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  • 1.
    Andersson, Anton
    et al.
    University of Skövde, School of Informatics.
    Eriksson, Tobias
    University of Skövde, School of Informatics.
    Effekten av Mickey-Mousing i datorspel: En studie av Mickey-Mousing och dess effektivitet i dynamiska datorspel2019Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Mickey-Mousing är en ljudläggningsmetod som använts sedan de tidiga tecknade filmerna i slutet på 1920-talet och beskrivs som en ”musikalisk imitation av fysisk rörelse”. Det har använts genom tiderna för att betona och förstärka de grafiska händelser som sker på filmduken, och har nu även förts in i ett nytt medie - datorspel. Det som undersöks i detta forskningsarbete är användandet av Mickey-Mousing, och dess legitimitet inom spelgenren fumblecore. Frågeställningen som undersökts lyder: Hur påverkar Mickey-Mousing spelupplevelsen i fumblecore-spel jämfört med diegetisk, realistisk ljudläggning?

  • 2.
    Cederqvist, Marcus
    University of Skövde, School of Humanities and Informatics.
    Musik i dokumentärfilm: Musikens betydelse för uppfattningen om en person i en dokumentärfilm2012Student thesis
    Abstract [sv]

    I detta arbete undersöks vad som händer med innehållet, berättelsen, i en dokumentärfilm om man använder sig av musik som inte är kongruent i förhållande till innehållet. Kan en glad scen ändras till sorgsen genom att använda sig av en mer dyster och sorgsen musik?

  • 3.
    Chalabi, Jiar
    University of Skövde, School of Informatics.
    To what extent can interactive documentaries affect the engagement of secondary school children?: Interactive media documentaries and engagement2015Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Interactive documentaries are achieving fame and many people are engaging in the technology. However minimal research means the benefits of interactive documentaries remain unexplored. This project investigates the actual benefit of interactive documentaries. It also relates to exploring the benefits of this genre and studying how interactive media can engage youths.          

    The hypothesis studies how films implement interactive functions and whether this implementation is a positive or proactive influence on the user’s engagement. Additionally, it will be argued that the interactive narrative gave a more positive effect on the young audience than was recorded for the TV documentary.  In particular, and since it is the targeted audience of the research project, the study will discuss how youths paid more attention to the narrative, were motivated to explore the artifact or object in question, and facilitated mood change allowing greater expression and understanding of the subject. It is argued that interactive functions can provide these effects because they allow a user to go inside the content (Manovich 2000, 206). In other words, the user’s participation becomes active rather than passive within interactive media content.

    To address the research question, a research plan was put in place and is as follows:

    • A short web documentary was created, with Interactive functions, and evaluated with the target audience.
    • An identical film was produced without interactive functions.
    • Both versions were presented to the target audience, and interviews were conducted to monitor and evaluate audience participation. 
    • The results were summarized with comparison and analysis for study presentation.

    The production of a film was required to describe interactive functions. Another film formed content for a chosen short documentary about the cultural history of an archeological item. This documentary is available in Västra Götaland Museum at Skara and focuses on when, where and how the archaeological item was found and what it symbolized in terms of cultural significance. The documentary film had a chronological narration, including archive photographs, videos materials, and also featured an interview. One particularly interesting story was chosen from a number of Museum pieces. It should be noted that the Västra Götaland Museum had a website which was popular viewing for a significant numbers of teenagers. 

  • 4.
    Hermansson, Camilla
    University of Skövde, School of Humanities and Informatics.
    När musik möter film: Hur påverkar musik upplevelsen av en film?2012Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Att filmmusiken är en viktig del i en film nog de flesta beredda att hålla med om. Men vad har musiken egentligen för betydelse för hur vi som åskådare upplever film? Med hjälp av två visuellt identiska filmer vars enda skillnad är filmmusiken undersöker jag hur olika typ av musik kan ge en annorlunda upplevelse av samma film. Ett antal personer får ta del av filmerna och svara på frågor i enkätundersökning, vars resultat sammanställs och analyseras. Med hjälp av det slutgiltiga resultatet kan jag avgöra om frågeställningen är besvarad och vad det får för betydelse för forskningen inom ämnet, och inte minst hur man kan bygga vidare på undersökningen för att få en djupare förståelse för filmmusik och hur den påverkar åskådarens upplevelse av film.

  • 5.
    Hoel, Christian
    University of Skövde, School of Humanities and Informatics.
    Den moderna krigsfilmen: Om den amerikanska andra världskrigs-stridsfilmsgenren.2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Jeanine Basingers bok The World War II Combat Film presenterar en annars väldigt oupmärksammad genre, den amerikanska Andra Världskrigs-stridsfilmen. Utifrån den mall som Basinger beskriver i boken har jag här diskuterat och analyserat hur Saving Private Ryan håller sig till mallen som skapats av tidigare stridsfilmer. Mallen består i korthet av en mängd element som används genomgående i genren; såsom gruppen, hjälten, målet och fienden. Dessa element förekommer från den första andra världskrigs-stridsfilmen Bataan från 1943 och har konsoliderats och utvecklats sedan dess. Slutsatsen blir att även om SPR blivit känd som en nydanande och orginell film så är håller den sig nästan slaviskt till mallen, det enda som möjligt kan skilja den lite från andra filmer i genren är det ursprungliga målet, det är inte vanligt att ha ett såpass politiskt inkorrekt mål som att rädda en enda man.

  • 6.
    Jedebäck, Rebecca
    University of Skövde, School of Informatics.
    Filmens roll i utbildningen: fallet interkulturella samhällen2015Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Kulturen har sedan urminnestider funnits i olika former, beroende på hur människorhar levt och förflyttat sig över jorden. Idag när vi lever närmare varandra ännågonsin kan den ge upphov till problem, kulturerna emellan. När olika kulturer skasamsas på en och samma plats behövs det verktyg för att samhället ska bli enhomogen och trygg plats. Mångkulturella samhällen existerar överallt i världen, därolika kulturer lever sida vid sida, detta examensarbete kommer ta upp förhållandeinterkulturalism, där kulturerna lever inte bara sida vid sida utan i en relation medandra kulturer som bygger på respekt för mångfald, ömsesidigt utbyte och synergi,och dokumentärfilm i form av två undervisningsfilmer.Två undervisningsfilmer har skapats med hjälp av två olika berättarsätt, medinterkulturalism som grund.Efter en enkätundersökning gjord med respondenter på Komvux vuxenutbildningSFI, svenska för invandrare, gjordes en jämförande studie som byggde på enjämförelse mellan dessa två filmer. Jag kunde därefter konstatera attinterkulturalismens budskap bäst går fram till mottagaren genom enundervisningsfilm gjord på Bill Nichols ”The Expository mode” som grund.

  • 7.
    Johansson, Lena
    University of Skövde, School of Humanities and Informatics.
    Kan man se med öronen?: En uppsats om filmljud2006Independent thesis Basic level (degree of Bachelor), 10 points / 15 hpStudent thesis
  • 8.
    John, Manceau
    University of Skövde, School of Humanities and Informatics.
    Hur uppfattas olika remedieringar av en poetisk text till ett audiovisuellt medium som film, i synnerhet överföringen av litterära metaforer? Vilken förhållningsätt till texten anses vara mest effektivt i att meddela textens betydelse och mening i en film? Finns det märkbara skillnader i hur kvinnor och män mottager filmerna?2013Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Vi använder oss dagligen av ett rikt bildspråk med hjälp av t ex metafor. Senaste forskning har visat att bildspråket har en stor betydelse i vårt sätt att tanka och kommunicera med varandra. Samtidigt är bildspråket betraktas som en slag avvikelse i vårt sätt att kommunicera och tänka som anser ske på en bokstavlig nivå. Jag blev intresserad av att utforska denna dikotomi och i en viss mån ville jag gestalta den i mitt projekt. Jag ville undersöka om det finns ett sätt som anses vara mest effektiv för att remediera en poetisk text till ett visuellt medium.

    Jag skapade två filmer med ett identiskt ljudspår som innehåller en musik komponerad för en poetisk högläsning.  Genom att förhålla mig till textens innehåll på olika sätt i skapandet av mitt bildmaterial försökte jag undersöka frågan och även utforska om manliga och kvinnliga deltagare skiljer sig åt i deras respektive mottagande av de två filmerna.

  • 9.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Anna Matison: After You’re Gone (Posle tebia, 2016)2018In: Kinokultura, ISSN 1478-6567, no 61Article, book review (Other academic)
    Abstract [en]

    Review of Anna Matison's film After You’re Gone (Posle tebia, 2016).

  • 10.
    Kristensen, Lars
    University of Skövde, School of Humanities and Informatics.
    Baltic Cinema from beyond Western Eyes: Baltic Cinemas after the 90s: Shifting (Hi)stories and (Id)entities by Renata Šukaitytė (ed.)2013In: Studies in Eastern European Cinema, ISSN 2040-350X, Vol. 4, no 1Article, book review (Other academic)
  • 11.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Bicycle cinema: Machine identity and the moving image2017In: Thesis Eleven, ISSN 0725-5136, E-ISSN 1461-7455, Vol. 138, no 1, p. 65-80Article in journal (Refereed)
    Abstract [en]

    This paper examines the relationship between identities and the bicycle as portrayed in films. The analysis finds that taking the viewpoint of the bicycle emancipates the bicycle from being subjected to closure, as the constructionists would have it, and thus articulates the differences with which the bicycle can communicate to its rider. The paper examines the bicycle as depicted in three films: Premium Rush  (Davis Koepp, 2012), A Sunday in Hell  (Jørgen Leth, 1977) and Life on Earth  (Abderrahmane Sissako, 1998). It engages with the concept of ‘interpretative flexibility’ and the development of the bicycle, as examined by Wiebe Bijker and others, and argues that the interpretative flexibility of bicycles does not cease just because the high-wheeler was abandoned and the ‘safety’ bicycle was universally accepted. The fight for the role of the bicycle continues and the bicycle is subject to constant transformations in order to reconstruct it according to human needs. Andrew Feenberg’s modified constructivism is applied to re-examine the technical development of the bicycle, claiming that technology is dependent on specific social structures as well as human agency. The paper argues that just as social structures are negotiable and unfixed at any point in time, the bicycle too is never neutral but remains negotiable and unfixed. Consequently, since the bicycle constantly ‘speaks’ back to the user, there is never closure in the technical development of the bicycle. Drawing on the writings of Bruno Latour and the Deleuzian idea of assemblages, the bicycle and its rider are considered as an organic entity that is constantly forged and un-forged. Understanding the rhetoric of the bicycle machine helps the convergence of a bicycle becoming with becoming a rider, marking the bicycle as equal to its rider. Viewed in this way, the hierarchy of agency collapses and a crystallization emerges out of the rider and bicycle entwinement.

  • 12.
    Kristensen, Lars
    University of Central Lancashire.
    BOOK REVIEW: The imperial trace: Recent Russian cinema by Nancy Condee2014In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 11, no 2Article, book review (Other academic)
  • 13.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Dominik Spritzendorfer and Elena Tikhonova: Elektro Moskva (2013)2014In: KinoKultura, ISSN 1478-6567, Vol. 45Article, book review (Other academic)
  • 14.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Early Non-Fiction Filmmaking in the Baltic Region: Identity, Ethnography and Spectacle2014Conference paper (Other academic)
    Abstract [en]

    Ethnographic photography and painting precede cinema (Griffith, 2002), but moving images substantially increases the intersection of knowledge regimes and entertainment. The ethnographic film extends the Eurocentric mastery of the gaze and enlarges the colonial enterprise with camera technology. It is not until recently that vision and mastery, with regard to race, representation and visual cultural production, have been analysed within a cross-cultural framework (Pratt, 1992; Stam and Shohat, 1994). This approach has proven successful when dealing with the ethnographic image’s enmeshment of scientific data and popular amusement (Rony, 1996), because it focuses on form and authority, unravelling cinema’s most intricate relationships, namely the interplay between filmmaker, cinematic style and audience. One of the key questions in this research is precisely the issue of authority, as raised in connection with the construction of primitivism, e.g. Robert Flatherty’s Nanook of the North (1922), or questioning power in documentary narratives, e.g. Luis Buñuel's Las Hurdes (1933). To what degree is the ethnographic film of the Baltic region invoking the ‘unequal looking’ regime (Ginsburg, 2002), which has been paradigmatic for filmmakers to follow or break with (as with Las Hurdes)?

     

    The paper will focus on Soviet and Estonian anthropological films. For example, in Journey through Setoland (1913), Estonia’s first filmmaker, Johannes Pääsuke, depicted the cultural peculiarities and traditions of the Setos, a small ethnic group populating the borderlands between Estonia and Russia, or Soviet documentarist Vladimir Erofeyev, who in turn was very much influenced by the pre-revolution ethnographic filmmaker Fyodor Bremer (Izvolov, 1996). Filmmakers, like Konstantin Märska, continued this tradition where cinematography was sensitive to ‘different human types’ (Kärk, 2010). The paper will argue that these early non-fiction filmmakers shaped the future tradition of documentary filmmaking in not only Estonia and Russia but throughout the Baltic region.

  • 15.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Eastern Europe proves to be a Nordic mirage2019In: Studies in East European Cinema, ISSN 2040-350X, E-ISSN 2040-3518, Vol. 10, no 1, p. 84-86Article, book review (Other academic)
    Abstract [en]

    Book Review of Beyond Eastern Noir: reimaging Russia and Eastern Europe in Nordic cinemas, authored by Anna Estera Mrozewicz, Edinburgh University Press, 2018, 256p., ISBN-978-1474418102

  • 16.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Gennadii Ostrovskii: Dumpling Brothers (Pel’meni, 2013)2014In: KinoKultura, ISSN 1478-6567, Vol. 43Article, book review (Other (popular science, discussion, etc.))
  • 17.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Interv'yu: Aleksei Balabanov i Sergei Sel'yanov2016In: Brikolazh reszhissyora Balabanova / [ed] Frederik H. White, Nizhny Novgorod: Dekom , 2016, p. 172-182Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Interview with Russian filmmaker Aleksei Balabanov and his producer Sergei Sel'yanov. Carried out in January 2003 at Lenfilm in St Petersburg.

  • 18.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Liusia Matveeva: The Embroideress (Vyshival’shchitsa 2014)2015In: Kinokultura, ISSN 0950-2289, E-ISSN 2326-5507, no 50Article, book review (Other academic)
  • 19.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Marxist Resistance at Bicycle Speed: Screening the Critical Mass Movenement2015In: Marxism and Film Activism: Screening Alternative Worlds / [ed] Ewa Mazierska and Lars Kristensen, New York and London: Berghahn Books, 2015, p. 213-233Chapter in book (Refereed)
    Abstract [en]

    The chapter discusses a certain type of activism and cinema associated with it, which cannot be described as strictly ‘Marxist’, but which might appeal to Marxist viewers: the Critical Mass movement. This movement, which started in the early 1990s, consists of groups of bicyclists riding through inner cities in numerous countries. The Critical Massmovement can be assessed in two basic ways: either as a means of combating capitalism by challenging the domination of a private car in the cities and advocating living in a more sustainable and greener way, or as a one-issue activismthat diverts attention from the crucial problem of capitalism, which is that of class. The chapter also discusses the films that represent and advocate bikeactivism and living according to the ‘bike ethos’ in terms of their production, textual characteristics and distribution. It draws attention to the fact that cinema is crucial for bike activism and the internet is indispensable for Mass Movement cinema.

  • 20.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Mikhail Brashinsky: Shopping Tour (Shopping tur, 2012)2014In: KinoKultura, ISSN 1478-6567, Vol. 44Article, book review (Other (popular science, discussion, etc.))
  • 21.
    Kristensen, Lars
    University of Skövde, School of Informatics.
    Polish Actor-Directors Playing Russians: Skolimowski and Stuhr2014In: Polish Cinema in a Transnational Context / [ed] Ewa Mazierska and Michael Goddard, Rochester, NY: University of Rochester Press , 2014, p. 194-212Chapter in book (Refereed)
  • 22.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Postcommunist Cinema: A case study of three films2015In: Rethinking Histories of Arts in the 20th Century / [ed] Claire Levy, Joanna Spassova-Dikova and Elka Traykova, Sofia: Institute of Art Studies , 2015, p. 157-170Chapter in book (Refereed)
  • 23.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Russians in space: Ideological problems for red sci-fi cinema2014Conference paper (Other academic)
    Abstract [en]

    The imagined worlds of sci-fi films have to be projected as being founded on both ‘rational scientific’ reasoning and at the same time have ‘no normative ground’. This gives the genre a precarious relationship with not only past and present, but also reality. This could equally be said for socialist realism, which frequently featured films with no normative ground in reality while sporting a logical rationality of what the future would be like. Science fiction, in cinema and literature, gives concrete projections of future, which are both plausible and farfetched.

    In the Eastern Bloc, science fiction was one of the most cherished film genres. As the genre has functioned worldwide, communist science fiction films were able to fulfill the cinematic medium’s potential of creating imagined worlds. Despite this fact, the science fiction films never became mass-produced. In the Soviet Union, in particular, the genre never really took off. In his brief history of the Soviet sci-fi cinema in Sight and Sound (July 2011), James Blackford lists only about 20 Soviet productions, from Aelita (1924) to Zero City (1989), but this is from an industry that made an average of 150 films per year. What were obstacles for producing sci-fi films on a large scale? In this paper, I will argue that there are three ways in which we view this lack of focus: (1) large production cost, (2) socialist realist concerns and (3) issues of colonialism.

    The paper will look at four Eastern European sci-fi films, Silent Star (1960), Icarus XB 1 (1963), Signal (1970) and Pilot Pirx’s Inquest (1979). Nearly, all these films are made in coproduction and with the international cast. Two of the films are made by East German and Polish film companies and one in collaboration with Tallinn film studio in Estonia. Three of the films are based on Stanislaw Lem’s stories and one by Calos Rauch, but all have Russian characters, who perform various roles during each film. As professors, scientists, captains of spacecrafts or more ordinary members of space crews, these Russian characters are adhering to the projecting of socialist realism, where harmony and international friendship was the backbone of a full communist future. 

  • 24.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Sergei Taramaev, Liubov’ Lvova: Metamorphosis (Metamorfozis 2015)2017In: Kinokultura, ISSN 0023-2076, E-ISSN 2217-7809, Vol. 55Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    Film review

  • 25.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Svetlana Baskova’s response to Russian national neoliberalism in For Marx …2018In: Contemporary Cinema and Neoliberal Ideology / [ed] Ewa Mazierska, Lars Kristensen, New York: Routledge, 2018, p. 73-87Chapter in book (Refereed)
    Abstract [en]

    The chapter deals with the film For Marx …  (2012) by the Russian filmmaker Svetlana Baskova, which is a homage to Sergei Eisenstein’s Strike  (1925). Baskova examines it in the context of the peculiar brand of neoliberalism adopted in Russia ruled by Vladimir Putin and the type of cinema promoted by his regime. The chapter argues that while ‘Putin’s cinema’ is expected to convey patriotic values in a way which makes them easy to understand and be embraced by the general public, in exchange for being supported by the state throughout the entire process of production and distribution, Baskova opted out of this system, by making a film which does not adhere either to the dominant ways of making films or to the dominant ideology. The chapter maintains that For Marx …  is a product of cinephilia since it was financially supported by Cine Fantom, a film club based in Moscow, and is an example of ‘non- cinema’, understood as a type of film which ostensibly rejects the principles of cinema. The chapter raises an interesting question, namely whether films in the vein of For Marx …  constitute a serious alternative to the dominant cinema, in contemporary Russia and elsewhere or rather act as a smokescreen, behind which the servants of the authoritarian state perpetuate their ultimately undemocratic cultural practices.

  • 26.
    Kristensen, Lars
    University of Skövde, School of Informatics.
    The 'Far East' Neighbour in Nikita Mikhalkov's Urga (1991)2014In: Postcolonial Approaches to Eastern European Cinema: Portraying Neighbours On-Screen / [ed] Ewa Mazierska, Lars Kristensen, Eva Näripea, London and New York: I.B. Tauris, 2014, p. 277-302Chapter in book (Refereed)
  • 27.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    "Wanna Be in the New York Times?": Epic History and War City as Global Cinema2016In: Contested Interpretations of the Past in Polish, Russian and Ukrainian Film: Screen as Battlefield / [ed] Sander Brouwer, Leiden and Boston: Brill Academic Publishers, 2016, p. 21-39Chapter in book (Refereed)
    Abstract [en]

    The three films discussed in this paper have the city as part of their titles: Leningrad/Attack on Leningrad (2009) is directed by Aleksander Buravsky and tells the story of the Leningrad siege during the Second World War, featuring an international cast of well-known actors, such as Gabriel Byrne, Armin Mueller-Stahl and Mira Sorvino. Rigas Sargi/Defenders of Riga (2007), directed by Aigars Grauba, is a co-production with an Estonian film company, and centres on the short period when Latvia gained independence after the First World War. Jerzy Hoffman’s 1920 Bitwa Warszawska/Battle of Warsaw 1920 (2011) is also set in the post-World War I period, focusing on the Miracle at Vistula, when the Polish army managed to defeat the approaching Red Army. These three films are highly commercial products that seek large audiences, and increasingly international audiences, which would return the financial support invested in them. This differentiates them from classical postcolonial cinema and the echelons of high art, placing them within the realms of popular and mass culture. The paper will first draw on concepts of cinematic representation within a postcolonial framework, and, second, look at the representation of the city as a tool with which we can view these films as more than just commercial products unworthy of our attention. The city is what unites these three films on the one hand, but, on the other, it is also what makes them diverge from each other both cinematically and nationally. With regard to the postcolonial, I will argue that these films can be examined as expressions of a post-imperial condition. There is a desire to narrate the nation anew, as if liberated from a colonial oppression. However, the old structures of oppression have not disappeared, but rather merged into new ones.

  • 28.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    When Marx Retruned to Russia: Marxist Film Activism in a Post-communist Condition2014Conference paper (Other academic)
  • 29.
    Kristensen, Lars
    University of Skövde, School of Humanities and Informatics.
    Work in Bicycle Cinema: From Race Rider to City Courier2013In: Work in Cinema: Labor and the Human Condition / [ed] Ewa Mazierska, New York: Palgrave Macmillan, 2013, p. 249-264Chapter in book (Refereed)
  • 30.
    Kristensen, Lars
    et al.
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Burman, Christo
    Linneaus University, Sweden.
    Painful Neutrality: Screening the Extradition of the Balts from Sweden2018In: Baltic Screen Media Review, ISSN 2346-5492, Vol. 6, no 1, p. 72-92Article in journal (Refereed)
    Abstract [en]

    The article deals with the extradition of Baltic soldiers from Sweden in 1946 as it is represented in P.O. Enquist’s novel The Legionnaires (1968) and in Johan Bergenstråhle’s film A Baltic Tragedy (1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of an event in the past. Literature and moving images become in this regard the means to reach the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex for failing to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasing all of the warring nations. It is argued that it is a collective trauma that is created by Enquist’s novel, which blows it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the Swedish bad conscience. In this way, the film aims at creating new witnesses to the extradition affair. The analysis looks at reception of both novel and film in order to explain the two different approaches to the historical event as well as the two different time periods in which they are produced. The authors argue that the two years that separate the novel and film explain the political mood of the late 1960s swings towards a deflated revolution in the early 1970s when the film reaches national screens. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from slowly effacing to collectively being ‘lived’ through remembrance. The paradox is that, while the novel remains a vivid reminder of a painful aftermath to Swedish neutrality during World War II, the film is now almost completely forgotten. The film’s mode of attacking the viewers with I-witness account, juxtaposition and misconduct leads to a rejection of the narrative by Swedish audiences.  

  • 31.
    Kristensen, Lars
    et al.
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Burman, Christo
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Soviet Estonian bicycle film: sport, nation and race narratives2017In: Studies in Eastern European Cinema, ISSN 2040-350X, Vol. 8, no 1, p. 62-77Article in journal (Refereed)
    Abstract [en]

    This article deals with Soviet Estonian bicycle films focusing on sport. Four films are selected for analysis: three documentaries by Hans Roosipuu and the fiction film Kuljetuul/Side Wind (1983) by Raul Tammet. The films show a chronological development of the bicycle race film, starting with Hans Roosipuu’s short film Ulekanne 56:13/Transmission 56:13 (1969) and ending with Raul Tammet’s Side Wind, screened on television a few years before Glasnost was introduced in the Soviet Union. The analysis focuses on the issue of national identity building on the notion that sport was one of the few venues where Estonians could express their nationality. The analysis finds that the closer we get to the Glasnost period the more the films tend to highlight the Estonianness or concerns for Estonian bicycle riders. Moreover, in comparison with Western bicycle film, the Estonian films have didactic qualities based in the traditions of socialist realism and a tendency to elevate the bicycle race mechanic due to Soviet bicycling culture being less advanced. Also earlier than their Western counterpart, the Estonian bicycle films are concerned with the greenvalue of the bicycle in a drive to criticize the Soviet authorities. In doing this the Soviet Estonian bicycle films adheres to the dynamic of the Glasnost film.

  • 32.
    Kristensen, Lars
    et al.
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Mazierska, Ewa
    Introduction2015In: Marxism and Film Activism: Sreening Alternative Worlds, New York and London: Berghahn Books, 2015, p. 1-25Chapter in book (Refereed)
    Abstract [en]

    This book reflects the fact that Marxist film activism is a question of the production, textual characteristics and reception of film. Consequently, practically all the essays included in this collection deal with one if not all of these three aspects. It presents a wide spectrum of cases, using examples from different periods of cinema’s history and different locations. The volume aims to fill a gap in research as this form of activism is barely covered in existing publications and to connect the almost hegemonic position of the neoliberal version of capitalism with an increased accessibility of digital technologies and growth of channels of distribution of films. Filmmakers covered are Aleksandr Medvedkin Jean-Marie Straub and Danièle Huillet, Chris Marker and Jean-Luc Godard to films like 5 Broken Cameras (2010) by Emad Burnat and Guy David, A Screaming Man (2010) by Mahomet-Saleh Haroun and Fernando Solanas and Octavio Getino’s seminal Third Cinema film, The Hour of the Furnaces (1968).

  • 33.
    Kristensen, Lars
    et al.
    University of Skövde, School of Informatics.
    Mazierska, EwaUniversity of Central Lancashire .Näripea, EvaEstonian Academy of Arts .
    Postcolonial Approaches to Eastern European Cinema: Portraying Neighbours On-Screen2014Collection (editor) (Refereed)
  • 34.
    Kristensen, Lars
    et al.
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Mazierska, Ewa
    University of Central Lancashire, UK.
    Näripea, Eva
    Estonian Academy of Arts.
    The Deterritorialised Muslim Convert in Post-Communist Eastern European Cinema2014In: Baltic Screen Media Review, ISSN 2346-5492, Vol. 2, p. 54-75Article in journal (Refereed)
    Abstract [en]

    This article analyses the Muslim convert as portrayed in three post-communist Eastern European films: Vladimir Khotinenko’s A Moslem (Мусульманин, Russia, 1996), Jerzy Skolimowski’s Essential Killing (Poland/Norway/Ireland/Hungary/France, 2010), and Sulev Keedus’s Letters to Angel (Kirjad Inglile, Estonia, 2011). Although set in different periods, the films have their origins in Afghanistan and then move to European countries. The conversion to Islam happens in connection to, or as a consequence of, different military conflicts that the country has seen. The authors examine the consequences the characters have on their environment, using Gilles Deleuze and Félix Guattari’s concept of deterritorialisation, understood as an opportunity to produce political and cultural change. Resettling from one religion and place into another means breaking up structures that need to be reassembled differently. However, these three films seem to desire deterritorialisation and resettlement for different reasons. In A Moslem, national structures need to be reset since foreign Western values have corrupted the post-communist Russian rural society. In Essential Killing, it is the Western military system of oppression that cannot uphold the convert and his values. Lastly, in Letters to Angel, the convert exposes the hollowness of post-communist capitalism. The Muslim converts in these films are subtle reminders that we can all reinvent ourselves.

  • 35.
    Ludvigsson, Henrik
    University of Skövde, School of Informatics.
    "Eleverna försvinner i mängden": En jämförande studie av interaktiv och linjär dokumentär2014Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen är en jämförande studie av interaktiv och linjär dokumentär. Vad är det bästa med att vara lärare? Vad finns det för problematik i dagens skolpolitik? Detta är några av de frågor som tas upp i dokumentärerna. Syftet med projektet är att söka svar på hur upplevelsen av lärarnas situation skiljer sig om interaktiv dokumentär ställs mot linjär dokumentär. Verklighetsåtergivning blir ett centralt begrepp, hur kan jag som filmare återge och förmedla någons verklighet? För att förstå nya mediers möjligheter blickar uppsatsen både framåt och bakåt på den utveckling som lett fram till dagens tekniska framsteg. Projektet tar avstamp i Bill Nichols teorier om den skapande processen inom dokumentärgenren. Mark Cousins och Kevin Macdonald ger viktiga insikter i hur dokumentärfilmen har utvecklats och vilken traditon den kommer ifrån. Metoden jag använt för att skapa den interaktiva dokumentären bygger på Sandra Gaudenzis teorier om ”The hitchhiking mode”. Analysen av materialet genomförs genom kvalitativa intervjuer med 10 respondenter. Projektet visar att det finns skillnader i verklighetsåtergivningen mellan interaktiv och linjär dokumentär. I den interaktiva dokumentären får betraktaren överta vissa roller från filmmakaren och detta påverkar både uppfattning av och innehållet i dokumentären.

  • 36.
    Mattsson, Gustav
    University of Skövde, School of Informatics.
    Opartiskt berättande: En ny mall för dokumentärfilm2013Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Det är mycket svårt, om inte omöjligt att göra en opartisk dokumentärfilm. I minundersökning skapade jag en särskild mall som jag sedan följde då jag genomförde endokumentärproduktion. Mallens innehåll är baserat på teoretisk forskning jag gjortinom dokumentärteori och hade som mål att eliminera de största faktorerna sombidrar till det till synes omöjliggörandet av opartiskhet. En viktig del av den teoretiskaforskning jag gjort är de teorier Stella Bruzzi ställer angående performance. Jag valdepolitik som ämne för min produktion i hopp om att få två polariserade åsikter om ettämne för att därmed utmana regissörens opartiskhet så mycket som möjligt. Filmenvisades för respondenter som fick svara på en enkät. Jag gjorde även tre djupintervjuermed respondenter. Respondenternas reaktioner visar att jag lyckades göra en nästintillhelt opartisk film, men som var tråkig att se på.

  • 37.
    Mazierska, Ewa
    et al.
    School of Humanities and Social Sciences at the University of Central Lancashire, UK.
    Kristensen, LarsUniversity of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Contemporary Cinema and Neoliberal Ideology2018Collection (editor) (Refereed)
    Abstract [en]

    In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films.

  • 38.
    Mazierska, Ewa
    et al.
    University of Central Lancashire, UK.
    Kristensen, LarsUniversity of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Marx at the Movies: Revisiting Histroy, Theory and Practice2014Collection (editor) (Other academic)
    Abstract [en]

    This book revisits cinema from a Marxist perspective, which has been marginalised by mainstream film studies for over three decades. It argues that the supposed ‘end of history’, marked by the comprehensive triumph of capitalism and the ‘end of cinema’, calls for revisiting Marx’s writings in order to analyse film theories, histories and practices.  It pays particular attention to the phenomena, which were previously rarely tackled from a Marxist perspective, such as classical Hollywood cinema and amateur filmmaking.  The authors examine such aspects of film as the use of humour, the problem of adaptation and translation, the relationship between sound and image and the use of music and silence in film. Apart from Marx, they refer to the works of Benjamin, Bloch, Adorno, Brecht, Rancière, Hardt and Negri, Sviták and Kosík, to name just a few. In common with Marx, they also argue for combining theory with history and practice. 

  • 39.
    Peshkopia, Ridvan
    et al.
    University for Business and Technology, Kosovo.
    Imami, Arben
    Institute for Political Studies, Tirana, Albania.
    Kristensen, Lars
    University of Skövde, School of Informatics. University of Skövde, The Informatics Research Centre.
    Constructing and Dismantling the New Man Utopia: The Cinematic Reflection of Albanian Communist and Post-communist Ontology2016In: Kinokultura, ISSN 1478-6567, no Special Issue 16 AlbaniaArticle in journal (Refereed)
1 - 39 of 39
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