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Sökning: WFRF:(Hedling Erik)

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1.
  • Hedling, Olof, et al. (författare)
  • Mapping the Region : An Introductory Note
  • 2010
  • Ingår i: Regional Aesthetics : Locating Swedish Media. - Stockholm : Royal Library of Sweden (Kungliga biblioteket). - 9789188468147 ; , s. 9-9
  • 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)
  • Kollektivets kollaps: om dygden i svensk 90-talsfilm
  • 2002
  • Ingår i: I ordets smedja. Festskrift till Per Rydén. - 91 7203 494 7
  • 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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5.
  • Hedén, Birger, et al. (författare)
  • Förord
  • 2008
  • Ingår i: Theorier om verklig diktning. Festskrift till Per Erik Ljung.
  • Bokkapitel (populärvet., debatt m.m.)
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6.
  • Hedling, Erik, et al. (författare)
  • Bergmans bortgång:realpolitiska reflektioner
  • 2014
  • Ingår i: Den nya svenska filmen: kultur, kriminalitet, kakofoni. - 9789173536363 ; , s. 329-352
  • 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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9.
  • Hedling, Erik, et al. (författare)
  • Grupptryckets tragik – om skildringen av kollektiva mekanismer i moderna svenska blockbusters
  • 2006
  • Ingår i: Solskenslandet : svensk film på 2000-talet. - 9173531154
  • 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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11.
  • Hedling, Erik, et al. (författare)
  • Inledning : välfärdstecken i tiden
  • 2008
  • Ingår i: Välfärdsbilder : svensk film utanför biografen. - 9188468097 ; , s. 7-29
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)
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15.
  • Hedling, Erik, et al. (författare)
  • Lindsay Anderson's Legacy : An Introduction
  • 2016
  • 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
  • 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)
  • 'On the Rocks': The Scanian Connection in Ingmar Bergman's Early Films
  • 2010
  • Ingår i: Regional Aesthetics : Locating Swedish Media. - 9789188468147 ; , s. 307-322
  • 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)
  • Strange Bedfellows : Lindsay Anderson and Chariots of Fire
  • 2016
  • 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
  • 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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19.
  • Hedling, Erik, et al. (författare)
  • The Return of the Bourgeois : Fanny and Alexander in Swedish Politics
  • 2021
  • Ingår i: Ingmar Bergman : An Enduring Legacy - An Enduring Legacy. - : Manchester University Press. - 9789198557701 - 9789198557718 ; , s. 270-284
  • 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)
  • Ska vi äta våra döda: Linné mellan tro och nytta
  • 2002
  • Ingår i: I ordets smedja: Festskrift till Per Rydén. - 9172034947 ; , s. 182-191
  • 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)
  • A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
  • 2010
  • 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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25.
  • Hedling, Erik, et al. (författare)
  • Filmhistoriografi
  • 2003
  • Ingår i: Att skriva god historia. Sylwan 12. Den svenska pressens historia. - 1403-3585.
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • Discussion of various historiographical approaches to film history.
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26.
  • Hedling, Olof, et al. (författare)
  • Bergman and the business : Notes on the director’s ‘worth in the market’
  • 2021
  • Ingår i: Ingmar Bergman : An enduring legacy - An enduring legacy. - : Manchester University Press. - 9789198557701 - 9789198557718 ; , s. 42-55
  • Bokkapitel (refereegranskat)abstract
    • This chapter discusses Bergman’s potential worth in the commercial film market on the basis of the director’s own correspondence with potential co-producers and international distributors of his films. The author first studies Bergman’s ample correspondence with Carl Anders Dymling, the powerful head of the Swedish production company Svensk Filmindustri between 1942 and 1961; most of Bergman’s early films were produced by Svensk Filmindustri. This correspondence concerns Bergman’s potential turn to the more profitable colour-film format in the early 1960s, a turn resisted by Bergman on artistic grounds; Bergman’s first colour film would eventually be the relatively unknown comedy, All these Women, in 1964. Second, the author examines Bergman’s correspondence with New York agent Bernhard L. Wilens regarding a possible film adaptation of French author Albert Camus’s short novel The Fall (La Chute, 1956). Third, the chapter explores Bergman’s correspondence with his American distributors, Janus Films, who famously specialized in the art-house market. Here, Janus is represented by Cyrus Harvey. Bergman never made a colour film during Dymling’s reign at Svensk Filmindustri, nor did he ever direct a film based on Camus’s novel. He did have a lengthy relationship with Janus Films, however. The chapter demonstrates how Bergman’s conception of himself as an artist conflicted with Hollywood, especially with regard to filmmaking practices. As an auteur in the European tradition, Bergman would always strive for artistic control of the entire production and distribution processes.
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27.
  • Hedling, Olof, et al. (författare)
  • Den olyckliga modernismen?
  • 1999
  • Ingår i: Mannen med filmkameran: Studier i modern film och filmisk modernism. - 1102-5522. - 9188396150 ; 16, s. 68-76
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • Diskussion om svårigheterna att producera populär europeisk film
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28.
  • Hedling, Olof, et al. (författare)
  • ”Detta dåliga samvete” : om kortfilmen, regionerna och filmfestivalerna
  • 2008
  • Ingår i: Välfärdsbilder. - : Statens ljud- och bildarkiv, Stockholm. - 9789188468093 ; , s. 261-281
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • On the production of short films within the contemporary Swedish film production setup. Moreover, the reliance on film festivals for screenings and that shorts are part of a particularly "European art cinema institution" is discussed.
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29.
  • Hedling, Olof, et al. (författare)
  • Dokumentär i krig
  • 1988
  • Ingår i: Filmhäftet. - 0345-3057. ; :4, s. 19-27
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
    • On the British documentary film during World War 2.
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33.
  • Hedling, Olof, et al. (författare)
  • Train Kept a Rollin' : Antonioni, Blow Up och den brittiska bluesvågen
  • 2008
  • Ingår i: Theorier om verklig diktning. - : Absalon förlag, Lund. ; 25, s. 349-358
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • Discussion and presentation of the extraordinary outpour of blues music and blues musicians out of Britain in the 1960s and how this is briefly portrayed in Michelangelo Antonioni's film Blow Up (1966).
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34.
  • Holgersson, Ulrika, et al. (författare)
  • "Regional Conflicts: From the Merchant's House to the People's Home"
  • 2010
  • Ingår i: Regional Aesthetics : Locating Swedish Media. - 1654-6601. - 9789188468147 ; Mediehistoriskt arkiv 15, s. 191-211
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • This article is an analysis of the Swedish feature film "Brita i grosshandlarhuset" from 1946 about a poor girl that moves to the city finding employment as a maid in the house of a rich merchant. Here I examine the compromises - in terms of constructions of class and gender - that paved the way for a new narrative, with the progression of imagery from, so to speak, the symbol of the merchant house to the metaphor of the "Folkhem". In special focus stands the relation between city and country side.
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37.
  • Marklund, Anders, et al. (författare)
  • Beyond Swedish Borders: On Foreign Places in Swedish Films
  • 2010
  • Ingår i: Regional Aesthetics : Locating Swedish Media. - 9789188468147 ; , s. 81-104
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • A study of foreign places present in Swedish feature films during the period 1980-2010, asking what functions foreign settings (and cultures, identities etc) serve within stories belonging to different genres.
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40.
  • Regional Aesthetics : Locating Swedish Media
  • 2010. - 1
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
    • Regional Aesthetics: Locating Swedish Media maps more than two hundred years of Swedish media. It ranges from written travelogues in the eighteenth and nineteenth centuries via feature films, documentaries, TV programmes, literature and press to contemporary video activism on the Internet. The nineteen contributors navigate the reader through a variety of media landscapes by advocating an interdisciplinary approach to “the communication of place” that mixes in-depth analyses of specific phenomena with a general understanding of modern media representations. Accordingly, this is a book that recurrently combines textual close readings with historical contextualizations in new ways.
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45.
  • Alexander, John, 1952- (författare)
  • Screen play : audiovisual narrative & viewer interaction
  • 1999
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • How does the viewer, interact, with the on-screen narratives of film, television and computer? What new forms of interaction can be realised with the emerging narratives of CD-ROM and Internet?This study considers screen play in terms of the game the viewer plays with audiovisual narrative, and how the viewer negotiates with a story to interpret, revise and reconstruct new stories of their own.Aspects of game and narrative theories, cognitive psychology and phenomenology, as well as recent research in the fields of cinema, television and computer studies, are incorporated within a screen play theory, which positions the viewer both as player and storyteller. Thus, screen play can be defined as a fusion of the external screen narrative and the internal and individual scenario.In addressing the divide between player and game ?, the mystic gulf, between viewer and narrative ? a re-assessment of early film theory plays an important part in coming to terms with the fin du siècle playground represented by the cinematographe a century ago, and the digital IT playground of the present, and an emergent narrative, in whatever form it may take.
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46.
  • Andersson, Lars Gustaf, et al. (författare)
  • Amatör och avantgarde : de mindre filmkulturerna i efterkrigstidens Sverige
  • 2008
  • Ingår i: Välfärdsbilder: svensk film utanför biografen. - 9789188468093 ; , s. 229-245
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • An important feature in the Swedish avant-garde film culture of the 40s and 50s is the creation of a public sphere for cinephilia. At first this public sphere was an "Öffentlichkeit" in the sense of Negt and Kluge. No distinction was made between production, exhibition and distribution; film theoretical reading, film viewing, and film production were not separated, nor were the films categorized. Experimental work, documentaries, commercial features and mateur films were shown at the same venues. On the other hand the discussion around avant-garde film and filmmakers was vital and the reception of the continental and the American avant-garde was prominent. Film journals like Biografbladet (1920 - 1952) became important vehicles for new ideas in film aesthetics. The funding of Svensk Experimentfilmstudio (S.E.F.) in 1950 marked the beginning for a new phase in the history of the experimental film in Sweden. Through new magazines like SEF (1952) and Filmfront (1953 - 1956) the ontological question of the experimental cinema came into focus. Thus, the spheres became divided into a cineaste and an avant-garde one. The case of the films of Peter Weiss is typical. The chapter depicts this change and discusses how it addresses all the major questions concerning the politics and the poetics of the production, reception and distribution of marginal cinema practices.
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47.
  • Andersson, Lars Gustaf, et al. (författare)
  • Befintligt ljus. Carl Henrik Svenstedts filmer 2007 – 12
  • 2014
  • Ingår i: Den nya svenska filmen: Kultur, kriminalitet, kakofoni. - 9789173536363 ; , s. 149-171
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • The films of Swedish filmmaker and writer Carl Henric Svenstedt (b. 1937)are discussed within the framework of the tradition of poetic cinema and documentarism. In focus are four of his later films, Winter Gale (2007), Harg! Platsens musik (2010), Änglastämman (2010), and Tidens gång - Im Lauf der Zeit (2012).
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48.
  • Andersson, Lars Gustaf, et al. (författare)
  • Den omöjliga kärleken : Pasolini och Livets trilogi
  • 1999
  • Ingår i: Mannen med filmkameran. Studier i modern film och filmisk modernism. - 9188396150
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • A reading of "The Trilogy of Life" by Pier Paolo Pasolini
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49.
  • Andersson, Lars Gustaf, et al. (författare)
  • Filmanalys : en introduktion
  • 1999
  • Bok (övrigt vetenskapligt/konstnärligt)abstract
    • Textbook in film analysis; consists of readings of the films Independence Day (Emmerich 1996), Ingeborg Holm (Sjöström 1913), Decamerone (Pasolini 1970) and The Lawnmower Man (Leonard 1992).
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50.
  • Andersson, Lars Gustaf, et al. (författare)
  • Inledning: David Aquilon, Magisk cirkel
  • 2005
  • Ingår i: David Aquilon: Magisk cirkel. - 9197414220 ; , s. 1-8
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • Introduction to the edition of the unfinished doctoral dissertation "Magisk cirkel" by David Aquilon (1965 - 1999), focusing on the films of Ingmar Bergman and expecially "The Serpent's Egg" (1977).
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