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- 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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- Andersson, Lars Gustaf
(författare)
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Annika Eriksson : The Social
- 2017
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Ingår i: FLM : en kulturtidskrift om film. - 1654-711X. ; 10:39, s. 72-73
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Recension (populärvet., debatt m.m.)abstract
- Review of the video art exhibition "The Social" at Moderna Museet, Malmö (170311 - 170604) by Swedish artist Annika Eriksson (b. 1956).
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- Andersson, Lars Gustaf
(författare)
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I sanningens skugga med Lena Mattsson
- 2017
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Ingår i: FLM : en kulturtidskrift om film. - 1654-711X. ; Weekend, w. 19
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Recension (populärvet., debatt m.m.)
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| 6. |
- Andersson, Lars Gustaf, et al.
(författare)
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Spaces of becoming : the Stockholm Film Workshop as a transnational site of film production
- 2015
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Ingår i: Transational Cinemas. - : Informa UK Limited. - 2040-3526 .- 2040-3534. ; 6:2, s. 156-167
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Tidskriftsartikel (refereegranskat)abstract
- 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.
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| 7. |
- Andersson, Lars Gustaf, et al.
(författare)
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Accented cinema and beyond : Latin American minor cinemas in Sweden, 1970–1990
- 2016
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Ingår i: Studies in Spanish & Latin American Cinemas. - : Intellect. - 2050-4837 .- 2050-4845. ; 13:3, s. 227-245
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Tidskriftsartikel (refereegranskat)abstract
- 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.
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| 8. |
- Andersson, Lars Gustaf, et al.
(författare)
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Accented cinema and beyond : Latin American minor cinemas in Sweden, 1970 - 1990
- 2016
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Ingår i: Studies in Spanish & Latin American Cinemas. - : Intellect. - 2050-4845 .- 2050-4837. ; 13:3, s. 227-246
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Tidskriftsartikel (refereegranskat)abstract
- 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.
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| 9. |
- Andersson, Lars Gustaf
(författare)
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Alf Sjöberg 1903-1980
- 2020
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Ingår i: nordics.info. - 2597-016X.
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Bokkapitel (populärvet., debatt m.m.)
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| 10. |
- Andersson, Lars Gustaf, et al.
(författare)
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Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden
- 2009
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Ingår i: Studies in European Cinema. - Bristol : Intellect. - 1741-1548 .- 2040-0594. ; :3, s. 207-218
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Tidskriftsartikel (refereegranskat)abstract
- This article is a study of Swedish post-war amateur and experimental film culture. In particular, the 50s and the gradual divide between amateurs and experimentalists are examined. Peter Weiss' filmic output is used as an example of how the various cultures collaborated and later on split apart. The aim with the essay is also to intervene in the ongoing debate concerning film historiography by arguing for the usefulness of the concepts ‘minor cinemas’ and ‘public sphere’ in order to enable a more diverse, open and heterogeneous film history.
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