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- Nilsson, Jakob, 1975-
(author)
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The Untimely-Image : On Contours of the New in Political Film-Thinking
- 2012
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Doctoral thesis (other academic/artistic)abstract
- This study creates and develops a concept called the untimely-image including two sub-concepts called contours of the new and the untimely-site. The untimely-image concerns the clearing for and the expression of figures of “potential” in thought in the form of moving-images. The aim of these concepts is to form a critical framework for evaluating and conceptualizing political film as expressive, not of the new itself but of its “untimely” contours.The untimely-image, and its many implications, is developed over the course of six chapters. Chapter 1 extensively defines “contours” and “new” as operative in this study, and also introduces a theme that runs through all the chapters: how to think the contours of the new in relation to the cult of the new in consumer culture and in relation to the larger mechanisms of advanced capitalism. Chapter 2 defines the parameters of the untimely-image as specifically regarding moving images, and continues the development of this concept. In Chapters 3 to 6, The Wire (David Simon, 2002-2008) serves the double function of complicating and giving specification to the elaboration of the untimely-image as well as a case in which the untimely-image is used as a critical framework. The Wire and the untimely-image relate in processes of juxtaposition, wherein they meet, cross over, separate, and reproblematize each other. An untimely-image is fully defined in relation to concrete political issues. The untimely-image is therefore advanced by articulating the components and characteristics that, independently of the concrete issue, remain in every case, as well as by putting the concept to work regarding two specific problems in The Wire: its expression of blackness and its mapping of advanced capitalism.
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| 5. |
- Andersson, Lars Gustaf, et al.
(author)
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I skuggan av spelfilmen: Svensk experimentell film
- 2006
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In: Konst som rörlig bild. - Stockholm : Langenskiölds. - 9197599107 ; , s. 15-94
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Book chapter (other academic/artistic)abstract
- Förord / av Richard Sangwill -- Sidospår : perspektiv på den svenska rörliga bildkonsten / av Astrid Söderbergh Widding -- I skuggan av spelfilmen : svensk experimentell film / av Lars Gustaf Andersson, John Sundholm och Astrid Söderbergh Widding -- Den tidiga monitorkonsten : TV-experiment i Sverige / av Gary Svensson -- Videokonst i Sverige : från alternativ till institution / av Gunnel Pettersson och Måns Wrange -- DVD med verk av Viking Eggeling, Gösta Werner, Rut Hillarp, Hans Nordenström, Pontus Hultén, Peter Weiss, P. O. Ultvedt, Åke Karlung, Olle Bonniér, Ralph Lundsten, Claes Söderquist, Jan Håfström, Gunvor Grundel Nelson, Hans Esselius, Kjartan Slettemark, Olle Hedman, Antonie Frank, Lola Mökker, Andrew Hibbert, Cecilia Parsberg, Erik Pauser, Johan Söderberg, Dorinel Marc, Teresa Wennberg, Marit Lindberg, Ann-Sofi Sidén, Johanna Billing, Cecilia Lundqvist, Miss Universum (Catti Brandelius), Petra Lindholm och Katarina Löfström.
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- Andersson, Therése, 1974-
(author)
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Beauty Box : Filmstjärnor och skönhetskultur i det tidiga 1900-talets Sverige
- 2006
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Doctoral thesis (other academic/artistic)abstract
- The object of this dissertation is the relationship between film, fashion and beauty concerning different understandings of femininity, with reference to the establishment of the star system and the making of celebrity culture, and how these were expressed through magazines and commercial ads in early 20th century Sweden. The period of time framing the discussion, from fin-de-siècle and onwards with specific focus on the 1920s and 1930s, corresponds to the course of publication of the Swedish magazine Filmjournalen. Star studies and reception studies make up the theoretical framework, offering an understanding of the popular press both as a source of knowledge for and as an intermediary of fashion and style, creating a wider network of texts and images and providing a context for how films were presented for Swedish, mainly female, audiences. Spectatorship is therefore considered from the viewpoint of address, in line with Miriam Hansen’s angle, analysing how a network of texts and images, exceeding the particular film, constitutes the positions of spectators. Film stars are understood as embodying different ideas; represented, negotiated, and incorporated in already existing lines of thoughts, drawing attention to questions of media presentation, and to the ideas appearing behind the beauty ideals and the aesthetics. The discussion on stars is narrowed down to concern three particular themes - consumerism, emancipation and physiognomy - when presupposing femininity as defined by appearance; considering cosmetics and fashion as providing practical, next-to-the-skin tools in this making, while film and journalism are working on a social, discursive level. Judith Butler’s account of performance and Teresa de Lauretis’ understanding of technologies of the self are significant for this study, as well as Richard Dyer’s approach, considering film stars as articulating the business of being an individual when representing familiar ways of feeling and thinking.
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- Bengtsson, Bengt, 1962-
(author)
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Ungdom i fara : ungdomsproblem i svensk spelfilm 1942-62
- 1998
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Doctoral thesis (other academic/artistic)abstract
- This thesis treats the way juvenile delinquency is depicted in Swedish feature films made between 1942 and 1962. The study makes a historical survey of the youth-going-astray films, how they portray contemporary society and life and convey their conception of youth related problems. The analysis is primarily based upon role analyses with the tliematics and cultural reception of the films in focus.The analysis studies not only about twenty films that deal mainly with the subject, but also a number of films concerning other youth related subjects such as prostitution, sexual problems and, as a counterweight, the well-behaving youth, for instance youth engaged in associations. Furthermore, the analysis gives a picture of the public reception of tire films, both by critics and the Board of Film Censors.The main point of the analysis is tire way the films mirror a widespread contemporary opinion. Thus, the relation between tire debate and tire film is analysed, as well as tire extent to which tire contemporary debate and the "politically correct” values catch on in Swedish film. To a large extent, Swedish films reflect the views expressed in the Public Inquiries of the State and in middle-of-the-road opinions in the debate. The majority of films try to stick to the middle course between the conservative line demanding stronger measures and the progressive line associating with the new pedagogy and liberal upbringing.
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- Bengtsson, Jan Christer, 1945-
(author)
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Peter Weiss filmer : från de korta små lekfulla kopparslagen till kommersiell långfilmsdebut: filmer - filmidéer - utkast
- 2010
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Doctoral thesis (other academic/artistic)abstract
- This doctoral thesis deals with Peter Weiss’ (1916-1982) films and some of his never finished attempts. The focus is in general on Weiss’ film work activities in the 1950’s, when film held the very central place in his works of art. The intention has been to interrogate what short films Peter Weiss made and to find out the meaning and the role of film in the life of the artist Peter Weiss. The conclusion is that Peter Weiss fought with personal difficulties in expressing himself in a language — a language of words and a language of signs — because it is assumed that Peter Weiss carried a very strong will to become an author. In order to “conquer the words” Weiss exercised himself in describing all kinds of worlds — an interior one as well as an exterior one. That explains why he dealt with surrealist psychological subjects and documentary forms while making films.
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- Frisvold Hanssen, Eirik, 1975-
(author)
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Early Discourses on Colour and Cinema : Origins, Functions, Meanings
- 2006
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Doctoral thesis (other academic/artistic)abstract
- This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema.The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912.The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage.The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.
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| 10. |
- Gustafsson, Henrik, 1973-
(author)
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Out of Site : Landscape and Cultural Reflexivity in New Hollywood Cinema 1969-1974
- 2007
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Doctoral thesis (other academic/artistic)abstract
- This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.
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