| 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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Kollektivets kollaps: om dygden i svensk 90-talsfilm
- 2002
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Ingår i: I ordets smedja. Festskrift till Per Rydén. - 91 7203 494 7
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This article deals with concepts of virtue in Swedish blockbusters of the late 1990s, arguing that the general theme seems to be the collapse of traditional Swedish welfare collectivity.
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| 3. |
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| 4. |
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| 5. |
- Hedén, Birger, et al.
(författare)
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Förord
- 2008
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Ingår i: Theorier om verklig diktning. Festskrift till Per Erik Ljung.
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Bokkapitel (populärvet., debatt m.m.)
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| 6. |
- Hedling, Erik, et al.
(författare)
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Bergmans bortgång:realpolitiska reflektioner
- 2014
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Ingår i: Den nya svenska filmen: kultur, kriminalitet, kakofoni. - 9789173536363 ; , s. 329-352
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Bokkapitel (refereegranskat)abstract
- Study of the tax scandal that struck Ingmar Bergman in Sweden in 1976. The chapter mainly traces newspaper articles commenting the affair during the ensuing months. The general thesis is that that Swedish society generally backed Bergman in his struggle agains the tax authorities.
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| 7. |
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| 8. |
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| 9. |
- Hedling, Erik, et al.
(författare)
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Grupptryckets tragik – om skildringen av kollektiva mekanismer i moderna svenska blockbusters
- 2006
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Ingår i: Solskenslandet : svensk film på 2000-talet. - 9173531154
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Det sena 90-talets tre mest populära filmer, ”Jägarna” (1996), ”Fucking Åmål” (1998) och ”Hälsoresan” (1999) skildrade samtliga ett Sverige i ekonomiskt och moraliskt förfall, ett land genomsyrat av "onda" kollektiva mekanismer. Att den populära 90-talsfilmen skildrade vårt land i sådana termer kan rimligen ha att göra med att den ekonomiska tillbakagången i Sverige hade varit drastisk och att många svenskar med sannolikhet uppfattade detta som ett tecken på det kollektiva välfärdssamhällets och den traditionella svenska modellens gradvisa sammanbrott. Från att på 1970-talet ha varit ett av världens rikaste länder hade Sverige halkat ner i EU:s botten. Denna tendens, att förneka den i socialdemokratisk ideologiproduktion djupt förankrade gruppmentaliteten för att istället bejaka en ny individualism, står att finna också i de senaste fem årens tre populäraste svenska filmer: ”Grabben i graven bredvid” (2002), ”Ondskan” (2003) och ”Såsom i himmelen” (2004). Både ”Ondskan” och ”Såsom i Himmelen” handlar om samhällen präglade av uttalad kollektiv misär. Dessa filmer försöker emellertid prestera något av en lösning på problematiken genom att betona olika slags individuella initiativ.
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| 10. |
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| 11. |
- Hedling, Erik, et al.
(författare)
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Inledning : välfärdstecken i tiden
- 2008
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Ingår i: Välfärdsbilder : svensk film utanför biografen. - 9188468097 ; , s. 7-29
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 12. |
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| 13. |
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| 14. |
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| 15. |
- Hedling, Erik, et al.
(författare)
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Lindsay Anderson's Legacy : An Introduction
- 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. - 9781137539427 - 9781137539434 ; , s. 1-13
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Bokkapitel (refereegranskat)abstract
- Introduction to anthology on British film-maker Lindsay Anderson. The chapter focuses on previous research on Anderson's films.
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| 16. |
- Hedling, Erik, et al.
(författare)
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'On the Rocks': The Scanian Connection in Ingmar Bergman's Early Films
- 2010
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Ingår i: Regional Aesthetics : Locating Swedish Media. - 9789188468147 ; , s. 307-322
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Study of landscape in some early Bergman films. The feneral idea is that Bergman used dramatic settings to enhance the angst of the characters.
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| 17. |
- 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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| 18. |
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| 19. |
- 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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| 22. |
- Bergman, Kerstin, et al.
(författare)
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Ska vi äta våra döda: Linné mellan tro och nytta
- 2002
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Ingår i: I ordets smedja: Festskrift till Per Rydén. - 9172034947 ; , s. 182-191
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- About the struggle between faith and utilitarian aspects in the writings of Carl von Linné.
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| 23. |
- Bondebjerg, Ib, et al.
(författare)
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A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
- 2010
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- In this report we have analysed the Scandinavian film and television culture focusing on films released between 2002-2006, using data drawn from both cinemas in Scandinavia and in the rest of Europe, as well as films shown on television in Denmark, Norway and Sweden. The study involves a comparative look at the support mechanisms and the production sector as well as the distribution sector, especially co-productions, but the main focus is on film genres and TV drama, audiences and the Scandinavian and European distribution of films. One of the main conclusions of the report is that whereas there continues to exist a successful Scandinavian tradition of co-production and co-distribution between the Nordic public service TV stations, with loyal audiences watching TV dramas from their neighbouring Scandinavian countries, this is not the case when it comes to film. Even though a Scandinavian film culture does exist and consists of a rather unique transnational framework for cooperation – at least seen from a European perspective, where no such regional cooperation exists – the result with regards to the exchange of films and film audiences is disappointing. The report shows that if one adds the total cinema admissions for films from Denmark, Norway and Sweden between 2002-2006 and divide them into the three categories National (Danish, Norwegian and Swedish films on their own national market), Scandinavian (Danish, Norwegian and Swedish films on the other Scandinavian markets) and EU (the three countries’ admissions in the rest of EU36) the figures are as follows: 71%, 5% and 24% (fig. 22). The conclusion is thus that on average the non-national Scandinavian market is of least importance, the EU market is almost five times bigger, whereas the national market is the most important.
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| 24. |
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| 25. |
- Hedling, Erik, et al.
(författare)
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Filmhistoriografi
- 2003
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Ingår i: Att skriva god historia. Sylwan 12. Den svenska pressens historia. - 1403-3585.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Discussion of various historiographical approaches to film history.
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