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  • 51.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Industri2008In: Film och andra rörliga bilder - en introduktion, Raster förlag, Stockholm , 2008, p. 29-39Chapter in book (Other academic)
  • 52.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Intertext och adaption: Några stumfilmsexempel2009In: Codex and Code:  Aesthetics, Language, and Politics in an Age of Digital Media, Stockholm: Nordic Association for Comparative Literature (Norlit), , 2009Conference paper (Refereed)
  • 53.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Mauritz Stiller2010In: Svenskt Biografiskt Lexikon / [ed] Åsa Karlsson, Stockholm: Riksarkivet, Stockholm , 2010, p. 493-497Chapter in book (Other academic)
  • 54.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Victor Sjöström and the Golden Age2010In: Swedish Film: An Introduction and Reader / [ed] Mariah Larsson & Anders Marklund, Lund: Nordic Academic Press , 2010, p. 76-85Chapter in book (Other academic)
  • 55.
    Folkesson, Jenny
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    SAMHÄLLSANDA, MONSTERRENOVERINGAR OCH STUKADE SJÄLVFÖRTROENDEN: En kritisk diskursanalys av amerikansk välgörenhets-TV2006Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats syftar till att diskursanalytiskt kritiskt granska den sorts amerikanska TV-program som tematiserar underhållande välgörenhet för att påvisa att de ur flera aspekter understödjer en kapitalistisk marknadsekonomi. Med stöd av bland annat Norman Faircloughs diskursteori och analysmetod samt Pierre Bourdieus sociologiska teoribygge om klass och smak så har jag valt att i tre näranalyser söka reda på hur olika deltagares utsatthet och klasstillhörighet gestaltas och hur programmens åtgärder iscensätts och rättfärdigas. Uppsatsen söker besvara flera frågor som syftar till att åskådliggöra de sätt på vilka utsatthet och klass manifesteras i programmen. Jag adresserar även frågan om man i programmen reflekterar över någon aspekt av USAs socialpolitik. I min forskning fann jag dels att programmen genomsyras av olika klassfrågor och dels att de gynnar den socialpolitik med kapitalistiska förtecken som företräds av president George W Bush. Samtliga programserier undviker dessutom att sätta sin produktion i en större och samhällskritisk kontext och de problematiserar inte de bakomliggande, socialpolitiska, implikationer som föreligger i det amerikanska samhället.

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  • 56.
    Fors, Christina
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Animerad långfilm, en studie kring röster och rollsättning2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 57.
    Fridlund, Bert
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    No room to die: a structuralist study of the content of spaghetti westerns2002Doctoral thesis, monograph (Other academic)
  • 58.
    Frisvold Hanssen, Eirik
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Early Discourses on Colour and Cinema: Origins, Functions, Meanings2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema.

    The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912.

    The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage.

    The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

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  • 59.
    Frykholm, Joel
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    "A Red-Blooded Romance"; or, Americanizing Early Multi-Reel Feature Cinema: the Case of The Spoilers2010In: Media, popular culture, and the American century / [ed] Kingsley Bolton, Jan Olsson, Stockholm: Kungliga biblioteket , 2010, p. 62-100Chapter in book (Other academic)
  • 60.
    Frykholm, Joel
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Framing the Feature Film: Multi-Reel Feature Film and American Film Culture in the 1910s2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation addresses the breakthrough of the multi-reel feature film in the United States, and the significance of this process within the wider context of the American film industry and culture in the 1910s. The purpose is to provide a new, and more comprehensive analytical framing of the topic, and to enhance our understanding of how a new central commodity, i.e. the multi-reel feature film, changed the conditions for film exhibition and reception.

    The introduction links the breakthrough of the multi-reel feature film to an array of film-historical transformations unfolding in the US around the same time. A critical assessment of previous scholarly work dealing with the early feature is also provided.

    Part I analyzes how the breakthrough of the multi-reel feature film was negotiated within the trade and by contemporary commentators. The result is a multi-perspective framing of the topic that highlights the complexity of these cultural negotiations and the uncertainty over cinema’s possible futures.

    Part II shifts attention to film culture and film exhibition in Philadelphia around 1914. The objective of this case study, largely based on newspaper sources, is to examine how the increasingly common multi-reel feature film was integrated into and/or changed the existing film culture in the city. The main conclusion is that experimentation and diversity rather than smooth transitions characterized the local response to the emergence of features.

    Part III deepens the investigation of local diversity by offering a case study of one particular film: The Spoilers (Selig Polyscope Co., 1914). The conditions of the film’s historical reception are outlined, and particular attention is given to the film’s role in the Americanization of the feature film market.

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  • 61.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Creating an audience for the cinématographe: two Lumiere agents in Mexico, 18962008In: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 20, no 1, p. 95-114Article in journal (Refereed)
    Abstract [en]

    The exhibition of cinematographic views in Mexico City and Guadalajara by Fernand Bon Bernard and Gabrielf Veyre, Lumiere agents active in Mexico between July 1896 and January 1897, is examined. Drawing on newspaper announcements and reports, the article charts the process by which the cinématographe became an established attraction in Mexico City's elite public sphere, and briefly discusses the exhibition of the device in Guadalajara. The discourse that circulated in newspapers wherein cinematoraphic views were associated with nineteenth-century engravings, photographs and lantern slide projections is also considered

  • 62.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Introduction: Experiment in Film Before World War II2008In: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 20, no 1, p. 3-5Article in journal (Other academic)
  • 63.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    La ville-picturale. Les films d'actualités mexicaines des années 1920.2007In: Villes-cinématographiques. Cinés-lieux, Presses Sorbonne Nouvelle, Paris , 2007, p. 43-49Chapter in book (Refereed)
  • 64.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Meksiko City Uzerine Fotografik ve Sinematografik2007In: Sinema ve kentler. Mekanlar hitaralar ve arzular, Kabalci, Istanbul , 2007, p. 97-116Chapter in book (Refereed)
  • 65.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    ‘Picturing Mexico in still and moving images: a reception context for the emergence of a medium’, paper presented at the Palpable Realities Symposium: Documentary Practices from Brodsky to Morris2011In: , 2011Conference paper (Other academic)
  • 66.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Picturing Mexico in still and moving images, ca. 1870-19252011Conference paper (Other academic)
  • 67.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Reader for University of California Press, Erkki Huhtamo and Jussi Parikka (eds.), Media Archaeology: Approaches, Applications, and Implications (Berkeley, Los Angeles, London: University of California Press, 20112011Report (Other academic)
  • 68.
    Fullerton, John
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    King, Elaine
    Local Views, Distant Scenes: Contingency and Pictorial Convention in Mexican Actuality Films of the 1920s2009In: HistoriasArticle in journal (Refereed)
  • 69.
    Fullerton, John
    et al.
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    King, Elaine
    Meksiko City uzerine fotografik vi sinematografik acilar2008In: Sinematografik Kentler: Mekanlar, hatiralar, arzular, Agora Kitapligi, Istanbul, Turkey , 2008, p. 270-280Chapter in book (Refereed)
    Abstract [en]

    Contribution to an anthology of previously unpublished articles relating to cinema and the city. The article relates representations of Mexico City published in nineteenth-century lithographs and photographs to images of the city in early acturality film produced in Mexico between 1896 and 1925.

  • 70.
    Gustafsson, Henrik
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Out of Site: Landscape and Cultural Reflexivity in New Hollywood Cinema 1969-19742007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation.

    Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity.

    Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.

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  • 71.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Beside myself with looking: The provincial, female spectator as out place at the Stockholm Exhibition 18972009In: Strange Spaces: Explorations into Mediated Obscurity / [ed] André Jansson & Amanda Lagerkvist, Farnham, England: Ashgate, 2009, 1, p. 123-147Chapter in book (Other academic)
  • 72.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Between Pleasure and discomfort: Josephine Baker, mulatto traveler2007Conference paper (Other (popular science, discussion, etc.))
  • 73.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Clio på bio2007In: ArenaArticle, book review (Other (popular science, discussion, etc.))
  • 74.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    De intellektuella och deras roll2008In: Bang: De intellektuella, ISSN 1102-4593, no 2-3Article in journal (Other (popular science, discussion, etc.))
  • 75.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Den autentiska Joséphine Baker?: Om problematiken kring medieringen av ras2008In: Mediernas Kulturhistoria, Statens Ljud- och Bildarkiv: Mediehistoriskt Arkiv 8 , 2008, p. ss. 167-190Chapter in book (Other academic)
  • 76.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Filmen Vita myror som postkolonial kritik2008In: TV-pionjärer och fria filmare: En bok om Lennart Ehrenborg, Statens Ljud- och Bildarkiv: Mediehistoriskt Arkiv 9 , 2008, p. 261-277Chapter in book (Other (popular science, discussion, etc.))
  • 77.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Gunnar Skoglund: (post i Svenskt Biografiskt Lexikon)2004Other (Other (popular science, discussion, etc.))
  • 78.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hemmets radikal:: Det elektriska köket2008In: Polhem: Tidskrift för TeknikhistoriaArticle in journal (Refereed)
  • 79.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Hollywood Histrionics: Performing ‘Africa’ in The Rose of Rhodesia2009In: Screening the Past, ISSN ISSN 1328-9756, no 26Article in journal (Refereed)
    Abstract [en]

    In this essay I discuss the racial discourse underlying the regulation of space, actor movement, and gesture inThe Rose of Rhodesia (1918), whose animation and restraint of black characters, by communicating a message of interracial brotherhood and reconciliation, appear to address real-life tensions between colonial masters and subjects. Shaw’s film is inflected by local as well as global discourses on race and imperialism, and scholars have noted that his South African productions—first and foremost in De Voortrekkers / Winning a Continent(1916)—were stylistically influenced by D. W. Griffith’s epic The Birth of a Nation (1915). My discussion initially focuses upon the similar, yet subtly different, racial thematics of these melodramas, which I situate in two contexts: the regulatory aspects of Sub-Saharan film production; and what I call an imperial ethics of care, a global discourse on race linked to the late-Victorian British media. I then examine the striking way in which the principal black actor, Yumi, appears to have been directed to use a histrionic mode of acting which had been largely abandoned by Hollywood directors. This return to what Roberta E. Pearson has dubbed the “eloquent gestures” of film melodrama, I argue, can be related to two linked problems for white settlers: the supposed inability of Africans to comprehend cinema; and the risk of black insurgency. In directing his African actors to use an antiquated, histrionic style comprised of unambiguous poses and extravagantly courteous gestures, Shaw sought to fix the film’s meaning for black and white audiences alike.

  • 80.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Josephine Baker - Stockholms chokladdiva2007In: BangArticle in journal (Other (popular science, discussion, etc.))
  • 81.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    ’Kvinnorna på utställningen’: Feminina dygder och odygder på Stockholmsutställningen 18972006In: 1897: Mediehistorier kring Stockholmsutställningen 1897, Mediehistoriskt Arkiv , 2006, p. ss. 339-369Chapter in book (Other academic)
  • 82.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Modern Media, Modern Audiences: Mass Media and Social Engineering in the 1930s Swedish Welfare State2002Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The dissertation straddles the interface of mass media, social engineering and advertising in 1930s Stockholm. Its twofold objective is firstly to outline their cultural output, targeting predominantly feminine audiences. Discussions oscillate between intertextual and contextual levels, and elucidate the spaces providing the respective settings for these media. Advertising is claimed to establish spatiotemporal spheres where the everyday meets with the semi-fictional framework of films or tie-in contests, which are thereby expanded in multifarious ways. The study also argues that newsreels visualize history overlooked in canonized history writing, by providing documentary and navigatory instruments in urban milieus now lost.

    Secondly, the study encircles two sets of discourses underpinning the mass media of the nascent welfare state, the former encompassing advertising, hygiene and eugenics. The latter is a prismatic construction of the public – highlighted as citizens, consumers and patients. Exhibitions and non-fiction films often encouraged spectators to compare their life projects, medical profiles and lifestyles with those of object lessons or newsreels, channeling imperatives into them by elevating their everyday experiences and concerns to issues of national importance. The methodology is partly drawn from early film and visual culture theory, partly from feminist early film scholarship on filmgoing and the problematic of feminine mobility in consumerist culture. Contrary to the conceptualization of feminine flânerie as contained by patriarchal capitalism, the dissertation holds that a gender-coded framework does not nullify the value of women’s mobility, or reduce it to capitalist goals. A wider understanding of consumerist spaces and venues entails treating them as spheres simultaneously harboring commercially homogenizing and polysemic capacities.

    Chapter 1

    highlights the Stockholm Exhibition 1930, presenting the grounds as a literal and conceptual panorama of architectonics, objects and issues. In contrast to several analyses of its reception, this concerns the modes of spectating adopted or rejected by audiences and critics, and the sensory and bodily implications of disorientation or discomfort brought about by glass architecture. The film Brokiga Blad is regarded as an instance of film-mediated reception, involving a gaze precipitated by a mixture of awe and rural skepsis towards functionalism.

    Chapter 2

    presents case studies of media with the welfare effort and the eugenics program as a backdrop. The exhibition "Mor och Barn" specifically targeted female visitors, who were called on to reflect on their part in the nation’s dwindling birth rates. This and other media events concretized the eugenic ideology’s vision of a healthier human type, and provided training grounds for opening up the private sphere to scrutiny, and the spectators themselves to civic soul-searching and introspection.

    Chapter 3

    accounts for marketing policies, elucidating the interrelationship of exhibitions, films, contests and discourses on advertising. To reconstructs filmic arenas offering readers a peak at their local stars, or to learn screen dance, a few periodicals and film-related ephemera are presented.

    Chapter 4

    first discusses buildings offering women architectonic, cinematic, and commodity-trapped attractions. The second part is devoted to the moral outrage expressed by social reformists, worried by the perceived expansion and fusion of degenerating urban pleasures. They believed that the lifestyles of Hollywood films would jeopardize young women’s sexual virtue by, putting "ideas" into their heads. Nevertheless, indications are given that some girls were in fact attracted to the commodity values of urbanity, to the point of transgressing sexual norms to attain a desired lifestyle.

    Chapter 5

    focuses upon the movement Hälsa genom Nakenkultur (HgN) and its alternative to urban popular culture: nudism. If the imagery carried the strongest rhetorical force for spreading the nudist credo, the exposure of nakedness was a delicate matter. To contain the potentially expansiveness of sexual connotations, the dissertation argues, nudity was screened with acculturating codes, and a repertoire of legitimizing poses, gestures and activities.

    Chapter 6

    discusses exhibitions launched as lobbying tools for putting the Vacations Act into operation, and the formulation of the issue as a social, economic and cultural problem. Visual culture theory is the framework for teasing out the educational aspects of displays and tableaux. From its overall topography down to vehicles, tents and books, "Fritiden" is likened to a Heideggerian toolbox, providing a connection between eye and hand, necessary for achieving an embodied understanding of the vacation and its attributes.

  • 83.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Offentlighet2008In: Film och andra rörliga bilder: En introduktion / [ed] Anu Koivunen, Stockholm: Raster förlag, 2008Chapter in book (Other academic)
    Abstract [sv]

    Föremålet för den här artikeln är den kongolesiska moderörelsen la Sape (La société des ambianceurs et des personnes élégantes), som under senare tid skaffat sig en medial arena genom YouTube, en virtuell plats som också skulle kunna definieras som en alternativ offentlighet. Michael Warner har på ett intressant sätt argumenterat för att en offentlighet är självformerande och diskursiv skapad, dvs. den är en ”en diskursiv sfär organiserad av det diskursiva” (2002). Warner är en av många som problematiserat Jürgen Habermas tes om den medborgerliga offentlighetens direkta, rationella kommunikation, och istället pekat på hur offentligheter medialt skapas som ”praktiska fiktioner”. Varje deloffentlighet konstitueras därigenom av en mångfald av diskursivt cirkulerande förförståelser som projiceras mot ett avgränsat socialt fält; där möjliggörs ”en repertoar av aktörskap” för den allmänhet som tilltalas. Inom de marginaliserade sfärer som Warner kallar motoffentligheter tydliggörs och iscensätts den individuella identiteten och tillhörigheten hos deltagarna genom aktiviteter och ritualer som syftar till att maskera gruppens svaga maktställning gentemot den dominerande kulturen.

    Det afrodiaporiska modefenomenet La SAPE är en västvärldsinfluerad eleganskultur som skapades av svarta kolonialundersåtar kring förra sekelskiftet. Enligt Didier Gondola och Phyllis Martin har denna rörelse och dess alternativa offentlighet öppnat för en specifik typ av aktörskap, med individualiserade möjligheter till motstånd, först mot vita kolonialherrar, sedan mot eurocentrism och Schengenavtal. Sapeurens exklusiva kläder bygger en mer eller mindre fiktiv identitet, som förmedlar en berättelse om framgång. Under 1950- och 1960-talet hade framgångshistorien en materiell bas; sapeurer hade då arbete och ett visst välstånd, och kunde resa till modets huvudstad, Paris för att göra klädinköp och umgås i SAPE-gemenskaper. I dag är många arbetslösa, och vägen till Paris är stängd. Kongoleser tar sig ändå dit olagligt, under stora umbäranden.

    Gondola ser SAPE-rörelsen som ett svar på västs utestängande praktiker: mot osynliggörande ställer sapeurerna en extrem synlighet, en motstrategi, som på ett mycket bokstavligt sätt investerar den kropp som anses ha lite värde med iögonfallande exklusivitet. Sapeuren försöker ”skriva om kulturens ordning på kroppen”. Rörelsen definieras i den här diskussionen som en motoffentlighet med tydligt inskriven instrumentalitet: här kan sapeurer omskapa/återuppfinna sin identitet, och leva ut en fiktion om framgång, exempelvis på Paris innerstadscaféer. Caféägarna har dock i allt större utsträckning jagat bort dem. Jag vilja hävda att YouTube kommit att erbjuda en alternativ medial plattform och offentlighet, där sapeurerna får vara ifred, samtidigt som de uppvisande momenten (saperandet) kan organiseras på nya sätt. Genom YouTube-filmerna skapas en samnärvaro mellan sapeurer i Kongo och Paris på distans, som samtidigt förstärker, eller dubblerar uppvisandet av exklusiva plagg i deras gemensamma klädkarriär. YouTube-filmernas typiska sammanlänkning i associativa kedjor för tittaren att följa, erbjuder dessutom en virtuell, afrodiasporisk karta över rörelsens spridning.

  • 84.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Performing Africa:: D. W. Griffith, Hollywood, and The Rose of Rhodesia2009In: Screening the Past: Special issue, p. ca 20 s.-Article in journal (Other academic)
  • 85.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Svart hud, vita sexfantasier2008In: Ottar, no 4, p. ca 2 s.-Article in journal (Other (popular science, discussion, etc.))
  • 86.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Så är Sveriges folk ett folk av is och sol: (Katalogtext för Utställningen Svenska Hjärtan, Moderna Museet)2004Other (Other (popular science, discussion, etc.))
  • 87.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    The Happy Interdisciplinarity of Media Firsts:: “University TV Week"2008Conference paper (Other (popular science, discussion, etc.))
  • 88.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    The Paradoxes of Paradisiac Nudity: Fascist Aesthetics and Medicalized Discourse in the Nudist Movement Health through Nude Culture2000In: Nordisk Estetisk Tidskrift, no 22, p. 29-36Article in journal (Other academic)
  • 89.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    To Stockholm with Love: The Critical Reception of Josephine Baker, 1927-19352005In: Film History, Vol. 17, no 1, p. ss. 125-138Article in journal (Other academic)
  • 90.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Whiteness at Work: The Swedish Milk Propaganda during the Interwar Years2007In: Films at Work: Studies in the Visual Culture of Industrial Films, Amsterdam University Press , 2007Chapter in book (Refereed)
  • 91.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Whiteness Swedish Style2008In: Slut, ISSN 1654-1839, Vol. 2, p. ss. 41-51Article in journal (Other (popular science, discussion, etc.))
  • 92.
    Habel, Ylva
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    You Forget Where You Are: New Outlines in the Cinematic Cityscape of Stockholm, 1930-19312000In: Aura: Filmvetenskaplig tidskrift, ISSN 1400-8386, Vol. VI, no 4, p. ss. 47-56Article in journal (Other academic)
  • 93.
    Hallström, Mattias
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Subjektiva upplevelser i split-screen2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Split-screen innebär att filmduken är uppdelad i flera delar. Uppsatsen behandlar

    filmer där subjektiva upplevelser beskrivs med hjälp av split-screen. Det är ett berättande utifrån en karaktär. En subjektiv upplevelse kan vara en dröm, en hallinucation, ett minne, eller förnimmelse. Split-screen har funnits sen filmens begynnelse och haft sina glansdagar på bland annat 1910-talet och 1970-talet. I och med datorerna är det lättare att skapa split-screeneffekter Vi som publik är också mer vana vid flera datorfönster och bildrutor samtidigt. Split-screen har kommit in i en ny glansdager era. Det finns ett flertal filmer som använder sig av split-screen för att skildra subjektiva upplevelser. Uppsatsens metod är att lyfta fram exempel då det fungerar med split-screen och subjektiva upplevelser.

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  • 94.
    Hansson, Karl
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Det figurala och den rörliga bilden: Om estetik, materialitet och medieteknologi hos Jean Epstein, Bill Viola och Artintact2006Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation is a comparative study of the concept of the figural in relation to moving images with three case studies on filmmaker and writer Jean Epstein (1897-1953), video artist Bill Viola (1951-) and the cd-rom art magazine Artintact 1-5 (1994-1999). The conceptually focused case studies also enable a comparison between the different media technologies of film, video and new digital media.

    The figural is a concept originally used by Jean-François Lyotard and has resurfaced in the works of Jacques Aumont, Philippe Dubois, Nicole Brenez and D. N. Rodowick. Building on ideas expressed by these writers I show how the figural is a concept describing a border zone between abstraction and representation, where focus is on the image as event and process, and various effects due to image manipulation. I argue that a figural approach enables a more nuanced understanding of visual materiality as well as of new relationships between image and text. I also show how the figural can be understood as part of a ”new aestheticism”, where the relationship between viewer and image is emphasised. On a conceptual level the figural is put in relation to the concept of a ”haptic visuality” and the so-called ”post-medium condition”. In the reading of Jean Epstein the figural is used to foreground aspects of ”thinking with images”, and of a ”temporal perspective” as a new visual matter. In the case of Bill Viola the figural is to be found for example in his frequent use of slow motion as an embodied visuality. In the case of Artintact the figural is used to show how digital media is not as immaterial as often claimed, on the contrary the digital brings a new importance for visual materiality. Taken together these aspects introduce the figural as an important element for our understanding of visual culture.

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  • 95.
    Hedman, Anna Elisa
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Morphology of the Action Babe Cinema: En strukturell studie av 2000-talets filmer med kvinnliga actionhjältinnor2007Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The subject of my thesis is what I have chosen to call the “action babe cinema” of the 21st century, essentially action-movies featuring a female heroine in the lead role. Inspired by the theories of Vladímir Propp, author of Morphology of the Folktale, I have tried to reveal the underlying structure of these films. I have chosen eleven films which form my material, and from these extracted a number of functions (which means the actions of a character), that reoccur frequently. The heroines’ transformation can be seen as a central theme of the action babe cinema, and I have divided the films into two groups depending on the course of the transformation, either from soft to hard or the other way around. One of my findings is how there seems to be a constant need to explain the hard and tough characteristics of the female action-heroine, implying that it isn’t a natural trait for a woman. The functions have been further visualised and exemplified throughout the text, and I have found that the functions tend to be repeated in a similar pattern depending on which group they belong to. I also use the functions in an extended analysis of Kill Bill vol. 1 and Kill Bill vol. 2. The application of Propp is discussed and I present my point of view on the subject. Finally I discuss the results of my study, and what binds these films together and set them apart.

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  • 96.
    Hockenjos, Vreni
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Picturing Dissolving Views: August Strindberg and the Visual Media of His Age2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The subject of this study is August Strindberg’s interaction with the visual media of his day. Its dual aim is to examine Strindberg’s work in the light of media history and to allow Strindberg’s work in turn to illuminate the media history of the fin de siècle. Taking its cue from the commonplace scholarly observation that Strindberg’s drama, particularly that of his later phase, is strikingly “cinematic”, it asks: What do such comparisons really tell us about Strindberg’s art and what, if anything, do they tell us about cinema?

    The thesis of this study is that the putatively “cinematic” style of Strindberg’s writings can only be understood against the backdrop of a mass culture, oriented towards the visual sense, which was undergoing rapid expansion at the turn of the last century. In devising his “dream play techniques”, it argues, Strindberg both drew on and reacted against various image-based modes of representation that had become extremely widespread in the late nineteenth century. The loss of reality that is so prominent a feature of works such as To Damascus (1898) or A Dream Play (1901) should in this sense be regarded as marked by an experience of mediatization, that is, the steady incorporation of all aspects of daily life by mass media technologies. Shifting the spotlight away from cinema, a critical encounter with Strindberg’s work can cast light on largely overlooked media practices such as magic lantern or Sciopticon exhibition, panoramic entertainments, instantaneous photography, and the introduction of the halftone process in printing. At the same time as it unsettles received notions of Strindberg’s drama as “cinematic”, the study seeks to show how the writings of this revolutionary artist can provide fresh material for a reassessment of life in a media-saturated age.

  • 97.
    Holm, Filip
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    En feministisk studie av karaktärsrepresentationerna i2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Tillskillnad mot de flesta Västernfilmerna valde manusförfattarna till C'era una volta il West att införa en kvinnlig karaktär i en av de större rollerna. Uppsatsen undersöker utifrån ett feministiskt perspektiv med texter av Laura Mulvey och Mary Ann Doane som utgångspunkt representationerna av filmens fyra huvudkaraktärer. I den första delen av uppsatsen diskuteras Västernfilmen i stort med extra fokus på Sergio Leones filmskapande. Därefter följer en redogörelse av de utvalda texterna vilka sedan används under läsningen av filmen i analysdelen.

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  • 98.
    Homman, Lina
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    AVVIKANDE KROPPAR I DET SAMTIDA TV-UTBUDET2007Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis discusses the representation of bodies in todays non-fiction television in Sweden. I have chosen to focus on deviant bodies (sexual, deformed or unhealthy) on display in reality-shows and documentaries on SVT, TV4 but especially on the commercial channels TV3 and Kanal5. Also discussed are the viewers emotional and bodily reactions. Altough these shows are different from one another in many respects, I argue that there is also a common thread between them. From a sociological and cultural perspective, and with help of some historical examples, I try to illustrate how we view these shows and what their function is. I conclude that the body is a site of powerstruggle and that these shows have many different levels of meaning. We cathegorize and value these deviant bodies but also our own. It is about making creating a ”us and them” and in the long run it has to do with making class and identity. The voyeuristic pleasure in watching these people displayed on TV is made possible from the safe distance of our livingroom.

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  • 99.
    Ingrid, Ryberg
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Teoretiska problem i queer och lesbisk porrfilmsdiskurs2006In: RE: Act-up, Centrum för genusstudier, Lunds universitet, 25-26 november, 2006: Nätverksmöte för queerforskningens återväxt, 2006Conference paper (Other academic)
  • 100.
    Janson, Malena
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    Bio för barnens bästa?: Svensk barnfilm som fostran och fritidsnöje under 60 år2007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The main aim of this dissertation is to examine the different childhood discourses permeating Swedish children’s cinema. This is done through close readings of three films that, each in their own way, play an important role in the history of this tradition: THE CHILDREN OF FROSTED MOUNTAIN (Rolf Husberg, 1945), THE CHILDREN OF BULLERBY VILLAGE (Olle Hellbom, 1960) and ELVIS! ELVIS! (Kay Pollak, 1977). Other subjects analysed are media debates about children’s film from the periods in which the films were produced, as well as official reports on the same subject. Taken as a whole, these elements form a significant body of material, describing the notions of children and childhood, as well as ideas around children’s film as medium, that predominated in Swedish society at three given moments in the 20th century. The study shows, that the most striking characteristic is that ever since 1945, when the first film specifically made for children was produced in Sweden, such films have been created with the intention of ‘benefiting’ the young audience. This ‘cinema of best intentions’, in turn, contains a number of attributes that are not always as unequivocally positive as they might initially seem.

    One of the main starting points for this exploration comes from modern childhood studies, according to which every given time and culture has its own complex of ideas, understandings and representations of children and childhood. Another central theoretical source is Michel Foucault. His ideas of power and knowledge, discipline and oppression, as well as his methodology, permeate this study. From this point of view, there is an aspect of ‘best intentions’ children’s cinema that can be seen as imposing ‘the oppression of benevolence.’

    The closing discussion shows how the Swedish children’s film, today as always, is inhibited by factors such as faithfulness to the written original, fear of upsetting the young audience and commercial demands.

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