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  • 1. Agger, Gunhild
    et al.
    Dirckinck-Holmfeld, Lone
    Gimmler, Antje
    Heinrich, Falk
    Soila, Tytti
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Introduction: Two Stories of the Arts and Humanities – and a Third Version Emerging2016In: Akademisk Kvarter, ISSN 1904-0008, E-ISSN 1904-0008, Vol. 13, no 10, p. 4-13Article in journal (Refereed)
    Abstract [en]

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

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

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

  • 3. Andersson, Lars Gustaf
    et al.
    Sundholm, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Spaces of becoming: the Stockholm Film Workshop as a transnational site of film production2015In: Transational Cinemas, ISSN 2040-3526, E-ISSN 2040-3534, Vol. 6, no 2, p. 156-167Article in journal (Refereed)
    Abstract [en]

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

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

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

  • 5.
    Aydin, Ali
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    A "Sensuous" Approach to the Cinema of Nuri Bilge Ceylan: Principles of Embodied Film Experience2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

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

  • 6.
    Aydin, Ali
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    An Alternative Auteurist Approach to Sidney Lumet's Films: In Search of a Transgressive Cinema2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 7.
    Baumann, Chris
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Eine kurze Geschichte des Scheiterns: Googles Nexus Q und die Grenzen von Streaming-Technologien2017In: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, ISSN 0942-4954, Vol. 26, no 1Article in journal (Refereed)
  • 8.
    Baumann, Chris
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Netflix2017In: The SAGE Encyclopedia of the Internet / [ed] Barney Warf, Sage Publications, 2017Chapter in book (Other academic)
  • 9.
    Baumann, Chris
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Shadow economies and digital disruption2014In: NECSUS : European Journal of Media Studies, E-ISSN 2213-0217, Vol. 3, no 1, p. 331-337Article, book review (Other academic)
  • 10.
    Baumann, Chris
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Sweden: Circumvention and the Quest for Privacy2016In: Geoblocking and Global Video Culture / [ed] Ramon Lobato, James Meese, Amsterdam: Institute of Network Cultures , 2016, p. 140-149Chapter in book (Refereed)
  • 11.
    Bernide, Lenuta
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Glimpse into a world of recorded absence2018In: Short Film Studies, ISSN 2042-7824, E-ISSN 2042-7832, Vol. 8, no 2, p. 183-185Article in journal (Refereed)
    Abstract [en]

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

  • 12. Blom, Ina
    et al.
    Lundemo, TrondStockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.Røssaak, Eivind
    Memory in Motion: Archives, Technology, and the Social2016Collection (editor) (Refereed)
    Abstract [en]

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

  • 13. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    A film of her own: Home movies, the archive and Ingrid Bergman: An interview with Stig Björkman and Dominika Daubenbüchel2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 183-188Article in journal (Other academic)
  • 14. Brunow, Dagmar
    et al.
    Stigsdotter, Ingrid
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Scandinavian cinema 
culture and archival 
practices: Collecting, curating and accessing moving image histories2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 2, p. 75-78Article in journal (Other academic)
  • 15.
    Dahlquist, Marina
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Anna Hofman-Uddgren2017Other (Other academic)
  • 16.
    Dahlquist, Marina
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Health Instruction on Screen: The Department of Health in New York City, 1909-19172012In: Beyond the Screen: Institutions, Networks and Publics of Early Cinema / [ed] Marta Braun, Charlie Keil, Rob King, Paul Moore, Louis Pelletier, New Barnet, U.K.: John Libbey Publishing, 2012, p. 107-116Chapter in book (Refereed)
  • 17.
    Dahlquist, Marina
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Galili, DoronStockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.Olsson, JanStockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.Robert, Valentine
    Corporeality in Early Cinema: Viscera, Skin, and Physical Form2018Collection (editor) (Refereed)
    Abstract [en]

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

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

  • 18.
    Ekholm Sjöblom, Josefina
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Nutida Woody Allens stereotyper2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 19. Elomäki, Anna
    et al.
    Kantola, Johanna
    Koivunen, Anu
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Ylöstalo, Hanna
    Kamppailu tasa-arvosta: tunne, asiantuntijuus ja vastarinta strategisessa valtiossa2016In: Sosiologia, ISSN 0038-1640, E-ISSN 1904-500X, Vol. 53, no 4, p. 377-395Article in journal (Refereed)
  • 20.
    Fahlstedt, Kim
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Marketing Rebellion: The Chinese Revolution Reconsidered2014In: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 26, no 1, p. 80-107Article in journal (Refereed)
    Abstract [en]

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

  • 21.
    Fleischer, Rasmus
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Economic History.
    Vonderau, Patrick
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Jeremy W. Morris (2015) Selling Digital Music, Formatting Culture2017In: Culture Machine, ISSN 1465-4121, E-ISSN 1465-4121Article, book review (Other academic)
  • 22.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Across Boundaries - Strategies of Silence and Sound in Sjöström's A Lady to Love (1930)2015In: European Journal of Scandinavian Studies, ISSN 2191-9399, E-ISSN 2191-9402, Vol. 45, no 2, p. 188-197Article in journal (Refereed)
    Abstract [en]

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

  • 23.
    Florin, Bo
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Norwegian Tableaux - "Synnöve Solbakken"2017In: Kosmorama (København), ISSN 0023-4222, E-ISSN 2245-9731, no 269Article in journal (Other academic)
    Abstract [en]

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

  • 24.
    Fredholm, Tilde
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Digital Figurations: The Human Figure as Cinematic Concept2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

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

  • 25.
    Frykholm, Joel
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    George Kleine and American cinema: the movie Business and film culture in the silent era2015Book (Refereed)
  • 26.
    Frykholm, Joel
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Gunnar Iversen Norsk filmhistorie2012In: Norsk Medietidsskrift, ISSN 0804-8452, E-ISSN 0805-9535, no 1, p. 77-80Article, book review (Other academic)
  • 27.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Picturing Mexico in Still and Moving images, ca. 1870-1925: Strategies for Articulating Space, and Spectatorship in Early Mexican Film2015In: Cine mudo latinoamericano: Inicios, nación, vanguardias y transición / [ed] Aurelio de los Reyes, David M. J. Wood, Universidad Nacional Autónoma de México , 2015, p. 35-56Chapter in book (Refereed)
  • 28.
    Fullerton, John
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Reframing the Panorama in Mexico: Early Actuality Film and Nineteenth-Century Lithographs and Photographs2012Conference paper (Other academic)
  • 29.
    Galili, Doron
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Tom Swift’s Three Inventions of Television: Media History and the Technological Imaginary2015In: View : Journal of European Television History and Culture, E-ISSN 2213-0969, Vol. 4, no 7, p. 54-67Article in journal (Refereed)
    Abstract [en]

    The article discusses three fictional narratives of inventions of televisual devices, which appeared in a popular American boys’ books series about a young inventor-adventurer in 1914, 1928 and 1933. It considers these narratives as representations of the ‘technological imaginary’ of television – that is, the ideas about the possibilities of the technology that were entertained before its material realization and informed its eventual formation. A comparison between the three different manners in which the novels depict the fictional inventions demonstrates how the early imaginaries of television were conceived and articulated in response to the continuously changing intermedial context of the early twentieth century.

  • 30.
    Galili, Doron
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Tsivian, Yuri
    Skybooks: skywide projection and media mythology2015In: New Review of Film and Television Studies, ISSN 1740-0309, E-ISSN 1740-7923, Vol. 13, no 3, p. 247-260Article in journal (Refereed)
    Abstract [en]

    Skybooks: Skywide Projection and Media Mythology’ traces the history of the media fantasy of projecting images and texts onto the sky up to the 1920s, and with respect to the variety of mass media forms that emerged in that decade. Thus, in 1918, less than a year after the October Revolution, Russian Futurist poet Velimir Khlebnikov wrote a piece of Utopian prose in which Walter Benjamin, had he known it, might have recognised another instance of social dreaming projected upon modern technology. The word ‘skybooks’ (neboknigi) used in the title of the essay is borrowed from there. Khlebnikov's global village of the future is populated by the race of inventors and creators in habit of using the sky as a giant pad to share with each other latest news, scientific formulae and lines of poetry. It was hardly by chance, Galili and Tsivian argue, that the tip of Vladimir Tatlin's famous Tower (also conceived in 1918) was to be equipped with a giant projector. Skypads need a skypen whose skyink is a projected beam of light.

  • 31.
    Gondouin, Johanna
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Adoption, Surrogacy and Swedish Exceptionalism2012In: Critical Race and Whiteness Studies Journal, ISSN 1838-8310, Vol. 8, no 2, p. 1-20Article in journal (Refereed)
    Abstract [en]

    This article deals with the current discussion on transnational surrogacy and adoption in Sweden. The ethical problems pertaining to new assisted reproductive technologies (ART) that are now the subject of intense debate share common ground with the predicaments of transnational adoption, but this is seldom recognized. By bringing these reproductive methods together, this article sets out to discuss the decidedly intersectional character of the new reproduction, analyzed in terms of ”stratified reproduction” (Colen 1995). One parallel that this article considers is the association in Sweden of both adoption and surrogacy with the struggle for gay rights. RFSL (The Swedish Federation for Lesbian, Gay, Bisexual and Transgender Rights) is a driving force in the present political rapprochement to surrogacy. This echoes the situation ten years ago when the opening up of Swedish adoptive legislation to same-sex couples coincided with a turbulent debate on adoption. The article examines the intersectional dynamics that characterize the Swedish context, according to which different power relations are played out against each other. Another aspect that is focused on is how the discussion on transnational adoption and surrogacy expose ”Swedish exceptionalism”, a concept designating a widespread belief of Sweden as untouched by colonial legacies, positing Swedish whiteness as innocent regarding racial matters. The television series Barn till varje pris? (Children at all Costs?, 2011) will be analyzed as a case in point. Through this example I will examine the mediational aspects of the Swedish discussion, in which film and television play key roles.

  • 32.
    Guido, Kirsten
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Schmidt, Fabian
    Von Schwarzen Raben und anderen Netzwerken: Filmdistribution in der Schattenwelt des Internets – ein Bericht2017In: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, ISSN 0942-4954, Vol. 26, no 1, p. 59-80Article in journal (Refereed)
  • 33.
    Halén Román, Mikael
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    America in the scope: A post-colonial study of American Sniper, mourning and nationalism2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this thesis is to discuss how themes of nationalism, mourning and death can be implemented in a film such as American Sniper to reproduce the idea of nation states as well as enforce nationalism. Through a close analysis of chosen sequences in the film the thesis presents a mode of looking at film, rooted in the given themes, which will help analyzing similar films with these reoccurring themes. The study shows not only how a film such as American Sniper can be seen as a form of reproducing banal nationalism but also how given narratives devalue the life of Others while reinforcing the idea of how Our lives are valuable, essentially creating a rift between who can be mourned and who can be forgotten. This rift can be seen in the narrative of the film and it is argued that this is acting as a form of banal propaganda, enforcing Our right to perpetrate violence against Them.

  • 34.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Fantasia of Color in Early Cinema, Amsterdam (EYE Filmmuseum en Amsterdam University Press) 20152016In: Tijdschrift voor Mediageschiedenis, ISSN 2213-7653, Vol. 19, no 1, p. 87-89Article, book review (Other academic)
  • 35.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Hollywood legacies and Russian laughter: Le Giornate del Cinema Muto / Pordenone Silent Film Festival 20142015In: NECSUS : European Journal of Media Studies, E-ISSN 2213-0217, no June 12Article, book review (Other academic)
  • 36.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    ‘Move as if Alive’: The Kinematograph as Unstable Technology of Movement and its Impact on the Spectator2017In: Synoptique, ISSN 1715-7641, Vol. 5, no 2Article in journal (Refereed)
    Abstract [en]

    This article argues that the kinematograph, at the time of its introduction (1896-1897), was a technology of movement before it was a method of representation. Drawing on (or, in conversation with) Tom Gunning’s observations on the image of energy, I propose that the discourse around the early moving pictures signifies a mixture of two paradigms on movement: one mechanical-dynamic and one post-mechanical or energetic idea of movement. The multiple paradigms involved destabilized the understanding of the kinematograph. Therefore, in the conclusion, I offer possibility to rethink spectatorship in-between these paradigms on movement.

  • 37.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Netherlands2015In: Women screenwriters: an international guide / [ed] Jill Nelmes, Jule Selbo, Hampshire: Palgrave Macmillan, 2015, p. 493-515Chapter in book (Refereed)
  • 38.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The beginnings of the cinema in England 1894–1901, volumes I–V2015In: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 35, no 3, p. 525-526Article, book review (Other academic)
  • 39.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladin ou la lampe merveilleuse2015In: NECS Conference 2015, Lodz, 18-20 June 2015: Transmediality workshop, 2015Conference paper (Other academic)
    Abstract [en]

    In order to understand the “radical viewing experience” (Gunning 2014) that the kinematograph’s earliest moving images aroused, we have to develop concepts that productively outline what was “new” and what was “old” within these “living picture shows”. Although the projected moving images were a new attraction around, they followed on nineteenth century popular visual culture as well as modernity’s perceptual experience (Singer 2001). Drawing on André Gaudreault’s notions of “cultural paradigm” and “cultural series”, this paper posits transmediality as a double strategy: on the one hand the transmedial strategy was used to relate the new invention to a larger and familiar paradigm of popular culture (attractions, exoticism), while at the same time it also brought forward the newness of this moving images (movement in time and space).

    Introducing historical newspaper materials and contemporary writings, we recognize that themes and narratives that audiences knew from previous attractions and media were re-situated on the new kinematograph. The result was a viewing experience that brought together the new and the old. And interesting example of this can be found in the Netherlands were a yet unidentified early version of Aladin en zijn wonderlamp (Aladin and his magic lamp or Aladin ou la lampe merveilleuse) was a very popular kinematograph attraction in Amsterdam and Haarlem. Moreover, it seems to be specifically aimed to attract the same spectators who also attended a popular but different Aladin vaudeville show in the same cities in 1894 and 1895.

  • 40.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladin ou la lampe merveilleuse (1898)2015Conference paper (Other academic)
  • 41.
    Harkema, Gert Jan
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladinou la lampemerveilleuse (1898)2016In: Kultura Popularna, ISSN 1644-8340, Vol. 47, no 1, p. 11-20Article in journal (Refereed)
  • 42.
    Harkema, Gert Jan
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Du Preez, Amanda
    Edison’s Ideal and the Visual Technics of the Sublime2016In: Exposing the Film Apparatus: The Film Archive as a Research Laboratory / [ed] Giovanna Fossati, Annie van den Oever, Amsterdam: Amsterdam University Press, 2016Chapter in book (Refereed)
  • 43. Hegardt, Johan
    et al.
    Lundemo, TrondStockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Historiens hemvist. 3, Minne, medier och materialitet2016Collection (editor) (Refereed)
  • 44.
    Hellström, Sarah K.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora2013Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies. 

  • 45.
    Hernández Rejón, Mónica
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Like Sámis do: A postcolonial and intersectional analysis of the contemporary film representations and self-representations of the Sámi people2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    The film representation of the Sámi people has evolved during the last century from the ethnographic portrayals that reproduce a romantic stereotype of the good savages, to feature and documentary films that discuss the Sámi identity and its colonial history. In recent years a new generation of Sámi and Swedish documentary directors have focused their work on analysing the impact that multiple structures of power actually have in the production of the Sámi identity and culture. In this research I explore the intersections of such structures in the documentary road movies Sámi Daughter Yoik (2007) by the Sámi-Swedish director Liselotte Wajstedt, and The Only Image of My Father (2004) by the Swedish director Kine Boman. The main purpose of the research is to examine the discussions of identity that these films propose and to analyse the strategies with which the directors question the simplistic representation of the Sámi people. Based on the postcolonial and intersectional perspectives, the text offers a critique of the discourses of authenticity that confine the Sámi identity into the frame of ethnicity. The study gives special attention to the different layers that the directors' identities involve and their role in the construction of alternative representations of the Sámi people. A relevant finding is that the directors have succeeded in representing the Sámi people as complex and heterogeneous, helped by their choices on genre, authorship and their own approach to identity as a performative, multidimensional and dynamic process.

  • 46.
    Jonathan, Rozenkrantz
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Marta, Mund
    Södertörns högskola, Sverige.
    Alltid redan en aktivitet: åskådarskap och estetiska lärprocesser2014In: Konst och lärande: essäer om estetiska lärprocesser / [ed] Anders Burman, Huddinge: Södertörns högskola , 2014, p. 405-425Chapter in book (Refereed)
  • 47.
    Kirsten, Guido
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Artikelreihe «Dispositive»: Einleitung von Guido Kirsten zum Beitrag von Rebecca Harrison2017In: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, ISSN 0942-4954, Vol. 26, no 1, p. 125-127Article in journal (Refereed)
  • 48.
    Kirsten, Guido
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Mise en Scène2017In: Handbuch Filmanalyse / [ed] Malte Hagener, Volker Pantenburg, Wiesbaden: Springer, 2017, p. 1-17Chapter in book (Refereed)
    Abstract [de]

    Es existieren verschiedene Verwendungsweisen des Begriffs Mise en Scène, die in diesem Beitrag zunächst unterschieden und erläutert werden. Anschließend geht der Autor anhand eines engeren Begriffsverständnisses auf den Beitrag der Mise en Scène zur Bildkomposition und zur Narration, sowie auf autothematische Konstruktionen und auf das Verhältnis zum Nachbarkonzept der Découpage ein. Verstanden wird Mise en Scène dabei als Organisation jener Parameter, die die profilmische Situation visuell strukturieren: Dekor, Lichtsetzung, Kostümierungen und Choreografie der Darsteller. Die Mise en Scène entfaltet ihre Wirkung allerdings erst im weiteren Zusammenhang mit anderen Gestaltungsebenen (Découpage, Montage, Sounddesign etc.). Das Konzept der Mise en Scène ist so im emphatischen Sinn ein analytisches: Im Sinne der Analyse der Gesamtwirkung eines Films oder eines andersartigen audiovisuellen Werkes werden einzelne Aspekte isoliert, um sie genauer zu erfassen und sie in ihrer Wechselwirkung miteinander und ihrem Zusammenspiel mit anderen Ebenen untersuchen zukönnen –  also die reale Synthese der Elemente konzeptuell zu entfalten.

  • 49.
    Kirsten, Guido
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Programmatic and Proto-Reflexive Realism: Feuillade’s 'La tare' (1911) and 'Erreur tragique' (1913)2015In: Objectivity and the Effects of Truth: Early Cinema And The Realist Tradition / [ed] Jordi Pons, Àngel Quintana, Girona: Fundació Mueseu del Cinema-Collectió Tomàs Mallol & Ajuntament de Girona , 2015, p. 141-152Chapter in book (Refereed)
    Abstract [en]

    This article discusses the cinematic realism of French director Louis Feuillade in the early 1910s. In his famous ‘manifesto’ “La vie telle qu’elle est” he claimed to be the first to bring realism to the screen. His La tare (1911) is analyzed as an attempt to realize the programmatic poetics of the manifesto, combining naturalistic staging and a mostly melodramatic plot. Less typical is Erreur tragique (1913), which both displays the medium’s capacity for witnessing and reproducing ‘real’ events and can be thought of as a ‘proto-reflexive’ form of realism in film.

  • 50.
    Kirsten, Guido
    Stockholm University, Faculty of Humanities, Department of Media Studies, Cinema Studies.
    Roland Barthes und das Kino: Ein Überblick2015In: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, ISSN 0942-4954, Vol. 24, no 1, p. 9-29Article in journal (Refereed)
123 1 - 50 of 148
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