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  • 1. Agger, Gunhild
    et al.
    Dirckinck-Holmfeld, Lone
    Gimmler, Antje
    Heinrich, Falk
    Soila, Tytti
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Introduction: Two Stories of the Arts and Humanities – and a Third Version Emerging2016Inngår i: Academic Quarter, E-ISSN 1904-0008, Vol. 13, nr 10, s. 4-13Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    During the past few decades, the arts and humanities in the West- ern world have been challenged by a strange contradiction between two very different stories about their raison d’être and value. The first story focuses on the expansion of universities, including the faculties of arts and humanities. The second story is dominated by a feeling of distress prompted by the constant questioning of the usefulness and applicability of the arts and humanities. As the con- tributions to this volume of Academic Quarter indicate, however, a third story may be about to emerge. 

  • 2.
    Alexander, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Screen play: audiovisual narrative & viewer interaction1999Doktoravhandling, monografi (Annet vitenskapelig)
    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, Lars Gustaf
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Accented cinema and beyond: Latin American minor cinemas in Sweden, 1970–19902016Inngår i: Studies in Spanish & Latin American Cinemas, ISSN 2050-4837, Vol. 13, nr 3, s. 227-245Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 4. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Immigrant Film Co-Operatives in Sweden: The Most Typical Avant-Garde2022Inngår i: A Cultural History of the Avant-Garde in the Nordic Countries Since 1975 / [ed] Benedikt Hjartarson; Tania Ørum; Camilla Skovbjerg Paldam; Laura Luise Schultz, Leiden: Brill Academic Publishers, 2022, s. 703-714Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The subtitle of this essay echoes the title of David E. James’s book The Most Typical Avant-Garde, which makes the claim that the various minor cinemas of Los Angeles (amateur, immigrant, artists’ etc.) constitute the most distinctive avant-garde “on behalf of cultural practices that are commonly supposed not to even have existed”. The heterogeneous Swedish avant-garde scene has definitely been conditioned by migrational and transnational practices; however, this essay deals with a specific forgotten aspect of Swedish avant-garde film history: the immigrant film-makers and their co-operatives and organisations. Our aim is to show that they have existed and why they should be considered as part of “the most typical avant-garde”. We focus on the description and analysis of three films by three different organisations that became cohorts of multilingual and collective film-making, ranging from purely organisational structures (Kaleidoscope, in the 1980s) to collective youth recreation work in the suburbs (Tensta filmförening, in the 1970s and 1980s) and to a co-op for self-organised and self-financed film-making (Cineco, in the late 1970s and early 1980s).

  • 5. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015Inngår i: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, nr 2, s. 156-167Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 6. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The Cultural Practice of Immigrant Filmmaking: Minor Immigrant Cinemas in Sweden 1950–19902019Bok (Fagfellevurdert)
    Abstract [en]

    Based on a research project funded by the Swedish Research Council, this book analyses 40 years of post-war independent immigrant filmmaking in Sweden. John Sundholm and Lars Gustaf Andersson consider the creativity that lies in the state of exile, offering analyses of over 50 rarely seen immigrant films that would otherwise remain invisible and unarchived. They shed light on the complex web of personal, economic and cultural circumstances around migrant filmmaking, and discuss associations that became important sites of self-organization for exiled filmmakers: The Independent Film Group, The Stockholm Film Workshop, Cineco, Kaleidoscope and Tensta Film Association.

    Using an innovative combination of key film theory, The Cultural Practice of Immigrant Filmmaking studies immigrant filmmaking in a transnational context, exploring how immigrant filmmakers use film to find a place in a new cultural situation.

  • 7. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The cultural practice of minor cinema archiving: The case of immigrant filmmakers in Sweden2017Inngår i: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, nr 2, s. 79-92Artikkel i tidsskrift (Fagfellevurdert)
    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’.

  • 8.
    Apelgren, L. Petersdotter
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    When Camp becomes a Method: a conceptualization of conversational performatives and curatorial agencies within ‘the camp-eye’2020Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    The aim of following thesis is to demonstrate the potentials of reassessing camp into a question of method. While others have argued for the definition of camp to lie in: an aesthetic; a question of taste; the extravagant theatrical; the male gay sensibility; or as an expression of parody, this thesis suggests that camp is to be found in the performative act of readings. With emphasis on ‘decoding language’, ‘the signifier/signified’ and ‘the camp eye’ I will argue for the relevance of ‘camp as method’ and situate former stated in relation to Bhabha’s concept of ‘conversational art’; a deconstructional examination of values of aesthetic experiences set into dialogue. Demonstrating for such conceptualization three theoretical approaches and themes will be outlined. First, a historical overview of camp followed by a reassessment of camp into a method. Second, an examination of possible extensions to the concept of rereading strategies within camp, including theories on queer phenomenology; queer space and time; topias and non-places; theories of curatorial methods and its agencies. And last, I will do an analysis of Moyra Davey’s video Hemlock Forest and show how Davey’s use and reference towards Chantal Akerman can be read as camp and constitutes ‘camp as method’ according to suggested reassessment.

    Fulltekst (pdf)
    fulltext
  • 9.
    Appelqvist, Tove
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The Importance of Being Funded: A Case Study of the Public Funding, Production, and Style of Pica Pica (1987)2020Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Given the 2017 discontinuation of the Swedish Film Agreement and the surrounding debate on the rationales of film policy, this thesis will conduct a historical study of a particular instance of Swedish film policy history, thus seeking to contribute to the understanding of the consequences of film policy for the outcome of film. Looking at the relationship between Swedish public broadcasting (SVT) and the Swedish Film Institute (SFI) during the mid-1980’s, this thesis aims to investigate the historical background of the funding and production process that enabled the creation of Pica Pica, a feature documentary film on magpies made by director Mikael Kristersson. By applying Geir Vestheim’s theory of the four instrumental arguments for public support of the arts and through an idea analysis, the thesis will investigate what arguments could be said to be pivotal for the funding and production of Pica Pica. Analyzing policy documents concerning the SFI and SVT, as well as using interviews conducted with the people in decision-making positions at the time, the thesis investigates what rationales and circumstances might be said to have informed the funding and production of Pica Pica. Furthermore, Kristersson’s film will be analyzed in relation to concepts of ecocinema and in relation to its lineage in nature portrayal in Swedish film. Through its investigation of the role of the funding and production circumstances for the stylistic outcome of the film, the thesis seeks to contribute to the understanding of the importance and consequences of film policy and production organization for the outcome of film in current times withal.

    Fulltekst (pdf)
    fulltext
  • 10.
    Aydin, Ali
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    A "Sensuous" Approach to the Cinema of Nuri Bilge Ceylan: Principles of Embodied Film Experience2018Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical approaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the consideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relationship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer.

    Fulltekst (pdf)
    fulltext
  • 11.
    Aydin, Ali
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    An Alternative Auteurist Approach to Sidney Lumet's Films: In Search of a Transgressive Cinema2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Fulltekst (pdf)
    C-uppsats
  • 12.
    Baumann, Chris
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Eine kurze Geschichte des Scheiterns: Googles Nexus Q und die Grenzen von Streaming-Technologien2017Inngår i: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, ISSN 0942-4954, Vol. 26, nr 1Artikkel i tidsskrift (Fagfellevurdert)
  • 13.
    Baumann, Chris
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Netflix2017Inngår i: The SAGE Encyclopedia of the Internet / [ed] Barney Warf, Sage Publications, 2017Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 14.
    Baumann, Chris
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Shadow economies and digital disruption2014Inngår i: NECSUS : European Journal of Media Studies, E-ISSN 2213-0217, Vol. 3, nr 1, s. 331-337Artikkel, omtale (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 15.
    Baumann, Chris
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Sweden: Circumvention and the Quest for Privacy2016Inngår i: Geoblocking and Global Video Culture / [ed] Ramon Lobato, James Meese, Amsterdam: Institute of Network Cultures , 2016, s. 140-149Kapittel i bok, del av antologi (Fagfellevurdert)
    Fulltekst (pdf)
    Sweden: Circumvention and the Quest for Privacy
  • 16.
    Bernide, Lenuta
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Glimpse into a world of recorded absence2018Inngår i: Short Film Studies, ISSN 2042-7824, E-ISSN 2042-7832, Vol. 8, nr 2, s. 183-185Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 17. Blom, Ina
    et al.
    Lundemo, TrondStockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.Røssaak, Eivind
    Memory in Motion: Archives, Technology, and the Social2016Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    How do new media affect the question of social memory? Social memory is usually described as enacted through ritual, language, art, architecture, and institutions ? phenomena whose persistence over time and capacity for a shared storage of the past was set in contrast to fleeting individual memory. But the question of how social memory should be understood in an age of digital computing, instant updating, and interconnection in real time, is very much up in the air. The essays in this collection discuss the new technologies of memory from a variety of perspectives that explicitly investigate their impact on the very concept of the social.

  • 18. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    A film of her own: Home movies, the archive and Ingrid Bergman: An interview with Stig Björkman and Dominika Daubenbüchel2017Inngår i: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, nr 2, s. 183-188Artikkel i tidsskrift (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 19. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Scandinavian cinema 
culture and archival 
practices: Collecting, curating and accessing moving image histories2017Inngår i: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, nr 2, s. 75-78Artikkel i tidsskrift (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 20. Carrington, Leonora
    I underjorden: Lille Francis & Där nere2012Bok (Annet (populærvitenskap, debatt, mm))
  • 21.
    Carter, Jason
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Anita: The Story of a Bad Film: The cultural life of Torgny Wickman’s 1973 sex film2023Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Anita  (Torgny Wickman 1973) is a typical example of a film produced as part of a wave of Swedish softcore sex films created with an eye on the substantial overseas profits to be made in market curious to witness onscreen Swedish Sin.  Following an extremely brief and limited release in Sweden the film disappeared from popular cultural perception until resurfacing in the late 1990s as an object of nostalgic cult curiosity.  Taking cues from New Cinema History disciplinary methods, cult theory and touching on theories of the dispositif, this thesis maps the manner in which Anita is popularly and academically regarded as a text throughout differently delineated eras of its lifespan. By drawing on its appearance in film listings, popular press, national press and fanzines, and through its various releases and restoration this work builds to an understanding of how uses of this text move from populist via nostalgia through cult to historical canon, and the way in which these uses offer new perspectives on Swedish film history.

    Fulltekst (pdf)
    Jason Carter - Anita the story of a bad film
  • 22.
    Conrich, Ian
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The Aquatic Kiwi Gothic: Isolation, Insanity and the Occasional Fisherman2023Inngår i: Gothic in the Oceanic South: Maritime, Marine and Aquatic Uncanny in Southern Waters / [ed] Diana Sanders; Allison Craven, London: Routledge, 2023, s. 103-119Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    I have argued that in understanding New Zealand there must be a consideration of a triad of scapes – landscape, seascape and skyscape – in which the land has been the dominant form in the local film and literature. Here, numerous instances of New Zealand Gothic can be identified, but examples of the aquatic Gothic are relatively few. This is surprising as New Zealand has an approximate coastline of 15,000 kilometers. Moreover, within the country’s great sea voyaging past there are origin narratives, legends of ocean beasts and a considerable history of shipwrecks and mass drownings at sea. This chapter considers the presence and function of the aquatic Kiwi Gothic as it appears within fiction centred on the shore and the foreshore as well as the ocean. The texts that I consider range from the short story “Swans” (1951; Janet Frame), the novel the bone people (1984; Keri Hulme), the children’s book Low Tide (1992; William Mayne), and the young adult book The Tricksters (1986; Margaret Mahy), to the Māori television series Mataku (2002-5), the feature films Perfect Strangers (2003) and The Ferryman (2007), and the short films A Moment Passing (1997) and Delores (2003). Across islands of isolation and a haunted coast, to a sunken lost ship, sea creatures and deadly fishing trips, I will explore the extent of the aquatic Kiwi Gothic in a country which I have defined as a “perilous paradise”.

  • 23.
    Cârstian, Maria
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Deconstructing the “Low Other” in the First Wave of Sex Hygiene Films (1914-1919)2019Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    The present thesis investigates the commercial sex hygiene films produced between the years 1914 and 1919 in the United States, during the last years of the Progressive Era. Rejected and prohibited as soon as five years after their apparition, the sex hygiene films’ position within the industry, as well as the cinematic techniques they incorporated, will be analysed through the concept of the Low Other. The first part of the thesis aims to delineate the used concepts, as well as integrate the sex hygiene film into a wider cultural, social, and political framework. The second part explores the films’ aesthetic construction, then focuses on a textual analysis of the narrative and non-narrative methods implied by three particular sex hygiene films. Finally, the thesis concludes that the films used a series of cinematic methods to create a Low Other on-screen, yet these very methods ultimately played a part within their suppression as a Low Other body of culture.

    Fulltekst (pdf)
    Deconstructing the “Low Other” in the First Wave of Sex Hygiene Films (1914-1919)
  • 24.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Anna Hofman-Uddgren2017Annet (Annet vitenskapelig)
  • 25.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Health Instruction on Screen: The Department of Health in New York City, 1909-19172012Inngår i: Beyond the Screen: Institutions, Networks and Publics of Early Cinema / [ed] Marta Braun, Charlie Keil, Rob King, Paul Moore, Louis Pelletier, New Barnet, U.K.: John Libbey Publishing, 2012, s. 107-116Kapittel i bok, del av antologi (Fagfellevurdert)
  • 26.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Unhooking the Hookworm: The Rockefeller Foundation and Mediated Health2012Rapport (Annet vitenskapelig)
  • 27.
    Dahlquist, Marina
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Frykholm, Joel
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Introduction2019Inngår i: The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s / [ed] Marina Dahlquist, Joel Frykholm, Bloomington, Indiana: Indiana University Press, 2019, s. 1-16Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 28.
    Dahlquist, Marina
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Frykholm, JoelStockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The Institutionalization of Educational Cinema: North America and Europe in the 1910s and 1920s2019Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    The potential of films to educate has been crucial for the development of cinema intended to influence culture, and is as important as conceptions of film as a form of art, science, industry, or entertainment. Using the concept of institutionalization as a heuristic for generating new approaches to the history of educational cinema, contributors to this volume study the co-evolving discourses, cultural practices, technical standards, and institutional frameworks that transformed educational cinema from a convincing idea into an enduring genre. The Institutionalization of Educational Cinema examines the methods of production, distribution, and exhibition established for the use of educational films within institutions–such as schools, libraries, and industrial settings in various national and international contexts and takes a close look at the networks of organizations, individuals, and government agencies that were created as a result of these films' circulation. Through case studies of educational cinemas in different North American and European countries that explore various modes of institutionalization of educational film, this book highlights the wide range of vested interests that framed the birth of educational and nontheatrical cinema.

  • 29.
    Dahlquist, Marina
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Galili, DoronStockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.Olsson, JanStockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.Robert, Valentine
    Corporeality in Early Cinema: Viscera, Skin, and Physical Form2018Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.

    Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

  • 30.
    Diurlin, Lars
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    En svindlande uppgift: Sverige och biståndet 1945–19752022Inngår i: Scandia, ISSN 0036-5483, Vol. 88, nr 1, s. 155-157Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
  • 31.
    Diurlin, Lars
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    “For the support of artistically superior films”: The State Film Prize Committee and the formative years of a quality-directed Swedish film policy 1960–19632021Inngår i: Nordisk kulturpolitisk tidskrift, ISSN 1403-3216, E-ISSN 2000-8325, Vol. 24, nr 2, s. 156-172Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In 1960 The State Film Prize Committee was founded in Sweden with the intention to support artistically superiorfilms. Research on Swedish quality-directed film policies usually has as its point of departure the Swedish Film Insti-tute, established in 1963, thus locating the birth of Swedish film policy and the establishment of a film “field” in theBourdieusian sense. This article is based on the argument that the years of the Committee epitomized a push and pullbetween  competing  positions  in  a  bourgeoning  field,  as  discussions  were  catalysed  by  its  evaluative  system.  Thearticle underscores that the historiography of Swedish quality-directed film policy, as well as aspects regarding theformation of a field, needs revision, particularly in relation to which theoretical definitions of film and culture policyare used. The Committee is discussed in relation to three contexts: a generational change in film culture; an indeter-minacy regarding the relationship between nationally sanctioned art film and other art forms; the Social Democraticformation of an interventionist cultural policy. Methods and material used include tracing debates on film culture,document analysis in the archive of the Committee, and examining recurring themes in supported films. The articlescrutinizes notions of transmedial and minor (film) art as it was favoured by the Committee, in contrast to a newgeneration  of  cinematic  modernists  who  sought  to  purify  the  medium  (aesthetically  and  institutionally).  Further-more, issues of autonomy are examined regarding how the Committee functioned as an arm’s length body. It is esta-blished that the Committee acted as a veritable film producer and furthermore sidestepped governmental statutes.The article also establishes that the Committee represents a decisive, albeit transitional, period in the history of Swe-dish film policy, when film and cultural policy aligned for a short time, before film policy, as a result of the corporatistSFI reform, was instead detached from cultural policy.

  • 32.
    Diurlin, Lars
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Pionjärstudie om filmgenre som sällan betraktas som värdefull: Film i stadens tjänst – Göteborg 1938–2015, Erik Florin Persson2021Inngår i: Respons : recensionstidskrift för humaniora & samhällsvetenskap, ISSN 2001-2292, nr 5, s. 59-61Artikkel, omtale (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Erik Florin Perssons undersöker beställningsfilmen, närmare bestämt kommunal stadsfilm gjord på uppdrag av Göteborgs Stad. Med avhandlingen, som knyter an till en yngre kulturell vändning inom medievetenskapen, kan svensk filmvetenskap stoltsera med ett standardverk inom ämnet.

  • 33.
    Diurlin, Lars
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    The Nordic Mobilization of Public Opinion on Foreign Aid in the UN’s Second Development Decade2022Inngår i: Nordic Media Histories of Propaganda and Persuasion / [ed] Fredrik Norén; Emil Stjernholm; C. Claire Thomson, Palgrave Macmillan, 2022, s. 261-282Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter contributes to the understudied research areas of Nordic foreign aid media history and Nordic co-operations concerning the mobilization of public opinion on foreign aid. The study asks: What exchanges of ideas regarding information strategies took place between the Nordic aid agencies during the launch of the Second Development Decade (1970s)? Utilizing governmental archive documents the study demonstrates that Nordic co-operations shifted from embracing “Nordicness” in field projects to using Nordic connections as a backstage think-tank for mutual, but domestic, goals of public persuasion, focusing on film as an information device. It is revealed that cooperative efforts were hampered by the agencies’ lack of experience in audio-visual co-production, by different discursive understandings of “development” and by the difficulty to transnationally co-operate around nationally grounded information regimes.

  • 34.
    Ekholm Sjöblom, Josefina
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Nutida Woody Allens stereotyper2016Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Fulltekst (pdf)
    fulltext
  • 35. Elomäki, Anna
    et al.
    Kantola, Johanna
    Koivunen, Anu
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Ylöstalo, Hanna
    Kamppailu tasa-arvosta: tunne, asiantuntijuus ja vastarinta strategisessa valtiossa2016Inngår i: Sosiologia, ISSN 0038-1640, Vol. 53, nr 4, s. 377-395Artikkel i tidsskrift (Fagfellevurdert)
  • 36.
    Fahlstedt, Kim
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Marketing Rebellion: The Chinese Revolution Reconsidered2014Inngår i: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 26, nr 1, s. 80-107Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The reenacted newsreel The Chinese Revolution (1912), partially preserved in the Library of Congress, has long been misattributed to American immigrant filmmaker Benjamin Brodsky. Careful reconstruction of the film's production and circulation history reveals that it was made in China in 1911 by M. Pathe, a Japanese film company which, through its founder Shokichi Umeya, had connections to Yat-sen Sun. Analysis of the US-based distributor's promotional campaign demonstrates that this unusual early trans-Pacific import fostered the independent film market of the early 1910s while articulating with emerging American discourses about a modernizing China. This reconsideration argues that The Chinese Revolution was a pioneering media commodity with economic and political impact on both sides of the Pacific.

  • 37.
    Feldin Hjert, Amanda
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Den kompletterande filmupplevelsen: En kartläggning av programstrategier för svenska art-housebiografer2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Uppsatsens syfte är att, genom semistrukturerade intervjuer med programsättare på fyra art-housebiografer i Sverige, utreda vilka programsättningsstrategier som används och varför. Med hjälp av teorier om programstrategier för filmfestivaler och biografer, samt filmvetenskapliga teorier om dispositif och kontextens betydelse för filmupplevelsen besvaras uppsatsens frågeställningar: Vilka strategier tillämpas av programsättare på art-housebiografer i Sveriges tre största städer för att kuratera ett filmprogram som adderar värde till besökarens bioupplevelse, med hänsyn till både text och kontext? Och hur påverkas programsättarnas arbete av yttre faktorer som kulturpolitiska och kommersiella/ekonomiska krav och begränsningar? Resultatet av intervjuerna visar på kontextens betydelse för en värdefull bioupplevelse. Ytterligare framgår i uppsatsen att praktiken ser annorlunda ut än teorin i många fall och att det är ett intrikat nät av yttre faktorer som styr programurvalet och påverkar programstrategierna. 

    Fulltekst (pdf)
    fulltext
  • 38. Fernández Labayen, Miguel
    et al.
    Sundholm, John
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Promoting and Curating US Experimental Cinema in Europe: "The Western American Experimental Film" Tour in 1963 and the New American Cinema2022Inngår i: Framework, ISSN 0306-7661, E-ISSN 1559-7989, Vol. 63, nr 1-2, s. 183-195Artikkel i tidsskrift (Fagfellevurdert)
  • 39.
    Fleischer, Rasmus
    et al.
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Ekonomisk-historiska institutionen.
    Vonderau, Patrick
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Jeremy W. Morris (2015) Selling Digital Music, Formatting Culture2017Inngår i: Culture Machine, E-ISSN 1465-4121Artikkel, omtale (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 40.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Across Boundaries - Strategies of Silence and Sound in Sjöström's A Lady to Love (1930)2015Inngår i: European Journal of Scandinavian Studies, ISSN 2191-9399, E-ISSN 2191-9402, Vol. 45, nr 2, s. 188-197Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The theoretical framework for this paper is provided by Juri Lotman’s concept of semiosphere. Within this, the concept of boundary defines the intersections between different semiotic systems. Within this general frame, the paper attempts a reading of Victor Sjöström’s Hollywood film A Lady to Love (MGM, 1930), produced in two versions, one American and one European, and based on a script by Sidney Howard, which in turn was based on Howard’s Pulitzer-Price-winning play They Know What They Wanted (1925). The analysis reveals several intersecting semiotic structures in the film as well as in its immediate contexts. A number of linguistic or dialogic structures enter into play: universal vs peripheral, theatre vs cinema, American vs European, silent vs sound. Across these complex and intertwined semiotic systems and boundaries, new meaning-­making processes are also made possible.

  • 41.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Norwegian Tableaux - "Synnöve Solbakken"2017Inngår i: Kosmorama (København), ISSN 0023-4222, E-ISSN 2245-9731, nr 269Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    This article discusses the Swedish 1919 film Synnöve Solbakken (A Norway Lass), directed by John Brunius from a short story by the Norwegian author and Nobel prize winner Bjørnstjerne Bjørnson. The article examines the way the film adapts Bjørnson's story, how it draws on 19th-century national romanticist paintings, and how these elements are integrated into the film's cinematographic fabric.

  • 42.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    "The Best Swedish Film Ever Made": Terje Vigen (Victor Sjöström, Svenska Biografteatern, 1917)2022Inngår i: Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s / [ed] Eirik Frisvold Hanssen; Maria Fosheim Lund, Oslo: National Library of Norway , 2022, s. 147-166Kapittel i bok, del av antologi (Fagfellevurdert)
  • 43.
    Florin, Bo
    et al.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Vonderau, Patrick
    Zimmermann, Yvonne
    Advertising and the Transformation of Screen Cultures2021Bok (Fagfellevurdert)
  • 44.
    Forsenberg, Aléks J.
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Bad Bitch, White Witch: A Study of the Crossover Star Personas of Supermodel-Actors Devon Aoki and Abbey Lee2023Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    While it is very common for supermodels to make the occasional foray into cinematic performance, and some of them manage to turn these forays into full-time careers in acting, it is very rare that supermodel-actors are afforded any academic attention. This thesis seeks to change this through a case study of two supermodel-actors: Devon Aoki and Abbey Lee. Using a methodology that combines extratextual contextualization with close analysis of image and film materials, and grounded in a perspective that centers the body, it analyzes Aoki and Lee’s careers as they cross over from one form of stardom to another. The focus of the analysis lies in the way that the bodily capital which is the basis of their modelling work also informs their acting personas as they are shaped through their on-screen work, publicity and reception. Furthermore, the thesis applies the concept of niche stardom, adapted from Diane Negra, to illustrate how Aoki and Lee inhabit a stardom which is specific to certain audiences with specific values and tastes. The analysis finds that there is a significant overlap between Aoki and Lee’s modelling and acting personas, and that this overlap is channeled through the representations of their bodies which, are the sites of heterogeneous discourses of gender, sexuality and race.

    Fulltekst (pdf)
    fulltext
  • 45.
    Fransen, Esmé
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Big Dyke Energy?: Commodification and Queer Female Meaning-Making in the Reception of Ocean’s 8 (Gary Ross, 2018)2020Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    In a media landscape that continues to be characterized by heteronormativity, queer female audiences are continuously finding ways to make popular texts their own. Previous scholarship on queer female reception has largely approached queer meaning-making as a text-audience relationship, a perspective which disregards the position of films as commodities surrounded by an extensive promotional network. This thesis investigates the role of commodification in the process of queer meaning-making in popular film through a reception study of the film Ocean’s 8 (Gary Ross, 2018). Using a netnographic method that places social media reception in dialogue with the film and its promotional materials, it challenges the idea that queer meaning is always either embedded in the film text or brought in by the audience “(in)appropriating” the text. Rather, the film and its promotional context create an ambiguity that allows queer readings to flow freely, and actively interacts with a pre-existing Cate Blanchett-as-lesbian fantasy amongst audiences to steer those readings in particular directions. Queer female meaning-making, then, is far from a one-directional action, but rather a complex and constant renegotiation of queerness between commercial actors and audiences alike.

    Fulltekst (pdf)
    fulltext
  • 46.
    Fredholm, Tilde
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Digital Figurations: The Human Figure as Cinematic Concept2016Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.

    Fulltekst (pdf)
    Digital Figurations - Tilde Fredholm
  • 47.
    Frykholm, Joel
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Career History, Industry History, and the Problem of Uncertainty: George Kleine and the American Film Industry, 1890–19202013Konferansepaper (Annet vitenskapelig)
  • 48.
    Frykholm, Joel
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Critical Thinking and the Humanities: A Case Study of Conceptualizations and Teaching Practices at the Section for Cinema Studies at Stockholm University2021Inngår i: Arts and Humanities in Higher Education, ISSN 1474-0222, E-ISSN 1741-265X, Vol. 20, nr 3, s. 253-273Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The raison d’être of the humanities is widely held to reside in its unique ability to generate critical thinking and critical thinkers. But what is “critical thinking?” Is it a generalized mode of reasoning or a form of political critique? How does it relate to discipline-specific practices of scholarly pursuit? How does it relate to discourses of “post-truth” and “alternative facts”? How is it best taught? This essay explores these issues via a case study of conceptualizations of critical thinking among cinema scholars at Stockholm University, whose views are interpreted against the backdrop of (a) debates about the value of the humanities; (b) higher education scholarship on critical thinking; and (c) the legacy of certain disciplinary traditions within cinema studies, especially the paradigms of “post-theory” and “political modernism.” The interviews attest to the persistence of critical thinking as a fundamental, yet highly elusive, concept to higher education in the arts and humanities.

  • 49.
    Frykholm, Joel
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    “Cycles," "Libraries," and Archival Logics in American Cinema in the 1910s: The Case of "George Kleine’s Cycle of Film Classics" (1916)2014Konferansepaper (Annet vitenskapelig)
  • 50.
    Frykholm, Joel
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier, Filmvetenskap.
    Early Hollywood, American Empire, and George Kleine’s Educational Cinema2012Konferansepaper (Annet vitenskapelig)
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