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  • 1.
    Andersson, Helen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Theology, Department of Theology, Studies in Faith and Ideologies, Ethics.
    Rått kött och tillagat: Monster i amerikansk skräckfilm2005In: Film och religion.: Livstolkning på vita duken / [ed] Tomas Axelson & Ola Sigurdson, Stockholm: Cordia , 2005, p. 243-265Chapter in book (Other academic)
  • 2.
    Axelson, Tomas
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Theology, Department of Theology. Dalarna Univ, Religious Studies & Media, Falun, Sweden..
    Vernacular Meaning Making Examples of Narrative Impact in Fiction Film Questioning the 'Banal' Notion in Mediatization of Religion Theory2015In: Nordicom Review, ISSN 1403-1108, E-ISSN 2001-5119, Vol. 36, no 2, p. 143-156Article in journal (Refereed)
    Abstract [en]

    The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators' lives, identities, and beliefs. One conclusion is that spectators test the emotional realism of the narrative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The 'banal' notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators' use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators' fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead, vernacular meaning-making is proposed.

  • 3.
    Axelsson, Veronica
    Gotland University, School of Game Design, Technology and Learning Processes.
    What technique is most appropriate for 3D modeling a chair for a movie production?2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Making 3D models with polygon modeling is the most common technique used for a 3D animated movie production, but there are also other good modeling techniques to work with. The aim of this thesis is to examine which of three chosen modeling technique is most appropriate to use for modeling a chair for a 3D animated movie production. I made three models of the same chair design and compared the results. The modeling technique used is polygon modeling, NURBS modeling and digital sculpting. A few factors were considered when I judged which one of the three techniques that was most suitable: The model's geometry, the workflow and the rendering (material and lightning).

    The three chairs were rendered in the same scene with the same lightning and settings. The results showed that the model's geometry and how smooth it is to work with the modeling technique matter most for judging which technique is the most appropriate. In addition, the results show that how the light falls and reflects the surface depends on how the geometry was placed on the model rather than which of the other modeling techniques that was used.

  • 4.
    Björklund, Elisabet
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas.
    Freedom to choose: Reproduction and women's agency in three Swedish films of the 1980s2019In: Making the invisible visible: Reclaiming women's agency in Swedish film history and beyond / [ed] Ingrid Stigsdotter, Lund: Nordic Academic Press, 2019Chapter in book (Refereed)
  • 5.
    Björklund, Elisabet
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    'Mom might have a job (or be socializing too much!)': 'The right to love', children’s sexuality and parenthood2017In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 7, no 1, p. 13-25Article in journal (Refereed)
    Abstract [en]

    Having been unavailable for many years, the Swedish film Rätten att älska (‘The right to love’) was restored by the Swedish Film Institute in 2013 and made accessible for research. In many ways a typical example of the sex education film genre of its time, the film is simultaneously unusual because it deals with children’s sexuality. This article explores and discusses the representation of children in the film in relation to how it connects to issues of parenthood.

  • 6.
    Björklund, Elisabet
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas.
    Omstridd information: Maj Wechselmanns Omställningen och kritik mot kommersiellt material om att få barn på 1970-talet2019In: Efterkrigstidens samhällskontakter / [ed] Fredrik Norén och Emil Stjernholm, Lund: Mediehistoria, Lunds universitet , 2019, p. 217-244Chapter in book (Refereed)
  • 7.
    Björklund, Elisabet
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas. Uppsala Univ, Dept Hist Sci & Ideas, Uppsala, Sweden;Linnaeus Univ, Film Studies, Vaxjo, Sweden.
    Realism or 'grotesque cliches'?: Jan Halldoff's The Corridor and the Swedish debate on abortion in the 1960s2019In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 9, no 1, p. 117-130Article in journal (Refereed)
    Abstract [en]

    Swedish filmmaker Jan Halldoff's fiction film Korridoren (The Corridor) premiered in 1968 to a mainly positive Swedish reception. Shot at Karolinska Hospital and criticizing the Swedish healthcare system, the film became much debated and can furthermore be seen as a turning point in Swedish film history regarding the portrayal of medical institutions and professionals. In this article, the film and its reception are analysed in relation to the Swedish debate on abortion at the time. While the film is clearly critical of Swedish welfare society, the way it depicts abortion is more conservative. Highlighting this as well as the role of actual medical professionals in the film, the article demonstrates how the film relates to representations of abortion in the past and discusses connections between the film industry and medicine at this historical moment.

  • 8.
    Björklund, Elisabet
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas. Linnéuniversitetet, Institutionen för film och litteratur.
    Sins of the fathers?: Syphilis, HIV/AIDS, and innocent women and children2019In: A Visual History of HIV/AIDS: Exploring the Face of AIDS Film Archive / [ed] Elisabet Björklund & Mariah Larsson, Abingdon & New York: Routledge, 2019, p. 165-180Chapter in book (Refereed)
  • 9.
    Björklund, Elisabet
    Lund University.
    Statlig sexpropaganda?: UR:s och RFSU:s sexualupplysningsfilm Sex på kartan2014In: Den nya svenska filmen: Kultur, kriminalitet & kakofoni / [ed] Erik Hedling, Ann-Kristin Wallengren, Stockholm: Bokförlaget Atlantis , 2014, p. 245-268Chapter in book (Other academic)
  • 10.
    Björklund, Elisabet
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas.
    Swedish sex education films and their audiences: representations, address and assumptions about influence2020In: Communicating the history of medicine: Perspectives on audiences and impact / [ed] Solveig Jülich & Sven Widmalm, Manchester: Manchester University Press, 2020, p. 162-183Chapter in book (Refereed)
  • 11.
    Björklund, Elisabet
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    The Limits of Sexual Depictions in the Late 1960s2016In: Swedish Cinema and the Sexual Revolution: Critical Essays / [ed] Elisabet Björklund, Mariah Larsson, Jefferson, NC: McFarland , 2016, p. 126-138Chapter in book (Refereed)
  • 12.
    Björklund, Elisabet
    Lund University.
    The Most Delicate Subject: A History of Sex Education Films in Sweden2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to present a history of sex education films in Sweden, from their beginnings until the late 1970s, relating the films to the changing historical context of the Swedish welfare society. Within this framework, the dissertation explores two main sets of questions. First, utilizing a contextual understanding of genre, the dissertation analyzes how the films were produced, exhibited, and censored, what position and status they had, and where the borders were understood to be to kindred types of film, such as exploitation and pornography. Second, the norms and ideas about sexuality that the films construct are explored from a social constructionist perspective and put in historical context. Apart from the films themselves, the material used consists of censorship records, archival material, and articles and reviews from the daily press and the trade press.

    The study demonstrates that the sex education film has always been a delicate genre, and that this delicacy is related to the medium and to the fact that cinema is part of the commercial market. The sex education film came to Sweden through imported films during the silent era and was relatively common at Swedish movie theaters from the 1920s to the early 1970s. Very quickly, it became a contested genre thought to be in need of regulation, which can be seen in the censorship procedures. For instance, until the 1950s, screenings were often restricted through gender segregation. When film censorship was liberalized in the 1960s, sex education films could show more than before, and when the films in the sexually explicit Language of Love series (1969–1972) were released, their relationship to pornography became a central point of discussion. The changing views on using film in school sex education are also examined. Here, it is shown that if film was seen as a potentially helpful tool in the 1920s and 1930s, this view had changed into a more skeptical position by the early 1970s.

    In the analysis of the content of the films, only Swedish examples are studied. In the first group of theatrically shown films of this kind, which appeared in the 1940s and 1950s, sexuality is represented as problematic through the themes of venereal disease and abortion. Here, casual sex is seen as immoral and abortion is condemned. At the same time, the films display how traditional and modern views on sexuality and gender were under negotiation during this period. While reproduction was the dominating perspective in school films well into the 1970s, the Language of Love films display a radically different perspective on sex, not least because of their focus on sexual pleasure. However, while the films advocate a liberal idea about sexuality according to which science leads to liberation, a focus on romantic long-term relationships can also be noted. Throughout the period, there is an emphasis on rationality and science and on a secular perspective on sex in which love is seen as more important than matrimony. In this way, the films in general reflect a strong belief in modernity and progress that was characteristic of Sweden during the welfare era.

  • 13.
    Björklund, Elisabet
    Lund University.
    "This Is a Dirty Movie": Taxi Driver and "Swedish Sin"2011In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 1, no 2, p. 163-176Article in journal (Refereed)
    Abstract [en]

    This article examines a well-known sequence in Martin Scorsese’s 1976 film Taxi Driver in which the main character Travis Bickle takes his date Betsy to the movies and convinces her to see a Swedish sex education film. The article analyses the representation of Swedish cinema and Swedish sexuality in Taxi Driver, but also discusses the short sequence from a Swedish perspective, revealing a contemporary popular Swedish misconception about it. For this purpose, the sequence as well as the subsequent Swedish interpretation of it are contextualized and considered in relation to the widespread notion of ‘Swedish sin’.

  • 14.
    Björklund, Elisabet
    Lund University.
    Å lære seg kjærlighetens språk: om svensk seksualopplysningsfilm på kino på 60- og 70-tallet2013In: Z filmtidsskrift, ISSN 0800-1464, E-ISSN 0807-271X, no 2Article in journal (Other (popular science, discussion, etc.))
    Abstract [no]

    Den mest kjente svenske seksualopplysningsfilmen er uten tvil Ur kärlekens språk fra 1969. Zs skribent plasserer filmen og dens oppfølgere i sin samtid og ser også filmene i lys av en lengre tradisjon av svensk seksualopplysningsfilm.

  • 15.
    Björklund, Elisabet
    et al.
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Brauerhoch, Annette
    Holmlund, Chris
    Editorial2015In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 5, no 2, p. 75-80Article in journal (Other academic)
  • 16.
    Björklund, Elisabet
    et al.
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Brauerhoch, AnnetteHolmlund, Chris
    Journal of Scandinavian Cinema: Special Issue: Sexuality in Scandinavian Cinema2015Collection (editor) (Refereed)
  • 17.
    Björklund, Elisabet
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas. Linnéuniversitetet, Institutionen för film och litteratur.
    Larsson, MariahLinnéuniversitetet, Institutionen för film och litteratur.
    A Visual History of HIV/AIDS: Exploring the Face of AIDS Film Archive2019Collection (editor) (Refereed)
  • 18.
    Björklund, Elisabet
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History of Science and Ideas. Linnéuniversitetet, Institutionen för film och litteratur.
    Larsson, Mariah
    Linnéuniversitetet, Institutionen för film och litteratur.
    Introduction2019In: A Visual History of HIV/AIDS: Exploring the Face of AIDS Film Archive / [ed] Elisabet Björklund & Mariah Larsson, Abingdon & New York: Routledge, 2019, p. 1-13Chapter in book (Refereed)
  • 19.
    Björklund, Elisabet
    et al.
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Larsson, Mariah
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Introduction: Beyond Swedish Summers2016In: Swedish Cinema and the Sexual Revolution: Critical Essays / [ed] Elisabet Björklund, Mariah Larsson, jefferson, North Carolina: McFarland , 2016, 1, p. 1-7Chapter in book (Refereed)
  • 20.
    Björklund, Elisabet
    et al.
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Larsson, MariahLinnéuniversitetet, Institutionen för film och litteratur (IFL).
    Swedish Cinema and the Sexual Revolution: Critical Essays2016Collection (editor) (Refereed)
  • 21.
    Dahlin Jansson, Emelie
    Gotland University, School of Game Design, Technology and Learning Processes.
    Kan man identifiera de karaktäristiska dragen hos stop-motion och applicera dem inom 3D-animation?2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    For any animator either working in stop-motion or 3D-animation the knowledge of the first animation techniques are most important. For it is based on these principles that animation today can create such vibrant characters. With the extreme development 3D-animation has undergone the last twenty years it is easy to lose track of the old ways. But with this thesis a hope to show that it is these old ways that will take animation to its next stage. My aim with this thesis is to find out if it is possible to identify the characteristic features of stop-motion and apply these onto 3D-animation with purpose to create a more expressive style of animation. To be able to do this the method of this thesis is divided in two parts: the production and the perception. First the two work methods straight ahead and pose to pose are analyzed and the biggest differences are then identified. With this information two basic walk cycle animations are created, one with the work method of straight ahead and the other with pose to pose. These animations are kept as simple as possible so that all focus can be directed at the feel of the movement. In the perception part a survey is done where five participants observes the two animations and with a questionnaire answer how they perceive the differences. They answer which of the two they prefer, is most interesting and pleasant. According to the participants, they feel a difference and the majority prefer the animation done with the work method of stop-motion. They feel that it shows more personality and feel more natural. However the result is relatively even. My conclusion is that to achieve an animation that appeals to a larger group, a combination of the two work methods is optimal.

  • 22.
    Donovan, Stephen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Guns and Roses: Reading for Gender in The Rose of Rhodesia2009In: Screening the Past, ISSN 1328-9756, no 25Article in journal (Refereed)
  • 23.
    Donovan, Stephen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Introduction: Ireland's Own Film2012In: Screening the Past, ISSN 1328-9756, Vol. 84, no 2Article in journal (Refereed)
  • 24.
    Donovan, Stephen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Knocknagow (1918) and the Film Company of Ireland: Special Issue of Screening the Past2012Collection (editor) (Refereed)
  • 25.
    Donovan, Stephen
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Hockenjos, Vreni
    Introduction2009In: Screening the Past, ISSN 1328-9756, no 25Article in journal (Refereed)
  • 26.
    Durmanova, Jarmila
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Social Sciences, Department of East European Studies.
    På väg till botgöring -: att tolka en film och två epoker1988In: Signum: Katolsk orientering om kyrka, kultur och samhälle, ISSN 0347-0423, no 1, p. 11-15Article, book review (Other (popular scientific, debate etc.))
  • 27.
    Ekström, Anders
    et al.
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of History of Science and Ideas.
    Jülich, Solveig
    1897: Mediehistorier kring Stockholmsutställningen2006Collection (editor) (Other scientific)
  • 28.
    Fast, Ellinor
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology.
    The Truth About Beauty: En jämförande studie av plastikkirurgi i filmen ”The Truth About Beauty”, Zhengrong riji 整容日記 och i Folkets Dagblad2016Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats undersöker de budskap angående plastikkirurgi som finns i filmen The truth about beauty, Zhengrong riji 整容日記 och jämför resultatet med Sofia Fredriksons resultat i hennes kandidatuppsats, ”Kinas nya ansikte – En analys av rapporteringen om plastikkirurgi i Folkets Dagblad”. Denna uppsats undersöker även hur väl budskapen i filmen stämmer överens med tidigare forskning, Buying Beauty av Hua Wen och en undersökning gjord av Zou Jianling 邹建玲 och Gao Jie高洁. Resultatet visade att filmen tog upp både negativa och positiva aspekter kring plastikkirurgi. 15 av de undersökta kategorierna hade budskap som framfördes i filmen, dock porträtterades dessa budskap på olika sätt. Filmen visade att det fanns en diskriminering på arbetsmarknaden, vilket var en av orsakerna till varför man plastikopererar sig. Denna anledning visade sig både i Folkets Dagblads artiklar samt i tidigare forskning. Filmen och Folkets Dagblad visade båda upp en negativitet gentemot Sydkorea, vilket kan ha en politisk koppling eftersom filmen har en fastlandskinesisk producent och Folkets Dagblad är statligt ägt. De risker som filmen porträtterade gav inte ett allvarligt intryck då de oftast slätades över med komiska inslag och komplikationerna av plastikkirurgi tonades ut för att ge plats åt huvudrollsinnehavarens lyckliga slut. Detta beror på att filmen är en drama-komedi, vilket gör att de allvarligare scenerna slätas över. Filmen gav intrycket att plastikkirurgi har normaliserats och accepteras i Kinas nuvarande samhälle, vilket även visas i Folkets Dagblads artiklar. 

  • 29.
    Foka, Anna
    Umeå universitet, Humlab.
    Deconstructing Oedipus: Woody Allen's Mighty Aphrodite and the classical tradition2017In: The reception of ancient virtues and vices in modern popular culture: beauty, bravery, blood and glory / [ed] Eran Almagor and Lisa Maurice, Leiden and Boston: Brill Academic Publishers , 2017, 11, p. 167-186Chapter in book (Refereed)
    Abstract [en]

    The chapter examines the philosophical dichotomy between Hellenism and Hebraism in order to show how Mighty Aphrodite may be seen as a contemporary example of merging cultural identities, previously thought in contradiction to one another. Allen's reiteration of Oedipal references may be read as a dismantling of Classical Hellenic culture and a rearrangement intended for a 21st century New York setting. Allen constructs a fictional tragic space that is embedded in the main plot and that manifests itself in the form of tragic dramaturgy and scenic conventions.

    Against this backdrop, Allen's overall use of classical tradition may be considered self-referential: it points out to the director's own understanding of classical culture as a twenty first century Jewish New York film director. Ancient cultural forms mingle with contemporary film and mirror 'the two way relationship between the source text or culture and the new work and receiving elements'. Abort of their original context of antiquity, ritual, drama and myth, tragedy and the very figure of Oedipus are (paradoxically) cinematically deconstructed as humorous, and are granted a place within contemporaneity, finding a specific leeway of expression in classical Hollywood film narratives. The film is a commentary on the potentials of reinstating dominant structures of classical reception per se: Oedipus may become Anti-Oedipus, tragedy may turn into comedy and binary structures such as Hellenism and Hebraism may mingle together in perfect harmony.

  • 30.
    Foka, Anna
    Umeå universitet, Humlab.
    Queer heroes and action heroines: gender and sexuality in Spartacus2015In: Spartacus in the television arena: essays on the Starz Series / [ed] Michael G. Cornelius, Jefferson, North Carolina: McFarland , 2015, p. 1-220Chapter in book (Refereed)
    Abstract [en]

    Spartacus, the Thracian gladiator turned rebel leader, endures as a near-mythic hero who fought for the oppressed against a Roman oligarchy built on the backs of slave labor. The image of Spartacus as a noble if doomed avenger is familiar and his story has been retold through history as a cautionary tale about social injustice.The television series Spartacus takes a different view, with a violent depiction of the man and his times and a focus on the archetype of the gladiator—powerful, courageous and righteous. This collection of new essays studies the series as an exploration of masculinity.In the world of Spartacus, men jockey for social position, question the nature of their lives, examine their relationships with women and with each other, and explore their roles in society and the universe. The series also offers a compelling study of the composite nature of historical narrative in television and film, where key facts from original sources are interwoven with period embellishments, presenting audiences with a history and a fiction whose lines remain blurred by a distant yet all-too-familiar past.

  • 31.
    Foka, Anna
    Umeå universitet, Humlab.
    Redefining Gender in Sword and Sandal: The New Action Heroine in Spartacus (2010-13)2015In: The Journal of popular film and television, ISSN 0195-6051, E-ISSN 1930-6458, Vol. 43, no 1, p. 39-49Article in journal (Refereed)
    Abstract [en]

    Abstract: Spartacus (2010-13), although belonging to a genre comprised primarily of male-centered narratives about gladiators, redefines the genre's definition of heroism. Female characters in the TV series evolve from objectified females to strong and brave action heroines, thus marking the evolution of the perception of ancient female sexuality in popular culture.

  • 32.
    Foka, Anna
    Umeå universitet, Humlab.
    Remixing Classics for the Screen: Woody Allen and the Classical Tradition2015In: Studia Oliveriana, ISSN 0562-2964, Vol. 1, p. 55-76Article in journal (Refereed)
    Abstract [en]

    Several films by Woody Allen (Interiors, Oedipus Wrecks, Match Point and Mighty Aphrodite) contain elements of classical tradition that have been neglected or oversimplified by film scholarship as references to the director’s personal engagement with psychoanalysis. Using Mighty Aphrodite (1995) as illustration, I argue that these films convey the expression of contemporary social issues through a complex and multi-layered reception of classical culture that goes beyond pure psychoanalysis. In Mighty Aphrodite, specifically, Allen deploys the strict formalism of tragedy and the myth of Oedipus as film mechanisms for contemporary societal discourse. Via evaluation of film and narrative, I demonstrate that Allen’s classical reception is self-reflexive as it refers back to the very processes of performative arts. Furthermore, Allen utilizes the classical tradition as a form of expression in contemporary classical Hollywood narratives and creates a rich cultural experience for his audience; a cinematic treatise on cultural remix, dramatic formalism and classical reception per se.  

     

  • 33.
    Foka, Anna
    Umeå universitet, Humlab.
    The digital aesthetic in 'Atlantis: the evidence' (2010)2018In: Ancient Greece on British television / [ed] Fiona Hobden and Amanda Wringley, Edinburgh, Scotland: Edinburgh University Press , 2018, p. 187-202Chapter in book (Refereed)
  • 34.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Hållén, Nicklas
    Linnéuniversitetet, Institutionen för språk (SPR).
    Höglund, Johan
    Linnéuniversitetet, Institutionen för språk (SPR).
    A History of Animal Horror Cinema2015In: Animal Horror Cinema: Genre, History and Criticism / [ed] Johan Höglund, Katarina Gregersdotter, Nicklas Hållén, Palgrave Macmillan , 2015, p. 19-36Chapter in book (Refereed)
    Abstract [en]

    This chapter outlines the history of Animal Horror Cinema and highlights important periods and discursive developments within the genre. The chapter also discusses this type of cinema in relation to other kinds of horror films and observes that the focus on the relation between animality and humanity makes films like Jaws (1975), The Birds (1963) and Cujo (1983) different in theoretically significant ways from supernatural horror narratives and from ‘eco-horror’ films. Economic and technical restrictions often mean that animal horror films are not realist in a strict sense. The size of animals is often exaggerated and they are given human traits. Even so, human characters’ encounters with animals in animal horror cinema is more ‘real’ than the kind of encounters with the invisible, supernatural forces from beyond the realm of reality that have dominated the history of horror cinema.

  • 35.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Hållén, Nicklas
    Linnéuniversitetet, Institutionen för språk (SPR).
    Höglund, Johan
    Linnéuniversitetet, Institutionen för språk (SPR).
    Introduction2015In: Animal Horror Cinema: Genre, History and Criticism / [ed] Johan Höglund, Katarina Gregersdotter, Nicklas Hållén, Palgrave Macmillan , 2015, p. 1-18Chapter in book (Refereed)
    Abstract [en]

    The introduction to this volume is intended as a tool for future study of Animal Horror Cinema. It first defines this type of Cinema as films that describe how a particular animal or an animal species commit a transgression against humanity and then recounts the punishment the animal must suffer as a consequence. The introductory chapter then discusses how Animal Horror Cinema both cements and complicates the basic conceptual separation of the human and non-human animal and how it raises crucial questions concerning human and animal ethics and the Anthropocene; the present era when humanity itself has become a destructive geological force. This chapter also discusses how the study of Animal Horror Cinema frequently explores matters of colonialism and postcolonialism, and how the genre interrogates gender and sexuality through the animal.

  • 36.
    Gregersdotter, Katarina
    et al.
    Umeå University.
    Höglund, JohanLinnéuniversitetet, Institutionen för språk (SPR).Hållén, NicklasLinnéuniversitetet, Institutionen för språk (SPR).
    Animal Horror Cinema: Genre, History and Criticism2015Collection (editor) (Refereed)
    Abstract [en]

    The first academic study of the genre of animal horror cinema is essential for cinema and animal studies scholars as well as for fans of horror film. It defines this popular sub-genre, outlines its history and studies recent films as well as cult classics from a variety of perspectives. A central idea in the book is that animal horror cinema mirrors socially entrenched fears of and attitudes toward animals. Thus, animal horror cinema reveals attitudes toward the fabric of social life, the fragility of the eco-system and a deep uncertainty about what makes humans different from animals. The book contains chapters by scholars with different national and disciplinary backgrounds, and therefore offers a wide range of interpretations on the significance of the animal in modern horror film.

  • 37.
    Grub, Frank Thomas
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, German.
    "Italienisches Zimmer - Afrikanische Nacht": Reisedarstellungen in Serien des Fernsehens der DDR am Beispiel von "Zur See" und "Treffpunkt Flughafen"2014In: Der reisende Europäer / [ed] Linda Karlsson Hammarfelt, Edgar Platen, München: IUDICIUM Verlag GmbH, 2014, 1, p. 259-274Chapter in book (Other academic)
  • 38.
    Harris, Ashleigh
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    "Until Time Makes Him White": Race, Land, and Insurrection in The Rose of Rhodesia2009In: Screening the Past: An International, refereed, electronic journal of screen history, ISSN 1328-9756, no 25Article in journal (Refereed)
  • 39.
    Hauber, Agneta
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Modern Languages, German.
    "Das Siebte Kreuz": Eine intermediale Analyse des Romans von Anna Seghers, des Comics von William Sharp und des Filmes von Fred Zinnemann2016Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
  • 40.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English, The Swedish Institute for North American Studies.
    Aki Kaurismäki, The Other Side of Hope2019Other (Other academic)
    Abstract [en]

    The Other Side of Hope, directed by Aki Kaurismäki, concentrates on Syrian and Iraqi refugees in contemporary Finland. A film referencing the anti-generic traditions of European auteur cinema, Kaurismäki’s tragicomedy links its storyline explicitly to, first, recent events in the Syrian civil war and, second, to Finnish reactions to what has been referred to as the “refugee crisis of 2015”, such as the forming and rise of right-wing militia groups. The film juxtaposes different domestic and public places where individuals go through various experiences of hospitality and hostility (Derrida 2000). Kaurismäki’s minimalistic style confronts the audience with different forms of communication with the foreigner, the Other, the guest in early 21st century Finnish society. Acts of providing refuge create situations of hope – shown as providing security and protection for the guest and foreigner – within a broader social landscape of danger and hostility. These hopescapes reflect on the understanding and treatment of the refugee as guest.

  • 41.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Cosmopolitics in Border Film: Amores Perros and Sleep Dealer2013In: Comparative American Studies, ISSN 1477-5700, E-ISSN 1741-2676, Vol. 11, no 1, p. 89-113Article in journal (Refereed)
    Abstract [en]

    The complex Mexico city drama Amores Perros and the Latino science fiction film Sleep Dealer explore issues of transnational identification and critique on different levels of cinematic communication: as productions targeting a general, universal young audience; as visual texts that illustrate and negotiate the distribution of images and data in a world of accelerated globalization; as film narratives centered on questions of human mobility and migration; as works of art scripted and directed by individuals who live and work in different countries. The study reads Amores Perros and Sleep Dealer in the context of the history of border film and analyses how the two films position themselves in contemporary debates on critical cosmopolitanism and economic globalization. As border films, set in Mexico, their cinematic politics go beyond local and national perspectives. Both films provide self-reflexive narratives about the topic of resistance within the space of global capitalism and contribute to the contemporary discourse of cosmopolitics.

  • 42.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Kanadischer Film: Geschichte, Themen, Tendenzen2006Book (Refereed)
  • 43.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Narcocorridos: Ethnic Tradition, Border Discourse, and Commercialization2015In: Selling Ethnicity and Race: Consumerism and Representation in Twenty-First-Century America / [ed] Pisarz-Ramirez, Gabriele, Trier (Tyskland): Wissenschaftlicher Verlag Trier, 2015, p. 197-211Chapter in book (Refereed)
    Abstract [en]

    As traditional Mexican folk music corridos have always celebrated smugglers, outlaws and bandits, and many songs, popular in Mexico and the US Southwest, have commented on drug-related issues. However, in the past decades narcocorridos added a new dimension to the complex relation of music industry and drug consumption in North America. The following essay discusses the growing popularity of the drug ballad (narcocorrido) in the context of the rise of drug related violence in Mexico and the history of corrido singing in the US-Mexico borderlands. The contemporary narcocorrido is shown as a commercialized rendering of local traditions of resistance against oppression and poverty. Ethnic roots of the music genre are exploited for marketing celebratory and heroic representations of drug related violence.

  • 44.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Rainer Werner Fassbinder, Ali: Fear Eats the Soul (1974)2019Other (Other academic)
    Abstract [en]

    The director Rainer Werner Fassbinder (1945-82) shaped 1970s German cinema like very few others. Ali: Fear Eats the Soul (Ali: Angst essen Seele auf) stands out as a particularly significant contribution to New German Cinema because of its minimalistic cinematography, the acting that references the Brechtian alienation effect, and the focus on highly relevant social controversies in post-war West German society. However, unlike most auteur cinema of the time, Fassbinder employs a melodramatic emotional guidance of the audience through shifts in camera perspective and dialogue. The romance between a Moroccan “guest worker” and an elderly German cleaner was inspired by Douglas Sirk’s melodramas of the 1950s that Fassbinder became interested in in his later period of filmmaking (Reimer 1996). Fear Eats the Soul, in certain ways, is a remake of Sirk´s All That Heaven Allows (1955) that tells the love story of a wealthy widow and her significantly younger gardener in a New England small town. The social environment of the well-respected family strongly objects to the marriage across class boundaries. However, Fassbinder’s melodrama reshapes the plot by adding racialized and national difference as central issues that make the relationship controversial. Moreover, he uses German society as a setting, a society that is shown to be still struggling with the history of its Nazi-past while at the same time having to come to terms with the presence of migrant workers and racist anti-Arab sentiment, which intensified after the PLO-linked attack on the Israeli team at the Munich summer Olympics in 1972 (which the film refers to a few times). Even decades later the complex filmic treatment of anti-migration sentiments, anti-Arab prejudices, and racism still seems to be highly relevant as a critical analysis of not only German but European societies that currently face new populist nationalism and anti-refugee politics. Fear Eats the Soul can be read as a symbolic treatise on mechanisms of social control and exclusion and on the destructive power of ideologies defending community cohesion and notions of purity in modern societies. The metaphorics of the guest and the host mold this disillusioning and painful love story.

  • 45.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    The History of Chicano Film: Hybridity and Intercultural Exchange as Representational Practices,2008In: Hybrid Americas: Contacts, Contrasts, and Confluences in New World Literatures and Cultures, Tempe: Bilingual Press , 2008, p. 249-264Chapter in book (Refereed)
  • 46.
    Heide, Markus
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    US-Latino History and Film for the EFL-Classroom: From Zorro to Jennifer Lopez2008In: American Studies Journal, ISSN 2199-7268, Vol. 51, no 1Article in journal (Refereed)
  • 47.
    Ho, Hang Kei
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Social Sciences, Department of Social and Economic Geography.
    The Umbrella Movement: Uncertainty, Democracy and Plutocracy2015Conference paper (Other academic)
  • 48.
    Hyvönen, Mats
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Cultural Anthropology and Ethnology.
    Massmedieproblem: Mediestudiets formering2015Book (Refereed)
  • 49.
    Hyvönen, Mats
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Cultural Anthropology and Ethnology.
    Snickars, Pelle
    Umeå University, HUMlab, Umeå, Sweden.
    Vesterlund, Per
    University of Gävle, Department of Humanities, Gävle, Sweden.
    The Formation of Swedish Media Studies, 1960–19802018In: Media History, ISSN 1368-8804, E-ISSN 1469-9729, Vol. 24, no 1, p. 86-98Article in journal (Refereed)
    Abstract [en]

    Around 1960, the politics of the emerging media society in Sweden tended to fixate the formative functions of mass communication. The monopoly of public service broadcast media, press subsidies and new tendencies in film policy were some of the issues around which uncertainty prevailed. New methods to provide reliable data were sought by politicians, since empirical facts were required as arguments for an updated media policy. This article examines the different ways that the field of media studies was introduced in Sweden between 1960 and 1980. We argue that Swedish academic media studies departed from, and emerged within, a rather diffuse borderland between industry, politics and academia. The formation of national media research in Sweden can partly be seen as an effect of politicians and the media industry wanting to be better informed on issues such as media influence, media ownership and the habits and composition of the media audience.

  • 50.
    Håkansson, Cornelia
    Gotland University, School of Game Design, Technology and Learning Processes.
    Re-examining the Traditional Principles of Cinematography of Modern Movies: a Case Study of Children of Men and Clerks II2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis addresses the principles of cinematography and their significance for the visual outcome of a film. The purpose is to examine the importance of the principles for modern film and this is done through a study on how the principles are used and not used in the films Children of Men and Clerks II. The two films investigated are both known for being experimental and modern in their use of cinematography, and was therefore found suitable for this thesis. The limitation with this study is that only the four main principles of cinematography are analysed: camera angles, framings, points of view and camera movement, and they are only analysed in one shot from each film examined.

    In the results, the four main principles were investigated when and when not applied in the specific shot from each film. In the film Children of Men the breaking of the principle of point of view was most central, but the principle of framings and camera movement were in some cases also not applied. The only principle actually followed in this shot was the principle of camera angles. In the other film examined, Clerks II, the breaking of the principle of camera movement and camera angles was most central together with the breaking of the 180 degree rule. The principles that were followed in this clip were framings and points of view.

    In the conclusion the results were discussed and also the possibility of effects on the viewer, when breaking the principles. Different ideas of possible effects on the viewer were presented, but they all had disorientation in common. The possible outcome of disregarding the principles of cinematography ended up being misleading the viewer away from the narrative.

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