| 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. |
- Hedling, Erik, et al.
(författare)
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Strange Bedfellows : Lindsay Anderson and Chariots of Fire
- 2016
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Ingår i: Lindsay Anderson Revisited : Unknown Aspects of a Film Director - Unknown Aspects of a Film Director. - London : Palgrave Macmillan UK. - 9781137539434 - 9781137539427 ; , s. 173-186
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Bokkapitel (refereegranskat)abstract
- In 1986, Thames Television broadcast a series of programmes on British cinema. In one of them, dedicated to the Free Cinema documentary movement of the 1950s, and the new wave of films it triggered in Britain in the 1960s, 70s, and 80s (particularly Anderson’s own), Lindsay Anderson took the opportunity to ridicule the prominent box office and Academy Award success of Chariots of Fire, which premiered in Britain at the Royal Film Performance of May 1981. His ironic remarks pertained particularly to the film’s producer, David Puttnam, who clearly represented for Anderson what was bad about the current state of British cinema: its blatant commercialism, its aim for success in the American market, and its greedy yearning for Oscars. The claims that Anderson made in the programme even prompted legal action on Puttnam’s part. I have studied this TV programme in some detail elsewhere. Here, however, I would like to trace the personal background for Anderson lurking behind it by studying whatever contemporary references to Chariots of Fire itself—not the TV programme, which is also lavishly represented in the collection—can be found in the Lindsay Anderson Archive at the University of Stirling.
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| 3. |
- Hedling, Erik, et al.
(författare)
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The Return of the Bourgeois : Fanny and Alexander in Swedish Politics
- 2021
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Ingår i: Ingmar Bergman : An Enduring Legacy - An Enduring Legacy. - : Manchester University Press. - 9789198557701 - 9789198557718 ; , s. 270-284
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Bokkapitel (refereegranskat)abstract
- In this essay it is argued that Bergman deviated from his highly critical depictions of bourgeois life in the films of the 1960s and 1970s, from Persona (1966) to the television series Scenes from a Marriage (1973), in Fanny and Alexander (1982), his final contribution to films made for the cinema. Bergman himself came from an upper-class bourgeois background, and by his own account he did not take an interest in politics until the mid-1960s. He sided with Sweden’s ruling Social Democratic party at that time, which certainly represented a sort of break with his family background. It is argued here that Bergman obviously profited from this connection to contemporary power politics, by obtaining official support for his work, both in the theatre and in film. However, Bergman temporarily broke off with Sweden in the aftermath of his being charged with tax evasion in 1976. The author argues that Bergman’s return to Sweden with Fanny and Alexander in the early 1980s coincided with a new Zeitgeist, in which the country’s Socialist past came under much critical scrutiny. It was in this new political climate that Bergman chose to celebrate the bourgeois society in which he was raised and at the same time denigrate enemies, like Uppsala philosophy professor Ingemar Hedenius, a strong advocate of scientific positivism and atheism, who appears in several Bergman film as the arch rationalist Vergérus. In Fanny and Alexander, this figure is somewhat surprisingly and ambiguously, depicted as the Lutheran clergyman.
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| 4. |
- 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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| 5. |
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| 6. |
- 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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| 7. |
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| 8. |
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Regional Aesthetics : Locating Swedish Media
- 2010. - 1
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Regional Aesthetics: Locating Swedish Media maps more than two hundred years of Swedish media. It ranges from written travelogues in the eighteenth and nineteenth centuries via feature films, documentaries, TV programmes, literature and press to contemporary video activism on the Internet. The nineteen contributors navigate the reader through a variety of media landscapes by advocating an interdisciplinary approach to “the communication of place” that mixes in-depth analyses of specific phenomena with a general understanding of modern media representations. Accordingly, this is a book that recurrently combines textual close readings with historical contextualizations in new ways.
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| 9. |
- Burman, Christo, 1981-
(författare)
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I teatralitetens brännvidd : Om Ingmar Bergmans filmkonst
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews). After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters. The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films. The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films. The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances. The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.
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| 10. |
- Alexander, John, 1952-
(författare)
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Screen play : audiovisual narrative & viewer interaction
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- How does the viewer, interact, with the on-screen narratives of film, television and computer? What new forms of interaction can be realised with the emerging narratives of CD-ROM and Internet?This study considers screen play in terms of the game the viewer plays with audiovisual narrative, and how the viewer negotiates with a story to interpret, revise and reconstruct new stories of their own.Aspects of game and narrative theories, cognitive psychology and phenomenology, as well as recent research in the fields of cinema, television and computer studies, are incorporated within a screen play theory, which positions the viewer both as player and storyteller. Thus, screen play can be defined as a fusion of the external screen narrative and the internal and individual scenario.In addressing the divide between player and game ?, the mystic gulf, between viewer and narrative ? a re-assessment of early film theory plays an important part in coming to terms with the fin du siècle playground represented by the cinematographe a century ago, and the digital IT playground of the present, and an emergent narrative, in whatever form it may take.
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