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| 2. |
- Chavarria Aldrete, Bertrand
(författare)
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Unveiling the invisible : Documentary film
- 2022
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
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| 3. |
- Cronqvist, Marie, et al.
(författare)
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Virtualiteter : sex essäer
- 2006
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sex forskare från olika humanistiska discipliner skriver varsin essä kring temat virtualitet.
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| 4. |
- Arnman, Anna
(författare)
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Hellraiser : om Clive Barkers film
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this dissertation I will discuss horror film as a genre and study how Hellraiser relates to its themes and problems. First I describe the production of the film and after that I present Clive Barker - his background, authorship, film-making and artwork. Next I study the problems of the genre and the different ways in which this genre is defined. I look at narrative characteristics as well as, for instance, how a film belonging to the genre is launched and how it is received by critics and the audience. Furthermore, I describe the response this film has had from reviewers and fans and how it is perceived in academic texts. The principal part of the dissertation follows: a comprehensive close reading of the film in which I delve into the film 21 times to describe and interpret scenes. I conduct readings based on the film's substance and form and juxtapose minor details with major developments. The themes I focus on in particular concern the film's relation to the body, gender, sexuality, family, the house, and religion. I introduce a discussion about the genre, e.g. about British versus American horror films, the conditions in which a film production takes place, the status of the genre, censorship and some thoughts about the significance of excess to the film. I have used the narrative structure and plot of Hellraiser as a starting point for the dissertation and I have let the film guide my choice of themes as much as possible. The method of my choice is founded on making the segmentation on the basis of the colloquial understanding that narratives are constituted of momentary parts. With these sequential analyses as my starting point I allow myself to deviate and delve into larger thematic areas that are collected in my summarising discussion of the dissertation. In the third part of the dissertation I thoroughly study how the Cenobites were conceived and designed and how they look and act. Furthermore, I study how they relate to archetypal monsters, such as Frankenstein's Monster and Dracula, in order to look at how Barker is playing with these monstrous characters. I also discuss the Cenobites? peculiar power of attraction at the same time as I stress that it is not necessarily self-evident to regard the Cenobites as the monsters of the film. In the final part of the dissertation I look at the film's approach to body, pain and suffering and how the boundaries occasionally are erased and pain becomes pleasure. I refer to, among other things, to how the Cenobites? appearances have similarities with the aesthetic expressions of the punk movement. Physical violence against the body, in the form of body piercings and tattoos, symbolises resistance against good taste. This form of alienation can also be seen as a characteristic of horror film as a genre and it seems as if the Cenobites only reach the satisfaction they crave through opening bodies and delve underneath the skin.
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| 5. |
- Jalhed, Hedvig, 1982-, et al.
(författare)
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Ludiska lockelser : Spelen flyttar in i finrummen
- 2023
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Ingår i: Kulturimperiet. - 2000-6454. ; :1–2, s. 24-27
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Med anledning av att två kulturinstitutioner – Världskulturmuseet i Göteborg och Halmstads konsthall – visade utställningar med speltema under sommaren 2023, såg Hedvig Jalhed och Mattias Rylander anledning att reflektera över spelens status i förhållande till konst och kultur av idag. Centralt i deras betraktelse är synen på agens i lek och spel, samt ludik som konstform. Med utgångspunkt i de bägge utställningarnas utformning och innehåll kunde två olika förhållningssätt till spelinteraktion och spelestetik skönjas. Medan världskulturmuseet betonade spelens utveckling och utbredning historiskt och tvärkulturellt satte Halmstads konsthall ljuset på särskilda spelelement som konstobjekt, delvis tagna ur sitt spelmässiga sammanhang. I det förra fallet utgör konst- och kultföremål funktionella och spelbara spel, medan det i det senare fallet skapas konstverk genom eller på spel.
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| 6. |
- Rosenqvist, Johanna, 1971-, et al.
(författare)
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Konst och subjektskapande : Neurodegenerativa nedsättningar och dialogbaserad konstpedagogik
- 2016
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Ingår i: Socialmedicinsk Tidskrift. - 0037-833X .- 2000-4192. ; 93:3, s. 288-296
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Tidskriftsartikel (refereegranskat)abstract
- Sedan 2007 har ett flertal konst- och forskningsprojekt genomförts där personer som drabbats av neurodegenerativa nedsättningar deltagit i samtal om konst. Den forskning som hittills undersökt projektens betydelse har fokuserat på den fysiska och psykiska verkan konstvisningarna haft för deltagarna, baserat på intervjuer, mätningar och enkätundersökningar. I den här texten väljer vi att undersöka en annan aspekt av konstsamtalen där vi diskuterar hur den dialogbaserade konstpedagogiken synliggör samband mellan estetiska upplevelser och subjektskapande.Nyckelordkonstpedagogik, Alzheimers, queerteori, konstmuseum
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| 7. |
- Åberg, Anders
(författare)
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Tabu : Filmaren Vilgot Sjöman
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is a thematic and historical analysis of of Sjöman’s œuvre and its significance for Swedish film culture, focussing on his most important films during the 1960s and 1970s. Sjöman started as a novelist in the late 1940s, and has since then accomplished an œuvre consisting of some 60 works, mostly novels, plays, essays, and films. Sjöman is best known as a film director. In 1962, Sjöman’s first film, Älskarinnan (The Mistress), opened to great acclaim. Sjöman was greeted as the instigator of a new wave of Swedish cinema, comparable to the French Nouvelle vague and post-war Italian cinema. Other Swedish author-directors followed Sjöman’s lead. Through the debate on censorship inspired by the official banning of Sjöman’s film 491, Sjöman became known as a serious, but utterly controversial film-maker, treating sexual matters in a provocative and explicit manner. His international fame rests mainly on the diptych film, Jag är nyfiken – gul (I Am Curious – Yellow), and Jag är nyfiken – blå (I Am Curious – blue), from 1967 and 1968 respectively. Sjöman here launched a kind of cinéma vérité-aesthetic, combined with a self-reflexive cinematic discourse verging on self-parody. At the end of the 1960s and in the 1970s, Sjöman struggled to find his proper place in the politicised cultural climate. The title of this thesis is derived from a film released in 1977, Tabu (Taboo). The film was scandalous, its allegory of leftist political activism deemed unacceptable. After Tabu, Sjöman never really recovered as a director. His films tended to be unattractive for the general audience, and, as opposed to his earlier work, they have had no real impact on the discourses of Swedish contemporary cinema and culture in general.
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| 8. |
- Rosengren, Cecilia, 1962, et al.
(författare)
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Inledning: Den kontroversiella barocken
- 2020
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Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 9. |
- Bengtsen, Peter
(författare)
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The Street Art World
- 2014
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In recent years, street art has become embedded in popular culture and received growing attention from the art market and art institutions. Work by street artists has entered galleries, auction houses and museums, and some artists have been given the opportunity to create large-scale sanctioned public art projects. Simultaneously, widespread photographic documentation of street artworks and the circulation of images online have provided artists with a potentially global audience. The Street Art World investigates street art as a relatively newly established field within contemporary art. With the American sociologist Howard S. Becker’s notion of “art worlds” as a central point of departure, the book seeks to characterise street art by studying and participating in the everyday interaction among the artists, gallerists, collectors, critics, curators, bloggers and street art enthusiasts that make up the social environment (the street art world) in which the term street art is continuously given its meaning. Major themes addressed in the book include: (1) The social construction of the meaning of the term street art and the resulting difficulties in formally defining what street art is. (2) The often contradictory attitudes within the street art world towards art history and the institutions of art. (3) The relationship between street art, the art market and the institutional art world. (4) The relationship between street art and public art. (5) Street art’s potential to affect the viewer’s perception of public space, and the possible challenges the increasing digital mediation of street art may pose to bringing this potential to fruition. While the book presents central characteristics of the street art movement, it also acknowledges that it is not feasible to pin down the nature of street art once and for all, since street art is a product of complex social processes.
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| 10. |
- Rédei, C., Anna
(författare)
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De mänskliga relationernas koreografi. : Den existentiella ohälsans gestaltning
- 2023
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Ingår i: Psykoterapi. - 2001-5836. ; :2023/3, s. 24-31
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Aaron Antonovskys kända begrepp som på svenska fått akronymen KASAM (på engelska sense of coherence, SOC) står för en modell som mäter känsla avsammanhang (Metodguiden, Socialstyrelsen, 2022; Antonovsky, 1993; Westerlund & Schumann, 2019). Antonovskys forskning har utmynnat i ett skattningsformulär som mäter grad av känsla av sammanhang och som är utformat efter de variabler i en människas liv som antas ge eller vidmakthålla hälsa. Dessa variabler utgörs av en individs samspel med andramänniskor, resurser och omständigheter och dessa ”värden” mäts på en sjugradig skala. Värdena speglar en individs syn på livet. Känsla av sammanhanginkluderar dimensionerna av meningsfullhet (motiverande dimension), begriplighet (kognitiv dimension). Vad visar oss forskningen om detta?
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