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  • 351.
    Wahlqvist, Mats
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Traditionell modernism eller modern traditionalism?2005Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs.

    Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.

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  • 352.
    Walldius, Åke
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Patterns of recollection: the documentary meets digital media2001Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this study is to propose a conceptual framework for the analysis of historical programming in digital media. Radical breakthroughs in the technologies for registration and dissemination of moving images have created a need for common vocabularies that can be shared by media practitioners, researchers from different fields of inquiry, and end-users of documentary accounts. The elements of the proposed framework are derived from the fields of architecture, genre theory, and computer software design. It adheres to the pattern language approach proposed by Christopher Alexander, a methodology for cooperative design that has been successfully applied in the design of computer software. The study suggests that this method for identifying design elements resonate well with recent contributions to genre theory made by film-scholar Rick Altman and by computer-scientist Thomas Erickson.

    The application of the pattern-informed genre framework is demonstrated in a series of explorations that exemplifies documentaries from different periods of production informed by different techniques for research, production, distribution, and exhibition. The examples range from the films of Humphrey Jennings, produced in the 1940's, to current examples of digital documentaries produced and exhibited on the World Wide Web. A collection of forty-three candidate design patterns is identified that characterise the different modes of production and technologies employed. For each example, a small set of characteristic patterns of composition is discussed and some pertinent shifts in practical application of new techniques for recording, editing and navigating are briefly reviewed. The last example demonstrates the application of design patterns as a tool for design dialogues with end-users in an ongoing project at the Centre for User-oriented IT Design (CID, Royal Institute of Technology), a project in which the author has taken an active part.

    The hypothesis that pattern languages for documentary analysis and design can offer new practical insights into digital media of moving images is assessed in the concluding part of the study. First, the characteristic patterns identified in the examples are discussed in relation to recent contributions to the design of human-computer interfaces (HCI) and to genre-theory. In respect to such an interdisciplinary application, the study concludes that, although there are definite prospects for the proposed framework to productively interact with neighbouring disciplines, one limitation of the pattern tradition lies in a reluctance to account for conflicting user expectations. In the last chapter, the pattern language method, and an early technique for motion capture that mimics it, are discussed against the backdrop of a current socio-political analysis made by sociologist Manuel Castells. Here the pattern approach, and chronographic techniques through which it can be applied, are proposed as means for documentary producers to meet critical audience demand for authenticity in history programming.

  • 353.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Att se med nya ögon2000In: Tusen flickor, 2000, p. 135-156Chapter in book (Other (popular science, discussion, etc.))
  • 354.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Butch Cassidy and the Sundance Kid: En antipatriarkal film1995In: Häften för kritiska studier, no 3Article in journal (Refereed)
  • 355.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I praktiken: utvärderande rapport om studenternas tillgodogörande av materialet1999In: Multimedia och filmundervisning, Högskoleverket, Stockholm , 1999, p. 71-151Chapter in book (Other academic)
  • 356.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Mazurka pa sengekanten: The Emergence of Danish Soft Porn2005In: The Cinema of Scandinavia, Wallflower Press, London , 2005, p. 160-169Chapter in book (Other academic)
  • 357.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    New Black Queer Cinema2004In: New Queer Cinema: A Critical Reader, Edinburgh university press , 2004, p. 128-143Chapter in book (Refereed)
  • 358.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Paris Is Burning: En studie i kvinnlighet som konstruktion blottlagd via dragpraktiken1997In: Dialoger: Feministisk filmteori i praktik, Aura förlag, Stockholm , 1997, p. 262-291Chapter in book (Other academic)
  • 359.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Queerfilmens nya våg2000In: Bang, no 3Article in journal (Other academic)
  • 360.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Richard Dyers White - en vithet på fall1997In: Häften för kritiska studier, no 3Article, book review (Refereed)
  • 361.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Stilleristic Women: Gender as Masque and Ambivalence in the Work of Mauritz Stiller2000In: Aura: Film Studies Journal, ISSN 1440-8386, Vol. 6, no 4, p. 36-46Article in journal (Refereed)
  • 362.
    Wallenberg, Louise
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Upsetting the male: Feminist interventions in the new queer wave2002Doctoral thesis, monograph (Other academic)
  • 363.
    Wallgren, Emelie
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Minne och historia i Mémoires d’immigrés2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den fransk-algeriska filmaren Yamina Benguiguis dokumentärfilmstriptyk Mémoires d’immigrés. L’héritage maghrébin var när den hade premiär 1997 en av de första filmerna som på allvar gav röst åt de nordafrikanska arbetskraftsinvandrarna och lyfte fram deras minnen av immigrationen till Frankrike. Uppsatsens syfte är att studera den filmiska gestaltningen av minnen i de tre filmerna utifrån hypotesen att de skapar ett kollektivt minnesrum som utmanar den officiella historieskrivningen och det nationella minnet i Frankrike. Analysen av filmerna tar avstamp i en teoretisk bakgrund i två delar: Diaspora- och exilfilm, där jag kortfattat redogör för vissa drag inom området diaspora- och exil inom filmteorin, samt Rörliga bilder och minne, där jag tar upp teman som filmen som minnesteknologi och kollektivt minne, spår och minnestecken, samt gestaltning av minnesprocesser på film. I analysens tre huvuddelar uppmärksammas följande aspekter av minnesgestaltningen: Att bryta tystnaden: Språk, röst och det akustiska, Bildminnen och visuell arkeologi, och Resor i tid och rum: Filmens minnesplatser. De muntliga vittnesmålen utmanar den kollektiva och nationella amnesin kring immigrationen samtidigt som de vittnar om den förda politikens konsekvenser i enskilda människors liv. Urvalet av arkivbilder, klippning och musik bidrar till en form av poetisk gestaltning av spår och minnesplatser. Sammantaget rör sig filmerna i skärningspunkten mellan privata, kollektiva minnen och offentlig historia där den inre, levda upplevelsen av historien står i centrum.

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  • 364.
    Wallman, Bengt
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Il thrilling Italiano:: Opening up the giallo2007Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s & 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.

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  • 365.
    Werner Kjellberg, Petra
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Musik och Film: Ett möte mellan två konstformer i Stanley Kubricks ”2001 – a Space Odyssey” och Woody Allens ”Manhattan”2007Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Filmmusic is often composed specially for a film. When analyzing film-music it seems very common to study the function of the music in a narrative context in order to see how it cooperates or relates to this narration. In the present thesis I am investigating the interaction between film and music as two ingredients on an equal level. In short: what happens when a filmmaker chooses music that has already been composed for another occasion, even in another time and a different cultural context? My aim is twofold: first to examine current film analytic strategies, secondly to find new ways of comprehend pre-composed music in relation to its new setting in a film. My interest, thus, is to seek meaning of music in film rather than function.

    The study calls for an inter-disciplinary approach using theories and discussions from a wide range of subjects: psychology, music therapy, anthropology, musicology in general and semantics.

    I am examining two films that are similar in their respect to use music that has been composed and used elsewhere. However, in “2001-a Space Odyssey” Stanley Kubrick uses music from the European art music tradition whereas Woody Allen in “Manhattan” uses music from the popular American music repertoire of the 20s and 30s (The American Songbook). The music, by various composers and in various idioms, in Kubrick´s films, works on a fairly abstract level in a sort of counterpoint to the mythological and visionary contents of the film plot. The meaning of the music on the one hand, and film music on the other operates on a deeper level as a result of this confrontation.

    In Woody Allen´s film the pieces of music represent a culturally and tecknically much more homogenous group. The implicit texts of the songs ( they are never sung) can be comprehended as a commentary on a deeper level by those familiar with this repertoire. Allen´s choice of subject and enacted dramaturgy for his film is very different from Kubrick´s. The chosen music contributes in an independent way to a reciprocal understanding of film and music as two separate but still independent art entities.

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  • 366.
    Wickman, Annika
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I mötet med Bill Violas videokonstverk Five Angels for the Millennium2006Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar upplevelse. Analysen av upplevelse utgår från uppsatsförfattarens möte med den amerikanske videokonstnären Bill Violas installation Five Angels for the Millennium (2001).

    Forskningsansatsen är främst fenomenologisk vilket innebär att fokus ligger på att undersöka vad som är, vad det föreställer och hur den upplevande uppfattar detta.

    I bakgrunden står frågan hur upplevelse, med utgångspunkt i en persons möte med ett videokonstverk, kan analyseras teoretiskt. Uppsatsförfattaren för samman ett antal teoretiker som alla skrivit om emotioner, i form av känsla eller affekt, i samband med en tolkningsakt. De forskare som det främst refereras till är Bent Fausing, Mark Hansen, Laura Marks, Janet H. Murray, Lynne Pearce och Roland Barthes. Barthes har även påverkat förhållningssättet till analysen i stort.

    Den metod som används är att först skildra mötet med verket och att därefter analysera mötet utifrån fyra olika infallsvinklar. Från analysen av vad som mött den upplevande, flyttar perspektivet till att se vad som skett i den upplevande, för att därefter undersöka hur den upplevande utvecklat en relation till verket. Slutligen diskuteras verkets religiositet, bl.a. med hänvisning till Wassily Kandinskys texter om det andliga i konsten, Walter Benjamins beskrivning av upplevelse, nyare forskning om religiös upplevelse och Violas kontext och uttalade avsikt.

    I texter om Viola framkommer det att de som mött hans verk delar en likartad upplevelse. Analysen är avsedd att ge en förståelse för hur Viola går till väga för att få den som möter hans verk att känna och tänka på ett visst sätt. Slutsatsen är att den upplevande, i mötet med verket, möter Violas ideologi, vilken kan sägas vila i utgångspunkten att människan måste finna en ny form av verklighet. Implicerat är att den värld hon lever i idag inte är människovänlig.

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  • 367.
    Wik, Annika
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Experiences: The Transmedial Expansion of the Matrix Universe2010In: Acta Universitatis Sapientiae. Film and Media Studies, ISSN 2065-5924, Vol. 2, p. 73-90Article in journal (Refereed)
  • 368.
    Wik, Annika
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Förebild film: panoreringar över den samtida konstscenen2001Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The contemporary art scene includes a large number of art works which utilise existing film material. This dissertation assesses many of these works and includes artists such as Douglas Gordon, Christoph Girardet, Stephanie Smith, Pierre Bismuth, Pierre Huyghe, Susan Hiller, Matthias Müller, Fiona Banner, Stan Douglas, Christoph Draeger, and others who have worked in a similar field. Today, these frequent but specific art events are part of an art tradition as well as a film tradition, and their explicit interartiality calls for an interdisciplinary research method. This dissertation, therefore, closely examines the interrelation of art and film, and the intersection between art and film theory, drawing upon the broad field generally referred to as "visual theory" or "visual culture".

    The purpose of this dissertation is to study the phenomenon of audio-visual appropriation. By discussing the relation between the "ready-made", and the strategy of "appropriation" and "rearticulation", a theoretical background to the concept of audio-visual appropriation is formed in Chapter 1 and Chapter 2. The following three chapters are devoted to analyses of art events that have taken place from the late 1970s, with emphasis on the 1990s, and concern the conceptual, aesthetic, and contextual tendencies in the contemporary art scene. The art scene is here understood as a discursive field of the art event, gallery space, exhibitions, texts, reviews, and academic discourse. The most frequently encountered film material are the films of Alfred Hitchcock, but a great many other films are also used. New meanings are generated by the new works as well as for the films that have been used. Just as familiar films are experienced in new ways as they are transferred to an art institutional context, this study throws new light on the contemporary art scene and the changes which have taken place when film plays such a major role. 

  • 369.
    Wik, Annika
    Stockholm University, Faculty of Humanities, Department of Cinema Studies. Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Upplevelse2008In: Film och andra rörliga bilder - en introduktion, 2008, p. 203-220Chapter in book (Other academic)
  • 370.
    Wik, Annika
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Malm, Magdalena
    Rörlig konstproduktion: Mobile Art Production (sv/eng, tvåspråkig)2010Book (Other academic)
  • 371.
    Wikström, Sara
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Utopisk underhållning: - om rumsligheten i två musikalfilmer2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats är att studera rumsligheten i två musikalfilmer, My fair lady (Cukor, 1964) och Moulin Rouge (Luhrmann, 2001), och undersöka huruvida den rumsliga estetiken har någon funktion för filmerna i deras egenskap av just musikaler. Analysen är uppbyggd främst kring Richard Dyers teori om musikalfilm som förmedlare av utopiska värden genom bland annat dess komposition som förmedlar glädje och energi, men också kring delar av Rick Altmans musikalgenreteori, Jacques Aumonts bok The Image som behandlar bildens rumsliga aspekter samt dessutom antaganden om ljudets betydelse i formandet av filmens rum, från texter av Michel Chion och Claudia Gorbman. Studien är begränsad till endast de nämnda två filmerna, uppsatsen gör inte anspråk på att visa varken något generaliserande mönster för musikaler i allmänhet eller någon historisk utveckling. Däremot görs en jämförelse mellan de två analysobjekten. Några nyckelbegrepp i analyserna är glädjekomposition, expansionsmotivet, kulturellt rum, haptiskt seende, plasticitet och utopisk representation. Uppsatsens huvuddiskussion behandlar genom dessa begrepp huruvida filmernas rumsliga utformning kan sägas förmedla utopiska lösningar till åskådaren på de problem som finns i det verkliga samhället. Detta kan göras på både en representerande nivå och en icke-representerande, där bildernas grundläggande element står som förmedlande tecken. Båda filmerna visar sig förmedla utopisk känsla på den sistnämnda nivån, medan My fair lady också gör det på den rent representerande nivån. Moulin Rouge visar däremot ett filmiskt rum som innehåller lika svåröverkomliga problem som verkligheten.

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  • 372.
    Zetterfalk, Per
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Inter esse: Det skapande subjektet, Norén och Reality2008Doctoral thesis, monograph (Other academic)
    Abstract [en]

    At the centre of this dissertation is the artistic formation and, as an extension, the scientific formation. The purpose of the work is to reflect on the way from ambition to creation, to capture what about this process is unique. I have chosen two objects for my research. First, the Swedish playwright Lars Norén's (1944-) direction of a new work for the theatre, his own play Kyla (Chill). Second, Swedish Television (SVT) as they produce their largest-ever stake in the field of entertainment, the Reality-TV series Riket (The Kingdom).

    Concerning the creative process, I partly focus on beginning and end, and partly on the transformation from chaos to order. In this way I am able to focus on the way something unexpected occurs. The question of what constitutes creativity is often raised, but I set out to frame it in my own way: not only with the help of two processes, but also within myself. What is the difference between being a subject, doing something oneself, and observing? In this work I assume both positions. I am a registering and documenting researcher as well as a filmmaker.

    The work is structured by a principle of three: a documentation of the creative processes, a documentary film on Norén, Kall (Norén's drama), and a dissertation which unites everything into a synthesis.

    First, my work acts as a purveyor of insights into and understanding of two major and very different creative processes. Second, it is about two extremely established contemporary phenomena: Norén and the SVT together constitute somewhat of a counterpoint, which make it possible to compare a creative process within the art of theatre to one within TV/entertainment. Third, my work creates a field of tension between the creative process and the analysis via my own production: Norén's drama is both a tool of interpretation in the study of Norén and an intensifying of the overall research result. Fourth, my dissertation aims to bring together aspects, categories and literature in a new way.

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