Abstrakt  Detta kandidatarbete tar upp berättartekniker som long take och one shot. Undersökningen handlar om att kombinera dessa två filmtekniker som inte används lika ofta i dagens filmer genom att skapa en film där handlingen och ljudets betydelse samverkar med teknikerna, som leder till en fängslande filmupplevelse.  Vi vill använda dessa tekniker för visa och kritisera berättarteknikernas betydelse i film, att det blir en del av handlingen än bara ett objekt. För att driva handlingen framåt har vi studerat sjukdomen schizofreni för att skapa en berättelse. Vi utgick från Mats Ödeens manus metoder för att bygga en grund till gestaltningen och Natalie Ednell kunskap om schizofreni. Utförandet bestod av många tester av teknikerna och ljudet. En av testerna bestod av skådespelare på plats. Resultatet av undersökningen blev en filmupplevelse där alla beståndsdelar har en betydelse och ger ett annat berättarperspektiv angående schizofreni. Det finns betydligt fler berättartekniker men vi valde att fokusera på long take och one shot för att visa deras potential inom berättande. / Abstract This Bachelor thesis deals with storytelling techniques such as long take and one shot. The study is about combining these two film techniques that are not used as often in today's films by creating a film in which the action and the meaning of the sound interact with the techniques, which lead to a captivating film experience.  We want to use these techniques to show and criticize the importance of storytelling techniques in film, that it becomes a part of the action rather than just an object. To drive the action forward, we have studied the disease schizophrenia to create a story.  We used Mats Ödeen’s script methods to build a foundation for the design and Nathalie Ednell's knowledge of schizophrenia. The design consisted of many tests of the techniques and the sound. One of the tests had an actor on site.  The result of the study was a cinematic experience where all the elements have a meaning and gives a different narrative perspective regarding schizophrenia. There are significantly more storytelling techniques, but we chose to focus on long take and one shot to show their potential in storytelling.

Roy Andersson’s unique surrealist style and the affect it gives rise to, situated somewhere between deep existential dread and the most absurdist humor, are intimately connected to his staging of action in stacked layers of meaning in deep focus, immobile long takes. A formal reading of his films then gives us a greater understanding of the connection between affect and film style.But the tableau which all but evacuates time in Andersson is not only a stylistic choice: this challenge to traditional structures and temporalities is the formal manifestation of his anachronistic conception of history. I argue that cinematic time is here closely tied to historical time: a view of history as layered, instantaneous and made up of incongruous juxtapositions as commentary on a failure of historicism as central to the development of a national Swedish identity marked by passivity, anti-intellectualism, and a lack of historical conscience.

No description available.

As a leading figure of “The Six Generation” directors, Jia Zhangke’s films focus on reality of contemporary Chinese society, and record the lives of people who were left behind after the country’s urbanization process. He depicts a lot of characters who struggle with their lives, and he works to explore one common question throughout all of his films: “where do I belong?” Jia Zhangke uses unique filmmaking techniques in order to emphasize the feelings of people losing their sense of home. In this thesis, I am going to analyze his cinematic style from three perspectives: photography, musical scores and metaphors. In each chapter, I will use one film as the main subject of discussion and reference other films to complement my analysis. / Graduate

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.