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  • 1.
    Aini, Sorush
    Örebro University, School of Humanities, Education and Social Sciences.
    Från Rocky Balboa till Freddy Heflin: En komparativ stjärnstudie av Sylvester Stallone2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Andersson, Josefin
    Örebro University, Department of Humanities.
    Produktplacering: i komedifilmer 20062008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 3.
    Andersson, Patrik
    Örebro University.
    Living Dead: George A. Romero's tetralogy construed utilizing intertextuality, neoformalism and postmodernism.2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    George A. Romeros filmserie, bestående av fyra delar, analyseras med hjälp av en neoformalistisk begreppsapparat utifrån postmodernismens teorier om intertexualitet. Filmerna är i kronologisk ordning: Night of the Living Dead, Dawn of the Dead, Day of the Dead och Land of the dead. Diverse skillnader samt likheter mellan filmerna undersöks och ställs i kontrast till regissörens ambitioner av politisk kommentar eller satir.

    Referenser till andra filmer, inom skräckfilmsgenren samt utanför förklaras och analyseras i relation till filmiska koder i uppsatsens avslutande diskussion och slutsats.

    Uppsatsen är helt på engelska.

  • 4.
    Andersson, Robert
    et al.
    Örebro University, School of Law, Psychology and Social Work. Linnéuniversitetet, Polisutbildningen (PU).
    Bruhn, Jørgen
    Linnéuniversitetet, Institutionen för film och litteratur (IFL).
    Gjelsvik, Anne
    NTNU, Norway.
    The Corners of Crime2015In: The Wire and America's Dark corners: Critical Essays / [ed] Arin Keebler and Ivan Stacy, New York: McFarland , 2015, p. 81-94Chapter in book (Refereed)
  • 5.
    Atterstig, Elin
    Örebro University, School of Humanities, Education and Social Sciences.
    Att höra genre: Vad ljudet i filmens inledning berättar om genre2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.

    The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.

  • 6.
    Axell, Johan
    Örebro University, Department of Humanities.
    Den Monstruösa Kvinnan på 2000-talet2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 7.
    Bergenwall, Peder
    Örebro University, School of Humanities, Education and Social Sciences.
    Sydafrikansk film som national cinema: En jämförande analys av ett forskningsfält2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this essay is to study the film culture in South Africa in a national cinema-context, focusing on the relationship between anti-apartheid film from 1974-1994 and the film in South Africa today. By pitching the South Africa-specific works of Lucia Saks and Jacqueline Maingard against the over-arching debate on national cinema as formulated by, amongst others, Stephen Crofts and Andrew Higson, this study aims to find whether or not a specific South African national cinema have existed, and exists today, or not. The study finds that an underground culture of documentaries and short films made by and for the black population has been in place since the apartheid, and the distribution method on video and television is still being used to reach the black population today. By re-examining the concepts of both the national, and of national cinema to also include film on video and television, the study shows that South Africa has indeed a film culture that can be called a national cinema.

  • 8.
    Bergenwall, Peder
    Örebro University, School of Humanities, Education and Social Sciences. Örebro University, School of Humanities, Education and Social Sciences.
    Video Hall Morality: A minor field study of the production of space in video halls in Kampala, Uganda2012Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study is to examine the social and political functions of the video halls in Kampala, Uganda, based on a field study conducted during two months in the end of 2011. 13 video halls in nine different areas of Kampala form the basis of this study, and the methods being used are observations and structured and semistructured interviews with video hall owners, attendees, street vendors and "people on the street". The video halls are then problematized and discussed through theories on (social) space: Michel Foucault's (1967/1984) concept of "other spaces" and heterotopia; David Harvey's (1996) dialectical approach to the production of space, and; Nick Couldry and Anna McCarthy's (2004) volume on the concept of MediaSpace.

    The study finds that the social space of the video hall is closely linked with questions of morale and “otherness”: the video hall is by many regarded an immoral place, where thieves gather and people do drugs. This frames the video hall outside of the "normal" social imaginary, even by many of the people attending the hall. The study also finds that the potential for political resistance or an alternative public sphere – one of the main features of Foucault's heterotopia – as seen in the video parlors in Nigeria (Okome 2007) do not seem to have any bearing in the Ugandan context. Factors such as the lack of educational films, and the moral contestation of the social space, is argued to be the cause of this, however the study also makes the argument that the video hall itself, as well as the academic field of film in general, has to be taken more seriously by the academia in Uganda in order to make sense of the functions and implications of this "othering" of the social space that is the video hall.

  • 9.
    Bergström, Åsa
    Örebro University, Department of Humanities.
    Förintelsen på film och TV2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The Holocaust on Film and TV

    This study deals with changes in the representations of the Holocaust on film and TV 1948-1993. It includes documentaries as well as fiction films produced for screen or TV. The documentaries were produced in France while all other films included are produced in the U.S. The films are The Search (screen, 1948), Nuit et brouillard (documentary, 1955), The Diary of Anne Frank (screen, 1959), The Pawnbroker (screen, 1965), Holocaust (TV, 1978), Playing for Time (TV, 1980), Sophie´s Choice (screen, 1982), Shoah (documentary, 1985) and Schindler´s List (screen, 1993).

    The theoretical and methodological frameworks are drawn from ”New Film History” and hermeneutics. Using these methods the study observes the filmmaterial in a wider historical context including aesthetic, technological, social and, to a certain degree, also economical aspects. The hermeneutic method connects wider perspectives to a more textcentered analysis in which neoformalism and documentary modes are used to recognize similarities and shifts in the representations. The primary focus in this part of the analysis is defining the methods used to create authenticity and identification in the representations and the ways in which they function in different contexts and genres.

    The study shows that all included representations of the Holocaust are highly influenced by their production context and that authenticity is a primary focus to generate identification in the process of reception. It is concluded that the methods used to achieve this function inbetween genres. Thus contextualisation, historisation and comparative studies are of great importance in order to recognize wider perspectives as well as closer understanding.

  • 10.
    Blixt, Rickard
    Örebro University, Department of Humanities.
    Sex & Violence: En studie rörande sex i pinku eiga2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 11.
    Blomberg, Anna
    Örebro University, School of Humanities, Education and Social Sciences.
    The Manic Pixie Dream Girl: En karaktärsanalys av det kvinnliga kärleksintresset i romantisk komedi utifrån ett genusperspektiv.2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay deals with how female characters are portrayed in romantic comedies by studying the "Manic Pixie Dream Girl"-phenomenon closer. This concept leads to misunderstandings about women's roles in the world of cinema and creates discussions about equality and Western storytelling. The purpose of this essay is to study two women in two different romantic comedies and study if they meet the criteria Nathan Rabin, the man who coined the term “Manic Pixie Dream Girl”, has announced to be qualities of a Manic Pixie Dream Girl and whether it is justified to argue that the female characters maintain sexist ideals. The theoretical basis on which the essay is based primarily comes from feminist theory, but also from Laura Mulvey’s theory of scopophilia and “the male gaze”. To analyze the selected material I have chosen to use a customized method of character analysis. The results show that, despite the fact that the female characters may meet some or more of the criteria Rabin have announced, the material does not directly imply that the characters are one-dimensional and, in extension, improbable and unreal portraits of women in general.

  • 12.
    Bodin, Mattias
    Örebro University, School of Humanities, Education and Social Sciences.
    Filmbeteenden: En kvalitativ publikstudie om studenters filmkonsumtion i dagens mediekonvergerade samhälle2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 13.
    Broman, Niklas
    Örebro University, Department of Humanities.
    Det Japanska sextiotalet och modernitetens omfång2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 14.
    Carlsson, Loke
    Örebro University, Department of Humanities.
    Spelmusik: Musikens funktioner i tre datorspelsserier2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Loke Carlsson: Spelmusik – Musikens funktioner i tre datorspelsserier

    Denna uppsats handlar om datorspelsmusik och syftet är att ta reda på vilka funktioner denna

    musik har i datorspel. Först presenteras ett antal teorier om filmvetenskap. Med hjälp av dessa

    teorier sammanställer jag sedan en metod för att analysera musiken i några få datorspel. I

    metodkapitlet hittar man också en redogörelse för de grundläggande skillnader mellan

    datorspel och filmer när det gäller musik. Tre olika spelserier analyseras i denna uppsats. I

    analyserna presenteras och beskrivs musiken, varefter den ställs mot de teorier som

    presenterats i teorikapitlet. Resultatet blir att jag kan sluta mig till att datorspelsmusiken i de

    analyserade spelen har fyra viktiga funktioner som stämmer bra överens med flera av

    filmmusikens funktioner.

  • 15.
    Danneman Lundkvist, Manne
    Örebro University, Department of Humanities.
    Neoformalistisk analys av Sin City2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med min analys är att se via en neoformalistisk stilanalys vilka grepp som filmen Sin City har hämtat från film noir. Jag ser även via intertextuella kopplingar vad Sin City har hämtat från serietidningen som filmen baseras på. Fokus i analysen ligger dock på fyra grepp som jag anser är de mest klassiska film noirgreppen; Ljussättning, Femme fatale, en mörk värld och protagonisten. Jag kommer bl.a. fram till att Sin Citys använder sig av klassiska film noirstilgrepp men drar dem till det extrema, kanske för att passa in på den serievärld som filmen är länkad till. Filmen använder sig även flitigt av hypermarkerade objekt för att leda in åskådaren på mer estetiska tankebanor.

  • 16.
    Dohrman, Johan
    Örebro University, Department of Humanities.
    Is it just a movie?: Hitchcock som filmteoretiker2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 17.
    Eriksson, Jonas
    Örebro University, Department of Humanities.
    Shooting Dogs: en eurocentrisk skildring av folkmorden i Rwanda2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 18.
    Ersson, Elin
    Örebro University, School of Humanities, Education and Social Sciences.
    Janus ala Cuba: Filmiska gestaltningar av den kubanska revolutionen2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.

  • 19.
    Felsing, Alexander
    Örebro University, School of Humanities, Education and Social Sciences.
    Våld i film: En evolutionärbiologisk förklaring till vår fascination2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper examines why violence in films is so widespread and popular. I use an evolutionary biological perspective, that has not previously been used in film research as much. Instead, the film research and other studies on human behavior usually originate from a social constructionist perspective. The essay is a "research review", which means that I have not made a classic analysis of a cinematic work or empirical data, but have collected a large amount of research from other scientists. To be able to answer my question, I had to do research in human evolution, audio visual perception and violence in film. The most important book for the essay came to be Torben Grodals Embodied Visions. The main question in my research question was: What factors are in accordance with previous research behind the popularity of graphic violence? Answer: 1. Film is designed to affect us, activating emotions. 2. what affects us the most is images that reminds us of deeply rooted mechanisms inside us. 3. of evolutionary reasons, violence and aggression are among these deep-rooted mechanisms.

  • 20.
    Fredriksson, Tony
    Örebro University, School of Humanities, Education and Social Sciences.
    Wes Anderson: Den intermediale auteuren2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Gruffman, Mathias
    Örebro University, Department of Humanities.
    Alternativ Hollywoodestetik: En studie över fyra filmers förhållande till Classical Hollywood Cinema2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay studies stylistic differences as well as homage’s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation. It’s found that, in these films Classical Hollywood Cinema still contributes with a huge part.

  • 22.
    Gustafsson, Fredrik
    Örebro University, School of Humanities, Education and Social Sciences. The Swedish Film Institute, Stockholm, Sweden.
    Hasse Ekman at MoMA2015In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 5, no 3, p. 211-215Article in journal (Refereed)
  • 23.
    Gustafsson, Fredrik
    Örebro University, School of Humanities, Education and Social Sciences.
    On ethics and style in Bullfighter and the Lady (1951)2017In: ReFocus: The Films of Budd Boetticher / [ed] Gary D. Rhodes and Robert Singer, Edinburgh: Edinburgh University Press, 2017, 1, p. 28-39Chapter in book (Refereed)
  • 24.
    Gustafsson, Fredrik
    Örebro University, School of Humanities, Education and Social Sciences.
    Swedish Cinema of the 1940s, a New Wave2016In: A Companion to Nordic Cinema / [ed] Mette Hjort and Ursula Lindqvist, Malden, MA, USA: Wiley-Blackwell, 2016, 1, p. 313-331Chapter in book (Other academic)
  • 25.
    Gustafsson, Fredrik
    Örebro University, School of Humanities, Education and Social Sciences.
    The man from the third row: Hasse Ekman, Swedish cinema, and the long shadow of Ingmar Bergman2017 (ed. 1)Book (Refereed)
  • 26.
    Göthlin, Erik
    Örebro University, School of Humanities, Education and Social Sciences.
    En analys av rekonstruktionen i Arne Sucksdorffs dokumentärfilmer2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The purpose of this study was to analyze the reconstruction in two short-documentaries by Arne Sucksdorff. The films are analyzed both in a stylistic and symbolical way.

  • 27.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Cinema at the service of civil society: film exhibition in multipurpose venues in Sweden2014In: European Network for Cinema and Media Studies, 2014Conference paper (Other academic)
    Abstract [en]

    Film exhibition was a regular and common feature in hundreds of multipurpose venues owned by local divisions of the temperance and labor movements in Sweden since the beginnings of film. I argue that the investment by civil society in film exhibition is important to understanding Swedish film history and culture at large. It provides an interesting case of blurred boundaries between the state, civil society and the commercial film industry. Film exhibition in the venues provided income for maintaining the venues per se, thus encouraging the continued existence of grassroots progressive activity also after the democratic breakthrough. At the same time, it offered an opportunity for its largely rural audience to participate in the national disciplinary project of gathering the people of the modern welfare state under the auspices of its own spaces.  

  • 28.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Cinema is dead. Long live cinema!?: film culture in historical comparative perspective2012Conference paper (Other academic)
  • 29.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Cinema, memory and identity: narrative strategies when remembering cinema-going and film2009Conference paper (Other academic)
  • 30.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Educational cinema and censorship in Sweden, 1911-19211999In: Nordic explorations: film before 1930 / [ed] John Fullerton, Jan Olsson, London: John Libbey , 1999, p. 152-162Chapter in book (Other academic)
  • 31.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Features of early film culture in rural Sweden2007Conference paper (Other academic)
  • 32.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Film i Fagersta: berättelser om biografens betydelse2008Conference paper (Other academic)
  • 33.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Filmanalys2000In: Metoder i kommunikationsvetenskap / [ed] Mats Ekström, Larsåke Larsson, Lund: Studentlitteratur , 2000, 1, p. 247-271Chapter in book (Other academic)
  • 34.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Filmanalys i ett filmpoetiskt perspektiv2010In: Metoder i kommunikationsvetenskap / [ed] Mats Ekström, Larsåke Larsson, Lund: Studentlitteratur AB, 2010, 2, p. 289-303Chapter in book (Other academic)
  • 35.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Filmkultur och nöjesliv i Örebro 1897-19082007Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Åsa Jernudd: Movies and Entertainment in Örebro 1897-1908

    This dissertation is a historical study of film exhibition in the context of emerging popular entertainment in Örebro, a medium-sized town in Sweden, 1897 to 1908. It argues that since 80% of the population resided in towns and rural areas around 1900, studying the impact of film culture in a town setting is essential for an understanding of early film culture in Sweden. The local press is used as primary source of marketing schemes, venues and programming policies as well as of cultural debate and conflict.

    Across Europe, theatres and fairgrounds were the preferred venues of traveling exhibitors of film shows. In Örebro, however, film exhibition preferably took place in the ‘respectable’ halls of voluntary organizations. Of special importance to local film culture were two working class societies: the liberal Arbetareföreningen (AF) and the labor-based Arbetarekommun (AK) ― albeit in different ways. AF, which embraced reformist ideals, owned the most popular venue for film exhibition and transformed their hall into a movie theater in 1907. AK encouraged the working class population to spend leisure time (and money) on popular forms of cheap entertainment by opening an amusement park in town and by frequently organizing bazaars, funfairs and variety shows. Socio-cultural conflict was concentrated to the fairground around the turn of the century and later turned to AK’s bazaars and funfairs. The emerging film culture influenced opinion in the big cities of Sweden, yet in Örebro it only received sporadic public attention.

    In stark contrast to the situation in the big cities, the transformation of itinerant film exhibition to permanent forms was a gradual and relatively inconspicuous process in Örebro that took place in the shadow of AK’s more obtrusive culture of cheap amusements. Three movie theatres opened in 1907 and were accepted by the town’s public with relative ease.

  • 36.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Före biografens tid: kringresande filmförevisares program 1904-19072008In: Välfärdsbilder: svensk film utanför biografen / [ed] Erik Hedling, Mats Jönsson, Stockholm: Statens ljud- och bildarkiv , 2008, p. 31-48Chapter in book (Other academic)
  • 37.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Is the appeal of Hasse & Tage strictly national?: A case study of The adventures of Picasso2011Conference paper (Other academic)
  • 38.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Jakten på forsvunne tilskuere: resepsjonsstudier i filmvitenskapen2009In: Veier tilbake: filmhistoriske perspektiver : festskrift i anledning Gunnar Iversens 50-årsdag 18. januar 2009 / [ed] Sarah Brinch, Anne Gjelsvik, Kristiansand: Höyskoleforlaget , 2009, p. 116-132Chapter in book (Other academic)
  • 39.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Locating (trans)national reflections in film memory2010Conference paper (Other academic)
  • 40.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Modernity, ideology and commerce: locating Swedish cinema history2012Conference paper (Other academic)
  • 41.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    My hope for a diversified cinema culture in Örebro, Sweden2011In: Senses of Cinema, ISSN 1443-4059, E-ISSN 1443-4059, Vol. 58Article in journal (Other (popular science, discussion, etc.))
  • 42.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Oscar Olsson's African Films (1921/22): Examples of Touristic Edutainment1999Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
  • 43.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Oscar Olsson's African films (1921/22): examples of touristic edutainment1999Book (Other academic)
  • 44.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Reform and entertainment: film exhibition and leisure in a small town in Sweden at the end of the nineteenth century2005In: Film History. An International Journal, ISSN 0892-2160, E-ISSN 1553-3905, Vol. 17, no 1, p. 88-105Article in journal (Refereed)
  • 45.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Regulating Public Auditoriums2005Conference paper (Other academic)
  • 46.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Spaces of early film exhibition in Sweden2008Conference paper (Other academic)
  • 47.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Spaces of early film exhibition in Sweden, 1897-19112012In: Cinema, audiences and modernity: new perspectives on European cinema history / [ed] Daniel Biltereyst, Richard Maltby, Philippe Meers, London: Routledge , 2012, 1, p. 19-34Chapter in book (Other academic)
  • 48.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Teaching cinema studies in Singapore: report from a semester at Wee Kim Wee School of Communication and Information, Nanyang Technological University, as a STINT-fellow within the Excellence-in-Teaching program 20112012Report (Other (popular science, discussion, etc.))
  • 49.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    The expedition film: 'just looking' at Wild men and Beasts?!2000In: Aura: filmvetenskaplig tidskrift, ISSN 1400-8386, Vol. 6, no 4, p. 4-11Article in journal (Refereed)
  • 50.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Youth, Leisure, and Modernity in the Film One Summer of Happiness (1951): Exploring the Space of Rural Film Exhibition in Swedish Post-war Cinema2018In: Rural Cinema Exhibition and Audiences in a Global Context / [ed] Daniela Treveri Gennari, Danielle Hipkins & Catherine O'Rawe, Cham: Palgrave Macmillan, 2018, p. 325-337Chapter in book (Refereed)
    Abstract [en]

    The 1950s was a decade of major social transformation in Sweden when the welfare state was being realized, and it has been suggested (Gunnemark, 2006) that the youth of this age became proponents of modernity, caught between the old and the new structures of society. With the film Hon dansade en sommar (One Summer of Happiness, 1951) as a reference, this chapter discusses how youth became more defined as category and identity in Sweden in the post-war period through its relation to leisure culture, not least cinema. Cinema had evolved in rural areas as part of a modern associational culture with progressive roots in the temperance movement and oppositional roots in the worker’s movement. In the post-war period, the government supported this culture and contributed to its expansion. It became a space in which youth throughout the country could come together, or individually, and submit themselves to, as well as reflect upon, images and narratives of the rapid and intense ongoing changes.

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