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  • 101.
    Spångberg, Lina
    Örebro universitet, Humanistiska institutionen.
    “I ain’t no queer”: Den heteronormativa bögen i Brokeback Mountain2006Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This essay aims to show that filmic representation of homosexuals not necessarily is to be understood as an open mind gesture towards homosexuality. Thesis is that mainstream cinema, because of its ambition to please a public as broad as possible, cannot afford to acknowledge the presence of an erotic relationship between the male spectator and the image of his gender counter part because of the heterosexual norm that pervades our society. Therefore, cinematic processes work in a way to deny erotification. The way these cinematic processes are contributing are examined in a close reading of the film Brokeback Mountain (2005) with focus on looks, behavior, gazes, cinematography and editing, based on Laura Mulveys, by this time, classical feministic theory about the male gaze. Conclusions drawn is that denial of erotification exists in two main forms. First, the characters are denied the full significance of being an object of erotic attraction. Second, the homosexual relationship is dimished. Both forms are limited by exaggerated masculinity, almost non-existent introdiegetic gazes, distanced, short-durated camera and a frequent editing, factors which breaks the posibility of erotification.

  • 102.
    Stenberg, Kristin
    Örebro universitet, Humanistiska institutionen.
    Representation av transsexualitet inom filmen: en analys av Transamerica, En Soap och Hedwig and the Angry Inch2008Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Transamerica är en roadtrip där den transsexuella Bree tvingas ta itu med sitt manliga förflutna när en bla son plötsligt dyker upp i hennes liv. I den danska filmen En Soap handlar om relationen mellan den transsexuella Veronica och den till synes heterosexuella Charlotte. I Hedwig and the Angry Inch får vi ta del av artistens Hedwigs liv. Hedwig är efter en misslyckad könsoperation varken man eller kvinna. Transamerica och En Soap tar bägge upp problemet med oförstående föräldrar. I Hedwig and the Angry Inch

  • 103.
    Stjernström, Elsa
    et al.
    Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap.
    Emanuelsson, Jenny
    Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap.
    Dystopi och jordens undergång: En genreanalys av dystopiska inslag i fiktiv film2011Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using a semantic/syntactic approach to film genre it is possible to identify shared conventions. Only by using a co-ordinate semantic/syntactic approach is it possible to fully understand the interaction between conventions within a genre. The result shows that there are conventions that are characteristic for dystopia and dystopia can thus be considered a subgenre. The films analyzed in this essay share conventions characteristic for dystopia but also offer variation in form of, for example, theme. The subgenre dystopia therefore offers something familiar but also variation which is central in film genre. The analysis also shows that there are symbols that carry meaning within these films which implies that they have a common iconography.

  • 104.
    Sundell, Magnus
    Örebro universitet, Humanistiska institutionen.
    Film Noiren avspeglar sin samtid: En studie omkring hur samhället reflekteras i de klassiska film noirerna, Lura & The Lost Weekend2008Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 105.
    Svensson, Selma
    Örebro universitet, Humanistiska institutionen.
    Filmdialog och ordningsord: En analys av dialogen i filmen Before Sunset genom filosofi av Gilles Deluze och Félix Guattari.2008Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 106.
    Tseronis, Assimakis
    University of Amsterdam, Netherlands, Amsterdam, Netherlands.
    Documentary film as multimodal argumentation: Arguing audio-visually about the 2008 financial crisis2015Inngår i: Building Bridges for Multimodal Research: International Perspectives on Theories and Practices of Multimodal Analysis / [ed] Janina Wildfeuer, Peter Lang Publishing Group, 2015, Vol. 7, s. 327-345Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 107.
    Tseronis, Assimakis
    et al.
    University o Amsterdam, Amsterdam, Netherlands.
    Forceville, Charles
    University o Amsterdam, Amsterdam, Netherlands.
    The argumentative relevance of visual and multimodal antithesis in Frederick Wiseman’s documentaries2017Inngår i: Multimodal Argumentation and Rhetoric in Media Genres / [ed] Assimakis Tseronis & Charles Forceville, Amsterdam, Netherlands: John Benjamins Publishing Company, 2017, s. 166-188Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this chapter we argue that certain salient contrasts that Frederick Wiseman presents non-verbally and multimodally in his Direct Cinema documentaries can be understood as antitheses that play an argumentative role. In this type of documentary, which renounces the use of voice-over narration and music, a filmmaker has to rely on cinematography and editing in combination with participants’ spoken language to guide viewers’ interpretations. We argue that the ways in which certain sequences and shots are filmed and edited as well as the way dialogue, image, and sound combine within the shot create multimodal meanings that can be accounted for in terms of antithesis and can thereby contribute to the argument developed by the filmmaker. We focus on instances of visual and multimodal antithesis in five of Wiseman’s early films (Titicut Follies, High School, Hospital, Juvenile Court, and Primate) and one later film (Zoo).

  • 108.
    Tseronis, Assimakis
    et al.
    University of Amsterdam, Amsterdam, Netherlands.
    Forceville, Charles
    University of Amsterdam, Amsterdam, Netherlands.
    Grannetia, Melle
    University of Amsterdam, Amsterdam, Netherlands.
    The argumentative role of visual metaphor and visual antithesis in ‘fly-on-the-wall’ documentary2015Inngår i: Proceedings of the International Society for the Study of Argumentation / [ed] Bart Garssen; David Godden; Gordon Mitchell; Francisca Snoeck Henkemans, 2015, s. 1380-1395Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    In this paper, we explore the argumentative role of visual metaphor and visual antithesis in theso- fly-on-the-wall documentary. In this subtype of documentary, which emphatically renouncesvoice-over narration, the filmmakers guide their viewers into reaching certain conclusions by makingchoices regarding the editing as well as the cinematography. We analyse a number of scenes from two filmsby one major representative of the Direct Cinema or fly-on-the-wall documentary, Frederick Wiseman.

  • 109.
    Van Belle, Jono
    Ghent University, Gent, Belgium; Stockholm University, Stockholm, Sweden.
    The seventh art? Art cinema and Ingmar Bergman from an audience perspective2019Inngår i: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Art cinema is a contested concept withinfilm studies. Making use of Ingmar Bergman and hisfilms, most of which can be classified as art cinema, I explore art cinema as an interpretative strategy for audiences. First, I explore the concept theoretically and in relation to Bergman and his work. Next, I explore how historical audiences have used the concept in relation to Ingmar Bergman. Participants in Sweden (n = 21) and Belgium (n = 27) make sense of incoherent or incomprehensible narratives in relation to what is known about Bergman contextually. Applying art cinema is historically and culturally specific, and often to “show off” a certain cultural position.

  • 110.
    von Schantz, Miriam
    Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap.
    Documentary is as documentary does: The production of realities in The Reunion2018Inngår i: Journal of Scandinavian Cinema, ISSN 2042-7891, E-ISSN 2042-7905, Vol. 8, nr 1, s. 35-44Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article argues that the film Atertraffen (The Reunion) (Odell, 2013) offers an ethical event of reconfiguring the partition of the sensible as distributing boundaries between the factual and the fictive, what the author calls an event of realing. By turning the tables of expectations and context, this film, marketed as a feature fiction film, is seen to cause disruption to the spectatorial practice of parting the sensible through a contraction of foreknowledge, instead ushering the viewing subject into a missing contract, which is to say, making possible a responsible embrace of the act of viewing as an ethico-onto-epistemological practice.

  • 111.
    von Schantz, Miriam
    Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap.
    Dokumentärfilm2014Inngår i: Introduktion till filmpedagogik: vita duken som svarta tavlan / [ed] Malena Janson, Malmö: Gleerups Utbildning AB, 2014, 1, s. 141-162Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 112.
    Åsbacka, Lucas
    Örebro universitet, Humanistiska institutionen.
    Det är en illusion: En studie i filmmusik och -ljud i Mulholland Drive2006Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    I denna uppsats analyseras filmmusik och filmljud i David Lynch film Mulholland Drive (2001). Teoridelen består av två delar; en snabb inblick i David Lynchs tidigare filmer och en musikteoridel som baseras främst på Michel Chions teorier. Filmen har inte analyserats till fullo utan fyra viktiga delar av filmen har handplockats för analys; Inledning, Winkie’s, No hay banda och Twisten. Dessa scener har valts ut och får stå för en generalisering av filmen i helhet. I de specifika scenerna har ljudbilden analyserats och även jämförts med bild.

  • 113.
    Österholm, Johan
    Örebro universitet, Humanistiska institutionen.
    Civiliserade nordbor och primitiva främlingar: En kritisk diskursanalys av journal- och förfilm i folkhemmets Sverige2006Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This essay examines a small selection of Swedish newsreel and documentary short films, primarily travelogues, produced shortly before and after the second world war. The general aim is to expose differences in the representation of “The Other” and the “ethnic Swede” by applying a critical discourse analysis. The purpose is to illuminate how the material positions the latter as the norm and then contextualize this with xenophobic currents that had developed up until the middle of the twentieth century. Theoretical and methodological framework is drawn from the field of cultural studies as well as the nonfiction film. The analysis shows that the Swedish newsreel and travelogue indeed, to a high degree, possessed these currents even though part of them, mainly the anti-Semitic ideas, seems to relapse after the Holocaust.

123 101 - 113 of 113
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