Denna studie jämför de nya norska tågresefilmerna inom så kallad sakte-TV (eller Slow TV) med den tidiga filmens phantom rides. I båda fallen dominerar ett förstapersonsperspektiv filmat i tågets färdriktning och uppsatsen undersöker hur likheter och skillnader i stilmässiga grepp och paketering relaterar till samtida uppfattningar kring tid och rum. Vidare utforskas om det moderna fenomenet kan ses som en återkomst av en vy-baserad filmestetik, där den så annars vanligt narrativa konstruktionens dominans förflyttas till bakgrunden.

Made available in DSpace on 2016-04-26T18:11:15Z (GMT). No. of bitstreams: 1 Camila Biasotto de Araujo.pdf: 2578346 bytes, checksum: 1892c4ba79a9209026115422acd54cb6 (MD5) Previous issue date: 2011-10-27 / This research seeks to understand the primordial 20 years of the cinema in the United States in which concerns about the changes in the way mode of films were produced and exhibited, and also those presented in the cinematographic industry. The period analyzed here corresponds to the years between 1895 and 1915; and it is subdivided between Early Cinema or Cinema of Attractions (1895-1907) and Period of Transition (1907-1915). During the Early Cinema, or Cinema of Attractions, the filmic language established did not seek necessarily to narration and linearization. It aimed at images exhibition, attracting the audience attention rather than telling stories. In this phase, it is notability resources such as trucage and close-up, but camera resources, edition, production and performance were not directed to a narrative story. The industry, in this first period, was not completely developed. Among the enterpriser alternated magician, non-professional scientists and even big companies, as Edison Co. The cinema was not the main attraction and was showed with vaudeville numbers. From 1907, cinema became the main attraction and earned its own space to its projection, called nickelodeons. Its low cost attracted a big public and the enterpriser realized the potential of film to generate profit. There were efforts to nationalize at most the production of film and monopolize its means of production. The efforts resulted on a Trust that dominated the system of production and exhibition in the period of transition in the United States, the Motion Picture Patents Company. The films also obtained new characteristics: influenced by foreign films that brought more narrative stories, new camera movements, and various planes utilization, the American producers were impelled to adopt those characteristics and improve them until reach a cinema with a more narrative and linear language. By decoupage of films which constitute the corpus, we realize that some stylistic resources form the Early Cinema were maintained on the period of transition and even after, in the classic cinema, although their function were transformed. We give prominence to crucial social, scientific and technologic changes in the American society between 1895 and 1915 that collaborated to the great success of cinema. Hence, we sought to make explicit the filmic and industrial characteristics of the Early Movies and the Cinema of Transition, connecting each of them, and compose this period historically, in order to analyze how those periods of cinema were able to configure themselves inside their historical age / Esta pesquisa busca compreender os 20 anos iniciais do cinema nos Estados Unidos no que diz respeito às mudanças na forma de produzir e exibir os filmes, e também àquelas que se fizeram presentes na indústria cinematográfica. O período aqui abordado corresponde aos anos entre 1895 e 1915; ele é subdividido em Primeiro Cinema ou Cinema de Atrações (1895 a 1907) e Período de Transição (1907 a 1915). Durante o primeiro cinema, ou cinema de atrações, a linguagem fílmica estabelecida não visava necessariamente à narração e à linearização. Sua intenção não era tanto contar histórias, e focava-se mais em exibir imagens filmadas, atraindo a atenção do público. Nesta fase, há o destaque para recursos como a trucagem e close-up, mas os recursos de câmera, a edição, a produção e a atuação não eram dirigidos para uma história narrativa. A indústria, neste primeiro período, ainda se desenvolvia. Entre os empreendedores variavam desde mágicos e amadores da tecnologia e da ciência até grandes empresas, com a Cia. Edison. O cinema não era atração principal e era apresentava junto aos números de vaudevile. A partir de 1907, o cinema se tornou a atração principal, recebendo um espaço próprio para sua exibição, os chamados nickelodeons. Seu baixo custo atraiu um grande público e os empreendedores perceberam o potencial que o cinema tinha em gerar lucros. Houve um esforço para nacionalizar ao máximo a produção de filmes e monopolizar seus meios de produção. Estes esforços resultaram na formação de um truste que dominou o sistema de produção e exibição no período de transição nos Estados Unidos, a Motion Picture Patents Company. Os filmes também adquiriram novas características: com a influência do cinema estrangeiro que traziam histórias mais narrativas, novos movimentos de câmera e utilização de diversos planos, os produtores norte-americanos se viram impelidos a adotar estas características e aperfeiçoá-las até atingir um cinema com linguagem mais narrativa e linear. Por meio da decupagem dos filmes que compõem o corpus de análise, percebeu-se que alguns recursos estilísticos do primeiro cinema foram mantidos no período de transição e mesmo posteriormente, no cinema clássico, embora sua função fosse alterada. Importante ressaltar também que no período abordado, ou seja, entre 1895 e 1915 também ocorreram mudanças sociais, científicas e tecnológicas cruciais na sociedade norte-americana que colaboraram para o grande sucesso do cinema. Desta forma, buscou-se nesta pesquisa explicitar as características fílmicas e industriais do primeiro cinema e do cinema de transição, correlacionando-as, e contextualizar este período historicamente, a fim de analisar em que medida estes períodos do cinema puderam se configurar dentro de sua época histórica

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.

This thesis focuses on the challenges in production to create a live-action cinematic virtual reality film that aims to trigger a certain emotional response in the viewer. Cinematic virtual reality (CVR) is the term referred to throughout this thesis that has been used by Mateer (2017) in his paper. However, the definition of CVR will differ to some extent from Mateers ́ (2017) and reasons for it will be provided. Firstly, the techniques employed in the production of the cinematic virtual reality film that may elicit an emotional response and character engagement are taken from the theory of cognition and emotion in film by Smith, M. (1995) Engaging Characters: Fiction, Emotion and Cinema and David Bordwell ́s Narration and the Fiction Film (1985). The theoretical framework has been applied to an analysis of a Pixar-style animated CVR film called Invasion! (2016) in order to extract guiding principles that have informed the making of my own CVR film. The importance of creating presence through immersion is highlighted as necessary in sustaining engagement and evoking emotions (Ding et al., 2018). An emotional response of entrapment, fear, insecurity and wonder is desired to be elicited by watching my CVR film. As well, emotional engagement with the character in the CVR film is aimed for to enhance the emotional response. Sound and visual cues are used that may serve to facilitate directing the viewer through the story as mentioned by Mateer (2017). Techniques identified that may create an emotional response are direct address, spatial proximity and orientation. The production of my CVR film has been informed by these techniques, however, challenges in production may have weakened the outcome such as the difficulties in monitoring the shoot resulting in problems adjusting lighting, directing the actress and avoiding object distortion on stitching lines. Furthermore, on set sound recording has been a major challenge. My CVR film is evaluated according to these challenges and possible solutions for improvement are offered. Cinematic Virtual Reality is a medium that offers new ways for storytelling and experiences. My CVR film places the viewer in the imaginary position of a fairy thus offering a perspective of the world and connected emotions that go beyond the possible experiences in everyday life. The aim is to contribute to a deepened understanding of cinematic virtual reality filmmaking by presenting some of the techniques and production challenges of creating an emotionally compelling CVR film experience.