| 1. |
- Järdemar, Cecilia, 1974-
(författare)
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Les Archives Suédoises : An Intercultural Collaboration Around a Colonial Pile of Glass-plate Negatives
- 2020
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Ingår i: Cinergie : Il Cinema e le altre arti. - Bologna. - 2280-9481. ; :17, s. 109-122
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Tidskriftsartikel (refereegranskat)abstract
- This article will discuss the intercultural, collaborative art project Les Archives Suédoises, which brings a repressed part of colonial history into the open by re-contextualizing and reworking a hidden trove of historical glass-plate negatives photographed by Swedish missionaries in the Congo DR between 1890 -1930. Through a practice of inter-cultural artistic interventions, the material remains of the missionary project are investigated and reformulated; questioning Sweden’s colonial history, and simultaneously giving Congolese communities access to parts of their history lost in the process of colonization. The project explores the possibilities of intercultural artistic interventions – is it possible to redress and reformulate our difficult shared history through a shared practice? How can we bring the past into the present in ways that consider the different needs in the Congo and Sweden? Is it possible to find new ways of conceiving of the narrative potentials of the photographic archive – beyond digital repatriation projects that strip images of their context and echo the exclusionary mechanics of earlier versions of the archive?
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| 2. |
- Audissino, Emilio, 1981-
(författare)
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"Commutation Tricks” and “Forced Marriages” : The Manipulation of the Soundtrack as a Tool for Film/Music Analysis.
- 2018
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Ingår i: Cinergie. - Bologna : University of Bologna. - 2280-9481. ; 7:13, s. 37-46
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Tidskriftsartikel (refereegranskat)abstract
- The audiovisual object is like a product of visuals and sound, not a summation. Film analysis should track back to the separate factors and show how they multiply each other when combined. Music, in particular, can be an elusive element, especially for non specialists. But music can crucially perform a variety of functions in films, and its agency should therefore be taken in proper consideration during film analysis. After a preliminary discussion of some recent theory of how visuals and sound fuse into an audiovisual whole, the article presents the manipulations made possible by the videographic approach as a helpful analytical tool to draw attention to the music. Videographic manipulation can help analyse the factors separately to better understand how they combine. One effective way to make one notice the agency of music in a scene/sequence is to remove it or replace it with a musical piece of completely different mood. This latter operation is now made rather easy by the increased availability and user-friendliness of DVD ripping software and editing programmes. I discuss three examples of videographic manipulation of increasing sophistication. The first is the shower scene from Psycho which, in the 50th anniversary DVD, is also presented for comparison without the music track. The second example is a ‘mashup’ in which the door axing sequence from The Shining is turned into a silent-film-like chase gag. As a close, I provide my own videographic manipulation and discuss it: staying in the territory of The Shining I present an audiovisual clips of the opening sequence of the Kubrick with my annotations, and then one clip with the original music replaced with John Williams’s ‘Main Theme’ from Jurassic Park.
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| 3. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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'Due note di credibilita' : John Williams e Lo squalo
- 2015
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Ingår i: Cinergie. - Bologna : University of Bologna. - 2280-9481. ; 4:7, s. 36-44
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Tidskriftsartikel (refereegranskat)abstract
- A discussion of the importance of John Williams's music for the success of the 1975 film Jaws.
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| 4. |
- Castaldo Lundén, Elizabeth, 1974-
(författare)
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Lo squalo, le strategie di marketing della Universal e la construzione della "Jawsmania"
- 2015
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Ingår i: Cinergie. - 2280-9481. ; 7, s. 27-35
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Tidskriftsartikel (refereegranskat)abstract
- Jaws (Steven Spielberg, 1975) set a new standard for Hollywood film production by introducing the concept of “summer blockbuster,” but it also changed the way in which people thought about sharks. Almost 40 years after the release of the movie, the idea of sharks as ferocious man-hunters still underpins public opinion. This conceptualization of sharks as ruthless killers is mythical rather than factual, and in this presentation I intend to track the mechanisms that rooted the idea deep into popular culture. My research addresses the problematic of media constructions through a case study of the movie Jaws by looking into the production process, and applying Barbara Klinger’s interpretation of Epiphenomena (1989). Through intensive archival work, the paper studies how cinema travels into popular culture, by following the traces of the movie into other media, and the surrounding texts linked to marketing and merchandising; underlining its position as an integral part in the construction of myths, while tying to prove the connection between the movie and the stigmatized portrayal of sharks.
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