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| 2. |
- Andersson, Robert, 1968-, et al.
(författare)
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The Corners of Crime
- 2015
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Ingår i: The wire and America's dark corners. - Jefferson, North Carolina, USA : McFarland & Company, Inc.. - 9780786479184 ; , s. 81-94
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Bokkapitel (refereegranskat)
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| 3. |
- Andersson, Robert, 1968-, et al.
(författare)
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The Wire og kriminalitetens afkroge
- 2012
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Ingår i: Passage. - Aarhus : Aarhus Universitetsforlag. - 0901-8883 .- 1904-7797. ; 27:68, s. 27-40
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Tidskriftsartikel (refereegranskat)abstract
- This article argues that the American TV-series The Wire poses complicated political and ideological questions rather than attempting to deliver clear-cut answers or solutions to the problems represented. The Wire is analysed both as an aesthetic phenomenon (narratological and thematic analysis) and as a representation of societal elements (which demands analysis based on sociological, historical and criminological perspectives). After a brief overview of the series, the authors aim to generalise the results of the analysis of a particular part of the five-season series, namely the “Hamsterdam-episode”.
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| 4. |
- Bruhn, Jørgen, Professor, 1968-, et al.
(författare)
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Cinema Between Media : An Intermediality Approach
- 2018
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Bok (refereegranskat)abstract
- Cinema has always been a mixed medium, sharing its basic form with photography, borrowing heavily from performing arts and the novel, and combining medialities like painting and music. But although it could be argued that cinema is the intermedial art form par excellence, this insight has not affected film analysis as much as might be expected. Seeking to change our perceptions of cinema as a medium, Cinema Between Media draws on case studies of films like Zero Dark Thirty, Citizen Kane, Howl and Birdman to rethink cinema as an aesthetic form, and to raise new ideas about the practice of film analysis.
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| 5. |
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| 6. |
- Bruhn, Jørgen, et al.
(författare)
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David Simon’s Novel Cop Show
- 2013
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Ingår i: New Review of Film and Television Studies. - : Taylor & Francis. - 1740-0309 .- 1740-7923. ; 11:2, s. 133-153
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Tidskriftsartikel (refereegranskat)abstract
- Is the acclaimed HBO series The Wire comparable to (a certain kind of) literature? In this paper we investigate this claim by both situating the series within the tradition of American television and by way of intermedial comparisons. We suggest that comparing The Wire with literature may prove productive. Specifically, we suggest that selected aspects of M.M. Bakhtin's theory of the novel (heteroglossia and chronotopics) are helpful tools in an analysis of this cop show. Our aim is to demonstrate how and why David Simon and Ed Burns' work may be legitimately considered a ‘novel cop show’, which means that, through The Wire, television is able to achieve some of the functions that are often referred to as typical of novelistic discourse.
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| 7. |
- Bruhn, Jørgen, et al.
(författare)
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Ginsberg’s Animating Typewriter : Mixing Senses and Media in Howl (2010)
- 2015
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Ingår i: Word and Image. - : Informa UK Limited. - 0266-6286 .- 1943-2178. ; 30:4, s. 348-361
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Tidskriftsartikel (refereegranskat)abstract
- Epstein and Friedman’s 2010 movie Howl is partly a portrait of Allen Ginsberg, author of the poem ‘Howl’, and partly a documentary about the 1957 obscenity trial against his publisher Lawrence Ferlinghetti. The film thus follows the ‘biopic’ trend of the last decades, where authors and their work are made the subject of feature films (Finding Neverland, Becoming Jane, Capote, Bright Star, etc.). This particular case, however, is more complicated and perhaps more demanding than the conventional biopic, because the movie also adapts Ginsberg’s Howl from poetry to animation film. Consequently, the beat poem exists in several medial forms in the film: it is represented through poetry reading as performance; it is read aloud as evidence in court; it is shown as written text; and, finally, it is transformed into the visual animation work of artist Eric Drooker. This article demonstrates how complex media relations in cinema, in this caseHowl, can be discussed using perspectives developed in intermedial theory. By way of a formal and sensorial analysis of selected scenes the article also discusses the views on the artist and artistic creation constructed in the film, in order to reframe the formal analysis as an ideological interpretation.
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| 8. |
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| 9. |
- Bruhn, Jørgen, 1968-, et al.
(författare)
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“Jan Troell’s Fleeting Still Moments”
- 2012
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Ingår i: Journal of Scandinavian Cinema. - : Intellect. - 2042-7891 .- 2042-7905. ; 2:1, s. 55-72
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Tidskriftsartikel (refereegranskat)abstract
- This article investigates the role of photography in the Swedish auteur Jan Troell's film Maria Larssons eviga ögonblick/Everlasting Moments (2008) in the light of different perspectives on medium specificity, photography and adaptation. We argue that Jan Troell, by way of cinema, discusses key characteristics and functions of photography. In so doing, the film, in addition to telling the tale of a historical female photographer, raises a number of questions concerning media theory, media ontology and history. We introduce the term 'fleeting still moments' in order to account for Troell's particular cinematic strategy, negotiating movement and stills. Accordingly, the central questions in our study are as follows: what are the differences and similarities between cinema and photography? And to what degree can the differences be framed within the traditional divide between cinema's movement and photography's stillness?
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| 10. |
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