Academic literature on the topic 'Films suédois'

Senaste nytt i institutionens skriftserier: Gunilla Byrman (red.), En värld för sig själv - Nya studier i medeltida ballader. Ord och Musik och Bild. Intermediala studier 1, Växjö University Press 2008. Åsa Nilsson Skåve, Den befriade sången. Stina Aronsons berättarkonst. Acta Wexionensia. Nr 108/2007. Doktorsavhandling i litteraturvetenskap. Olof Eriksson (red.), Översättning och Kultur. Föredrag från ett symposium vid Växjö universitet 17-18 november 2006. Acta Wexionensia. Nr 113/2007. Sofia Ask, Vägar till ett akademiskt skriftspråk. Acta Wexionensia. Nr 115/2007. Doktorsavhandling i nordiska språk. Jimmy Engren, Railroading and Labor Migration. Class and Ethnicity in Expanding Capitalism in Northern Minnesota, the 1880s to the mid 1920s. Acta Wexionensia. Nr 122/2007. Doktorsavhandling i historia. Thérèse Eng, Traduire l’oral en une ou deux lignes – Étude traductologique du sous-titrage français de films suédois contemporains. Acta Wexionensia. Nr 125/2007. Doktorsavhandling i franska. Annette Årheim, När realismen blir orealistisk. Litteraturens ”sanna historier” och unga läsares tolkningsstrategier. Acta Wexionensia. Nr 128/2007. Doktorsavhandling i litteraturvetenskap. Brigitte Kühne, Varför informationskompetens? (Rapport) Tommy Olofsson och Vasilis Papageorgiou (red.), Föraningar. Kreativt skri­vande i Växjö. Lagerkvist-serien 3. Växjö University Press 2007. Lo Snöfall och Vasilis Papageorgiou, Ingen hand orörd. Städer. Växjö Univer­sity Press 2007. Maria Fohlin, La modification adverbiale de iádjectif en français et en suédois. Licentiatavhandling. Mary Ingemansson, Skönlitterär läsning och historiemedvetande hos barn i mellanåldrarna. Licentiatavhandling. Jesper Johansson, ”Så gör vi inte här i Sverige. Vi brukar göra så här.” Retorik och praktik i LO:s invandrarpolitik 1945-1981. Licentiatavhandling. Lennart Karlsson, Arbetarrörelsen, Folkets Hus och offentligheten i Bromölla 1905-1941. Licentiatavhandling. Johan Svanberg, Flyktingar och arbetskraftsmigranter från Estland vid Svenska Stålpressing AB i Olofström 1945-1952. Licentiatavhandling.

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 nations
This 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

This dissertation is a comparative investigation of the work of two subtitlers of Swedish films translated into French in the last decade of 20th century. It is a look at how they try to render the illusion of spoken language in the written line that is a subtitle. This effect has to be created despite the constraints of time, synchronisation, readability, and the limited number of characters available to work with. We have shown that the subtitles examined in this work include many of the characteristics typical of spoken French. These characteristics can be classified as belonging to the Phonetic, the Lexical or the Syntactic level. At the lexical level we can see that the translators use expressions with a lower style-level than the originals but manage to avoid being too shocking, innovative or destabilizing for the audience. We have also shown diastratic language differences in translation: our subtitlers strengthen characters of social differences by using a different language style depending on the status that the person in question has. Because of the polysemiotic nature of film it is not the primary purpose of a subtitler to translate everything. Typically verbal speech characteristics such as repetition, hesitation, incomplete phrases and non-informational expressions that are often seen as less acceptable in the written word are normally sacrificed in subtitles. On the other hand, we could not show that the original language (Swedish) had a sizable impact on the style and construction of the subtitles. We also looked at possible stylistic differences between the two subtitlers translations and tried to find out if the “voice” of the subtitler shone through. If so, we were interested in attempting to see if a difference could be caused by the fact that one of the subtitlers has French as her native language while the other translates from his second language. We were not able to relate the cause of the difference of style we observed to anything other than the original dialogue’s changing style-levels. In which direction the verbal content in subtitles will develop is an interesting and relevant question. In this work we have identified a development of style that has taken place during recent years in French subtitles to Swedish films. This development goes from a previous situation where the style of the spoken word was practically unused compared to today’s more frequent and systematic use.

En 1982, Ingmar Bergman avait pris la décision d’arrêter le cinéma avec une œuvre qu’il voulait ultime : Fanny et Alexandre. Il ne tint pas tout à fait parole et continua à réaliser des œuvres pour la télévision, ce qu’était déjà Fanny et Alexandre. Une fresque de 5h40, film somme et sommet cinématographique. Notre travail souhaite comprendre la complexité d’une œuvre qui renferme à elle seule tous les motifs du cinéaste. Notre désir est de l’étudier sous l’angle de deux notions : le visible et l’invisible. Ces notions viennent d’emblée interroger la présence et l’absence, le plein et le vide, le conscient et l’inconscient, le blanc, couleur de la transparence, et le rouge, celle de l’intérieur de l’âme. Il semble donc que les notions de visible et invisible sondent un univers clivé à l’image d’une œuvre qui, dans sa narration même, oppose la troupe de théâtre à la solitude de l’évêque, la foi dans l’imaginaire à la foi en Dieu, l’enfance à la vieillesse, la vie à la mort, le bien au mal, l’eau de la rivière au feu qui brûle vif le « diable ». Mais notre propos est de tenter de dépasser cette opposition formelle pour parvenir à démontrer sa réversibilité. Les dimensions de visible et d’invisible apparaissent finalement non comme duales mais complémentaires, elles sont un endroit et un envers, où l’invisible est la profondeur du visible. Nous supposons que cette réversibilité, c’est-à-dire un lien qui organise les opposés en manifestant en même temps leur interdépendance, montre comment l’esthétique baroque gouverne le cinéma bergmanien
In 1982, Ingmar Bergman had decided to stop making movies with a piece of work he considered as final – Fanny and Alexander. He didn’t quite keep his word, and kept directing TV works – which he had already started to do with Fanny and Alexander. A 5h40-long epic, a comprehensive piece of work and a cinematic pinnacle. Our research tries to understand the complexity of a piece of work enclosing all of the filmmaker’s motifs. We wish to study it through two notions: the visible and the invisible. These notions immediately question the present and the absent, the full and the empty, the conscious and the unconscious, the white– the color of transparency –, and red as representing the inside of the soul. It thus seems that the notions of visible and invisible probe a divided universe, reflecting a piece of work which, in its very narrative, brings into opposition the theater troupe and the bishop’s solitude, belief in fantasy and faith in God, childhood and old age, life and death, right and wrong, the river stream and the fire that burns “the devil”… Yet, we wish to go beyond this formal opposition to demonstrate its reversibility. Indeed, the dimensions of the visible and the invisible eventually appear as being complementary rather than dual: they represent one side and its reverse, the invisible is the visible’s depth. From our study of the paradigmatic duo “the visible and the invisible”, we assume a reversibility, i.e. a bond that both structures opposites and brings out their interdependence – thus showing how baroque aesthetics reign over Bergman’s cinema

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.