Förord / av Richard Sangwill -- Sidospår : perspektiv på den svenska rörliga bildkonsten / av Astrid Söderbergh Widding -- I skuggan av spelfilmen : svensk experimentell film / av Lars Gustaf Andersson, John Sundholm och Astrid Söderbergh Widding -- Den tidiga monitorkonsten : TV-experiment i Sverige / av Gary Svensson -- Videokonst i Sverige : från alternativ till institution / av Gunnel Pettersson och Måns Wrange -- DVD med verk av Viking Eggeling, Gösta Werner, Rut Hillarp, Hans Nordenström, Pontus Hultén, Peter Weiss, P. O. Ultvedt, Åke Karlung, Olle Bonniér, Ralph Lundsten, Claes Söderquist, Jan Håfström, Gunvor Grundel Nelson, Hans Esselius, Kjartan Slettemark, Olle Hedman, Antonie Frank, Lola Mökker, Andrew Hibbert, Cecilia Parsberg, Erik Pauser, Johan Söderberg, Dorinel Marc, Teresa Wennberg, Marit Lindberg, Ann-Sofi Sidén, Johanna Billing, Cecilia Lundqvist, Miss Universum (Catti Brandelius), Petra Lindholm och Katarina Löfström.

The object of this dissertation is the relationship between film, fashion and beauty concerning different understandings of femininity, with reference to the establishment of the star system and the making of celebrity culture, and how these were expressed through magazines and commercial ads in early 20th century Sweden. The period of time framing the discussion, from fin-de-siècle and onwards with specific focus on the 1920s and 1930s, corresponds to the course of publication of the Swedish magazine Filmjournalen. Star studies and reception studies make up the theoretical framework, offering an understanding of the popular press both as a source of knowledge for and as an intermediary of fashion and style, creating a wider network of texts and images and providing a context for how films were presented for Swedish, mainly female, audiences. Spectatorship is therefore considered from the viewpoint of address, in line with Miriam Hansen’s angle, analysing how a network of texts and images, exceeding the particular film, constitutes the positions of spectators. Film stars are understood as embodying different ideas; represented, negotiated, and incorporated in already existing lines of thoughts, drawing attention to questions of media presentation, and to the ideas appearing behind the beauty ideals and the aesthetics. The discussion on stars is narrowed down to concern three particular themes - consumerism, emancipation and physiognomy - when presupposing femininity as defined by appearance; considering cosmetics and fashion as providing practical, next-to-the-skin tools in this making, while film and journalism are working on a social, discursive level. Judith Butler’s account of performance and Teresa de Lauretis’ understanding of technologies of the self are significant for this study, as well as Richard Dyer’s approach, considering film stars as articulating the business of being an individual when representing familiar ways of feeling and thinking.

This thesis treats the way juvenile delinquency is depicted in Swedish feature films made between 1942 and 1962. The study makes a historical survey of the youth-going-astray films, how they portray contemporary society and life and convey their conception of youth related problems. The analysis is primarily based upon role analyses with the tliematics and cultural reception of the films in focus.

The analysis studies not only about twenty films that deal mainly with the subject, but also a number of films concerning other youth related subjects such as prostitution, sexual problems and, as a counterweight, the well-behaving youth, for instance youth engaged in associations. Furthermore, the analysis gives a picture of the public reception of tire films, both by critics and the Board of Film Censors.

The main point of the analysis is tire way the films mirror a widespread contemporary opinion. Thus, the relation between tire debate and tire film is analysed, as well as tire extent to which tire contemporary debate and the "politically correct” values catch on in Swedish film. To a large extent, Swedish films reflect the views expressed in the Public Inquiries of the State and in middle-of-the-road opinions in the debate. The majority of films try to stick to the middle course between the conservative line demanding stronger measures and the progressive line associating with the new pedagogy and liberal upbringing.

This doctoral thesis deals with Peter Weiss’ (1916-1982) films and some of his never finished attempts. The focus is in general on Weiss’ film work activities in the 1950’s, when film held the very central place in his works of art.

The intention has been to interrogate what short films Peter Weiss made and to find out the meaning and the role of film in the life of the artist Peter Weiss. The conclusion is that Peter Weiss fought with personal difficulties in expressing himself in a language — a language of words and a language of signs — because it is assumed that Peter Weiss carried a very strong will to become an author. In order to “conquer the words” Weiss exercised himself in describing all kinds of worlds — an interior one as well as an exterior one. That explains why he dealt with surrealist psychological subjects and documentary forms while making films.

Knut Erik Jensen’s oeuvre is often described from a typical Norwegian point of view. The corpus of films studied is restricted to his documentary production and to the breakthrough of Stella Polaris in 1993. But as I discovered Knut Erik Jensen through his posterior fiction films, I had to focus on this under esteemed production, even if I remain convinced that the dichotomy between the documentary and fiction films is not very pertinent. As Passing Darkness had blurred my reading of Gilles Deleuze’s books dedicated to cinema, I started to focus on both this film and Deleuze’s philosophical approach. I linked then Knut Erik Jensen’s films to other filmmakers who in my sense had the same concerns.

As history is first a matter of geography, I based the reflection on the works by Alain Resnais, Jean-Daniel Pollet and the texts by Jean Epstein. But as the study went on, I realized that a classical study could not validate Jensen’s aesthetic as the alchemical concerns of both Jean Epstein, Edgar Morin or Gilles Deleuze were dealing with either a source or a result. Living at the era of the networks and influenced by some seminars in France regarding the figure and the networks inside the image, I focused on the philosopher stone in order to find an alternative to the crystal image and other postulates. Using some previous knowledge regarding the alchemy, I used the cycle of the azoth in the sea, one of the main characters in Jensen’s aesthetic as being a way to consider the loss of the source and of the result. Instead of opposing time, space and then a questioning of the space/time continuum, I refuted the organic regime (which has been dead for about forty years in film) to focus on the mineral one (through the crystal image and other reflections) and the gaseous one (the development of the transparitions).

Kultfilmsfankulturen uppstod i början av 1980-talet. Den baseras på en misstänksamhet mot den föreställda mainstreampubliken. Kultfilmerna betraktas av fansen med allt från förakt till dyrkan. Utifrån Sarah Thorntons mer kritiska perspektiv på subkulturer har forskare som Mark Jancovich, Joanne Hollows och Jacinda Reed visat hur kultfilmsfankulturen är en klass-och könsbunden (maskulin) konstruktion och att både ”kult” och ”mainstream” är begrepp som konstrueras inom själva subkulturen.

På internet finns en uppsjö av sajter som inriktar sig på att recensera kultfilmer. Båda ovan nämnda typer av fankritik och olika schatteringar däremellan finns representerade. Ofta flyter de in i varandra. På grund av mediets öppna karaktär är sajterna ofta mer censurerade än tryckta kultfilmsfansin. Sidorna riktar sig först och främst till fans och är mer eller mindre exkluderande mot utomstående. Det heterosexuellt ”grabbiga” tilltalet och det sadistiska våld mot kvinnor som förekommer i många av de recenserade filmerna kan ha en utestängande effekt mot kvinnor och icke-heterosexuella. Överlag tycks det dock ha skett en uppluckring av den av fansen föreställda gränsen mellan deras egen subkultur och mainstreamkulturen. Mycket beror det på den ökade mediala och akademiska uppmärksamheten kring kultfilm. Filmerna är också lättare att få tag på.

Bilden av det typiska kultfilmsfanet är en utbildad, vit (heterosexuell) man från medelklassen och så tycks även vara fallet på sajterna. Det finns dock några aktiva kvinnor som tycks ha hittat sin plats i fangemenskapen utan att ”kulturellt sett vara en grabbarna”. De manliga sajtinnehavarna har å ena sidan en maskulin roll inom subkulturen som webbmaster, men måste samtidigt tillgripa olika strategier för att värja sig från den feminiserade bilden av fanet/nörden utanför subkulturen. Stämningen sajtinnehavare och recensenter emellan är i allmänhet mycket god och många fans tycks uppleva en stor gemenskap på nätet, samtidigt som det finns en stark individualistisk hållning och ett ägandetänkande kring de egna sajterna.

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

Uppsatsens syfte är att undersöka vilken funktion och betydelse kroppen har i första säsongen av CSI: Crime Scenen Investigation (CBS, 2000-). Detta eftersom det kan ge en ökad förståelse för de föreställningar som omgärdar kroppen i vår kultur idag. Författaren gör närläsningar av analysobjektet som relateras till relevant litteratur, såväl som tidigare praktiker och representationer av kroppslighet.

I den första delen undersöker författaren vilken roll kroppen spelar i utredningsarbetets sökande efter en säker sanning. Författaren konstaterar att utredarna använder sig av en kroppslig utredningsteknik och att kroppen dessutom ses som en privilegierad form av bevis, vars tillgänglighet ökar med hjälp av obduktionsförfarandet och olika teknologiska hjälpmedel. Vidare ifrågasätter författaren hur långsökta slutsatser om individen dras från kroppen. Till sist föreslår författaren att tron på säker kunskap känns betryggande i en tid då kroppen ses som föränderlig och där begrepp som verklighet och sanning blivit flytande.

I den andra delen undersöker författaren hotfull kroppslighet och hur dessa hot eventuellt neutraliseras. Författaren drar här fyra huvudsakliga slutsatser:

1. Den uppstyckade kroppen är skrämmande eftersom den uppfattas som gränsöverskridande och utredarnas ihopsamlande av kroppsdelar är ett sätt att återskapa de ursprungliga gränserna.

2. Döden är ytterligare en gränsöverskridande praktik som dessutom innebär kroppens totala förintelse, utredningsarbetet är en kamp mot döden som strävar efter att återupprätta livet.

3. Utredarnas förhållande till den döda kroppen är synnerligen komplext eftersom de bör förbli objektiva, men samtidigt inte får riskera att objektifiera den döda kroppen.

4. Själva filmmediet kan ses som ett hot mot kroppen genom sitt fragmenterande bildspråk, men också som ett försvar mot döden genom förmågan att skildra rörelse.

Jaws(Universal Studios, 1975) set a new standard for Hollywood film production byintroducing the concept of “summer blockbuster,” for a film that changed the way inwhich people thought about sharks. 37 years after the release of the movie, the idea of sharks as ferocious man-hunters still looms large in public opinion. Thisconceptualization of sharks as ruthless killers is mythical rather than factual, and thisresearch tracks the mechanisms that propelled the idea deep into popular culture.The dissertation addresses the problematics of media constructions through a casestudy of the movie Jawsdeparting from its production process, and by applyingBarbara Klinger’s interpretation of “epiphenomena.” The thesis studies how cinematravels into popular culture, by following the traces of the movie into other media, andits dialogue with the surrounding texts generated by PR, marketing andmerchandising; simultaneously, the thesis seek to demonstrate the connection between the movie as mythmaker and the stigmatized portrayal of sharks.

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

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

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

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

Critical career profile of Pearl White

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

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

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

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

Petrocinema presents a collection of essays concerning the close relationship between the oil industry and modern mediaespecially film. Since the early 1920s, oil extracting companies such as Standard Oil, Royal Dutch/Shell, ConocoPhillips, or Statoil have been producing and circulating moving images for various purposes including research and training, safety, process observation, or promotion. Such industrial and sponsored films include documentaries, educationals, and commercials that formed part of a larger cultural project to transform the image of oil exploitation, creating media interfaces that would allow corporations to coordinate their goals with broader cultural and societal concerns. Falling outside of the domain of conventional cinema, such films firmly belong to an emerging canon of sponsored and educational film and media that has developed over the past decade. Contributing to this burgeoning field of sponsored and educational film scholarship, chapters in this book bear on the intersecting cultural histories of oil extraction and media history by looking closely at moving image imaginaries of the oil industry, from the earliest origins or spills in the 20th century to todays post industrial petromelancholia.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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