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  • 1.
    Andersson, Lars Gustaf
    et al.
    Lund University..
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen. Stockholm University.
    A History of Swedish Experimental Film Culture: From Early Animation to Video Art2010Bok (Fagfellevurdert)
  • 2. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Sverige.
    Söderbergh Widding, Astrid
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Experimentfilmens behov & filmarkivets möjligheter2012Inngår i: "Skosmörja eller arkivdokument?": Om filmarkivet.se och den digitala filmhistorien / [ed] Mats Jönsson & Pelle Snickars, Stockholm: Kungliga biblioteket , 2012, s. 67-80Kapittel i bok, del av antologi (Fagfellevurdert)
  • 3. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Karlstads universitet, Avdelningen för humaniora och genusvetenskap.
    Söderbergh Widding, Astrid
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    I skuggan av spelfilmen: Svensk experimentell film2006Inngår i: Konst som rörlig bild: från Diagonalsymfonin till Whiteout / [ed] Söderbergh Widding, Stockholm: Langenskiölds , 2006, s. 15-94Kapittel i bok, del av antologi (Annet vitenskapelig)
    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.

  • 4.
    Andersson, Therése
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Beauty Box: Filmstjärnor och skönhetskultur i det tidiga 1900-talets Sverige2006Doktoravhandling, monografi (Annet vitenskapelig)
    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.

  • 5.
    Andersson, Therése
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Dressed for Success: Hollywoodstjärnor och mode2005Inngår i: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, nr 3Artikkel i tidsskrift (Fagfellevurdert)
  • 6.
    Bengtsson, Bengt
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Ungdom i fara: ungdomsproblem i svensk spelfilm 1942-621998Doktoravhandling, monografi (Annet vitenskapelig)
  • 7.
    Bengtsson, Jan Christer
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Peter Weiss filmer: från de korta små lekfulla kopparslagen till kommersiell långfilmsdebut: filmer - filmidéer - utkast2010Doktoravhandling, monografi (Annet vitenskapelig)
    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.

  • 8.
    Berger, Aurore
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    The transparitions of time in space in four fiction films by Knut Erik Jensen2005Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    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).

  • 9.
    Bergmark Elfgren, Sara
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Virtuella distinktioner : en studie av kultfilmsfankultur på internet2006Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    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.

  • 10.
    Bolton, Kingsley
    et al.
    Stockholms universitet, Humanistiska fakulteten, Engelska institutionen.
    Olsson, JanStockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Media, popular culture, and the American century2010Collection/Antologi (Annet vitenskapelig)
    Abstract [en]

    In 1941, media mogul Henry R. Luce exulted, “American jazz, Hollywood movies, American slang, American machines and patented products are in fact the only things that every community in the world, from Zanzibar to Hamburg, recognizes in common.” It is as true today as it was then. From the early days of Hollywood, an insatiable demand for U.S. cultural products—in advertising, fashion, film, popular music, television, and much else—has had a profound and continuing impact across the globe. Media, Popular Culture, and the American Century explores a diverse range of Americana, where the borders between the real and the imaginary, dream and dystopia, America and the world, blur and disappear. Essays move from configurations of U.S. culture in the early 1900s to the age of Google and digital music.

  • 11.
    Bolton, Kingsley
    et al.
    Stockholms universitet, Humanistiska fakulteten, Engelska institutionen.
    Olsson, Jan
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Mediated America: Americana as Hollywoodiana2010Inngår i: Media, popular culture, and the American century / [ed] Kingsley Bolton and Jan Olsson, London: John Libbey , 2010, s. 7-33Kapittel i bok, del av antologi (Fagfellevurdert)
  • 12.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    ’Artistic Titles in Artistic Films!’: Investigating Swedish art-titles and the case of Alva Lundin2010Inngår i: Not so Silent: Women in Cinema Before Sound / [ed] Astrid Söderbergh Widding, Sofia Bull, Stockholm: Acta Universitatis Stockholmiensis , 2010Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 13.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Identitetshandling2011Inngår i: FLM: en kulturtidskrift om film, ISSN 1654-711X, nr 12Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 14.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Kroppen, sanningen och döden: En utredning av CSI: Crime Scene Investigation2006Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    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.

  • 15.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Media and Monarchy in Sweden2011Inngår i: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 31, nr 1, s. 112-113Artikkel, omtale (Annet vitenskapelig)
  • 16.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Reclaiming the Archive: Feminism and Film History2010Inngår i: Screen, ISSN 0036-9543, E-ISSN 1460-2474, Vol. 51, nr 4, s. 438-440Artikkel, omtale (Annet vitenskapelig)
  • 17.
    Bull, Sofia
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    'What Happens in Vegas Stays in Vegas': Sexual Subcultures and Forensic Science in CSI: Crime Scene Investigation2008Inngår i: Film International, ISSN 1651-6826, Vol. 6, nr 6, s. 40-50Artikkel i tidsskrift (Annet vitenskapelig)
  • 18.
    Castaldo Lundén, Elizabeth
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Jaws: Creating the Myth of the Man-Eating Machine2012Independent thesis Advanced level (degree of Master (Two Years)), 20 poäng / 30 hpOppgave
    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.

  • 19.
    Cederlöf, Henriette
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Gotiken hos David Cronenberg: En studie av fyra filmer2006Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Syftet med min uppsats är att undersöka förhållandet mellan fyra av den kanadensiske regissören David Cronenbergs filmer och den gotiska traditionen. De filmer jag valt att behandla är Shivers (1974), Rabid (1976), The Brood (1979) och Dead Ringers (1988). Den gotiska traditionen utmärks bland annat av en fokusering på kroppsligt baserad skräck. Skräck med utgångspunkt i kroppen återfinns även i Cronenbergs filmer. Vid en närmare studie av dessa filmer har jag dock funnit att de även innehåller element av det som feministiskt inriktade forskare kallat familjegotik – gotiska representationer av familjen.

  • 20.
    Dahlgren, Anna
    et al.
    Stockholms universitet, Humanistiska fakulteten, Konstvetenskapliga institutionen.
    Snickars, Pelle
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    I bildarkivet - en introduktion2009Inngår i: I bildarkivet: Om fotografi och digitaliseringens effekter / [ed] Anna Dahlgren, Pelle Snickars, Stockholm: Kungl. biblioteket , 2009, s. 7-30Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 21.
    Dahlgren, Anna
    et al.
    Stockholms universitet, Humanistiska fakulteten, Konstvetenskapliga institutionen.
    Snickars, PelleStockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    I bildarkivet: Om fotografi och digitaliseringens effekter2009Collection/Antologi (Annet vitenskapelig)
  • 22.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Att saluföra modernitet: Numa Petersons handels- och fabriksaktiebolag2006Inngår i: 1897 Mediehistorier kring Stockholmsutställningen, Statens ljud- och bildarkiv , 2006, s. 167-196Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 23.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Becoming American in 1910?: Pathé Frères' Settlement in New Jersey2005Inngår i: Quarterly Review of Film and Video, ISSN 1050-9208, Vol. 22, nr 3, s. 251-262Artikkel i tidsskrift (Fagfellevurdert)
  • 24.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Den negativa estetiken i The Invisible Man1997Inngår i: Aura: Filmvetenskaplig tidskrift, ISSN 1400-8386, Vol. 3, nr 1-2, s. 90-98Artikkel i tidsskrift (Fagfellevurdert)
  • 25.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Eva Bakøy och Tore Helseth (red.): Den andre norske filmhistorien2012Inngår i: Norsk Medietidsskrift, ISSN 0804-8452, E-ISSN 0805-9535, Vol. 19, nr 1, s. 81-83Artikkel, omtale (Annet vitenskapelig)
  • 26.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Fantômas and the Creation of a Fugitive Character2000Inngår i: Aura: Film Studies Journal, ISSN 1400-8386, Vol. 6, nr 4, s. 26-35Artikkel i tidsskrift (Fagfellevurdert)
  • 27.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Film, hygien och flugor: Hälsovårdskampanjer i USA 1909-19152005Inngår i: Under Ytan: Humanistdag-boken nr 18, Humanistiska fakultetsnämnden vid Göteborgs universitet , 2005, s. 63-69Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 28.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Global versus Local: The Case of Pathé2005Inngår i: Film History: An International Journal, ISSN 0892-2160, Vol. 17, nr 1, s. 29-38Artikkel i tidsskrift (Fagfellevurdert)
  • 29.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier.
    Health Entrepreneurs: American Screen Practices in the 1910s2014Inngår i: Screen Culture and the Social Question 1880-1914 / [ed] Ludwig Vogl-Bienek, Richard Crangle, New Barnet: John Libbey Publishing, 2014, s. 137-148Kapittel i bok, del av antologi (Fagfellevurdert)
  • 30.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen. Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier.
    Health on Display: The Panama-Pacific International Exposition as Sanitary Venue2014Inngår i: Performing New Media: 1890-1915 / [ed] Kaveh Askari, Scott Curtis mfl, New Barnet: John Libbey Publishing, 2014, 1, s. 174-185Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The early 20th century teemed with progressive initiatives aimed at improving and modernizing American everyday life. These uplift campaigns, initiated in top-down fashion, zoomed in on sanitation, working conditions, childcare, education, and recreation. The strive for better health conditions brought together a cross-section of civic movements and organizations, which in turn inspired the implementation of governmental infrastructures at federal, state or municipal level.

    In exhibitions and campaign work, visual materials were often used in order to catch the public’s attention. Moving pictures’ putative pedagogical might and potential for civic education underpinned the work to raise awareness about modern society and its social and sanitary shortcomings, or ”evils” in contemporary vernacular. From 1910 on, and in this spirit, moving pictures were regularly taken up as a pedagogical tool for health campaigns in a multitude of contexts across the U.S. Even if moving pictures were perhaps the most important vehicle for public health work, an array of visual media was brought together for maximum intermedial exposure for the causes at hand:  lantern slides, models, posters, pamphlets, cartoons, billboards, newspaper articles and ads.

    An important venue, in a sense summing up an array of visual health campaigns and placing them adjacent to each other, as it were, within a broader form of exhibition practice, was the Panama Pacific Exposition in San Francisco 1915. This chapter explores the health exhibits and their use of media at PPE in the multitude of national as well as international projects put on display. Among the participants were the Rockefeller Sanitary Commission for the Eradication of Hookworm Disease (a campaign that would get a more international direction after 1915), the U.S. sanitary campaign in Panama, the Bureau of Public Health Education (a specialized branch within the Department of Health of the City of New York), the Fly-Fighting Committee of the American Civic Association, to mention only a select few. And for additional emphasis, October 12, 1915 was singled out as a Health Day at the exhibition. Due to the anthology of sanitary displays in place, PPE became a key progressive hub by putting public health on the agenda and creating added social awareness for such issues. Furthermore, these didactic initiatives and exhibition practices would serve as a model also for future work outside the U.S.

  • 31.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Pearl White2010Annet (Annet vitenskapelig)
    Abstract [en]

    Critical career profile of Pearl White

  • 32.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Screening Congo in Swedish churches: Johan Hammar's missionary films 1915-162010Inngår i: Domitor 2008: les Cinémas périphériques dans la période des premiers temps / [ed] François Amy de la Bretèque et al., Perpignan: Presses Universitaires de Perpignan, Institut Jean Vigo Perpignan, Museu del Cinema Girona , 2010, 1, s. 257-268Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    This text examines Swedish missionary films pre-1920 with a focus on Johan Hammar's surviving films from Congo 1915-1916. The programming and distribution of missionaries' films is analyzed in relation to the Mission Union's attitude to moving pictures as both a brand of popular entertainment and an unrivaled educational form.

  • 33.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Snow-White: The Aesthetic and Narrative Use of Snow in Swedish Silent Film1999Inngår i: Nordic Explorations: Film Before 1930, John Libbey Publishing , 1999, s. 236-248Kapittel i bok, del av antologi (Fagfellevurdert)
  • 34.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    "Swat the Fly": Educational Films and Health Campaigns 1909-19142008Inngår i: Kinoöffentlichkeit: Cinema's Public Sphere (1895-1920), Schüren Verlag , 2008, s. 211-225Kapittel i bok, del av antologi (Fagfellevurdert)
  • 35.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Teaching Citizenship via Celluloid2008Inngår i: Early Cinema and the "National", John Libbey Publishing , 2008, s. 118-131Kapittel i bok, del av antologi (Fagfellevurdert)
  • 36.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    The Invisible Seen in French Cinema before 19172001Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Since the inception of cinema, an important strand of the medium has focused on itself, on what it depicts, and its indexical relation to the profilmic. Such concerns were most conspicuously put forward by the trick-film genre which bypassed conventional realism in its toying with the photographic image as well as cinematic movement. The main concern of the trick genre’s multifarious manipulations was directed towards the principal focus within the frame, the malleable bodies of figures/characters. Incessant transformations of the content of the frame turned the cinematographic representation into a state of flux by creating an apparently realistic space, but one permeated with fantastic occurrences. Questions of what was visible or not, and possible to depict or not, became focal points within these not only synthetic versions of filmic space, but spaces that routinely severed their profilmic links.

    This dissertation probes two somewhat different but interrelated practices: vision made difficult, and making visible what is otherwise not seen with the naked eye. The construction of cinematic invisibility furnishes a paramount example of a counter-visual tendency manifested within the frame of a medium not only based on the visual but on the idea of being an indexical imprint of reality. Invisibility therefore challenges the replicating abilities of the cinematographic medium, but simultaneously displays the medium's prowess to depict phenomena impinging on reality in different fashions. The many guises of this theme were gradually transferred from a performance context within a theatrical setting to a quasi-realistic narrative of sorts. These simple stories were often set in urban surroundings, where the phenomenon of invisibility was explained by means of technologies, inventions or other aspects brought about by modern society.

    Trick work played a central role when it came to the development of cinematic techniques and changes in narrative strategies. The complexity of the trick-film genre and its hybrids exceeds the purely spectacular and the apparent simplicity of the tricks themselves. This study displays and analyzes the wide range of applications of the trick mode. The same underlying conception to make visible the otherwise invisible can be found not only in trick films proper, but also in féeries, early animated films, biblical films, and scientific films, and in a less obvious sense even in comic films, detective and crime films. By this process of colonization or absorption, the cinematic depiction of invisible realms became conspicuous facets of filmmaking during the years 1896-1916, especially in three of the main production companies in France, namely Star-Film, Pathé Frères and Gaumont. The multitude of approaches to invisibility offers insight into the non-visual dimensions of a visual and technological medium, apart from upgrading the historiographical importance of trick films.

  • 37.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    'They Thought it was a Marvel'. Arthur Melbourne-Cooper (1874-1961), Pioneer of Puppet Animation2011Inngår i: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 31, nr 1, s. 121-123Artikkel, omtale (Fagfellevurdert)
  • 38.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Tricks in Transition: Genres, Devices, Receptions2004Inngår i: The Cinema: A New Technology for the 20th Century, Editions Payet Lausanne , 2004, s. 243-256Kapittel i bok, del av antologi (Fagfellevurdert)
  • 39.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Upplysning2008Inngår i: Film och andra rörliga bilder — en introduktion, Raster Förlag , 2008, s. 40-55Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 40.
    Dahlquist, Marina
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Yvette Andreyor, Josette Andriot, Alexandre Arquillière, J. Stuart Blackton, Georges Dureau, David S. Hulfish2005Inngår i: Encyclopedia of Early Cinema, Routledge , 2005, s. 24-25, 39, 75Kapittel i bok, del av antologi (Fagfellevurdert)
  • 41. de Leeuw, Sonja
    et al.
    Dhoest, Alexander
    Gutiérrez Lozano, Juan Francesco
    Heinderyckx, Francois
    Koivunen, Anu
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Medhurst, Jamie
    TV Nations or Global Medium? European Television Between National Institution and Window on the World2008Inngår i: A European Television History, Wiley-Blackwell, Oxford , 2008, s. 28-Kapittel i bok, del av antologi (Fagfellevurdert)
  • 42.
    Dunås, Jon
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Apparaturbetraktelser: metafilmiska aspekter på Jan Troells Här har du ditt liv2001Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This dissertation deals with the Swedish film director Jan Troell (b. 1931) and his first feature film Here Is Your Life (Här har du ditt liv, 1966). As a filmmaker, Troell stands out, in also having worked as cinematographer, editor and sound editor of his own films almost without exception throughout his career.

    Troell´s Here Is Your Life is characterized by an "apparatus-oriented" film style. In this film we find stylistic devices such as unconventional camera angles and framings, an often very mobile camera, discontinuous editing, montage sequences, freeze-frames, dissolves and double exposures, an occasionally very sparse sound track with separate amplified sounds, and the use of music as a dominant part of the sound track. Together these devices heighten one´s awareness of seeing the world of the film through the medium of film. Attention may also be drawn to certain components of the cinematic apparatus: the camera, the editing table, the film and the magnetic tape. Troell´s film style seems to develop from an exploration of these parts of the apparatus and their different properties.

    Troell´s "apparatus-oriented" style is the main point of departure for a close analysis of Here Is Your Life. The film is an adaptation of Eyvind Johnson´s autobiographic novel Romanen om Olof ("The Novel About Olof", 1934-1937), about a working-class boy growing up in Northern Sweden during the First World War. On another level, however, the film can be interpreted metacinematically: the filmmaker looks at the world of the film through the cinematic apparatus, while at the same time exploring the apparatus and its properties in relation to that world. These and other related metacinematic aspects are reflected in the style of the film and partly in the story, first of all in the way it depicts the character Olof.

    In connection with my analysis of Troell´s film, I discuss the theoretical concepts of filmmaker and cinematic apparatus. I see both as constructions based on the discourse of the film and the spectator´s knowledge of the real filmmaker or the real film equipment. Furthermore, I examine the concept of cinematic illusion, which I define as the impression of looking at a world through the film medium. However absorbed the spectator is, the medium is always part of the film experience. I argue that the effects of Troell´s film style remain within this illusion. I also regard Troell and his work from a historical point of view. I discuss the influences from the French New Wave and how the changes of film style in the movements during the 1960´s were conditioned by the development of film technology. After the analysis of Here Is Your Life I outline an interpretation of Troell´s later work that combines the metacinematic point of view with a closer look at some of the more conspicuous themes of the different films. 

  • 43.
    Dürhagen, Jens
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    CINEMA TO ATTRACT: TRAILERN: ETT ÅSKÅDLIGGÖRANDE AV TRAILERNS MARKNAD, HISTORIA OCH FUNKTION2007Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The aim of this paper is to examine the American movie trailer particularly its history, marketing and functions, presented as an historical overview from the serials of the early 1910s to the trailers of today. A trailer from each decade of the twentieth- and twenty-first centuries is selected which represent typical trends and shows how trailers historically functioned, including their formal, generic differences.

    The introduction focuses on the market in which the trailer operates, and raises the issue of the entertainment value of art or marketing, how the film industry works and to role of advertising. The second part of the introduction focuses on the development of film stars, and their importance in trailer campaigns. This brings in the question of the growth of Hollywood and new media forms/technologies. The manner in which new media also create a new type of audience is considered, which demonstrates how the trailers capture audience attention in new ways.

    The second part of the paper focuses on the history of the trailer and examines typical structures, of the different periods.

    The third part analyses how different trailers operate, and how the trailer industry stands at the beginning of a new era, the so-called Post-interactive era, which is discussed with regard to Spider-Man 2 and The Da Vinci Code.

  • 44.
    Ekblad, Carl
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    När stilen styr intrigen: parametriskt berättande i Wong Kar-wais 20462005Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [sv]

    I Narration in the Fiction Film (1985) delade filmteoretikern David Bordwell in den narrativa filmen i fyra huvudsakliga narrationskategorier; "Classical Hollywood Narration", "(International) Art-Cinema Narration", "Historical-Materialist Narration", och "Parametric Narration". De tre första kategorierna är allmänt vedertagna inom filmvetenskapen med det normbildande Hollywood-berättandet som naturlig referenspunkt. Den fjärde kategorin, parametriskt berättande, är en neoformalistisk angelägenhet som har sitt ursprung i Noël Burch Praxis du cinéma (1969). Burch lånade begreppet "parameter" från den seriella musiken för att beskriva hur olika filmtekniker kan strukturera en hel film och samtidigt repeteras och varieras likt tonerna i seriell musik.

    Denna narrationskategori har även Kristin Thompson inventerat i sin essäsamling Breaking the Glass Armor: Neoformalist Film Analysis (1988). Bordwells och Thompsons neoformalism är baserad på den ryska formalismen och, delvis, på pragstrukturalismen inom litteraturteorin. Som framgår av beteckningen lägger neoformalisterna stor vikt vid filmens två formella system; sujetten och, framför allt, stilen. Det som skiljer den parametriska kategorin från de tre övriga i Bordwells och Thompsons verk är att stilen här kan styra intrigen under vissa perioder av filmen. I de allra flesta narrativa filmer dominerar sujetten över stilen, men i en parametrisk film pågår en dynamisk växelverkan dem emellan och stilen är likvärdig med, och ibland överordnad, sujett och fabel (dvs. berättelsen). Eftersom berättelsen tycks sekundär i parametrisk film så uppstår frågan om relevansen i att tala om en narrationskategori, och vilka funktioner parametrarna har i filmens berättelse.

    Syftet med uppsatsen är att kritiskt testa denna kategori och undersöka dess användbarhet genom att utföra en stilanalys på en nyproducerad asiatisk film som jag föreställer mig kan klassificeras som parametriskt berättad; Wong Kar-Wais 2046 (2004). Utifrån ett narratologiskt perspektiv ämnar jag studera hur den parametriska filmen berättas, och hur detta berättande påverkar åskådarens förståelse.

    Eftersom idén med parametrar härrör från neoformalistisk teori så ger jag läsaren inledningsvis en bakgrund till formalismens syn på litteraturen och neoformalismens syn på filmen, och diskuterar begrepp som "främmandegöring", "automatisering", "försvårad form", "historisk kontext", "funktioner", "motiveringar", etc.

    Efter avslutad analys kunde jag konstatera att den framträdande stilen och de återkommande och varierade stilistiska greppen i 2046 ofta dominerade över filmens sujett och således utgjorde en parametrisk form. Vidare fann jag att stilgreppen spelade en viktig roll i narrationen med sin kommenterande funktion.

  • 45.
    Elsaesser, Thomas
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Our Hitler: A Film by Hans-Jurgen Syberberg2012Inngår i: HITLER - Films from Germany: history, cinema and politics since 1945 / [ed] Machtans, K, Ruehl, MA, Basingstoke: Palgrave Macmillan, 2012, s. 72-+Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    For more than fifty years, German films about the Third Reich hardly ever featured its leader. Since the late 1990s, however, there has been a steadily increasing number of 'Hitler films'. Big-budget cinema productions like Downfall (2004) as well as publicly funded television series have given Hitler an unprecedented prominence and fundamentally recast his image in German popular culture. In Hitler – Films from Germany, a group of international experts take stock of these transformations. Film and cultural historians discuss the most recent depictions of Hitler in the context of earlier ones and critically assess their impact on the collective memory of National Socialism in the Berlin Republic. Enhanced by more than 100 illustrations, this volume brings a fresh, interdisciplinary perspective to the latest Hitler wave.

  • 46.
    Falk, Petter
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Att Gestalta det inre: En Kieregaardiansk analys av Vampyr och Ordet av Carl Theodor Dreyer2007Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The essay aims to show n interpretation of Vampyr and Ordet; seen from a viewpoint Kierkegaards christian existentialism can enhance the understanding of mentioned movies. Central notions from Ks philosophy are explained and then the author points to examples of how this corresponds with the essence of the two movies.

    The argumentation is based on Ks thoughts on faith and human existence. Other theories concerning Dreyers movies, and to some extent his background, is also discussed.

    Finally the author concludes that he was right in his hypothesis: that it is possible to show an influence from Kierkegaards christian, existentialistic thoughts in the two movies.

    Moreover the author thinks that the chosen perspective works as a complement to other written material on the movies and that other writers on the subject have some problems summing up the contents of the movies from their different perspectives.

    The final conclusion is thus that an interpretation of the movies from a Kierkegaardian viewpoint increases the understanding of the same movies.

  • 47.
    Falk, Petter
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Att gestalta det inre: en Kierkegaardiansk analys av Vampyr och Ordet av Carl Theodor Dreyer.2007Independent thesis Advanced level (degree of Master (One Year)), 10 poäng / 15 hpOppgave
    Abstract [en]

    The essay aims to show n interpretation of Vampyr and Ordet; seen from a viewpoint Kierkegaards christian existentialism can enhance the understanding of mentioned movies. Central notions from Ks philosophy are explained and then the author points to examples of how this corresponds with the essence of the two movies.

    The argumentation is based on Ks thoughts on faith and human existence. Other theories concerning Dreyers movies, and to some extent his background, is also discussed.

    Finally the author concludes that he was right in his hypothesis: that it is possible to show an influence from Kierkegaards christian, existentialistic thoughts in the two movies.

    Moreover the author thinks that the chosen perspective works as a complement to other written material on the movies and that other writers on the subject have some problems summing up the contents of the movies from their different perspectives.

    The final conclusion is thus that an interpretation of the movies from a Kierkegaardian viewpoint increases the understanding of the same movies

  • 48.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Confronting The Wind: a reading of a Hollywood film by Victor Sjöström2009Inngår i: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 1, nr 1Artikkel i tidsskrift (Fagfellevurdert)
  • 49.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Den nationella stilen: studier i den svenska filmens guldålder1997Doktoravhandling, monografi (Annet vitenskapelig)
  • 50.
    Florin, Bo
    Stockholms universitet, Humanistiska fakulteten, Filmvetenskapliga institutionen.
    Industri2008Inngår i: Film och andra rörliga bilder - en introduktion, Raster förlag, Stockholm , 2008, s. 29-39Kapittel i bok, del av antologi (Annet vitenskapelig)
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