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.

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.

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. / <p>Also affiliated to Stockholm University, Faculty of Humanities, Department of Cinema studies. Diss. Stockholm : Stockholm University, 2007</p>

The topic of this thesis is the biopolitics of video activism vis-à-vis racialized police violence. It is written against the backdrop of recent developments in the critique of two central concepts in field of biopolitics, namely Giorgio Agamben’s bare life and Michel Foucault’s biopower. Offsetting their respective framework, Alexander G. Weheliye (et al.) has introduced the imposition of race onto bodies as anterior to biopolitics. I incorporate this in a critique of Pasi Väliaho’s notion of biopolitical screens. To facilitate grounded theorizing, a field study of police accountability video activist groups in the United States was conducted. I argue that their observed practices should be seen as forms of embodied counter-surveillance and I situate them in the racially saturated field of visibility specific to the U.S. context. Moreover, I argue that the practices entail an extension of corporealities which is not inherently political in the sense of overt discursive iconography. It is, however, ideologically disrupting in how it networks politicized bodies through time and space. I conclude that raising the video camera to “look back” in the face of racializing assemblages constitutes a rights claim to a political subjectivity, however not necessarily in terms of polity or citizenship. Instead, the media practices are transversal and hold the potential to entail a political subjectivity ontologically anterior to state sovereignty.

Den biologiska skr􏰍äcken eller kallad p􏰎å engelska 􏰏body horror􏰐 􏰍är en subgenre av skräck som visar människokroppen i syfte till att kränka, kroppsligt eller psykologiskt för att framhäva en obehaglig och skrämmande känsla hos åskådaren. Teman som avvikande kön, mutationer, zombiefiering eller onaturliga rörelser av kroppen är vanliga inom denna genre. Syftet med denna uppsats är att undersöka den kvinnliga kroppen i de tre samtida psykologiska skräckfilmerna Black Swan (Darren Aronofsky, 2010), Suspiria (Luca Guadagnino, 2018) och Horse Girl (Jeff Baena, 2020) med fokus på den kvinnliga kroppen och dess effekt hos åskådaren. Anledning till att just dessa tre filmer används i min undersökning beror på att de alla använder den kvinnliga kroppen som ett verktyg för att framkalla den biologiska skräcken som sedan skrämmer åskådaren. I stället för att välja tre liknande filmer har jag försökt välja filmer som använder sig av samma genre men på olika sätt. Varför är vi fascinerade av grafiska bilder av det kroppsliga? Hur används den kvinnliga kroppen i koppling till något äckligt och obehagligt för att skapa känslor hos åskådaren? Genom att applicera olika psykoanalytiska och feministiska teorier på de tre filmerna, kommer uppsatsen undersöka hur den kvinnliga kroppen används i koppling till något skrämmande samt diskutera den kroppsliga reaktionen åskådaren får och varför vi använder oss av detta när vi skapar en film inom genren skräck. Jag kommer ta hjälp av begrepp som fetischism, voyeurism, den nyfikna blicken och abjektion.

This study explores the under-researched subject of “industrial films” through the analysis of how Ford Motor Company made use of motion pictures to reinforce its political and economic interests during the 1910s and 1920s. In 1914, the automobile company constituted a motion picture department, establishing itself as the largest film producer and distributor in the world in the subsequent years. Just as the famous Model T, Ford films were mass-produced and widely circulated; they praised the ideas of “Americanization” and “Americanism” as a strategy to shape Ford workers, intervene in public opinion against labour unions, and as a method of publicizing the company’s cooperation with the United States government during World War I. Despite the relevance of Ford’s unconventional cinema, distributed for free and exhibited in schools, universities, factories, and movie theaters, it still hasn’t received sufficient attention from scholars, illustrating the necessity of a holistic notion of film history, able to extrapolate the canons of fiction film and theatrical exhibition.

Swedish children's film has established an outstanding reputation all around the world, especially since the 1940s when many quality films for young audiences came into production. In this context, Swedish children's film scholars often set its beginning in the mid-1940s. However, some films were already referred to as such in the 1920s and even before that. Nevertheless, little research on the very first Swedish children's films has conducted yet. This project, built primarily on archival research, aims to reveal how the contemporaries conceptualised the generic identity of children’s film from 1914 to 1923 – that is, from the recurring appearance of the term in daily papers to the first children’s film cluster – and thereby to offer a new perspective to Swedish children’s film history.

Since the beginning of the 2010’s, consumers have increasingly picked up the habit of using smartphones to shoot and watch video in portrait mode – vertical video. The format has also spread to professional film making in the form of advertising, fiction film and other genres produced for viewing on vertically oriented screens – especially smartphone screens. This rise of the vertical format can be attributed to digital conversion and new social habits of video communication via social media; in other words, the so called digital – or mobile – revolution. However, neither vertical media nor vertical film is actually new. In this paper, a media archaeological approach is used to show that vertical media is as old as human art, and that audiences have enjoyed vertical moving images at least since the 1830’s. For example, many early optical images and the first television images in the 1920’s were vertical. This paper is an elaboration on an archaeology of vertical video, inspired by the methods of media archaeologists Erkki Huhtamo and Jussi Parikka and the visual arts perspective of Anne Friedberg. Apart from the ancestry of the vertical frame, this paper also includes an analysis of what is inside the tall frame – a study on vertical shot composition. Focusing on eleven short films in competition at the 2016 Vertical Film Festival near Sydney, the analysis focuses especially on camera movement, scale of shot and editing. Using formal style analysis, as well as statistical style analysis, this paper defines characteristics of vertical shot composition; these include a frequent use of both long shots and tilt shots, and a general experimental playfulness in shot composition and in editing. By tracing the ancestry of – and analyzing the artistry of – portrait mode video, the purpose of this paper is to contribute to a deeper understanding of the vertical video format and its renewed popularity in recent years. / <p>Grade on the bachelor's thesis: A</p>

Uppsatsen har som utgångspunkt att familjenormer har förändrats under 1900-talet och att detta borde visa sig i framställningen även av en familj som inte är tidstypisk: Familjen Addams. Genom att undersöka hur adaptioner av familjen påverkas genom förändringar i medier, tidsperiod, samtida kultur och normer vill jag besvara om samtida familjenormer har varit en stor faktor i hur framställningen förändrats. För att genomföra detta använder jag Linda Hutcheons perspektiv på mediespecificitet  och ”modes of engagement” för att studera hur medieskiften påverkar adaptionen. Representationsstudier används för att studera hur historisk kontext och samtida kultur påverkar framställningen av familjen. Materialet är Charles Addams skämtteckningar, ABCs tv-serie och Barry Sonnenfelds film. Resultatet verkar vara att samtida normer har haft en mycket större effekt på framställningen av den ursprungliga tv-serien än filmen, och att de båda har formats till en stor del av mediespecifika drag, men att vissa normer som har varit långlivade ändå haft en markant effekt även på filmen, främst det Sharon Hays kallar den permissiva eran.

My film work has revolved around a hypothesis of vulnerability with my artistic research question: in the context of interviews and the larger scope of cinematic storytelling, how can tools to access vulnerability be a symbolic key to unlocking the transformative power of resilience in a narrative? Proposed Methodology: I. The Privilege of Listening II. The Power of Silence III. Trust &amp; Intuition IV. The Light of Vulnerability V. Discovery of Resilience / This is a written companion piece to the graduation short film, "Rise" by Maria Karin Walczuk.