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- Jönsson, Mats, et al.
(författare)
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Självbilder : filmer från Västmanland
- 2006. - 1
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Boken är resultatet av ett samarbete mellan Svenska Filminstitutet och forskare inom det regionala nätverket Penta Plus. Den inleder en förlagsserie om forskning vid SFI:s arkiv i Grängesberg för icke-biografdistribuerad film. En kort redogörelse för projektets bakgrund, uformning och syfte följs av två delstudier. Uifrån begreppen kulturarv och identitet jämför den första bilder av Västmanland i filmen Salabygd (1953) med nutida länslanseringar. Den andra delstudien analyserar ett stort antal privatfilmer från 1960- 70- och 80-talen. I detta digra material studeras i synnerhet individers förhållande till kamera och motiv.
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| 2. |
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| 3. |
- Tseronis, Assimakis, 1975-, et al.
(författare)
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The argumentative relevance of visual and multimodal antithesis in Frederick Wiseman’s documentaries
- 2017
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Ingår i: Multimodal Argumentation and Rhetoric in Media Genres<em> </em>. - Amsterdam, Netherlands : John Benjamins Publishing Company. - 9789027211316 - 9789027264695 ; , s. 166-188
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Bokkapitel (refereegranskat)abstract
- In this chapter we argue that certain salient contrasts that Frederick Wiseman presents non-verbally and multimodally in his Direct Cinema documentaries can be understood as antitheses that play an argumentative role. In this type of documentary, which renounces the use of voice-over narration and music, a filmmaker has to rely on cinematography and editing in combination with participants’ spoken language to guide viewers’ interpretations. We argue that the ways in which certain sequences and shots are filmed and edited as well as the way dialogue, image, and sound combine within the shot create multimodal meanings that can be accounted for in terms of antithesis and can thereby contribute to the argument developed by the filmmaker. We focus on instances of visual and multimodal antithesis in five of Wiseman’s early films (Titicut Follies, High School, Hospital, Juvenile Court, and Primate) and one later film (Zoo).
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| 4. |
- Tseronis, Assimakis, 1975-, et al.
(författare)
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The argumentative role of visual metaphor and visual antithesis in ‘fly-on-the-wall’ documentary
- 2015
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Ingår i: Proceedings of the International Society for the Study of Argumentation. - 9789036104500 ; , s. 1380-1395
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this paper, we explore the argumentative role of visual metaphor and visual antithesis in theso- fly-on-the-wall documentary. In this subtype of documentary, which emphatically renouncesvoice-over narration, the filmmakers guide their viewers into reaching certain conclusions by makingchoices regarding the editing as well as the cinematography. We analyse a number of scenes from two filmsby one major representative of the Direct Cinema or fly-on-the-wall documentary, Frederick Wiseman.
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| 5. |
- Andersson, Robert, 1968-, et al.
(författare)
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The Corners of Crime
- 2015
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Ingår i: The wire and America's dark corners. - Jefferson, North Carolina, USA : McFarland & Company, Inc.. - 9780786479184 ; , s. 81-94
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Bokkapitel (refereegranskat)
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| 7. |
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| 8. |
- Nilsson, Jakob, 1975-
(författare)
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Capitalocene, cliches, and critical re-enchantment : What Akomfrah's Vertigo Sea does through BBC nature
- 2018
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Ingår i: Journal of Aesthetics & Culture. - : Taylor & Francis. - 2000-4214. ; 10:1
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Tidskriftsartikel (refereegranskat)abstract
- In the montage of archival and original material that makes up John Akomfrah's three-channel video work Vertigo Sea (2015), the frequent use of footage shot by BBCs Natural History Unit (producers of series like Planet Earth) stands out as an unusual choice. This article explores aesthetic-political implications of how this material is subtly repurposed, with focus on one of the interconnected issues dealt with in the work: nature and the Capitaloscene. What does Vertigo Sea do to and through these BBC nature images? Which artistic strategies are involved and for which ends? Is the kind of ecological pathos already framing the original material itself critically transformed and if so in which senses? Does Vertigo Sea merely go for a reproduction of the natural beauty often attributed to original material, and as simply juxtaposed with terrible images, or does the repurposing also entail an alteration of the very notion of natural beauty? This article critically explores all these questions mainly through the frameworks of Situationist detournement, Deleuze's ideas about art and cliches, and Adorno's notions of authentic art, re-enchantment, and natural beauty-frameworks that are conversely critically discussed through Vertigo Sea. It aims to reveal Vertigo Sea as on the one hand an experiment in finding vital artistic strategies for re-enchanting (in non-idealizing ways) planetary nature in the Capitalocene, and as on the on the other hand a thematization of the difficulties in doing so. While appearing among a contemporary art scene increasingly concerned with local and/or global relations having to do with ecology in this new era, Vertigo Sea presents us with a highly original case primarily through its unusual choice of main source material and its complex treatment of this material.
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| 9. |
- Nilsson, Jakob, 1975-
(författare)
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Cinecepts, Deleuze, and Godard-Miéville : Developing Philosophy through Audiovisual Media
- 2023
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Bok (refereegranskat)abstract
- Develops a theory of cinecepts: a new framework for how philosophy can proceed in and through film/video/audiovisual mediaExplores how concepts – original philosophical concepts – can be constructed as compounds of moving images/sounds/voice/texts/graphics/montageBuilds on but also critically reexamines the work of Gilles Deleuze regarding the film/philosophy relation, concepts, and noveltySubjects Jean-Luc Godard and Anne-Marie Miéville’s 1970s video-works to extensive analysis, along with readings of two late-1960s Godard films and considerations of form in Histoire(s) du cinémaCritically explores debates and discourses on the ‘scholarly video essay’ and offers a cineceptual alternativeDraws together Film-Philosophy, Philosophy, Deleuze studies, Godard Studies, Film Theory, Art Theory, Media Theory, Critical Theory, and Videographic Film StudiesAs the spread of knowledge and even theory becomes an increasingly audiovisual affair, how can philosophy adapt in ways that develop – rather than dilute – philosophical rigor and specificity? How can philosophy harness the potential of audiovisual media – being more formally multidimensional than text-only – to conceptualize with greater precision and depth?This book presents a theory of formal development of philosophy in this regard: a theory of cinecepts. While spanning film, media, art, and critical theories as well as philosophy, this study proceeds mainly through a close reimagination of the work of Gilles Deleuze, which allows for a merging of what he kept separated: filmic thinking and philosophical conceptualization. Jean-Luc Godard & Anne-Marie Miéville's underexplored 1970s Sonimage works are also the subject of extensive examination, along with critical considerations of a contemporary era of academic video essays and phenomena like philosophy channels on YouTube.
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| 10. |
- Nilsson, Jakob, 1975-
(författare)
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Concept-Cognitive Mapping : Third Cinema as Cartography of Global Capitalism
- 2013
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Ingår i: Cinema & Cie. International Film Studies Journal. - Rome, Italy : Carocci editore. - 2035-5270. ; 13:20, s. 87-96
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Tidskriftsartikel (refereegranskat)abstract
- This article returns to the experimental theory and practice of Third Cinema as developed in the late 1960s in parts of Latin America. It focuses on two of its aspects that have not been systematically researched: Third Cinema as conceptualizations and maps of global capitalism. In doing so this article takes up and reconfigures Fredric Jameson's notion of "cognitive mapping" and introduce the theory concept-cognitive mapping. This latter theory aims to contribute new thoughts and perspectives to ongoing debates on aesthetic forms capable of a critical grasp of the mechanisms of advanced capitalism.
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