuggan av spelfilmen : svensk experimentell film / av Lars Gustaf Andersson, John Sundholm och Astrid Söderbergh Widding -- Den tidiga monitorkonsten : TV-experiment i Sverige / av Gary Svensson -- Videokonst i Sverige : från alternativ till institution / av Gunnel Pettersson och Måns Wrange -- DVD med verk av Viking Eggeling, Gösta Werner, Rut Hillarp, Hans Nordenström, Pontus Hultén, Peter Weiss, P. O. Ultvedt, Åke Karlung, Olle Bonniér, Ralph Lundsten, Claes Söderquist, Jan Håfström, Gunvor Grundel Nelson, Hans Esselius, Kjartan Slettemark, Olle Hedman, Antonie Frank, Lola Mökker, Andrew Hibbert, Cecilia Parsberg, Erik Pauser, Johan Söderberg, Dorinel Marc, Teresa Wennberg, Marit Lindberg, Ann-Sofi Sidén, Johanna Billing, Cecilia Lundqvist, Miss Universum (Catti Brandelius), Petra Lindholm och Katarina Löfström.

  • 14. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstad University, Sweden.
    Vesterlund, Per
    Introduction2013In: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, E-ISSN 2000-8325, Vol. 16, no 1, p. 5-9Article in journal (Other academic)
    Abstract [en]

    Film has often been excluded from the other art forms when cultural policies have been discussedand implemented. This general tendency to place film outside «cultural policies proper» is due toseveral reasons. One is the relationship between industrial production and film art; film productioncompanies or cinema theatres have rather been connected to the sphere of national industry andcommerce, than to the sphere of cultural institutions. Another reason is the early establishment offilm as a means for propaganda, information or education.

  • 15.
    Andersson, Therése
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Beauty Box: Filmstjärnor och skönhetskultur i det tidiga 1900-talets Sverige2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The object of this dissertation is the relationship between film, fashion and beauty concerning different understandings of femininity, with reference to the establishment of the star system and the making of celebrity culture, and how these were expressed through magazines and commercial ads in early 20th century Sweden. The period of time framing the discussion, from fin-de-siècle and onwards with specific focus on the 1920s and 1930s, corresponds to the course of publication of the Swedish magazine Filmjournalen. Star studies and reception studies make up the theoretical framework, offering an understanding of the popular press both as a source of knowledge for and as an intermediary of fashion and style, creating a wider network of texts and images and providing a context for how films were presented for Swedish, mainly female, audiences. Spectatorship is therefore considered from the viewpoint of address, in line with Miriam Hansen’s angle, analysing how a network of texts and images, exceeding the particular film, constitutes the positions of spectators. Film stars are understood as embodying different ideas; represented, negotiated, and incorporated in already existing lines of thoughts, drawing attention to questions of media presentation, and to the ideas appearing behind the beauty ideals and the aesthetics. The discussion on stars is narrowed down to concern three particular themes - consumerism, emancipation and physiognomy - when presupposing femininity as defined by appearance; considering cosmetics and fashion as providing practical, next-to-the-skin tools in this making, while film and journalism are working on a social, discursive level. Judith Butler’s account of performance and Teresa de Lauretis’ understanding of technologies of the self are significant for this study, as well as Richard Dyer’s approach, considering film stars as articulating the business of being an individual when representing familiar ways of feeling and thinking.

  • 16.
    Andersson, Therése
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Dressed for Success: Hollywoodstjärnor och mode2005In: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, no 3Article in journal (Refereed)
  • 17.
    Andersson, Therése
    Stockholm University, Faculty of Humanities, Department of History.
    Facing the Silent Film Star: Concepts of Beauty and the Camera2010In: Not so Silent: Women in Cinema before Sound / [ed] Sofia Bull, Astrid Söderbergh Widding, Stockholm: Acta Universitatis Stockholmiensis , 2010, p. 339-346Chapter in book (Other academic)
  • 18.
    Angenberg Norin, Therese
    Stockholm University, Faculty of Humanities, Department of Asian, Middle Eastern and Turkish Studies, Korean Studies.
    Media Conversion From Webtoon To Television: A Case Study Of: I Sneak A Look At His Room Every Day and Flower Boy Next Door2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Although webtoons have become one of the largest consumed media in South Korea, and many webtoons have been adapted to both film and television, there has been a lack of research on webtoon to television adaptations. This thesis will investigate the specific characteristics of the webtoon that make it suitable for television adaptation using the webtoon I Sneak A Look At His Room Everyday by Yu Hyŏn Suk and the television series Flower Boy Next Door directed by Chŏng Chŏng Hwa.By using narrative structure and character analysis the two works will be compared and contrasted to discover the similarities and differences that enable a smooth media conversion.The second part of the thesis looks into what a webtoon is and how it has evolved during the years. To explore the characteristics for media conversion the webtoon and the television series were analysed both separately and compared to find the commonalities and the differences.The results indicate that using similar storytelling methods such as story-arcs play a large role in the success of webtoon to television adaptation. Both media needs to keep their viewers on their toes to make them want to read/watch further.

  • 19.
    Arnberg, Klara
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Economic History.
    Larsson, Mariah
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Sexualskildringar inför lagen: kommentar till pornografianklagelser2015In: Sexualpolitiska nyckeltexter / [ed] Pia Laskar, Klara Arnberg och Fia Sundevall, Stockholm: Leopard förlag , 2015Chapter in book (Other academic)
  • 20.
    Aydin, Ali
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    An Alternative Auteurist Approach to Sidney Lumet's Films: In Search of a Transgressive Cinema2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Bachmann, Anne
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Atlantic crossings: Exhibiting Scandinavian-American relations in scale models and moving pictures during the mid-1910s2012In: Early Popular Visual Culture, ISSN 1746-0654, E-ISSN 1746-0662, Vol. 10, no 4, p. 345-366Article in journal (Refereed)
    Abstract [en]

    Among the many endeavours of visualization that took place in fairs and expositions at the time of early cinema, one medium warrants closer attention than it has hitherto received: the scale model. Well suited to pedagogical ideals of overview and visual compression, the model may shed light on the specifically three-dimensional branch of exhibitory items, particularly in instances when it was used in conjunction with moving pictures. Chiefly on the basis of contemporary press sources, this essay explores two occurrences of smaller-scale farm models that were used in exhibitions in a context of multiple other media, including cinema. These instances of model culture reflect two very different aspects of Scandinavian–American relations during the mid-teens: on the one hand, a Swedish government-funded organization used the 1915 Panama–Pacific Exposition for political purposes, attempting to convince Swedish Americans to go back to Sweden and build their own small farms; on the other, a Norwegian official exposition in 1914 instead celebrated the success of Norwegian-American settlers. The essay investigates how the specific uses of the assembled media in each case articulate these aims and refract the more abstract political ideals behind them. It argues that in the media discourse surrounding these cases, the scale model was overwhelmingly favoured, at this point outshining the cinema as a perceived beacon of scientific exactitude and intuitive meaning. Perhaps for this very reason, the miniature in particular seems to have been allowed to invite affective relations with the spectator.

  • 22.
    Bachmann, Anne
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Att plocka mordets stilblommor: Dario Argentos stiliserade våldsvariationer2013In: I gränslandet: Nya perspektiv på film och modernism / [ed] Daniel Brodén, Kristoffer Noheden, Möklinta: Gidlunds förlag, 2013, p. 157-179Chapter in book (Other academic)
  • 23.
    Bachmann, Anne
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Locating Inter-Scandinavian Silent Film Culture: Connections, Contentions, Configurations2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices.

    The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’. 

    During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.

  • 24.
    Bachmann, Anne
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Souvenirs from the Selma Lagerlöf silent film adaptations: How ‘beautiful’ book editions and prestige cinema collaborated in Swedish visual culture around 19202012In: Scandinavica - International Journal of Scandinavian Studies, ISSN 0036-5653, Vol. 51, no 2, p. 184-207Article in journal (Refereed)
    Abstract [en]

    From 1917 to 1930, several of Selma Lagerlöf’s literary works that were adapted into films in Sweden were reissued in editions illustrated with film stills. The article analyses these book editions in relation to the cinema souvenir programme, placing them within the double context of Swedish publishing and cinema culture. and argueing that increased expenses associated with World War I generated this finely tuned interaction between book and film production o. Through the lens of media materiality, this particular piece of cross-media print culture questions the boundaries between visual and printed media, unveiling the connections between the ‘golden’ era of ‘quality’ film production in Sweden around the 1920s and the stable impact of Selma Lagerlöf in Sweden through continuous publication and re-publication.

  • 25.
    Bachmann, Anne
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Vindicating The Great Moment against Swedish censorship: Asta Nielsen's soulful eyes as on-screen pantomime2013In: Importing Asta Nielsen: The international film star in the making 1910–1914 / [ed] Martin Loiperdinger, Uli Jung, Bloomington, Penn.: Indiana University Press, 2013, p. 215-233Chapter in book (Other academic)
  • 26.
    Beckman, Frida
    Stockholm University, Faculty of Humanities, Department of English.
    Ambivalent Screens: Quentin Tarantino and the Power of Vision2015In: Film-Philosophy, ISSN 1466-4615, E-ISSN 1466-4615, Vol. 19, p. 85-104Article in journal (Refereed)
    Abstract [en]

    Reveling in the self-reflexive and the metacinematic, Quentin Tarantino's films are often associated with a Baudrillardian postmodernity. His most recent Inglorious Basterds (2009) continues in the same self-referential vein as his earlier films but adds a blatant falsification of history which pushes the question of the reality and images even further. But, this essay asks, is a Baudrillardian perspective the most fruitful one in comprehending the creative potential of Tarantino's latest film? Moving from Baudrillard through Virilio to Deleuze and Guattari, the essay explores ways in which the film's investment in vision and screens opens for a creative and enabling engagement with images - not cinema as truth, as Deleuze would have it, but the truth of cinema. As such, Tarantino's in many ways outrageous film provides an important contribution to analyzes of the relation between perceptions of the image and conceptions of the real and contributes to the politically crucial endeavor of understanding what images 'want.'

  • 27.
    Bengtsson, Bengt
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Ungdom i fara: ungdomsproblem i svensk spelfilm 1942-621998Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis treats the way juvenile delinquency is depicted in Swedish feature films made between 1942 and 1962. The study makes a historical survey of the youth-going-astray films, how they portray contemporary society and life and convey their conception of youth related problems. The analysis is primarily based upon role analyses with the tliematics and cultural reception of the films in focus.

    The analysis studies not only about twenty films that deal mainly with the subject, but also a number of films concerning other youth related subjects such as prostitution, sexual problems and, as a counterweight, the well-behaving youth, for instance youth engaged in associations. Furthermore, the analysis gives a picture of the public reception of tire films, both by critics and the Board of Film Censors.

    The main point of the analysis is tire way the films mirror a widespread contemporary opinion. Thus, the relation between tire debate and tire film is analysed, as well as tire extent to which tire contemporary debate and the "politically correct” values catch on in Swedish film. To a large extent, Swedish films reflect the views expressed in the Public Inquiries of the State and in middle-of-the-road opinions in the debate. The majority of films try to stick to the middle course between the conservative line demanding stronger measures and the progressive line associating with the new pedagogy and liberal upbringing.

  • 28.
    Bengtsson, Jan Christer
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Peter Weiss filmer: från de korta små lekfulla kopparslagen till kommersiell långfilmsdebut: filmer - filmidéer - utkast2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This doctoral thesis deals with Peter Weiss’ (1916-1982) films and some of his never finished attempts. The focus is in general on Weiss’ film work activities in the 1950’s, when film held the very central place in his works of art.

    The intention has been to interrogate what short films Peter Weiss made and to find out the meaning and the role of film in the life of the artist Peter Weiss. The conclusion is that Peter Weiss fought with personal difficulties in expressing himself in a language — a language of words and a language of signs — because it is assumed that Peter Weiss carried a very strong will to become an author. In order to “conquer the words” Weiss exercised himself in describing all kinds of worlds — an interior one as well as an exterior one. That explains why he dealt with surrealist psychological subjects and documentary forms while making films.

  • 29.
    Berger, Aurore
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    The transparitions of time in space in four fiction films by Knut Erik Jensen2005Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Knut Erik Jensen’s oeuvre is often described from a typical Norwegian point of view. The corpus of films studied is restricted to his documentary production and to the breakthrough of Stella Polaris in 1993. But as I discovered Knut Erik Jensen through his posterior fiction films, I had to focus on this under esteemed production, even if I remain convinced that the dichotomy between the documentary and fiction films is not very pertinent. As Passing Darkness had blurred my reading of Gilles Deleuze’s books dedicated to cinema, I started to focus on both this film and Deleuze’s philosophical approach. I linked then Knut Erik Jensen’s films to other filmmakers who in my sense had the same concerns.

    As history is first a matter of geography, I based the reflection on the works by Alain Resnais, Jean-Daniel Pollet and the texts by Jean Epstein. But as the study went on, I realized that a classical study could not validate Jensen’s aesthetic as the alchemical concerns of both Jean Epstein, Edgar Morin or Gilles Deleuze were dealing with either a source or a result. Living at the era of the networks and influenced by some seminars in France regarding the figure and the networks inside the image, I focused on the philosopher stone in order to find an alternative to the crystal image and other postulates. Using some previous knowledge regarding the alchemy, I used the cycle of the azoth in the sea, one of the main characters in Jensen’s aesthetic as being a way to consider the loss of the source and of the result. Instead of opposing time, space and then a questioning of the space/time continuum, I refuted the organic regime (which has been dead for about forty years in film) to focus on the mineral one (through the crystal image and other reflections) and the gaseous one (the development of the transparitions).

  • 30.
    Bergmark Elfgren, Sara
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Virtuella distinktioner : en studie av kultfilmsfankultur på internet2006Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Kultfilmsfankulturen uppstod i början av 1980-talet. Den baseras på en misstänksamhet mot den föreställda mainstreampubliken. Kultfilmerna betraktas av fansen med allt från förakt till dyrkan. Utifrån Sarah Thorntons mer kritiska perspektiv på subkulturer har forskare som Mark Jancovich, Joanne Hollows och Jacinda Reed visat hur kultfilmsfankulturen är en klass-och könsbunden (maskulin) konstruktion och att både ”kult” och ”mainstream” är begrepp som konstrueras inom själva subkulturen.

    På internet finns en uppsjö av sajter som inriktar sig på att recensera kultfilmer. Båda ovan nämnda typer av fankritik och olika schatteringar däremellan finns representerade. Ofta flyter de in i varandra. På grund av mediets öppna karaktär är sajterna ofta mer censurerade än tryckta kultfilmsfansin. Sidorna riktar sig först och främst till fans och är mer eller mindre exkluderande mot utomstående. Det heterosexuellt ”grabbiga” tilltalet och det sadistiska våld mot kvinnor som förekommer i många av de recenserade filmerna kan ha en utestängande effekt mot kvinnor och icke-heterosexuella. Överlag tycks det dock ha skett en uppluckring av den av fansen föreställda gränsen mellan deras egen subkultur och mainstreamkulturen. Mycket beror det på den ökade mediala och akademiska uppmärksamheten kring kultfilm. Filmerna är också lättare att få tag på.

    Bilden av det typiska kultfilmsfanet är en utbildad, vit (heterosexuell) man från medelklassen och så tycks även vara fallet på sajterna. Det finns dock några aktiva kvinnor som tycks ha hittat sin plats i fangemenskapen utan att ”kulturellt sett vara en grabbarna”. De manliga sajtinnehavarna har å ena sidan en maskulin roll inom subkulturen som webbmaster, men måste samtidigt tillgripa olika strategier för att värja sig från den feminiserade bilden av fanet/nörden utanför subkulturen. Stämningen sajtinnehavare och recensenter emellan är i allmänhet mycket god och många fans tycks uppleva en stor gemenskap på nätet, samtidigt som det finns en stark individualistisk hållning och ett ägandetänkande kring de egna sajterna.

  • 31.
    Bernide, Lenuta
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Glimpse into a world of recorded absence2018In: Short Film Studies, ISSN 2042-7824, E-ISSN 2042-7832, Vol. 8, no 2, p. 183-185Article in journal (Refereed)
    Abstract [en]

    Flimmer renders visible the intermediary spaces or the 'spaces in-between' its underlying components. It advances a world that grows out of absence, discontinuity and division.

  • 32.
    Björkin, Mats
    Stockholm University.
    Amerikanism, bolsjevism och korta kjolar: filmen och dess publik i Sverige under 1920-talet1998Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation examines the relation between discourses on Americanisation and the instituting processes of the film industry in Sweden during the 1920s. As the title indicates, Americanism, the threat of the Russian Revolution, as well as gender politics, are crucial for an understanding of the post-World War I period. A number of Swedish films from the mid-20s are analysed, and can be considered as negotiating (or exploiting) contemporary tendencies, by using jazz music and dance, fashion and hairstyles, cars and aeroplanes etc. These films are seen in relation to the "instituting" of a film industry in Sweden (a professional industry with its own ideas, codes and regulations, its own professional ethos).

    The first chapter studies phenomena regarded as "American", the "double identity" of America as the modern society par excellence on the one hand, and as a place of resistance against the decadence of post-World War I Europe on the other. The second chapter analyzes parliamentary debates concerning potential regulations of the film industry, a boycott action against American films, organized by leftist organisations in 1927 (a reaction to the Sacco-Vanzetti affair), and screenings of banned films (initiated as a protest against the banning of BATTLESHIP POTËMKIN). The third chapter deals with aspects of Americanisation concerning the spectator's way of life, especially discourses on the "feminisation" of men, with special emphasis on the "Swedish Valentino", Enrique Rivero. In the fourth chapter, a cinema café in Stockholm 1924-26 becomes a site of convergence for the instituting processes of the film industry. The restrictive actions of the film industry not only show the guiding ideas of the industry, but the incommensurable instituting processes of the industry and the audience. This chapter also discusses connections between cinema and radio, as two different forms of public spheres.

    As a conclusion, analyses of two Swedish-German co-productions and a Swedish-British one show how the particular competence of the film industry and the film critics can be seen as an important tool for understanding the film industry and the film audience in Sweden in the 1920s.

  • 33.
    Bodin, Per-Arne
    Stockholm University, Faculty of Humanities, Department of Slavic and Baltic Studies, Finnish, Dutch, and German, Slavic Languages.
    Prima ballerina2017In: Axess, ISSN 1651-0941, no 9, p. 66-67Article in journal (Other (popular science, discussion, etc.))
  • 34. Brodén, Daniel
    et al.
    Noheden, KristofferStockholm University, Faculty of Humanities, Department of Media Studies.
    I gränslandet: Nya perspektiv på film och modernism2013Collection (editor) (Other academic)
  • 35. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    A film of her own: Home movies, the archive and Ingrid Bergman: An interview with Stig Björkman and Dominika Daubenbüchel2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 183-188Article in journal (Other academic)
  • 36. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Scandinavian cinema 
culture and archival 
practices: Collecting, curating and accessing moving image histories2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 75-78Article in journal (Other academic)
  • 37.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    A Post-genomic Forensic Crime Drama: CSI: Crime Scene Investigation as Cultural Forum on Science2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science.

    The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds.

    This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience.

    Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

  • 38.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Kroppen, sanningen och döden: En utredning av CSI: Crime Scene Investigation2006Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte är att undersöka vilken funktion och betydelse kroppen har i första säsongen av CSI: Crime Scenen Investigation (CBS, 2000-). Detta eftersom det kan ge en ökad förståelse för de föreställningar som omgärdar kroppen i vår kultur idag. Författaren gör närläsningar av analysobjektet som relateras till relevant litteratur, såväl som tidigare praktiker och representationer av kroppslighet.

    I den första delen undersöker författaren vilken roll kroppen spelar i utredningsarbetets sökande efter en säker sanning. Författaren konstaterar att utredarna använder sig av en kroppslig utredningsteknik och att kroppen dessutom ses som en privilegierad form av bevis, vars tillgänglighet ökar med hjälp av obduktionsförfarandet och olika teknologiska hjälpmedel. Vidare ifrågasätter författaren hur långsökta slutsatser om individen dras från kroppen. Till sist föreslår författaren att tron på säker kunskap känns betryggande i en tid då kroppen ses som föränderlig och där begrepp som verklighet och sanning blivit flytande.

    I den andra delen undersöker författaren hotfull kroppslighet och hur dessa hot eventuellt neutraliseras. Författaren drar här fyra huvudsakliga slutsatser:

    1. Den uppstyckade kroppen är skrämmande eftersom den uppfattas som gränsöverskridande och utredarnas ihopsamlande av kroppsdelar är ett sätt att återskapa de ursprungliga gränserna.

    2. Döden är ytterligare en gränsöverskridande praktik som dessutom innebär kroppens totala förintelse, utredningsarbetet är en kamp mot döden som strävar efter att återupprätta livet.

    3. Utredarnas förhållande till den döda kroppen är synnerligen komplext eftersom de bör förbli objektiva, men samtidigt inte får riskera att objektifiera den döda kroppen.

    4. Själva filmmediet kan ses som ett hot mot kroppen genom sitt fragmenterande bildspråk, men också som ett försvar mot döden genom förmågan att skildra rörelse.

  • 39.
    Bull, Sofia
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    'What Happens in Vegas Stays in Vegas': Sexual Subcultures and Forensic Science in CSI: Crime Scene Investigation2008In: Film International, ISSN 1651-6826, Vol. 6, no 6, p. 40-50Article in journal (Other academic)
  • 40.
    Carbin, Maria
    Stockholm University, Faculty of Social Sciences, Department of Political Science.
    Det problematiska systerskapet: Purpurfärgen och postkolonial feminism2005In: Feministisk teori i rörliga bilder / [ed] Katharina Tollin & Maria Törnqvist, Malmö: Liber , 2005, 1, p. 83-110Chapter in book (Other academic)
  • 41. Carrington, Leonora
    I underjorden: Lille Francis & Där nere2012Book (Other (popular science, discussion, etc.))
  • 42.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella: 50 Years of Space Age2018Conference paper (Other (popular science, discussion, etc.))
  • 43.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. Stockholm University.
    Exploring the Intersections of Fashion, Film, and Media2018Collection (editor) (Refereed)
    Abstract [en]

    Since the turn of the twentieth century, the film industry has played a key role in the promotion and representation of fashion. Likewise, fashion’s mediated character through newsreels, television, newspapers, magazines, photography, and even paintings has facilitated the study of costume and dress history. Film scholars have dedicated efforts to the study of fashion, film, and media, focusing mostly but not exclusively on matters of representation through costume design. Significant contributions from scholars like Jane Gaines, Stella Bruzzi, Tamar Jeffers McDonald, and Adrienne Munich among others have paved the way for an interdisciplinary approach to study fashion from a film and media perspective and shaped a multitude of intercultural links between cinema and other media practices. Far from being an exhausted topic, however, the intersections between the fashion and film industries offer a vast potential that is increasingly becoming of interest to early career scholars around the globe. This special issue seeks to widen the existing research network, presenting articles from postgraduate students and early career researchers from different background with a dedicated interest in researching the intersections between fashion, film, and media. These papers provide an overview of the ways in which these areas of study overlap and intertwine.

  • 44.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Introduction: Exploring the Intersection of Fashion, Film, and Media2018In: Networking Knowledge: Journal of the MeCCSA Postgraduate Network, ISSN 1755-9944, Vol. 11, no 1, p. 1-6Article in journal (Other academic)
    Abstract [en]

    This special issue belongs to a series of activities under the umbrella denomination “Studying and Exploring the Intersections of Fashion, Film, and Media Studies,” created in 2014 by film scholar Anne Bachmann and I. Our goal was to promote an interdisciplinary perspective to the study of fashion, film, and media. This venture was launched with two activities at the 2015 edition of the annual conference of the Society for Cinema and Media Studies, in Montreal. The first activity consisted of a panel featuring the on-going projects of four Ph.D. students working with these combined fields.[1]  The second activity consisted of a workshop, in which presentations opened to discussions addressing how the use of archival material and film fan magazines, combined with film studies’ methodological approach to history, could benefit fashion research.[2] This workshop expanded into a Symposium at Stockholm University featuring established scholars who pioneered research in these fields of studies combined. This special issue of Networking Knowledge seeks to include early career researchers in such conversation, broadening the network of scholars and the combined field of expertise. Since its inception, a historical approach has been encouraged by the founders of this project. Yet, the semiotic roots used for textual analysis of costume design shall not be overlooked. In this sense, this special issue intends to present a panorama of the heterogeneous nature of studies in these interconnected fields.

  • 45.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Pre-Code Hollywood: The Final Sparks of the Insubordinate Screen2016Conference paper (Other (popular science, discussion, etc.))
  • 46.
    Castaldo Lunden, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The “Paco Rabanne Myth”: How Archival Research Can Help Us Deconstruct Celebrity Discourses2016Conference paper (Other academic)
  • 47.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella's wardrobe: Exploring Jacques Fonteray’s intergalactic runway2016In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 5, no 2, p. 185-211Article in journal (Refereed)
    Abstract [en]

    Jane Fonda’s intergalactic adventure, Barbarella (Dino De Laurentiis Cinematografica, 1968), looms large in popular culture despite its mild reception in 1968. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, the production design of the film incorporates contemporary elements from art, architecture and fashion. Paco Rabanne is frequently credited as the creator of Fonda’s onscreen parade of highly stylized costumes. Yet, the Spanish designer only created one of her eight outfits. The paper addresses this misconception by exploring how the film’s mise-en-scène captured the contemporary design trends beyond Rabanne’s participation, perpetuating Barbarella as a symbol of its own times.

  • 48.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Jaws: Creating the Myth of the Man-Eating Machine2015Conference paper (Refereed)
  • 49.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Jaws: Creating the Myth of the Man-Eating Machine2012Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Jaws(Universal Studios, 1975) set a new standard for Hollywood film production byintroducing the concept of “summer blockbuster,” for a film that changed the way inwhich people thought about sharks. 37 years after the release of the movie, the idea of sharks as ferocious man-hunters still looms large in public opinion. Thisconceptualization of sharks as ruthless killers is mythical rather than factual, and thisresearch tracks the mechanisms that propelled the idea deep into popular culture.The dissertation addresses the problematics of media constructions through a casestudy of the movie Jawsdeparting from its production process, and by applyingBarbara Klinger’s interpretation of “epiphenomena.” The thesis studies how cinematravels into popular culture, by following the traces of the movie into other media, andits dialogue with the surrounding texts generated by PR, marketing andmerchandising; simultaneously, the thesis seek to demonstrate the connection between the movie as mythmaker and the stigmatized portrayal of sharks.

  • 50.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Lo squalo, le strategie di marketing della Universal e la construzione della "Jawsmania"2015In: Cinergie, ISSN 2280-9481, Vol. 7Article in journal (Refereed)
    Abstract [en]

    Jaws (Steven Spielberg, 1975) set a new standard for Hollywood film production by introducing the concept of “summer blockbuster,” but it also changed the way in which people thought about sharks. Almost 40 years after the release of the movie, the idea of sharks as ferocious man-hunters still underpins public opinion. This conceptualization of sharks as ruthless killers is mythical rather than factual, and in this presentation I intend to track the mechanisms that rooted the idea deep into popular culture. My research addresses the problematic of media constructions through a case study of the movie Jaws by looking into the production process, and applying Barbara Klinger’s interpretation of Epiphenomena (1989). Through intensive archival work, the paper studies how cinema travels into popular culture, by following the traces of the movie into other media, and the surrounding texts linked to marketing and merchandising; underlining its position as an integral part in the construction of myths, while tying to prove the connection between the movie and the stigmatized portrayal of sharks.

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