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  • 1.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    I teatralitetens brännvidd: Om Ingmar Bergmans filmkonst2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews).

    After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters.

    The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films.

    The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films.

    The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances.

    The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.

  • 2.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Martyrologion: Dagböcker 1970-19862012Collection (editor) (Other (popular science, discussion, etc.))
    Abstract [en]

    The collected diaries of Andrei Tarkovsky (1932-1986), for the first time published in Swedish. They cover the director's life, work and the increasing difficulties he encountered in the Soviet Union and the time of his exile in Western Europe. Internationally Tarkovsky's diaries were widely reviewed and considered to be a valuable addition to the Tarkovsky canon. They are professional and personal: thoughts on film sit alongside household chores, notes about friends and family. The diaries have been translated from its Russian original by Håkan Lövgren. This Swedish edition of the diaries is the most complete edition to date.

  • 3.
    Burman, Christo
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages. Drama-Teater-Film.
    Osynligheten tar vid där ruinerna slutar2005In: À Derrida x 13, Institutionen för konstvetenskap, Umeå universitet: Umeå , 2005, p. S. 59-63Chapter in book (Other academic)
  • 4.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    På spaning efter den populärkulturelle Bergman: Om att vända på bilden av en filmskapare2010In: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, Vol. 19, no 4, p. 2-14Article in journal (Refereed)
    Abstract [en]

    Ingmar Bergman’s name is virtually synonymous with intellectual European films and high culture but lately scholars have been trying to show that Bergman worked in a variety of fields, including popular culture, and that his work often was commercial, popular and more easily accessible than his auteur image would suggest. This article explores some of the soap commercials that Bergman made in the early 1950s, which still remain a little known part of his oeuvre. The focus also lies on the publication of Bergman’s scripts as serial “filmnovels” in the weekly women’s magazine Allers Familjejournal (1959–1967) and on the transformation of the image of Bergman by his popular later works Scenes from a Marriage (1973) and Fanny and Alexander (1982) and through famous images that reappear throughout the spectrum of popular culture, most notably the image of Death from The Seventh Seal (1957).

  • 5.
    Enström, Ann
    Umeå University, Faculty of Arts, Department of culture and media studies. Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    Känsla för skådespelarkonst: mot en förståelse av tysta kunskaper och görandets fenomenologi2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The primary argument in this thesis is that the common assumption that an actor has emotion inside him- or herself which can be evoked and projected outwards is an outdated misconception. A proposition is made to replace this possessive acting model, which underpins the realist tradition and is based on the popularized aspects of Stanislavsky’s system for actor training, by a situational acting model. This new model is founded on the idea that emotion is something that actors “do”. Furthermore, a theory of this situational model is advanced where the actor is seen to perform emotion in an interplay with action in three different ways: in the world symbolically as an expression, of the world phenomenologically as in-sensing or out-sensing, and with the world as a becoming – which opens the actor up to greater forces of nature and society.                           

              The material in this thesis has been focused on from both a contextualizing and a theoretic perspective. The contextualizing perspective places the actor’s doing of emotions in a historical context. The theoretic aspect concentrates on how performing emotions is realized in practice, and it proceeds from an analysis of two contemporary Swedish examples: the actresses Lena Endre in the role of Lady Macbeth at the Royal Dramatic Theatre in Stockholm in a production of William Shakespeare’s Macbeth from 2006, and Mia Skäringer in her stage show Horny as Hell and Really Holy from 2010. In exploring this material, a combination of Paul Ricoeur’s “hermeneutics of suspicion” and Paul Stoller’s ”sensuous scholarship” is applied.

              A synthetic theoretical approach is employed that is set on a phenomenological foundation in combination with theories of emotion and affect as well as gender theory and theatre theory. The discussion is informed by Michael Polanyi to gain an understanding of tacit knowledge and the role of kinesthesia; by Simone de Beauvoir to establish a perspective on the body as a situation; by Sara Ahmed to see the potential for a cultural politics of emotion and a queer view of intentionality; and by Maurice Merleau-Ponty to propose a way of looking at the human being as being of the world as opposed to in the world. Interpretations of a few of Gilles Deleuze’s and Félix Guattari’s concepts such as rhizome, becoming, and body without organs, are added to this list in order to provide a background for what the third way of doing emotion is about.

  • 6.
    Eriksson, Maria
    Umeå University, Faculty of Arts, Department of culture and media studies. Umeå University, Faculty of Arts, Humlab.
    A Different Kind of Story Tracing the Histories and Cultural Marks of Pirate Copied Film2016In: Tecnoscienza: Italian Journal of Science & Technology Studies, ISSN 2038-3460, E-ISSN 2038-3460, Vol. 7, no 1, p. 87-108Article in journal (Refereed)
    Abstract [en]

    Pirate copied objects are fiery artifacts that have caused much anxiety and debate. This article explores the cultural biographies of one particular type of such objects; digital pirate copied films. More specifically, it traces two neglected aspects of such object's life histories: their entanglement in systems of standardization and quality control, and the ways in which new types of aesthetics and narratives are inscribed (or added to) pirated audiovisual content. Paying close attention to the layered and multifaceted dimensions of digital pirate copied film, the paper approaches the act of pirate copying as a form of transfiguration, and suggests that pirated objects are much more than plain replications. By housing a multiplicity of material identities and by carrying (and being surrounded by) alternative narratives of production, the article argues that these objects intervene, disorient, and disrupt the power dynamics of cinematic circulation and ultimately serve to queer commodity spheres.

  • 7.
    Foka, Anna
    Umeå University, Faculty of Arts, 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.

  • 8.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Department of historical, philosophical and religious studies. Umeå University, Faculty of Social Sciences, Umeå Centre for Gender Studies (UCGS).
    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.

  • 9.
    Foka, Anna
    Umeå University, Faculty of Arts, 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.

  • 10.
    Foka, Anna
    Umeå University, Faculty of Arts, 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.  

     

  • 11.
    Foka, Anna
    Umeå University, Faculty of Arts, Humlab.
    The digital aesthetic in Atlantis: The Evidence2018In: Ancient Greece on British television / [ed] Fiona Hobden and Amanda Wringley, Edinburgh, Scotland: Edinburgh University Press, 2018Chapter in book (Refereed)
  • 12.
    Gregersdotter, Katarina
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Hållén, Nicklas
    Anthropomorphism and the representation of animals as adversaries2015In: Animal horror cinema: genre, history and criticism / [ed] Katarina Gregersdotter, Johan Höglund and Nicklas Hållén, Houndsmills: Palgrave Macmillan, 2015, p. 206-223Chapter in book (Refereed)
  • 13.
    Gregersdotter, Katarina
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Hållén, Nicklas
    Höglund, Johan
    A history of animal horror cinema2015In: Animal horror cinema: genre, history and criticism / [ed] Katarina Gregersdotter, Johan Höglund and Nicklas Hållén, Houndmills: Palgrave Macmillan, 2015, p. 19-36Chapter in book (Refereed)
  • 14.
    Gregersdotter, Katarina
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Hållén, Nicklas
    Höglund, Johan
    Introduction2015In: Animal horror cinema: genre, history and criticism / [ed] Katarina Gregersdotter, Johan Höglund and Nicklas Hållén, Houndsmillls: Palgrave Macmillan, 2015, p. 1-18Chapter in book (Refereed)
  • 15.
    Gregersdotter, Katarina
    et al.
    Umeå University, Faculty of Arts, Department of language studies.
    Höglund, JohanHållén, Nicklas
    Animal horror cinema: genre, history and criticism2015Conference proceedings (editor) (Other academic)
    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.

  • 16. Hedling, Olof
    et al.
    Pelle, Snickars
    Umeå University, Faculty of Arts, Department of culture and media studies. Umeå University, Faculty of Arts, Humlab.
    Film Studies anno 2013: A Bird’s Eye View2014In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 4, no 1, p. 35-41Article, review/survey (Refereed)
    Abstract [en]

    This short subject assessing the current state of the academic field of film studies as practiced at sites of higher learning in Sweden is based on experiences and knowledge the co-authors gained as members of a national committee to evaluate the ‘academic quality’ of programmes from a comparative point of view

  • 17.
    Heith, Anne
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Populärfilm och kulturell homogenisering: Elina, som om jag inte fanns2017In: Brännpunkt Norrland: perspektiv på en region i förändring / [ed] Anders Öhman & Bo Nilsson, Umeå: Bokförlaget h:ström - Text & Kultur, 2017, p. 40-64Chapter in book (Other academic)
  • 18. Heitmann, Annegret
    Zwischen zwei Welten: Aspekte der Mobilitat in J.A. Friis´ and G. Schneevoigts Lajla2014In: Journal of Northern Studies, ISSN 1654-5915, Vol. 8, no 2, p. 71-87Article in journal (Refereed)
    Abstract [de]

    Einer der bekanntesten Texte über das Leben der Samen ist Jens Andreas Friis’ norwegischer Roman Lajla aus dem Jahr 1881. Sein Status als Klassiker wurde durch zwei Verfilmungen von Georg Schnéevoigt (Stummfilm von 1929 und Tonfilm von 1937) untermauert. Während es die Intention des Autors war, in unterhaltsamer Form ethnographische Informationen über das Leben der Samen zu vermitteln, wurde der Roman vor allem als eine romantische Liebesgeschichte über das einfache Leben in der Finnmark rezipiert. Der folgende Aufsatz beleuchtet den Handlungsgang um das „vertauschte Kind“ neu, indem er verschiedene Aspekte der Mobilität ins Zentrum stellt: des Textes selbst, des Mediums Film und vor allem der Konzeption der Ethnizität, die durch Betonung von Mobilität ihre dichotomische Starrheit verliert.

  • 19.
    Jenna, Ng
    Umeå University, Faculty of Arts, Culture and Media. Umeå University, Faculty of Arts, Humlab.
    “The handheld digital camera aesthetics of the Blair Witch Project and Cloverfield (via Strange Days)”2009In: 16:9, ISSN 1603-5194, Vol. 7, no 32Article in journal (Other academic)
    Abstract [en]

    This article critically interprets the  aesthetics of the handheld digital camera—whereby the entire film consists of  “footage” shot by its characters in the style of a home video—using The Blair Witch Project (1999) and Cloverfield (2008) as case studies.  Riffing off the science-fiction technology of SQUID in Kathryn Bigelow’s film, Strange Days (1995), the aesthetics of  the handheld digital camera are analysed from three aspects: mobility,  omnivoyance and spectatorship.

  • 20.
    Johansson, Anders
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Magdalena Ribbing-etik: om Konstnären som fetisch och ett stycke Uppdrag granskning för mellanstadiet2014In: Aftonbladet, ISSN 1103-9000Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Johansson, Anders
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Okritisk kritik: om filmrecensenternas ensidiga hyllning av Återträffen2014In: Aftonbladet, ISSN 1103-9000Article in journal (Other (popular science, discussion, etc.))
  • 22. Jönsson, Mats
    et al.
    Pelle, Snickars
    "Skosmörja eller arkivdokument?": om filmarkivet.se och den digitala filmhistorien2012Collection (editor) (Refereed)
    Abstract [sv]

    Bör filmarkiv främst bevara eller förevisa sina samlingar? Noggrant tillvarata och katalogisera – eller visa och sprida film? Henri Langlois, grundaren av Cinémathèque Français menade att om film aldrig visas, utan endast förvaras i metallburkar, kommer den att sluta som skosmörja. Den digitala utvecklingen förefaller givit honom rätt; bred tillgäng­ lighet till filmens historia är allra viktigast på en sajt som filmarkivet.se.

    Samtidens digitala utveckling återverkar idag på flera sätt medialt på arkivsektorn. Frågan är därför vad ett filmarkiv numera egentligen är för något – och vad det ska ägna sig åt? Arkivet innehåller ju inte bara det förflutna; snarare får det alltid sin innebörd i relation till nuet och framtiden – och den kommer inte att vara analog. Ny teknik påverkar alltid arkiv och deras bestånd. Digitaliseringen av filmens historia innebär naturligtvis stora möjlig­ heter, både forsknings­ och folkbildningsmässigt, men också nya format­, arkiv­ och urval­ sproblem. Frågan är komplex och tål att diskuteras, vilket flertalet filmvetare och filmarkivarier gör i denna bok. Ju mer arkivens filmer tillgängliggörs digitalt – desto mer kommer dock intresset för Sveriges filmarv att växa; det gäller såväl forskning som undervisning, liksom publikt – och förstås även politiskt. Digital tillgänglighet är idag det bästa medlet för att bevara det rörliga bildarvet.

  • 23.
    Jørgensen, Dolly
    Umeå University, Faculty of Science and Technology, Department of Ecology and Environmental Sciences.
    A Blueprint for Destruction: Eco-activism in Doctor Who during the 1970s2012In: Ecozon@: European Journal of Literature, Culture and Environment, ISSN 2171-9594, Vol. 3, no 2, p. 11-26Article in journal (Refereed)
    Abstract [en]

    This article analyzes the television science-fiction show Doctor Who as a cultural forum within the context of British eco-activism of the 1970s. It examines four serials which aired during the 1970s during the first wave of eco-activism in the UK: "The Green Death" (1973), "The Invasion of the Dinosaurs" (1974), "The Seeds of Doom" (1976), and "Nightmare of Eden" (1979). Two environmentalist concerns-pollution and species conservation-put forward by the early British eco-activist movement as underscored in texts such as The Blueprint for Survival from 1972 are evident in these serials. While affirming the validity of some elements of environmentalist concerns, each serial also proposes that the ends do not always justify the means. The Doctor, although a supporter of eco-activism, rejects seemingly utopian approaches to reset the Earth's ecosystems. Rather than presenting viewers with a guide to sustainability, these Doctor Who serials offer dystopian visions of future realities steeped in ecological transgressions – these are the blueprints for destruction.

  • 24.
    Lindgren Leavenworth, Maria
    Umeå University, Faculty of Arts, Department of language studies.
    "A Life as Potent and Dangerous as Literature Itself": Intermediated Moves from Mrs. Dalloway to The Hours2010In: Journal of Popular Culture, ISSN 0022-3840, E-ISSN 1540-5931, Vol. 43, no 3, p. 503-523Article in journal (Refereed)
    Abstract [en]

    The article analyses an adaptation process in two steps, from Virginia Woolf’s novel Mrs Dalloway, to Michael Cunningham’s novel The Hours, to Stephen Daldry’s film The Hours. Close readings are carried out with focus on three themes: haunting, identity and failure, which all exhibit different intertextual links between the texts. The theme of haunting, of repetition, is necessarily present in both versions of The Hours, since they as postmodern intertextual works rely heavily on their predecessor as well as on the creator of this predecessor. The theme of a woman’s whole life in a day is similarly a theme repeated from Mrs. Dalloway, and the novel itself surfaces repeatedly in both Cunningham’s and Daldry’s texts, sometimes as concrete inspiration, sometimes in the form of more oblique references. The thematic affinities between the women in The Hours are also connected to the theme of haunting, this time in the way their lives reflect and influence each other. Visually, this is illustrated by linking devices: flowers, sleeping positions and relationships to partners, to mention only the opening scenes. The water imagery—born from an echo of Mrs. Dalloway’s opening chapter—comes into the theme of haunting but takes on a powerful visual significance also in relation to the theme of failure where river water comes to represent Virginia’s choices in the writing process and how these have a direct effect on Mrs. Brown. It is argued that the move from quintessentially modernist fiction to postmodern polyphony, and the fact that Woolf is one of three central characters, has required different authenticating strategies in the film adaptation. Seemingly simple match cuts establish visual links between the central characters while simultaneously separating each woman into her own clearly identifiable space and context. Media specific modes of narration, such as set design, lighting and musical themes are similarly used to achieve polyphony. Subtle intertextual elements found in the guest text are transformed into visual linking devices, ensuring that Mrs. Dalloway remains a powerful element both in symbolic and concrete form, a result indicating that the symbiotic relationship is one of mutualism.

     

     

  • 25.
    Ljuslinder, Karin
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Empowering images or preserved stereotypes: representations of disability in contemporary film comedies2014In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, ISSN 2042-7891, Vol. 4, no 3, p. 267-279Article in journal (Refereed)
    Abstract [en]

    Historically, disability in comedy has taken the form of joking at the expense of disabled persons. In modern times, it is first and foremost through media that the public is exposed to representations of disability, and media is considered societys most far-reaching (re)producer of cultural values. This degrading ridicule in combination with the pervasiveness of media has made disability and humour a controversial combination. Through discourse analysis this article analyses three contemporary mainstream cinema comedies about disability with the overall aim to contribute to enhanced knowledge of how different articulations promote or challenge hegemonic presumptions about disability. The analysis shows that empowering images and stereotypes of disability exist simultaneously as competing discourses in media representations. The conclusion is that aware decisions about how to represent disability are indispensable for film-makers due to the major role of media in forming public perceptions.

  • 26.
    Mäntymäki, Tiina
    et al.
    Vaasa University.
    Rodi-Risberg, Marinella
    Foka, Anna
    Introduction2015In: Deviant Women: Cultural, Linguistic and Literary Approaches to Narratives of Femininity / [ed] Mäntymaki, T., Rodi-Risberg, M., Foka, A., Oxford: Peter Lang Publishing Group, 2015, p. 9-25Chapter in book (Refereed)
    Abstract [en]

    The construct of the deviant woman is analysed from literary, sociolinguistic and historical-cultural perspectives, revealing insights about cultures and societies. Furthermore, the studies recognise and explain the significance of the concept of deviance in relation to gender that bespeaks a contemporary cultural concern about narratives of femininity.

  • 27.
    Ng, Jenna
    Umeå University, Faculty of Arts, Culture and Media. Umeå University, Faculty of Arts, Humlab.
    A point of light: Epiphanic Cinephilia in Mamoru Oshii’s Avalon2009In: Cinephilia in the Age of Digital Reproduction: Film, Pleasure and Digital Culture, Vol. 1 / [ed] Jason Sperb and Scott Balcerzak, London: Wallflower Press , 2009, 1, p. 71-88Chapter in book (Other academic)
  • 28.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Department of culture and media studies.
    Cinephilia in Turin, Or, Passion in a Handful of Dust2007In: Bright Lights Film Journal, ISSN 0147-4049, Vol. 55Article, review/survey (Other (popular science, discussion, etc.))
  • 29.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media.
    Film review of 2046 (Wong Kar-Wai, Hong Kong, 2004)2005In: The Film Journal, Vol. MarchArticle, review/survey (Other (popular science, discussion, etc.))
  • 30.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media.
    Film review of Brokeback Mountain (Ang Lee, USA, 2005)2006In: The Film Journal,, Vol. JanuaryArticle, review/survey (Other (popular science, discussion, etc.))
  • 31.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media.
    Film review of Michael Clayton (Tony Gilman, USA, 2007)2008In: Opticon 1826, Vol. 1, no 2Article, review/survey (Other (popular science, discussion, etc.))
  • 32.
    Ng, Jenna
    Umeå University. Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media.
    Film review of Touching the Void (Kevin MacDonald, Argentina, 2004) 2004In: Scope. An online Journal of Film Studies, ISSN 1465-9166, E-ISSN 1465-9166, Vol. November, p. ?-Article, review/survey (Other (popular science, discussion, etc.))
  • 33.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media.
    Love in the Time of Transcultural Fusion: Cinephilia, Homage and Kill Bill2005In: Cinephilia: movies, love and memory / [ed] Marijke de Valck and Malte Hagener, Amsterdam: Amsterdam University Press , 2005, 1, p. 65-79Chapter in book (Other academic)
  • 34.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media. University College London, UK.
    Reality, Revealing, Revelation: conference review of “New Directions in Turkish Film Studies Conference IX: Cinema and Reality, Kadir Has Üniversitesi, Istanbul, 2-4 May 20082008Report (Refereed)
  • 35.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media. University College London, UK.
    Remembering history, rewriting memory: the articulation of Platoon through subjectivity, mediation and myth2006In: Cinemascope, ISSN 2240-4724, no 5Article in journal (Refereed)
  • 36.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University. Umeå University, Faculty of Arts, Department of culture and media studies.
    “The myth of total cinephilia”2010In: Cinema Journal, ISSN 0009-7101, E-ISSN 1527-2087, Vol. 49, no 2, p. 146-151Article in journal (Refereed)
    Abstract [en]

    Recent scholarship on cinephilia has sought to expand on contemporary cinephilic practices—particularly in view of new technologies such as video, DVD, and the Internet—to showcase the multi-variegated ways in which cinephiles love cinema today, despite (and defying) Susan Sontag’s 1996 “end of cinephilia” declaration. This essay does not attempt to add to that discussion, but instead sketches in broad strokes an overarching theory, via an overview of its past and present forms, to suggest cinephilia’s own unifying goal. Might there not be a singular tapestry of disparate threads of cinephilia, woven across cinema’s different technologies, in which a guiding myth to this love may be discerned? Taking Andre Bazin's construction of the paradigmatic structure of myth guiding the invention of cinema towards a higher, more elemental drive, this essay discusses the question: How to originate a myth of total cinephilia?

  • 37.
    Ng, Jenna
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media. University College London, UK.
    Virtual Cinematography and the Digital Real: (Dis)placing the Moving Image Between Reality and Simulacra2007In: The State of the Real: Essays on Aesthetics / [ed] Damian Sutton, Ray McKenzie and Sue Brind, London: I.B. Tauris , 2007, 1, p. 172-180Chapter in book (Other academic)
  • 38.
    Ng, Jenna
    Umeå University, Faculty of Arts, Culture and Media. Umeå University, Faculty of Arts, Humlab.
    World of Grey: All About Lily Chou-Chou2009In: Rouge, Vol. 13, no MarchArticle, review/survey (Other academic)
  • 39.
    Ng, Jenna Pei Suin
    Umeå University, Faculty of Arts, Humlab.
    The myth of total cinephilia2010In: Cinema Journal, ISSN 0009-7101, E-ISSN 1527-2087, Vol. 49, no 2, p. 146-151Article in journal (Other academic)
  • 40.
    Ng, Jenna Pei Suin
    et al.
    Umeå University, Faculty of Arts, Humlab.
    Danielsson, Jonas
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Svensk synd och japansk oskuld?: en jämförelse av syndiga filmer 1950-19802010In: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, no 2, p. 12-24Article in journal (Other academic)
  • 41.
    Ng, Pei-Suin
    Umeå University, Faculty of Arts, Humlab. Umeå University, Faculty of Arts, Culture and Media. University College London, UK.
    Poetry of Squalor: exploring the borgata in Pier Paolo Pasolini’s Accattone2007In: Opticon1826, no 2Article in journal (Refereed)
    Abstract [en]

    Don Marquis once wrote a poem about a fly who argued that he was ‘a vessel of righteousness scattering seeds of justice’ by helping to rid the world of alcoholics and the iniquitous who succumbed to the germs he carried to them. In justification stretched to absurdity, Marquis makes the point that grime, poverty and squalor do not constitute attractive subjects— surely it is easier to be enticed by bright lights and beauty, more tempting to revel in glitz, glamour and grandeur. Yet Pasolini’s Rome as depicted in his early films centers precisely on such wretchedness: set predominantly in the urban periphery, Pasolini’s camera determinedly avoids the more pleasant sights of the Pantheon or the Trevi Fountain, preferring instead the grimness of the borgate or the wilderness in the city outskirts. This essay focuses on Pasolini’s cinematic representation of the Roman slums, or the borgate, in Accattone by analysing on various levels its significance as a specific topographical space. My primary argument is that Pasolini’s alternate take on the borgate, replete with myth, utopian idealism and ideological ambition, nonetheless remains a flawed striving of romanticism,  whose redemption remains out of reach, and whose doom is inescapable.

  • 42.
    Norén, Fredrik
    Klippans kommun.
    Filmen i statens tjänst: Civilförsvarsstyrelsens filmaktiviteter under kallakrigsåren 1949–19522012In: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 132, no 1, p. 31-54Article in journal (Refereed)
    Abstract [en]

    This article examines the film activities of Civilförsvarsstyrelsen, a Swedish state-controlled civil defense authority under the Ministry of the Interior. Studies of the film activities of the Swedish state, especially from the years following 1945 until the breakthrough of television in 1956, are rare. This study captures the period between 1949 and 1952, a time characterized by an increase in welfare reforms, an escalation of the Cold war and the highest attendance rates in Swedish cinema history. It was also the time when Civilförsvarsstyrelsen started to produce films, and did so to a greater extent than at any other period. The aim is to provide a deeper understanding about how the civil defense used and related to the film medium. The investigation shows that the civil defense expressed a positive attitude towards the use of the film medium as a means of reaching a bigger audience. Furthermore, there was great awareness of the medium’s potential as a tool for propaganda and information. But despite the positive attitudes there was also ambiguity towards the medium. For example, the civil defense board wanted to use the films as a means to influence the citizens to embrace the civil defense ideals, but at the same time there existed a general concern in society towards film as a psychological weapon. And despite its popularity, the film medium was never institutionalized and funding was not very generous. The explanation for this ambiguity could be the general uncertainty and lack of understanding of what effects film as a medium had on its audience.

  • 43.
    Pelle, Snickars
    et al.
    Filmvetenskapliga institutionen på Stockholms universitet och Statens ljud- och bildarkiv.
    Cecilia, TrenterEU:s ramprogram Industrisamhällets kulturarv i Västernorrland.
    Det förflutna som film och vice versa: om medierande historiebruk2004Collection (editor) (Other academic)
    Abstract [sv]

    I antologin “Det förflutna som film och vice versa – om medierade historiebruk” skriver nio historiker och filmvetare om massmedial historieförmedling. Ämnet är lika aktuellt som när boken kom ut för några år sedan. Olika former av webbaserad och televisuell iscensättning av det förflutna rör sig alltmer obesvärat mellan historiska fakta och underhållande fiktion. Syftet med boken är att uppmärksamma och undersöka hur audiovisuella medieringar av det förflutna blivit allt viktigare för vår uppfattning om historia.

  • 44.
    Sköld, Peter
    et al.
    Umeå University, Arctic Research Centre at Umeå University. Umeå University, Faculty of Arts, Centre for Sami Research.
    Stoor, KristerUmeå University, Faculty of Arts, Department of language studies.
    Rivers to cross: Sami land use and the human dimension2012Collection (editor) (Other academic)
  • 45.
    Snickars, Pelle
    Stockholms universitet, Stockholm, Sverige.
    Svensk film och visuell masskultur 19002001Doctoral thesis, monograph (Other academic)
  • 46. Strand, Marianne
    et al.
    Nicander, Malin
    Svens, Christina
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Ofilmatiserat2017Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    En film är en berättelse visualiserad genom rörlig bild och ljud. Men vad är en filmberättelse som aldrig filmatiseras? Runtomkring i världen ligger de, i lådor, staplar, pärmar och kartonger, i väskor, lönnfack, på vindar och i källare; prydliga, tummade, nedklottrade, fläckade, vitsläta eller skrynklade – oräkneliga filmmanuskript, berättelser utfunderade in i minsta detalj och som under långa perioder uppfyllt en människa, men som aldrig nått eller någonsin kommer att nå läsare eller publik. Tillsammans utgör dessa berättelser en omätlig, osynlig gravgård. Rapporten OFILMATISERAT, som ges ut av Nordiskt Filmarkiv, ställer frågan om filmmanuskriptet besitter egenvärde och funktion bortom syftet att transponera text till kropp, röst, ljud och scenografi. Vad kan i så fall dessa, av olika skäl ratade, berättelser erbjuda forskare inom till exempel litteratur- och filmvetenskap, etnologi, genusstudier, idé- och mentalitetshistoria? Rapporten presenterar (facsimile!) ett kanske lite udda textfynd bestående av tre kortfilmsmanuskript, och ett försök till kontextualisering görs. Manuskripten kompletteras med en serie polaroidbilder från något som kan ha varit tänkta eller verkliga inspelningsplatser, samt avfotograferade föremål från själva fyndplatsen. Läsaren bjuds in att själv visualisera de orealiserade filmberättelserna. För som arkivarie Ingrid M. Ripa skriver kanske det är ”just i texten, i narrativets ansiktslösa partitur, vi möter filmens själva väsen?” 

  • 47. Tarkovskij, Andrej
    et al.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Apokalypsen som vision2010 (ed. 1)Book (Other (popular science, discussion, etc.))
    Abstract [en]

    The aim of this book is to discuss and exemplify the phenomenon of the Apocalypse in the works and thoughts of Andrei Tarkovsky (1932-1986).

    After an introduction in the first chapter, the first of the analytical chapters presents the life and works of Andrei Tarkovsky and looks at the apocalyptic motif in his oeuvre, as well as his thoughts and film aesthetics. The chapter also examines the term Apocalypse, which has accumulated a variety of meanings through the centuries, and the history of apocalyptic and post-apocalyptic fiction, mainly literature and film.

    The second analytical chapter focuses on Tarkovsky's film "Andrei Rublev" (1966), its historical context and narrative, and presents a substantially new reading of key scenes - especially the epilogue which shows details of several icons by S:t Andrei Rublev. The chapter also includes an introduction to icons and a short biography of S:t Andrei Rublev, in order to be able to relate the film to traditions in Russian art, aesthetics and intellectual history.

    Apart from the analytical chapters by Christo Burman mentioned above, the book contains Tarkovsky's essay on the Apocalypse from the 1984 lecture in St James's Church, London, an interview with the director on the subject of religion and belief (previously published in "Nytt Liv" 1985), a detailed filmography and the largest Swedish bibliography to date of material on Andrei Tarkovsky.

  • 48.
    Urniaz, Piotr
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Redigering och skuld: Ett kognitivt perspektiv på redigeringensfunktioner i ansvarsutkrävande tv-reportage2013Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Abstract: During the past decade, media researchers have intensified the study of media scandals and the role of journalism as an institution that holds social actors responsible for malfeasance and wrongdoings. On a micro level of analysis, the main attention has beendirected towards the journalistic interview and its use to promote the impression of guilt and journalistic neutrality. However, such studies have not been able to address the editing dimension of TV journalism that transforms conversation to another type of communicativepractice – that of communication through TV-flows composed of speech sequences, pictures,and sounds.

    This doctoral thesis develops a theoretical framework for analysis of the functions of editing inthe process of guilt attribution by journalistic TV-flows – e.g. investigative TV reporting. The purpose is also to contribute to an understanding of the relationship between the communicative competences of viewers and the contextualization of speech acts through the composition of TV-flows.

    The developed perspective consists of three parts: 1) A division of viewers’ reception of TV-flows in two types of interpersonal relations (to a speaker and to the composer) that involves six levels of cognitive activities. This division is based on the Habermasian notion of communicative rationality; 2) An intent-model, that lists communicative intentions expressed by the composer when speech sequences are merged and pictures are inserted; 3) A guilt-model, that encompasses guilt as a mental structure of ontologically separated elements (e.g. deed,intention, norm) and the associative relations that the viewer uses to create a meaningful whole– a fabula of guilt.

    The conveyed analysis of three cases of investigative reporting illustrates how the developed framework can be applied in the study of guilt attribution. The analyses also describe several compositional strategies by which the viewer is encouraged to make certain meaning, evaluate, and judge. The strategies concern the following areas: promotion of certain understanding of speech, promotion of certain evaluation of the validity claims, and promotion of certain understanding of the speaker’s intentions. Also strategies of positioning of the reporter in constructed discourses, that enhance the impression of her performances and argumentation, are explored. Furthermore, the composer’s strategies for masking intentions to interfere with the speech acts, by increasing intent ambiguity, are described.

    The guilt-model is used to understand the workings of the TV-flow on an overreaching level of meaning (the fabula level). Here, the analysis explains the interplay between portrayed intentions and acts, and the different ways in which condemning norms can be activated and highlighted. Furthermore, the model explores the possible employment of categorization in theprocess of guilt attribution (e.g. when properties of an individual are transferred to a group).

    In sum, this thesis contributes to a new way of understanding the reception of current affairs programs and TV journalism, as relation building between composer and viewer, by means of contextualization of speech acts.

  • 49.
    Wälivaara, Josefine
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Dreams of a subversive future: sexuality, (hetero)normativity, and queer potential in science fiction film and television2016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction.

    While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.

  • 50.
    Wälivaara, Josefine
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Welcome to Buffydale: Mutual Construction of Bodies and Space in Buffy the Vampire Slayer2016In: Slayage: The Journal of the Whedon Studies Association, ISSN 1546-9212, Vol. 14, no 2Article in journal (Refereed)
    Abstract [en]

    By using space as an analytical tool for narratives, the article introduces the concept of Buffydale as a way to make visible the relationship between space and body in Buffy the Vampire Slayer. The article focuses on how Sunnydale and Buffy mutually construct one another and on the intimate relationship between the two. In addition, it analyses how this conjunction into Buffydale further can be understood as pivotal to the other characters—in particular the vampiric body and its relationship to queer space and time. Through a comparative analysis between the alternative universe depicted in the episodes "The Wish" and "Doppelgangland" and the primary universe otherwise depicted in the series, the article aims to display this mutual construction of body and space. Insights into spatial and corporal issues of narratives grants a new perspective on a well-researched object of study such as Buffy the Vampire Slayer.

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