| 1. |
- Hedling, Olof, et al.
(författare)
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Mapping the Region : An Introductory Note
- 2010
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Ingår i: Regional Aesthetics : Locating Swedish Media. - Stockholm : Royal Library of Sweden (Kungliga biblioteket). - 9789188468147 ; , s. 9-9
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Introductory chapter to the collection Regional Aesthetics: Locating Swedish Media
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| 2. |
- Bondebjerg, Ib, et al.
(författare)
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A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
- 2010
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- In this report we have analysed the Scandinavian film and television culture focusing on films released between 2002-2006, using data drawn from both cinemas in Scandinavia and in the rest of Europe, as well as films shown on television in Denmark, Norway and Sweden. The study involves a comparative look at the support mechanisms and the production sector as well as the distribution sector, especially co-productions, but the main focus is on film genres and TV drama, audiences and the Scandinavian and European distribution of films. One of the main conclusions of the report is that whereas there continues to exist a successful Scandinavian tradition of co-production and co-distribution between the Nordic public service TV stations, with loyal audiences watching TV dramas from their neighbouring Scandinavian countries, this is not the case when it comes to film. Even though a Scandinavian film culture does exist and consists of a rather unique transnational framework for cooperation – at least seen from a European perspective, where no such regional cooperation exists – the result with regards to the exchange of films and film audiences is disappointing. The report shows that if one adds the total cinema admissions for films from Denmark, Norway and Sweden between 2002-2006 and divide them into the three categories National (Danish, Norwegian and Swedish films on their own national market), Scandinavian (Danish, Norwegian and Swedish films on the other Scandinavian markets) and EU (the three countries’ admissions in the rest of EU36) the figures are as follows: 71%, 5% and 24% (fig. 22). The conclusion is thus that on average the non-national Scandinavian market is of least importance, the EU market is almost five times bigger, whereas the national market is the most important.
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| 3. |
- Hedling, Olof, et al.
(författare)
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Bergman and the business : Notes on the director’s ‘worth in the market’
- 2021
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Ingår i: Ingmar Bergman : An enduring legacy - An enduring legacy. - : Manchester University Press. - 9789198557701 - 9789198557718 ; , s. 42-55
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Bokkapitel (refereegranskat)abstract
- This chapter discusses Bergman’s potential worth in the commercial film market on the basis of the director’s own correspondence with potential co-producers and international distributors of his films. The author first studies Bergman’s ample correspondence with Carl Anders Dymling, the powerful head of the Swedish production company Svensk Filmindustri between 1942 and 1961; most of Bergman’s early films were produced by Svensk Filmindustri. This correspondence concerns Bergman’s potential turn to the more profitable colour-film format in the early 1960s, a turn resisted by Bergman on artistic grounds; Bergman’s first colour film would eventually be the relatively unknown comedy, All these Women, in 1964. Second, the author examines Bergman’s correspondence with New York agent Bernhard L. Wilens regarding a possible film adaptation of French author Albert Camus’s short novel The Fall (La Chute, 1956). Third, the chapter explores Bergman’s correspondence with his American distributors, Janus Films, who famously specialized in the art-house market. Here, Janus is represented by Cyrus Harvey. Bergman never made a colour film during Dymling’s reign at Svensk Filmindustri, nor did he ever direct a film based on Camus’s novel. He did have a lengthy relationship with Janus Films, however. The chapter demonstrates how Bergman’s conception of himself as an artist conflicted with Hollywood, especially with regard to filmmaking practices. As an auteur in the European tradition, Bergman would always strive for artistic control of the entire production and distribution processes.
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| 4. |
- Hedling, Olof, et al.
(författare)
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Den olyckliga modernismen?
- 1999
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Ingår i: Mannen med filmkameran: Studier i modern film och filmisk modernism. - 1102-5522. - 9188396150 ; 16, s. 68-76
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Diskussion om svårigheterna att producera populär europeisk film
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| 5. |
- Hedling, Olof, et al.
(författare)
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”Detta dåliga samvete” : om kortfilmen, regionerna och filmfestivalerna
- 2008
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Ingår i: Välfärdsbilder. - : Statens ljud- och bildarkiv, Stockholm. - 9789188468093 ; , s. 261-281
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- On the production of short films within the contemporary Swedish film production setup. Moreover, the reliance on film festivals for screenings and that shorts are part of a particularly "European art cinema institution" is discussed.
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| 6. |
- Hedling, Olof, et al.
(författare)
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Dokumentär i krig
- 1988
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Ingår i: Filmhäftet. - 0345-3057. ; :4, s. 19-27
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- On the British documentary film during World War 2.
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| 7. |
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| 8. |
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| 9. |
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| 10. |
- Hedling, Olof, et al.
(författare)
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Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
- 2008
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Ingår i: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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