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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
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    fulltext
  • 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.
    Institute of Police Education, Linnæus University, Växjö, Sweden.
    Bruhn, Jørgen
    Linnæus University, Växjö, Sweden.
    Gjelsvik, Anne
    NTNU, Norway.
    The Corners of Crime2015In: The wire and America's dark corners: critical essays / [ed] Arin Keebler and Ivan Stacy, Jefferson, North Carolina, USA: McFarland & Company, Inc. , 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.

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    FULLTEXT01
  • 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.

    Download full text (pdf)
    Sydafrikansk film som national cinema: En jämförande analys av ett forskningsfält
  • 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.

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  • 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.

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    The Manic Pixie Dream Girl: En karaktärsanalys av det kvinnliga kärleksintresset i romantisk komedi utifrån ett genusperspektiv.
  • 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.
    Calderón-Sandoval, Orianna
    et al.
    Women’s and Gender Studies Research Institute, University of Granada, Granada, Spain.
    Jansson, Maria
    Örebro University, School of Humanities, Education and Social Sciences.
    Subverting technologies of gender in male-dominated gender regimes: (self) representations of Spanish and Swedish women filmmakers2023In: Feminist Media Studies, ISSN 1468-0777, E-ISSN 1471-5902, Vol. 23, no 7, p. 3599-3614Article in journal (Refereed)
    Abstract [en]

    This article analyses (self)representations of women filmmakers active in the Swedish and Spanish film industries, looking at how “technologies of gender,” as theorised by Teresa de Lauretis, work to resist change within the industry’s “gender regimes” (as conceptualised by Raewyn Connell), but are also simultaneously rein-vented by women film workers. Even though the gender regimes of Spain and Sweden are quite different, and despite the diversity of positions adopted by women film workers concerning cinema—as art, commodity, and socio-political technology—there are striking similarities in the obstacles faced by women in a male-dominated industry. We identify these similarities in a series of interviews with women filmmakers from both countries. What emerges as shared across both contexts is the ambivalent negotiation that women film workers have to carry out in their self-representations, when entering an industry built around a male norm. But along with these representations marked by the relation to patriarchal technologies of gender, many women creators also search for bottom-up narra-tives and appropriations of such technologies to construct themselves and their works outside and beyond the androcentric model of the current film industry.

  • 15.
    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.

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    FULLTEXT01
  • 16.
    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.

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    FULLTEXT01
  • 17.
    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
  • 18.
    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
  • 19.
    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.

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    fulltext
  • 20.
    Fahlstedt, Kim K.
    Department of Media Studies, Stockholm University, Stockholm, Sweden.
    Serialized space: Chinatown iconography in Universal’s The Master Key2022In: Early Popular Visual Culture, ISSN 1746-0654, E-ISSN 1746-0662, Vol. 20, no 4, p. 412-426Article in journal (Refereed)
    Abstract [en]

    Late in 1914, Universal released The Master Key, a motion picture serial in 15 installments. Robert Z. Leonard directed and starred, and the project was marketed as the ‘most expensive serial yet’. The weekly film release was paralleled by a syndicated newspaper feuilleton, illustrated by stills from the motion pictures. Stills were also incorporated into an illustrated reissue of Fleming Wilson’s story, as well as in promotional materials, like illustrated ads and a 20-page poster stamp album published by the Wentz Printing Company. By way of a cross-media investigation of the (1914) serial The Master Key, this study contributes a case in point of how film stills circulated outside the movie theater. The film material has been reported lost, but some reels have been preserved at the Library of Congress. One of the preserved reels contains the episode set in San Francisco’s Chinatown. For this paper, various materials from The Master Key’s-cross media release have been acquired through online fan forums and collectible auctions. Following recent historical studies on film serials and the ”seriality” of stock characters, Chinatown scenes and the picturesque and efforts to write spatial film history, this paper argues that the proliferation of film images across media formats conceptualized The Master Key’s imagery of San Francisco Chinatown as a ”serialized” space, standardizing cinematic iconography in the public eye.

  • 21.
    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.

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    Våld i film
  • 22.
    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
  • 23.
    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.

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    FULLTEXT01
  • 24.
    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)
  • 25.
    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)
  • 26.
    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)
  • 27.
    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)
  • 28.
    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.

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    FULLTEXT01
  • 29.
    Hansen, Malte Breiding
    et al.
    Department of Political Science, Lund University, Lund, Sweden.
    Jansson, Maria
    Örebro University, School of Humanities, Education and Social Sciences.
    Who Cares? The Neoliberal Turn and Changes in the Articulations of Women’s Relation to the Swedish Welfare State2023In: NORA: Nordic Journal of Feminist and Gender Research, ISSN 0803-8740, E-ISSN 1502-394X, Vol. 31, no 1, p. 17-31Article in journal (Refereed)
    Abstract [en]

    This article aims to investigate how articulations of women’s relation to the welfare state and modes of political agency has changed in Sweden between 1977 and 2017; a period characterized by the introduction and implementation of a neoliberal political rationality. By way of discourse analysis, the article highlights the reciprocal relationship between the construction of the welfare state and women. To this end, it analyses the debates following two films that problematize women’s relation to the welfare state, Summer Paradise (1977) and Beyond Dreams (2017). The article argues that: (a) childcare as a structuring factor for women’s work is replaced by a focus on the responsibility of the individual to provide for herself; (b) gender as a structuring principle is replaced by gender as an attribute of the individual, and; (c) the relation between women and the state is individualized. As a result, the state becomes articulated as an individualized collectivity, which aims to serve the individual’s self-preservation as opposed to the state being an arena for solving societal and collective problems. We argue that the neoliberal turn has changed women’s political subjectivity from a focus on collective action to an atomization of agency against systemic gender inequalities.

  • 30.
    Horgby, Björn
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Trenter, CeciliaMalmö University, Malmö, Sweden.
    I folkets namn: Högerpopulism på film2021Collection (editor) (Other academic)
    Abstract [sv]

    I antologin som Björn Horgby och Cecila Trenter redigerat diskuteras film och högerpopulism. Boken innehåller analyser av hur filmer gestaltar och förmedlar folkets förmenta vilja; genus, våld och frihet; populism i politiska partiers historiebruk; identitet och gemenskaper i centrum och periferi; nationellt laddade landskap i svenska filmer; förintelseförnekelse; vetenskapsförakt och fascistoida fantasier.

  • 31.
    Jansson, Maria
    Örebro University, School of Humanities, Education and Social Sciences. Centre for feminist social studies.
    Kvinnors närvaro och makten över filmen2022Book (Other academic)
  • 32.
    Jansson, Maria
    et al.
    Stockholm University, Stockholm, Sweden.
    Papadopoulou, Frantzeska
    Stockholm University, Stockholm, Sweden.
    Stigsdotter, Ingrid
    Stockholm University, Stockholm, Sweden.
    Wallenberg, Louise
    Stockholm University, Stockholm, Sweden.
    Studying women in Swedish film production: Methodological considerations2020In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 10, no 2, p. 207-214Article in journal (Refereed)
    Abstract [en]

    This article presents methodological reflections on feminist production studies, with examples from an ongoing multidisciplinary project about women in Swedish film. Topics addressed include using interviews to understand production, the challenges connected to analysing women's experiences, and the ethical dilemmas related to interpreting them.

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    Studying women in Swedish film production: Methodological considerations
  • 33.
    Jansson, Maria
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Papadopoulou, Frantzeska
    Department of Law, Stockholm University, Stockholm, Sweden.
    Stigsdotter, Ingrid
    Department of Media Studies, Stockholm University, Stockholm, Sweden.
    Wallenberg, Louise
    Department of Media Studies, Stockholm University, Stockholm, Sweden.
    The final cut (TM): Directors, producers and the gender regime of the Swedish film industry2021In: Gender, Work and Organization, ISSN 0968-6673, E-ISSN 1468-0432, Vol. 28, no 6, p. 2010-2025Article in journal (Refereed)
    Abstract [en]

    Focusing on Sweden, this article departs from the proposition that film production and the film industry are governed by institutional arrangements that produce and reproduce gender and gender relations. The article is based on interviews with directors and producers and analyses how Swedish directors and producers describe their roles and relationship, relating this to how these roles are shaped by the law, film policy, and financial arrangements. The article argues that the Swedish film industry rests on a gendered division of labor, that the professions of director and producer are constructed in relation to masculinity, and that the gender equality measures undertaken are not sufficient to come to grips with the gender inequalities in the industry.

  • 34. Jansson, Maria
    et al.
    Wallenberg, Louise
    Experiencing male dominance in Swedish film production2020In: Women in the International Film Industry: Policy, practice and power / [ed] Susan Liddy, Palgrave Macmillan, 2020, 1Chapter in book (Other academic)
  • 35.
    Jansson, Maria
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Wallenberg, Louise
    Stockholm University, Stockholm, Sweden.
    “I am Mature and Established. There is No Success in That”: On Gendered Ageism in the Swedish Film Industry2023In: Women, Ageing and the Screen Industries: Falling off a Cliff? / [ed] Liddy, Susan, Palgrave Macmillan, 2023, p. 41-59Chapter in book (Refereed)
    Abstract [en]

    How issues of gender equality intertwine with age in the film industry is seldom addressed in studies focussing on film and gender equality behind the camera. It is symptomatic that when a recent gender equality report from the Swedish Film Institute (SFI, Vilka kvinnor? Jämställdhetsrapport 2019/20, https://www.filminstitutet.se/globalassets/_dokument/rapporter/vilka_kvinnor_jamstalldhetsrapport-2019-2020.pdf, 2020) set out to discuss age, the focus is on women actors “falling off the cliff” at the age of 40—as put by Gena Davies. This chapter presents a study based on qualitative interviews with women of various ages working behind the camera in the Swedish film industry. We discuss how these women speak about age and analyse their experiences using the concept of gendered ageism. A particular emphasis is put on two of Sweden’s most famous women directors, with major successes in the 1980s and 1990s—Suzanne Osten and Christina Olofson. This chapter also provides a more general discussion about how women of various ages reproduce a distinction between young and promising and mature and professional in their narration of how gendered age plays into their working conditions.

    The full text will be freely available from 2025-02-23 00:00
  • 36.
    Jansson, Maria
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Wallenberg, Louise
    Department of Media Studies, Stockholm University, Stockholm, Sweden.
    Representing and experiencing motherhood on and off-screen in Swedish film2021In: Media Work, Mothers and Motherhood: Negotiating the International Audio-Visual Industry / [ed] Susan Liddy; Anne O'Brien, Routledge, 2021, p. 45-62Chapter in book (Refereed)
    Download full text (pdf)
    Representing and experiencing motherhood on and off-screen in Swedish film
  • 37.
    Jansson, Maria
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Wallenberg, Louise
    Stockholm University, Stockholm, Sweden.
    Women’s agency in the Swedish film industry: Annoying little buggers and passionate team players2022In: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 12, no 2, p. 201-216Article in journal (Refereed)
    Abstract [en]

    The article is based on transcripts of interviews with twenty women directors in the Swedish film industry conducted in 2018 and 2019, focusing on narratives from women working under varying conditions and in several genres who have actively chosen various strategies to manage their work situation. We contextualize their actions and choices to unpack how their work and efforts fit into an industry still dominated by men and influenced by a culture of masculinity idealizing the male genius. In the first section, we discuss how the women experienced their first encounters with the industry and what strategies they developed at this stage. In the second section, we discuss women’s deliberations about how to make work on the set manageable and productive. In the final section, we investigate various strategies related to work opportunities and the possibilities for women to realize their visions and their passion for making films.

  • 38.
    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.  

  • 39.
    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)
  • 40.
    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)
  • 41.
    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)
  • 42.
    Jernudd, Åsa
    Örebro University, Department of Humanities.
    Features of early film culture in rural Sweden2007Conference paper (Other academic)
  • 43.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Film i Fagersta: berättelser om biografens betydelse2008Conference paper (Other academic)
  • 44.
    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)
  • 45.
    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)
  • 46.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 47.
    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)
  • 48.
    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)
  • 49.
    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)
  • 50.
    Jernudd, Åsa
    Örebro University, School of Humanities, Education and Social Sciences.
    Locating (trans)national reflections in film memory2010Conference paper (Other academic)
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