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Zeitschriftenartikel zum Thema "Swedish cinema analysis"
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Frykholm, Joel. „Art cinema, film policy and the slaughterhouse of Swedish cinema“. Journal of Scandinavian Cinema 13, Nr. 3 (01.09.2023): 219–41. http://dx.doi.org/10.1386/jsca_00098_1.
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Focusing on the introduction of a new government film policy in 2017, this article explores how the audience for Swedish cinema – little-watched art films in particular – is conceptualized in the context of film policy and as a topic of debate within the Swedish film industry. The analysis shows that the new film policy contributes – against its own explicit aims – to reproducing a deep-seated distinction between ‘wide’ and ‘narrow’ films. In addition, Swedish film policy has yet to adapt to the conditions of today’s digital screen culture. As a result, ‘narrow films’ are subject to low audience expectations and a de facto lack of performance accountability. This, the article argues, could be more a blessing than a curse, suggesting a need to rethink the notion of ‘failure’ and to further explore the prospects of ‘failure studies’ in the context of Swedish cinema.
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Van Belle, Jono. „Re-conceptualizing Ingmar Bergman’s status as auteur du cinema“. European Journal of Cultural Studies 22, Nr. 1 (26.07.2017): 3–17. http://dx.doi.org/10.1177/1367549417718211.
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Why is it that some film directors become and remain central in the reception of their works and others do not? Classical auteur theory suggests the answer lies in the personality of the director. In this article, we explore and re-conceptualize the status of auteur du cinema Ingmar Bergman, Swedish film director. In line with Dyer’s gap between the institution and the audience, we explore Bergman’s self-fashioning through his own published writings and compare this to what was written about him in the Swedish press between 1944 and 1983, his most active years as a film director. The result is an analysis of dominant and alternative cultural discourses concerning Bergman’s authorship that facilitates an exploration into the corresponding interpretative strategies located in the audience. Here, Bergman’s status as popular celebrity in Sweden contributes to a paradoxical image – and recognition – of the high-art auteur, not in the least through his own myth-making.
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KUMAR, ASHWANI, D. P. AGRAWAL und S. D. JOSHI. „ADVERTISING DATA ANALYSIS USING ROUGH SETS MODEL“. International Journal of Information Technology & Decision Making 04, Nr. 02 (Juni 2005): 263–76. http://dx.doi.org/10.1142/s0219622005001490.
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This study explores the use of rough-set methods for marketing decision support systems in the retail business. A tutorial presentation of Rough Set Data Analysis (RSDA) in the context of knowledge discovery from time series databases is given. We show how an RSDA model can be used to develop a marketing decision support system which can capture the complex relationships between marketing factors, such as advertising and promotion, and the total impact on sales levels in order to find influential advertising strategies. This information is used by the business manager to make faster and better strategy decisions for the business to survive in the rapidly changing and competitive environments. The data set used for RSDA application example contains weekly investments in different media categories: TV, radio, cinema, morning press, evening press, popular press, special interest press, and outdoor posters; for seven makes of cars in the Swedish market.
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Rossholm, Anna Sofia. „Screenwriting, authorship and gender in Swedish cinema of the 1940s: Dagmar Edqvist’s ‘The Ingegerd Bremssen case’“. Journal of Scandinavian Cinema 12, Nr. 2 (01.06.2022): 179–86. http://dx.doi.org/10.1386/jsca_00074_1.
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Through a case study analysis, this article suggests that women’s screenwriting in Sweden in the 1940s elucidates important aspects of cinematic authorship in relation to cultural hierarchies and gender. The analysis consists of a contextualized reading of the 1942 film Fallet Ingegerd Bremssen (‘The Ingegerd Bremssen case’), based on Dagmar Edqvist’s psychological novel about a rape and its after-effects, with a screenplay written by the author herself. A textual adaptation analysis – focusing on the screenwriting style and how the woman’s perspective and experience in the novel is transformed in the adaptation – is contextualized against the historical backdrop of the changes in screenwriting practices during this period as well as of the critical reception of the film.
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García-Manso, Angélica. „La leyenda de Gösta Berling: una propuesta didáctica desde la interrelación Literatura/Cine / Gösta Berlings Saga: a teaching proposal from the interaction Literature / Cinema“. TEJUELO. Didáctica de la Lengua y la Literatura. Educación 26 (25.07.2017): 193–212. http://dx.doi.org/10.17398/1988-8430.26.193.
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Resumen: El presente estudio tiene como objetivo trazar una estrategia didáctica para potenciar la lectura de los grandes clásicos de la Literatura Universal en el aula de enseñanza obligatoria. La propuesta se concretiza en la aproximación a la novelista sueca Selma Lagerlöff –la primera mujer Premio Nobel de Literatura– a través de la película La leyenda de Gösta Berling (Gösta Berlings Saga, 1924), dirigida por Mauritz Stiller y considerada una de las obras maestras del cine silente nórdico. Mediante esta guía de lectura-visionado, los alumnos pueden analizar un aspecto tan inédito como es el reflejo de la palabra en el cine mudo. Desde esta perspectiva, la relación interdisciplinar Literatura/Cine se percibe como una herramienta pedagógica polivalente, al menos en un doble sentido: por una parte, proporcionar a los adolescentes unos conocimientos literarios que el currículo no contempla; de otro, iniciarlos en la praxis de un análisis audiovisual cada vez más omnipresente y demandado.
Palabras clave: material didáctico; literatura escandinava; leyenda; historia del cine; actividad fuera del programa.
Abstract: The present study aims to draw a teaching strategy to enhance the reading of the great classics of World Literature in the classroom of compulsory education. Our specific proposal is the approach to the Swedish novelist Selma Lagerlöff –the first woman Nobel Prize for Literature– through the movie Gösta Berlings Saga (1924), directed by Mauritz Stiller and considered one of the masterpieces of Nordic silent film. By this reader-viewing guide, students can analyze an unknown aspect such as the reflection of the word in silent cinema. From this perspective, interdisciplinary relationship between Literature / Film is perceived as a versatile educational tool, at least in two ways: firstly, to provide adolescents with a literary knowledge that the curriculum does not provide; otherwise, to introduce them to the practice of an audiovisual analysis which is greater and greater.
Keywords: teaching materials; Scandinavian literature; legends; history of cinema; extracurricular activities.
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Żukowska, Aleksandra. „„To, co najważniejsze… w storytellingu” – analiza spotu świątecznego marki Allegro w ujęciu teorii narracji Bo Bergströma“. Media Biznes Kultura, Nr. 2 (13) (21.12.2022): 151–64. http://dx.doi.org/10.4467/25442554.mbk.22.021.17107.
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„Narracja” – pojęcie mające swoje korzenie w literaturoznawstwie, od lat 60. XX wieku stała się przedmiotem zainteresowania wielu innych dyscyplin, a – jak stwierdził Martin Kreiswith – humanistykę ogarnęła nawet „obsesja opowieści”. Mity, podania, legendy czy baśnie oraz inne formy narracji obecne w codziennym doświadczeniu większości uczestników kultury przyczyniają się do kompetencji odbioru opowieści w różnych formach. Być może to jest jednym z czynników wpływających na niezwykłą popularność i sukces storytellingu w reklamie. Zasady tworzenia dobrej, efektywnej, atrakcyjnej opowieści wywodzą się bowiem z dawnych form narracji i są dzisiaj powszechnie w niej stosowane. W artykule zostanie przedstawiona propozycja szwedzkiego badacza komunikacji wizualnej – Bo Bergströma, który różnicuje narrację na dramatyczną i niedramatyczną, a schematy obydwu opiera na regułach obecnych odpowiednio w kinie gatunków oraz kinie autorskim. Autor nazywa ten wymiar reklamy systemem formalnym, obok którego równie istotny jest system stylistyczny, czyli środki artystycznego wyrazu zastosowane w przekazie. W artykule zostanie przeprowadzona analiza obydwu systemów w reklamie świątecznej marki Allegro z 2021 roku w kontekście założeń storytellingu. “What is most important … in storytelling” – Analysis of the Allegro Brand Christmas Spot in the Light of Bo Bergström’s Narrative Theory “Narration” – a concept rooted in literary studies, has attracted the attention of many other disciplines since the 1960s, and as Martin Kreiswith stated, the humanities were even “obsessed with stories”. Myths, legends, fairy-tales and other forms of narrative are omnipresent in the everyday experience of most participants in culture and thus they contribute to their competence of receiving stories in various forms. Perhaps this is one of the factors leading to the extraordinary popularity and success of storytelling in advertising. The principles of creating a good, effective, and attractive story derive from the old forms of narration and they are today commonly used in many narrative media. The article presents the proposal of the Swedish researcher of visual communication – Bo Bergström, who differentiates the narrative into dramatic and non-dramatic. He seesthe patterns of both kinds as as based on the rules present in genre cinema and author’s Aleksandra Żukowska 152 cinema, respectively. The author calls this dimension of advertising a formal system, next to which the stylistic system, i.e. the means of artistic expression used in the message, is equally important. The article will analyse both systems in the Allegro brand Christmas advertisement from 2021 in the context of the storytelling assumptions.
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Radaeva, E. A. „The Сommon Man in the Focus of Modern European Values (Based on the Works of F. Backman)“. Concept: philosophy, religion, culture 8, Nr. 4 (25.12.2024): 108–21. https://doi.org/10.24833/2541-8831-2024-4-32-108-121.
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The relevance of this study is due to the fact that modern democratic values, entrenched in Western countries, including at the legislative level, are widely discussed in Russian society today: how much the freedoms and restrictions introduced in the 21st century correspond to the needs of the average citizen, that is, in this case, the average European. The material for studying this issue was the works of the world-famous Swedish writer Frederik Backman — the novels A Man Called Ove (2012) and Things My Son Needs to Know About the World (2012), as well as the film adaptations of the first novel (Swedish in 2015 and American in 2022). The aim of the study is to determine the ideological attitudes conveyed by the artistic worlds of the works under study. To achieve this goal, the theoretical and methodological frameworks were analyzed, opening up the possibility of studying values through the prism of cultural research of fiction and cinematography. Other tasks included: identifying the key features of the literary and film versions of the novel A Man Called Ove, to establish the specifics of their value framework, and describing the key moments of the novel Things My Son Needs to Know About the World so as to determine the values conveyed by this work. Based on the axiological and anthropological prisms within the framework of the cultural studies approach, intertextual, intermedial and narrative analysis of the texts of each of the books and the two film adaptations of A Man Called Ove is applied. The biographical method and the method of reconstructing the views of the hero of the work of art were also used. As a result of the undertaken reconstruction, a cultural model of analysis of European values of the common man was created thanks to their reflection in literature and cinema. The possibilities and limits of using the cultural method in the analysis of complex and multi-level artistic material were determined. The contradictions that permeate various versions of the film adaptation of the novel A Man Called Ove were highlighted and the characteristic discrepancies between the two novels by F. Backman are described. If the first describes the path of gaining tolerance for everything new by a person of the old school, then the second develops the theme of the absurdity of the modern world, its lack of rootedness in traditions, and discusses the helplessness and defenselessness of man in new realities, such as when, alongside the maximum of democratic freedoms, there arises a paradoxical maximum of unfreedom for the individual. It is also indicative in the axiological context that the directors were only interested in the first book, which was more convenient not only in terms of the script, but also in terms of the ideology, as a locomotive of loyalty to representatives of minorities, and therefore offering more chances to receive international awards.
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Pērkone-Redoviča, Inga. „THE LONELINESS OF THE STRAWBERRY FIELD. PĒTERIS LAĶIS, INGMAR BERGMAN AND THE CINEMA ESSAY“. Culture Crossroads 6 (14.11.2022): 13–18. http://dx.doi.org/10.55877/cc.vol6.249.
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This article, written in a form of an essay, reviews the theoretical work of the Latvian philosopher Pēteris Laķis, in particular the essay devoted to the understanding of time; it also analyses the parallels with the creative work of the Swedish cinema and theatre director Ingmar Bergman. Ingmar Bergman’s films that were shown in the Soviet Union, especially his film “Wild Strawberries” (1957) had an immense effect upon thinking of the new genera- tion by expanding perceptions about the borders of both reality and art.
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Larsen, Mads. „The kinaesthetics of assimilation in Sami Blood“. Journal of Scandinavian Cinema 14, Nr. 3 (01.09.2024): 217–34. https://doi.org/10.1386/jsca_00121_1.
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Cinema is particularly suited for illuminating the kinaesthetic aspects of cultural subjugation. In Sameblod (Sami Blood) (2016), writer–director Amanda Kernell portrays the self-assimilatory journey of an indigenous 14-year-old girl as a result of forced and voluntary exposure to novel bodily experiences. Using as its conceptual point of departure the term ‘kinaesthesia’ – the body’s sensations of movement and spatiality – this article analyses the filmic techniques Kernell uses to offer audiences a vicarious experience of assimilation, and later, cultural revitalization. A century after majority-population Swedes subjected Kernell’s family and other Sámi to social Darwinian racism, the director’s third-eye film turns the camera back at those who portrayed them as inferior. Sami Blood exemplifies how important sensory and affective experiences are for our politics, histories and perception of cultural texts. The film is part of the past decades’ Sámi revitalization, an artistic movement in which screen media have played an important role.
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Kristensen, Lars Lyngsgaard Fjord. „Divergent Accounts of Equivalent Narratives: Russian-Swedish Interdevochka Meets Swedish-Russian Lilya 4-ever“. PORTAL Journal of Multidisciplinary International Studies 4, Nr. 2 (20.08.2007). http://dx.doi.org/10.5130/portal.v4i2.488.
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In a region that is traditionally considered to be transnational, Nordic cinema has often posed as the prime case for a transnational cinema. The paper contests this notion of Nordic transnationality by analysing two films that depict two Russian women travelling to Sweden. Interdevochka/Intergirl (Todorovski, 1989, USSR) and Lilya-4-ever (Moodysson, 2004, Sweden) challenge the inclusiveness of the region and make explicit the fact that Russian identities are not part of the homogenous mixture of the region. Instead, Russian identities of cross-border prostitution are cinematically subjected to rejection and victimisation. This paper examines how Lilya-4-ever adheres to a European anxiety narrative by performing a Russian return narrative and how Interdevochka/Intergirl portrays ‘the fallen soviet woman’ by travelling to Sweden. These cinematic representations of the female Russian identity travelling to Sweden differ from each national context, but by probing into a comparative analysis the paper will reveal that both films need the Other to narrate these stories of transnational labour migration.
Dissertationen zum Thema "Swedish cinema analysis"
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Larssson, Jesper. „”Hela Sveriges Tutta Rolf” : An analysis of a star image in early 1930s Swedish cinema“. Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158832.
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Tutta Rolf’s career. Rolf was one of the greatest stars in 1930s Swedish cinema. She was also a popular stage actress, vaudeville performer and recording artist. Despite her prominence she has been largely neglected in scholarly work. This thesis aim to bring new knowledge about this underresearched star by conducting basic research. I situate her within the field of star studies by deploying Richard Dyer’s influential theory to abstract a method on how to look at the praxis of Tutta Rolf’s stardom. Thus, I deploy her films, newspapers, Filmjournalen and archival material to tell the story of her early career. My basic assumption, i.e. hypothesis is that there existed a Swedish star system in the 1930s. Earlier there has been a lack of research regarding a potential Swedish star system. Hence, this is an inductive study that will try to bring forward new knowledge about Tutta Rolf, Swedish stardom and its star system that may be used for future research.
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Schwarz, Pedro Max. „(Des)construindo persona“. Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8046.
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The purpose of this research is to make an analysis of the themes and aesthetics of the film Persona, from Ingmar Bergman, 1966. The first chapter is my analysis of the work, following the model of the writers Anne Goliot-Lété and Francis Vanoye, and the second chapter discusses the critical texts, analysis and interviews connected to the film. I also discussed the difficulties related to the interpretation of movies, and I tried in my own analysis to be very close to the movie itself, despite the tentations to invent more.
A pesquisa tem como objetivo fazer uma análise estilístico-temática do filme Persona, de Ingmar Bergman, 1966. O primeiro capítulo é a minha análise da obra, seguindo o modelo dos escritores Anne Goliot-Lété e Francis Vanoye, e o segundo trata da discussão de textos críticos, de análises e entrevistas ligados à obra. Busquei nesse trabalho discutir as dificuldades ligadas à interpretação de uma obra cinematográfica, atendo-me à questão de não deixar de lado a leitura do filme em si, a despeito das tentações que certos temas e rastros estilísticos podem despertar.
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Berger, Bjursell Aurore. „De toute façon il est sacrément mort. Le cinéma suédois à l'ère numérique : mutations ontologiques et impacts culturels“. Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL009.
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Cette thèse explore les changements esthétiques et culturels résultant de la numérisation du secteur cinématographique suédois. En « pensant avec le post-cinéma suédois », la recherche s'appuie sur trois axes méthodologiques: une analyse des changements ontologiques du cinéma suédois à l'ère numérique, des entretiens postqualitatifs avec les acteurs de l'industrie et une étude documentaire sur les transformations du secteur. La thèse se divise en trois chapitres, abordant la production (2000-2008), la dissémination (2009-2017) et leurs conséquences (2018-2023) sur le cinéma et l'imaginaire suédois. Elle met en évidence la dissolution du cinéma suédois, antérieure à l'épisode viral de la covid-19. Cette recherche suggère que le cinéma suédois pourrait être revitalisé en tant que pratique culturelle grâce à une réforme de la politique culturelle. Elle encourage également davantage de recherches universitaires sur les effets de la numérisation sur les identités culturelles nationales et régionales, contribuant ainsi à réévaluer le rôle du cinéma et des images animées dans les représentations culturelles des petites nationsThis PhD thesis explores the aesthetic and cultural changes resulting from the digitisation of the Swedish film industry. By 'thinking with Swedish post-cinema', the research is based on three methodological axes: an analysis of the ontological changes in Swedish cinema in the digital era, post-qualitative interviews with industry players and a documentary study of the transformations in the sector. This thesis is divided into three chapters, dealing with production (2000-2008), dissemination (2009-2017) and their consequences (2018-2023) on Swedish cinema and imagination. This highlights the dissolution of Swedish cinema before the covid-19 health crisis. This research suggests that Swedish cinema could be revitalised as a cultural practice through cultural policy reforms. It also encourages more academic research into the effects of digitisation on national and regional identities, helping to reassess the role of films and moving images in the cultural representations of small nations
Bücher zum Thema "Swedish cinema analysis"
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Gustafsson, Tommy. Masculinity in the Golden Age of Swedish Cinema: A Cultural Analysis of 1920s Films. McFarland, 2014.
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Masculinity in the Golden Age of Swedish Cinema: A Cultural Analysis of 1920s Films. McFarland & Company, Incorporated Publishers, 2014.
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Forshaw, Barry. „Jonathan Demme’s the Silence of the Lambs“. In The Silence of the Lambs, 27–60. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0004.
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This chapter focuses on Jonathan Demme's The Silence of the Lambs (1991). The synthesis of elements that create the look and identity of a film come from a variety of talents: from the director's original conception, to the cinematographer's realisation of the same; to the production designer. In the case of The Silence of the Lambs, these three elements are in perfect harmony, producing a visual signature for the film which is highly distinctive and very specific to Demme's vision. The chapter then details the first meeting and the subsequent interviews between Hannibal Lecter and Clarice Starling. The initial meeting between Clarice and the murderous psychiatrist Lecter is one of the great set pieces of modern cinema. While clearly adhering to the imperatives of popular cinema, the sequence is shot and acted with a rigour worthy of the ‘chamber cinema’ of the Swedish master Ingmar Bergman in his late 1960s films — and this is not the only occasion in which the more rarefied agendas of art cinema are evoked by Demme and his collaborators. Another popular sequence is a perfect concatenation of all three elements of acting, writing, and direction, in which Lecter makes his devastating (and cruel) character analysis of Clarice. The chapter also explores the horror film credentials and accoutrements of the film.
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Wallengren, Ann-Kristin. „Celebrated, Contested, Criticized: Anita Ekberg, A Swedish Sex Goddess in Hollywood“. In Nordic Film Cultures and Cinemas of Elsewhere, 224–36. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0017.
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This chapter examines how Anita Ekberg in the American press and media was apprehended and constructed as a new Swedish star in Hollywood, and how notions and ideas about Sweden, sexuality, gender and stereotypes were negotiated and reproduced. This analysis also addresses the Swedish reception and construction of Ekberg, arguably more derogative and verging on harassment. Ekberg was one of the most famous blonde bombshells in Hollywood during the 1950s. Besides making films she became known as a model and pin-up girl which was an important way to fame during the fifties in the USA, and she was a staple in the magazines concerning her sometimes scandalous stories. She came to a United States permeated with discussions about sexuality and to a popular culture that favored sex, breasts and voluptuous female bodies more than anything else. The chapter thus investigates how Swedish sexuality and Swedish blonde were created, propagated and circulated in American cultural discourse.
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Golding, Dan. „Where Does Black Panther ’s Music Come From?“ In Superheroes Beyond, 226–39. University Press of Mississippi, 2024. http://dx.doi.org/10.14325/mississippi/9781496850096.003.0018.
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Swedish composer Ludwig Göransson’s soundtrack for Black Panther represents a complex case study for how we understand not just superhero music, but the ability (or inability), as Edward Said famously put it, for the Orient, or in this case the cinematic ‘other,’ to musically represent themselves in contemporary blockbuster cinema. Despite Black Panther’s many achievements in terms of representation and grappling with the complex legacy of colonialism in the context of Hollywood, a nuanced debate remains regarding the film’s relationship with Africa and the African diaspora. This chapter pointedly asks where is the Black Panther’s sound from, and whose is it? Placing the film within the context of Hollywood’s long history of uncritically homogenizing the diversity of African music into a uniform otherness that reinforces the ethnocentric perspectives of Whiteness, the chapter analyses the development of sound and music in Black Panther and its potential to engage, critically or otherwise, with harmful stereotypes—or to subvert and resist them.