No description available.

The aim of this paper is to investigate what part film music plays in the creation of stereo-types in the production of Swedish cinema, in the 1990s and early 2000s. This period of Swedish cinema was largely defined through the visualization of life in the smaller provinces of the country. The results were reached through the analyzing of four important works of this era, representing different provinces and genres. The examined movies have shown frequent use of extreme characters and a somewhat hostile environment in search of an interesting story. The music is used in ways of describing class differences amongst the inhabitants and to set the gen-eral mood of the concerned provinces: an agent often working in the unconscious of the viewer in order to affect the final results.

Anita  (Torgny Wickman 1973) is a typical example of a film produced as part of a wave of Swedish softcore sex films created with an eye on the substantial overseas profits to be made in market curious to witness onscreen Swedish Sin.  Following an extremely brief and limited release in Sweden the film disappeared from popular cultural perception until resurfacing in the late 1990s as an object of nostalgic cult curiosity.  Taking cues from New Cinema History disciplinary methods, cult theory and touching on theories of the dispositif, this thesis maps the manner in which Anita is popularly and academically regarded as a text throughout differently delineated eras of its lifespan. By drawing on its appearance in film listings, popular press, national press and fanzines, and through its various releases and restoration this work builds to an understanding of how uses of this text move from populist via nostalgia through cult to historical canon, and the way in which these uses offer new perspectives on Swedish film history.

In the field of Cinema studies recent and updated studies on Swedish 1930s cinema has been absent. The aim of this thesis is to provide new insights into the period by examining the films starring actor Edvard Persson released between 1930 and 1939. In total the study analyses 17 feature films with Persson in a leading or minor role in how they portray modernity and modernisation. The focus of the research lies on certain aspects of modernity such as machines, borders, class differences, national identity, and the role of women. The goal is to shed new light on Persson’s films in the 1930s and give updated research on a period of Swedish film history that is in need of newer scholarly work.

The last ten years two major movies about journalists have been made in Sweden; Sprängaren and Män som hatar kvinnor. This study has looked closer at the heroine Annika Bengtsson and the hero Mikael Blomkvist from these two movies. Since movies do have great influence on how we see the world it is important to find out how these characters are being portrayed. Also, in a time when journalism is about to become a female dominant occupation it is relevant to see how the female journalist compares to the male. It is important to ensure that the films do not give a wrongful picture of male and female journalists. Women should not only be an inferior object, and the man should not be a dominant and macho-man. In our study we found that these movies have come a long way from the stereotypes of men and women that the audience has become used to. The male hero has a soft side and needs help from a strong female character to manage while the female hero is a strong woman who can manage on her own. And it is their ability to step away from the stereotypes that in the end helps them get the scoop and defeat their antagonists.

I will write about product placement in film from a Swedish point of view. This entails writing about Swedish films with different types of product placements, not only how they are done but also discuss how they succeed from a sales perspective. In my earlier work I have written about the product placement of watches. In this thesis I focus on the film series about the Swedish agent Carl Hamilton, since here you can see how Swedish film has developed during the past 30 years with regard to product placements. Both world politics and the concrete placements are illustrated in a clear way. In such an international context it is also of value to compare recent Hollywood remakes of a Swedish film, in this case Män som hatar kvinnor that was turned into The Girl with the Dragon Tattoo. Both are based on the same book by the Swedish author Stieg Larsson, Män som hatar kvinnor.

The setting for this study is Swedish film culture of the 1920s, which has been studied with a focus on representations of masculinity and gender relations according to four themes: 1) children and youth 2) fatherhood and love 3) sexuality and popularity 4) ethnicity and racial stereotyping.       The rise of new consumer culture in the first decades of the 20th century created turmoil between traditional and modern values, not least when it came to conceptions of gender. Studies on masculinity have often directed its efforts towards writing a history of ideals, bound by the concept of hegemonic masculinity; a concept that exclude women as insignificant for the social construction of masculinity. One ambition with this thesis has been to counter the long-lasting concept of hegemonic masculinity, and in the process, try to build a bridge between men and women studies.         One other ambition has been question the canonisation of the “Golden Age” of Swedish silent filmmaking by introducing the concept of “the pluralism of film”, and by using a vast material including: Swedish feature films, reviews, articles from fan magazines and trade paper, screen plays, censorship cards, official reports, etc; thereby circumventing the concept of film as “art” in order to focus on film as representation in a more reliably way.       One conclusion is the revelation of the diversity that surrounds social constructions of masculinity and gender relations in both film culture and society. In addition, Swedish film of the 20s hardly contained any male characters that upheld the hegemonic ideal, giving way to a more prominent presence of strong female characters, often in the shape of the New Woman. Women did as well have a great influence on the formation of masculinity. However, a notion of a Swedish normative masculinity became visible when contrasted with numerous racial stereotypes, such as malicious representations of Black people and Travellers. The emphasis on gender relations, rather than on ideals, has also contributed to a wider understanding of gender, where criteria such as generation, class, ethnicity and sexuality ought to be included.          When it comes to the canonisation of the “Golden Age”, a strong notion exists about the integrated use of nature in film narratives as being a Swedish national trait, when in fact this could be linked only to a few films. If one would point out a trait that permeates Swedish film of the 1920s, it would not be the use of nature, but instead the flagrant racism and xenophobia.

This study examines through an equality lens, the lived experiences of nine female leaders in the male-dominated film industry in Sweden. The aim was to explore how women perceived equality in their workplace, their perception of the issue, and the coping strategies used by these women. In-depth interviews were done through a qualitative phenomenological approach. The theoretical framework used in this thesis is gendered organizations by Acker (2012), a social psychological perspective of gender gaps by Garcia and Hanek (2022), and how women can contribute to inequality by Parks-Stamm et al. (2008). I found themes influenced by a gendered industry, including masculine stereotypes and norms that affect employee behavior, and unintentionally contribute to organizational inequality.  My findings illustrate career obstacles for female leaders, in contrast to males who for instance, benefit from brotherhood, and loose requirements such as social skills. To succeed, women must work hard, act suitably, educate- and convince themselves, and use creative tactics for approval. I highlight strategies such as the competitive strategy to become “one of the boys”, and the chameleon strategy by adapting like a stereotypical female or male by mindset, male behaviors, or using male outfits. And specialization strategy, to ally with other women. Strategies were used to get access to particular environments and reach different goals. Two women didn’t experience gender discrimination, and the issue of equality was perceived in various ways. Collaborating with men had mutual benefits, as male mentors were well-intentioned, and male dominance didn’t exclusively drive inequality. My research also revealed contradictions in female rivalry showing disloyalty, abusive, unfavorable, and competitive behaviors rooted in self-protection and limited opportunities. However, the study illuminates the challenges and strategies of female leaders in a male-dominated industry. The women are creative, brave, and inspiring for other women by navigating against all odds in a profession they love.

This essay deals with the idea of women as the ”the other sex” within the field of authorship, and aims to bring to together feminist, film and auteur theory with analysis of historic documentations of reception as well as context for academic treatments of Mai Zetterling as an auteur/director. This, in attempt to, through intertwined discussion, catch a glimpse of better understanding how gender specificity may have influenced and continue to influnce perceptions of auteurs of female gender and their works, yet keeping focus on the case of Mai Zetterling and hers in specific.

Denna uppsats har som mål att undersöka begreppet kvalitetsfilm och dess användning med utgångspunkt i marknadsföringskanalerna public relations, marketing management och filmfestivaler i Sverige. Uppsatsen definierar marknadsföring och beskriver hur den kan praktiseras i filmindustrin. Begreppsanalysen av kvalitetsfilm refererar till Pierre Bourdieus sociologiska texter och har en kort historisk genomgång av hur begreppet kvalitetsfilm myntades i Sverige. Sedan följer en genomgång av kvalitetsfilm i förhållande till europeisk konstfilm samt hur begreppet influerat den svenska filmbranschen idag. Uppsatsen innehåller analyser utifrån tre kvalitativa intervjuer med anställda som i någon form arbetar med kvalitetsfilm, samt litteratur kring marknadsföring av film och kvalitetsbedömning. / This study aims to examine the concept of quality film and its use on the marketing channels public relations, marketing management and film festivals in Sweden. The study also defines marketing and describes how it can be practiced in the film industry. The conceptual analysis of quality film refers to Pierre Bourdieu's sociological texts and have a brief historical review of how the concept of quality film was coined in Sweden. Then follows a review of quality films in relation to European art films, and how the concept has influenced the Swedish film industry today. The thesis contains analyzes based on three exclusive interviews with quality film workers, and literature on film marketing and estimation of quality.