| 1. |
- Rossholm, Anna Sofia, 1973-
(författare)
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Ingmar Bergman’s Screenwriting
- 2014
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Ingår i: Journal of Scandinavian Cinema. - : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 4:2, s. 165-171
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Tidskriftsartikel (refereegranskat)abstract
- Via a combination of screenwriting theory and theories on literary manuscripts, this article approaches Ingmar Bergman’s screenwriting as process, from notebooks to script drafts and finished screenplays. It particularly emphasizes the playful dimensions in the early stages of the screenwriting process and the way the writing negotiates fiction and reality.
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| 2. |
- Bruhn, Jørgen, Professor, 1968-, et al.
(författare)
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Mellan artefakt och arkefakt
- 2019
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Ingår i: Apropå Eric M.. - Röstånga : Trollrumma. - 9789198392982 ; , s. 167-174
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Bokkapitel (refereegranskat)
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| 3. |
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Naturfilm
- 2021
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- Naturfilm består av tre kortare bildessäer som reflekterar över relationen mellan människa och natur i klassisk svensk naturdokumentärfilm. I arbetet belyses också hur distinktionen mellan natur och kultur förhandlas inom moderniteten. Essäerna omfattar reflektioner över landskapet, naturen som resurs, art- och genusrelationer, ursprungskulturer och mediets materialitet. I bildessäerna kombineras tecknade bilder med en berättarröst; teckningar av frysta filmbilder från dokumentärfilmer visas parallellt med berättarröstens fragmentariska reflektioner över bilden som representation och materiell inskription. Essäerna är mediala transformationer av svenska dokumentärfilmer från den klassiska erans höjdpunkt, mellan sent 1930-tal och det tidigt 1950-tal. Denna period sammanfaller med ’den stora accelerationen’, då exploateringen av naturens resurser ökar explosionsartat samtidigt som avståndet mellan människa och natur ökar.
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| 4. |
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| 5. |
- Larsson, Mariah, 1972-, et al.
(författare)
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Documenting the present, processing the past, shaping future memory : The Face of AIDS Film Archive
- 2017
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Ingår i: Journal of Scandinavian Cinema. - Bristol : Intellect Ltd.. - 2042-7891 .- 2042-7905. ; 7:2, s. 93-98
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Tidskriftsartikel (refereegranskat)abstract
- The Face of AIDS Film Archive consists of documentation of the HIV/AIDS epidemic, shot all over the world beginning in 1988 by Swedish filmmaker and journalist Staffan Hildebrand. In this article, the archive’s particular characteristic of process is discussed and examined through four different perspectives: first, as an ongoing documentation of HIV/AIDS in the contemporaneous moments when it was filmed; second, as a commission of the Karolinska Institute in Stockholm; third, as the product of a director with a strong personal vision and authorial presence; and finally, as an expression of Hildebrand’s self-defined AIDS activism.
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| 6. |
- Rossholm, Anna Sofia, 1973-
(författare)
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Astrid Lindgren’s Early Filmmaking : Transmediations Across Radio, Books, and Moving Images
- 2024
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Ingår i: Swedish Children's Cinema. - London : Palgrave Macmillan. - 9783031570001 ; , s. 215-236
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Bokkapitel (refereegranskat)abstract
- Astrid Lindgren is primarily regarded as a literary author, yet this overshadows the fact that her stories were – and continue to be – produced in continuous transformation between art and media forms. Her characters and stories migrate between radio, theater, comics, novels and picture books and in most cases Lindgren herself – in collaboration with illustrators, songwriters, film directors, etc. – is the main author of all these various adaptations. This study discusses the movement across media in Lindgren’s work with a particular focus on the film medium. The point of departure are the early film productions from the mid-1950s, namely Rasmus and the Vagabond (Luffaren och Rasmus 1955), Rasmus, Pontus and Toker (Rasmus, Pontus och Toker 1956), and The Master Detective Lives Dangerously (Mästerdetektiven lever farligt 1957). These three films were initially made for radio, which provides an entry point into the relationship between film and audio media in Lindgren’s filmmaking and storytelling, a relationship that continues to define her work throughout her career. The material is approached from a perspective of transmedia storytelling in which the media versions of the story are regarded as an expansion of a larger fictional universe across multiple platforms without having an origin in any of them. In contrast to most adaptations and transmedia studies, the material of this analysis is not limited to the finished media products but also includes the drafts and notes of the early phases of the filmmaking process.
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