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  • 1.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Animator in focus:  Caroline Leaf 2010In: Catalogue, 33rd Göteborg International Film Festival, no 33, p. 14-15Article in journal (Other (popular science, discussion, etc.))
  • 2. Ajanovic, Midhat
    Crtic kao zanr: pristup zanru u filmskoj i digitalnoj animaciji2009In: Hrvatski filmski ljetopis, ISSN 1330-7665, no 43/45, p. 99-105Article in journal (Other (popular science, discussion, etc.))
  • 3. Ajanovic, Midhat
    Dockorna som älskar och skrattar2011In: Göteborgs-Posten, no 30/1, p. 98-98Article, book review (Other (popular science, discussion, etc.))
  • 4.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media Production.
    "Jag går efter min näsa"2010In: Göteborgs-Posten, Vol. 28 januari, p. 131-131Article, book review (Other (popular science, discussion, etc.))
  • 5.
    Ajanovic, Midhat
    University West, Department of Economics and Informatics. University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Ohrozený megalopolis japaneského ANIME 32011In: Homo Felix, ISSN 1338-2268, no 1, p. 71-72Article in journal (Other (popular science, discussion, etc.))
  • 6.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Tragajuci za kompleksnim kadrom: Roy Andersson, sadasnji i buduci klasik2010In: Sarajevske sveske/Sarajevo Notebok magazine, ISSN 1512-8539, no 29-30, p. 548-562Article in journal (Other academic)
    Abstract [en]

    Midhat Ajanovic's My Choice paints an idiosyncratic portrait of the most well-known Swedish director, Roy Andersson, and provides a translation of an inspirational program text by this controversial filmmaker.

  • 7.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ženska crta britanskog animiranog filma/Feminine current of British animation: Bokumentarizam, društveni angažman i feminizam britanske animacije.2011In: Hrvatski filsmi ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 65/66, p. 24-46Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    In the animated film of the 1970s and later, the modernist poetics of, for example, theZagrebSchoolstarted to feel outdated. This was the reason for the a whole group of new female and male authors to emerge and to tackle pressing social issues, including animated cinema as a new, alternative medium for public debate. Among a number of social issues tackled primarily in British and Canadian films, the field of gender inequality and the position of women in the society came to the foreground. The paper also follows the history of female presence in animated film and the history of female topics' affirmation in this medium, starting with Helen Smith Dayton, Lotte Reiniger and Mary Ellen Bute, to Marjut Rimminen and the influence of the Channel Four production (producer C. Kitson), or rather the authors such asCaroline Leaf, Angela Martin, Candy Guard, Alison Snowden, Karen Watson and Gillian Lacey. Special attention is dedicated to Alison De Vere and Joanna Quinn. Non.British authors are mentioned as well, such as Monique Renault. What is particularly interesting is the influence of British documentary tradition (alo0ng the lines of John Grierson( which blended with animated film and other visual arts traditions. However, in animated films women had to struggle for the right to comedy as an artistic choice as well because the prejudice related to female sense of humor was extremely strong. The author concludes by stating that contemporary animation does not discriminate against women at all.  

                                                                                                 

     

     

  • 8.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    An Attempt at Reading and Understanding the Animated Film Don Quixote by Vladimir Kristl2015In: Animation: A World History: Volume II: The Birth of a Style / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 71-75Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om Zagrebskolan för animerad film.

  • 9.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Anime ohrozený megalopolis japaneského 2010In: Homo Felix, no 1, p. 68-71Article in journal (Other (popular science, discussion, etc.))
  • 10.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animerad verklighet2018In: Tecknaren, ISSN 0347-7673, no 6, p. 24-27Article in journal (Other (popular science, discussion, etc.))
  • 11.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden.2018In: Global Animation Theory / [ed] Franziska Bruckner et al., New York: Bloomsbury Academic, 2018, p. 99-116Chapter in book (Refereed)
    Abstract [en]

    It seems that the first decades of the new millennium have brought about a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualiezd totally by employment of various animation techniques. My concern in the following chapter is the conspicuous propensity in Swedish animation towards animated documentary. In my view Sweden is the country that, besides Canada and Great Britain, has developed the most prolific production of films that merge documentary purposes and animated imagery.

    In this chapter I define animated documentary, as I understand it. I will also take a look into the history of Swedish animation and documentary, with an emphasis on the features that might be the base for the development of the animated documentary. The text will also focus on some factors in the production and social background that, at least partly, explain why the animated documentary is such a prominent feature on the Swedish animation scene and, lastly, it will point at some films and filmmakers that eminently represent the genre. 

  • 12.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Bizarre and Depoliticized2014Conference paper (Other (popular science, discussion, etc.))
  • 13.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Film i strip2018Book (Other academic)
  • 14.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Little man at the turn of the worlds : A view of the origin, history and basis of the phenomenon of the Zagreb School of Animated Film 2010Other (Other (popular science, discussion, etc.))
  • 15.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Little Man at the Turn of the Worlds: A View of the Origin, History and the Ideological Foundation of the Phenomenon of the Zagreb School of Animated Film2019In: Propaganda, Ideology, Animation: Twisted Dreams of History / [ed] Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński, AGH University of Science and Technology Press , 2019, p. 154-174Chapter in book (Other academic)
  • 16.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Mannen som tecknade Musse Pigg2010In: Göteborgs-Posten, no 18/12, p. 114-114Article in journal (Other (popular science, discussion, etc.))
  • 17.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Milan Blazekovic: life in a cartoon =  Život u crtanom filmu 2010 (ed. 1)Book (Other (popular science, discussion, etc.))
  • 18.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Nedovrsena prica2010In: Kvadrat, ISSN 1845-8009, no 22, p. 93-95Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Priit Pärn2015In: Animation: A World History: Volume III: Contemporary Times / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 140-144Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om animation i Estland

     

  • 20.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Procvat cjelovečernje animacije (Renaissance of full-length animation): Srastanje dokumentarnog i animiranog filma jedan je od najinteresantnijih fenomena u medijskoj industriji našeg doba, osobito stoga što se u toj formi neke važne teme, pogled na stvarnost i historiju tretiraju na sasvim drugačiji način od onog u standardnim medijima.2015In: Mediacentar, SarajevoArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Linking up documentary and animated film is one of the most interesting phenomena in the media industry of our time especially as animated documentaries treat some important topics, view of reality and history in a different way from that of the standard media. 

  • 21.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Sketching Out the ”Proxy Space”2016In: / [ed] Franziska Bukner, 2016, p. 15-15Conference paper (Other academic)
    Abstract [en]

    Animation is usually defined as the moving image that
 is not recorded from a real-time movement but the
 movement created artificially. My concern here is the 
visualisation of the space inaccessible for either pho
tographic film image or our sensory apparatus. I see it
 as the crucial attribute of animated image that is equally 
important for understanding of the animation medium
as the movement making. What the philosopher Paul 
Crowther labelled as "proxy space in animated film"
(quoted by Donald Crafton 2013: 147) could in my own
interpretation be distinguished as the creation of the diegetic space that only exists in the viewers' imagination, and only in the moment while they are watching the film. Mise-en-scène in animation is always a symbol for a space, no matter how convincing an illusion of three dimensions is created in some particular film. Actually, many animators who are active in our time exploit the fact that digital animation made a possible perception of space totally inaccessible to the photographic film technique. For instance the penetrating camera (fly-through) dissolves the restrictions associated with the pictorial space so that we can reach what we cannot see beyond the picture's surface. However, in this short presentation I aim to examine that aspect of animation in the realm of traditionally made animated films in order to verify the view on the "proxy space" being always an essential part of the animated image regardless technical or production conditions.In order to explore varied approaches toward the creation of "proxy space" I will look at some canonical films produced during the golden age of Zagreb School of Animation. Those films made by Vladimir Kristl, Dušan Vukotić, Borivoj Dovniković, Vatroslav Mimica and Nedeljko Dragić, provide lot of evidences that prove that animation space stands for an inherent liberation from the limitations of the laws of physics and entering into the world of the fantastic, symbolical and metaphorical. Employing various minimalistic methods the Zagreb animators created a complex multi-dimensional representation of space. By using several film examples I am going to emphasise five different methods in this paper.

  • 22.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Swedish animated film - 100 Years: Animated children's films, commercials, animated documentaries, as well as films influenced by comics made by distinct individualists are the cornerstones this cinematic phenomenon is based on.2015Conference paper (Other academic)
  • 23.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Tamna strana Potemkinovih kulisa: sovjetski animirani film od animiranih agitki do animacije otopljavanja u filmovima Fjodora Hitruka 2010In: Hrvatski filmski ljetopis, ISSN 1330-7665, Vol. 63, p. 70-93Article in journal (Other (popular science, discussion, etc.))
  • 24.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    The "Clayman" from Norway and his worlds2011In: Catalogue, 34th Göteborg International Film Festival, januari - februari 20011, Vol. 34, no 34, p. 16-20Article in journal (Other (popular science, discussion, etc.))
  • 25.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden2018Conference paper (Other academic)
    Abstract [en]

    It seems that the first decades of the new millennium has brought a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualised totally by employment of some animation technique. The main concern in this paper is a conspicuous propensity in Swedish animation toward animated documentary. Arguably, Sweden is the country that, besides Canada and Great Britain, has developed the most prolific production of films that merge documentary purposes and animated imagery. The paper is composed of three parts. In the beginning the paper defines animated documentary. Swedish animation and documentary history is roughed out in the second part putting emphasis on certain features that might be the base for the development of the animated documentary. Finally, the last part focuses first on some factors in its production and social background that, at least partly, explain why the animated documentary is a prominent feature on the Swedish animation scene and, lastly, some films and filmmakers that eminently represent the genre are pointed up.  

  • 26.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Throbbing Desire: During the 70s and 80s, a feminist animation movement grew forth with the Czech creator Michaela Pavlátová as one of the central figures. This year’s animator in focus is an exuberant fountain of ideas who with humor and rich imagery portrays inequality, masturbation and unhappy marriage.2015In: Catalogue, 38th Göteborg International Film Festival, Göteborg, 2015, no 01, p. 23-28Chapter in book (Other (popular science, discussion, etc.))
  • 27.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Usamljeni detektiv u svijetu pohlepe i lazi/Lonely detective in a world of greed and lies: Jedan pogled na  dugovječnu tradiciju tvrdo kuhanog trilera u literaturi i na filmu/One look at the long-lived tradition of hard-boiled thriller in literature and film.2016In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, Vol. 22, no 85, p. 163-196Article in journal (Other academic)
    Abstract [en]

    This essay is centred on the phenomenon of the specific socially critical so-called hard-boiled thriller that distinguished itself as a separate film genre in the USA already during 1920s. The reason for this should be looked for in the everyday life that provide versatile stimuli and inspiration, but first of all in hard-boiled literature that rose to stardom in this period. Another typical American genre, western, deals with the, not only geographically, but also strictly time-limited vision of American history in the years of expansion and settlement (the beginning of western coincides with the emergence of the Colt revolver and its end with the time when cars replaces horses) and in principle represents a glorification of American history and system. However, crime film has a tendency to adjust its framework to the changing historical circumstances, different and new media and is integrated in other cultures, most frequently as an eminent critique of capitalist society. Dashiell Hammett, author and screenwriter, played the most prominent role in the process of genre defining. He basically created the American-type thriller and made it an independent literary genre. Although he authored only a small number of literary works and although he has been more or less completely unrecognized by the academic and literary establishment, with is prose Hammett stimulated the development of the hard-boiled thriller and the aesthetic model on which it was based which transferred from literature to feature film and from there to other media as well, such as comic book and videogames. The model was successfully adapted to non-American environments as well in the form of original hybrids such as Scandinavian thriller for example. What Hammett inserted into crime literature, and indirectly into film and other media as well, is the perception of reality embodied through the modelling of protagonists and a complete relativisation of the line between good and evil. As a man who was all but apolitical, he contemplated society from the inside, from its darker and unembellished, but artwise much more stimulating side, formulating the hard-boiled thriller as a specific socially critical discourse.  On the one hand, this essay is constructed as an analytical overview of the development of genre, its characteristic and significance, and on the other hand as an attempt to provide arguments for the thesis on the stableness of the model, and its vitality, durability as well as pronounced presence in other media and non-American cultures. Regardless of time periods, different characteristics related to theme and style, and subgenres (crime film, gangster film, film noir, police drama, etc.), hard-boiled thriller is, just like Aristotle’s three-act structure, demonstrated as a magic formula on which a highly critical vision of the dominant modern civilisation system related to state, values and culture was based for almost an entire century.

  • 28.
    Andersson, Åsa
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    The Multicultural Presence in Contemporary Swedish Film2007In: Inter: A European Cultural Studies : Conference in Sweden 11-13 June 2007, Linköping: Linköping University Electronic Press , 2007, p. 103-108Conference paper (Other academic)
  • 29.
    Assmo, Per
    University West, Department of Informatics and Mathematics.
    Creative industry cluster growth in a global economy: the example of Film in Väst, Sweden2004Report (Other academic)
  • 30.
    Blomgren, Roger
    University West, Department of Social and Behavioural Studies, Division of Social Pedagogy and Sociology.
    Cultural industry from threat to salvation: film production from art policy to regional development2008Report (Other (popular science, discussion, etc.))
    Abstract [en]

    The object of this article is to explore the political processes behind the regionalisation of film production in Sweden since the early 1990s and forward. What can explain the transfer of power from central government and film production companies to regionally based institutions? My thesis is that institutions matter. Institutions are seen as an intermediate level between state structures and rational choice/actor explanations. Institutions are equivalent to formal rules, compliance procedures and standard operation practices that structure the relationship between individuals in various units of the polity and economy. The redefinition of film production from national art policy to regional and local policy for development and economic growth is crucial. This redefinition also has to be seen in the light of the general trend towards regionalisation both in Sweden and internationally.

  • 31.
    Blomgren, Roger
    University West, Department of Social and Behavioural Studies, Division of Social Pedagogy and Sociology.
    Den onda, den goda och den nyttiga: kulturindustrin, filmen och regionerna2007Report (Other academic)
    Abstract [en]

    This report focuses on the change that has taken place in the relationship between the state and the cultural industry in Sweden. From the beginning of the 20th Century, when film and popular music (jazz and later rock´n roll) were introduced in Sweden, to the 1990´s the relationship between state and cultural industries has been one of distrust. Popular film and music were seen as having a damaging effect on society. Today, cultural industy is seen as a salvation for the society. Regions and local communities see it as an important industry for growth and welfare. My aim is to study this new trend by using an empirical example of the growth of a Swedish regional resource- and production centre called Film in West. It is a joint-stock company owned by the regional council, established in 1992. Today it has become a powerful actor in national film politics and about half of the total numbers of feature films produced in Sweden during the last ten years were produced in co-operation with Film in West. The object is to explore the political processes behind the regionalisation of film production in Sweden since the early 1990s and forward. What can explain the transfer of power from central government and film production companies to regionally based institutions? The theoretical thesis is that ideas are important for change and create new forms of institution such as Film in West. Ideas can function as a mental map, or common framework of meaning. When policy entrepreneurs introduced the idea to see film as an instrument for regional and local development and economic growth and not as art policy, regionalisation become possible.

  • 32.
    Boman, Victor
    et al.
    University West, Department of Economics and IT.
    Osmark, Lars
    University West, Department of Economics and IT.
    Kontrollerad frihet i datorspel: Hur spelutvecklare styr dig genom din spelupplevelse2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    When a game designer starts the development of a videogame it is important to know how the consumer, that is the player, will play the game. It is crucial to perform game tests and gather other forms of information to understand how the player will interact with the game. It is also important to create a game which the player can connect to and want to immerse themselves in, emotionally as well as practically. The purpose of this study is to try to find out how game developers can predict and control how the player will play the game. We’ve decided to perform this study on one specific game developer and one of their released titles. The developer we’ve chosen is Ubisoft Massive and we’re going to examine how they went about developing the game World in Conflict.

    We performed a qualitative study with hermeneutics as our scientific standpoint, and we performed our empirical studies through mail-interviews. The theorems applied in the study is as follows: Logocentric narrative structure, distancing effect, rational choice theory, deterministic A.I., HCI (Human-Computer interaction), ludology based gamestudies as well as datamining.

    The study shows that Ubisoft Massive uses several developer tools to predict how the player will interact with the game, such as datamining and game testing. A lot of details have been used get the player invested in the game, such as lighting effects, sound design and environments. The game uses deterministic A.I. to make the non-player characters seem more organic and they’ve interacted with players on communities to find out what players are looking for in games.

  • 33.
    Brännmar, Lotta
    et al.
    University West, Department of Economics and IT.
    Hansson, Fredrik
    University West, Department of Economics and IT.
    Svensk film genom fönster: Åsikter om villkoren för filmdistribution i Sverige från aktörer i branschen.2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The swedish film industry is regulated by a film contract between the state and representatives of the industry. This contract shall be renewed during 2013. The swedish state has in a declaration of intention expressed a wish of changes about the conditions to acquire financial support from the state for film production in Sweden. A so-called technology neutrality shall be instated which means that film production no longer in forehand needs to have secured a cinema distribution deal to acquire financial support from the state. This could mean a change for distribution of swedish films in Sweden which now consist of a somewhat strict order of viewing windows.

    Our research addresses how swedish film producers, distributors and cinema owners think about the distribution of swedish feature films. Qualitative interviews were conducted with these professionals to get a conclusive picture of the situation in Sweden to date and what the future might bring.

    The essay deals with the cinema's importance, the growth of Video on demand, and producers and distributers wishes of a more flexible way for distribution of film. The possibility to be able to tailor the distribution for every individual film and the window systems impact on the films up-to-dateness.

  • 34.
    Cau Nicklasson, Annelie
    et al.
    University West, Department of Economics and IT, Division of Business Administration.
    Janiak, Pamela
    University West, Department of Economics and IT, Division of Business Administration.
    YouTube som marknadsföringsstrategi: Svenska företagsföreträdares attityder för användning av YouTube i marknadsföringssyfte2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 35.
    Dickson, Jimmy
    et al.
    University West, Department of Economics and IT.
    Katzeff, Judith
    University West, Department of Economics and IT.
    Vad motiverar filmarbetare?: En studie av institutionella logiker inom filmteam2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Bakgrund och problem: På senare år har ekonomiseringen av kulturproduktion tagit stor plats iSverige. I filmpolitiken ser man tydligt dessa tendenser där framträdande mål om effektivitet,vinst och anskaffandet av marknadsandelar återfinns. Författarna undrar hur detta påverkar självaproduktionen av film och i sin tur filmarbetarnas arbetssituation.Syfte: S yftet med denna studie är att undersöka vilka institutionella logiker som förekommerinom filmteamet på filminspelningar för att ge en bättre bild av vad som driver filmarbetare ochför att undersöka hur de påverkas av den framåtskridande ekonomiseringen av kulturproduktion.Metod: F ör denna studie har författarna valt en hermaneutisk kvalitativ metod där författarna hargenomfört två personliga djupintervjuer och 12 skriftliga intervjuer med specifikt utvaldarespondenter. Författarna har även tagit hänsyn till egna observationer från filminspelningar därde själva har arbetat för att bättre förstå respondenterna.Resultat och slutsats: D enna studie har lett författarna till slutsatsen att de största institutionernai ett filmteam är Ekonomiseringen, Gemenskapen och Demokratin och att dessa tre institutionerbåde kan motverka och samverka med varandra. Det krävs en balansgång mellan dessa treinstitutioner för att hålla motivationen av teamet på topp och om någon institution tillåts ta förmycket plats kan det ha hämmande effekter på produktens slutresultat.

  • 36.
    Gustavsson, Sara
    et al.
    University West, Department of Economics and IT, Division of Media and Design.
    Helmersson, Jonas
    University West, Department of Economics and IT, Division of Media and Design.
    Från Ronja Rövardotter till Hundraåringen: Kartläggning av hur specialeffekter och visuella effekter används inom svensk filmbransch idag och vad branschens inställning till det är2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    "Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent." Cousins, 2004, s13.

    The way of filmmaking has always been changing and it continues to change but as the quote leads up to it seems like the attitude stays the same. It is essentially about telling a story, which affects the audience. To tell a story with the different approaches the creators favors.

    Thanks to the technical development, many of these effects, both physical and digital have become practicable and who knows what the technique and digital progress will lead to in the future of filmmaking. After all, we are only in the beginning of the digital era. In the same time, the old and proven effect making techniques might inculcate as both classic and recognizable working methods.

    In this essay, we will talk about how the techniques of digital and practical effects are being used in the Swedish film industry. What does the decision makers in the business think about using effects in filmmaking and why are effects being used the way they are in todays film industry? We also wanted to examine what regulates he use of effects based on economical, technical and artistic considerations.

    We have collected our data from interviews with three representatives from production companies and three film financiers. We have also collected information considering the definitions of visual effects and special effects from six filmmakers who that works with effect making on a daily basis. It has become apparent that there are some confusion considering the definitions of the concepts of visual effects and special effects between the producers and financiers and the filmmakers. In order to ease future communication, we will in this essay define these concepts out of our results.

    Our result suggests that there is a will in the Swedish film industry to work with effects in filmmaking but in the same time parts of the industry lacks of resources and capability. Simultaneously, we can note that the ignorance around the concept of effects causes communication problems for digital artists and prop makers. For instance, on the Swedish film gala "Guldbaggegalan" they added a new category only a few years back and this year they took it away because of the problems of recognizing what's visual effects and what's not. It is interesting that there is an interest in developing effects in filmmaking and at the same time takes away the award. Instead of taking it away, they should focus on educating people about effects.

  • 37.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Filmarbetare: - yrkesval och lärande i arbetslivet2008Report (Other academic)
    Abstract [sv]

    I det inledande kapitlet, kapitel ett, ges förutsättningar för studiens genomförande. Jag har intervjuat sju filmarbetare – både kreatörer och administratörer – på ett långfilmsprojekt, här kallat Produktionen. Studiens tidsmässiga avgränsning utgörs av tiden strax före inspelningsprocessen startade och under själva inspelningen. Materialet består av intervjuerna, kortare samtal på plats med övriga filmarbetare, observationer vid några inspelningstillfällen både i studio och på location (annan plats än studio), samt genomläsning av två manusutkast. Mitt intressefokus är filmarbetarnas yrkesvardag. Mitt syfte har varit att lära om de villkor som gäller under en långfilmsproduktion och att söka förståelse för hur filmarbetarna resonerar om filmarbetets praktik, dvs. hur de beskriver sitt arbete men också hur de samhandlar med andra filmarbetare inom samma produktion. Studien har en exploarativ karaktär. I kapitel två får de intervjuade filmarbetarna beskriva sin väg till yrket och hur de uppfattar sitt huvudsakliga arbetsinnehåll. Detta avsnitt får tjäna som en bild av några olika yrkesroller eller funktioner i ett filminspelningssammanhang. I kapitel tre går jag närmare in på de förklaringar som ges till val av yrke och bransch, dvs. vad det är i filmbranschen som attraherar och gör att filmarbetaren ser sig som en person i en speciell yrkessektor. Kapitlet handlar också om hur den konkurrensutsatthet som råder i filmbranschen bidrar till behovet att exempelvis skapa nätverk och investera i specialkunskaper. I kapitel fyra visar jag hur de organisatoriska villkoren ger stöd för konstruktionen av ett enat ”vi”, ett team som arbetar mot en gemensam målbild. Jag lyfter också fram den flitigt förekommande familjemetaforen och diskuterar vad begreppet familj kan ha för betydelse i filmarbetets vardag. I kapitel fem sätter jag fokus på hur filmarbetarna resonerar om sina möjligheter att bidra till en films konstnärliga kvalitet. Detta avsnitt följer till vissa delar upplägget i de två tidigare kapitlen, främst när det gäller samarbete, men här ges samarbetet ett mer riktat fokus mot de konstnärliga ambitionerna. I kapitel sex ger jag en sammanfattning av det som filmarbetarna uppfattar som filmarbetets och filmarbetarnas särskildhet. Särart och särskildhet sätts här i relation till en förändrad arbetsmarknad, lärande i arbetslivet och organisatoriska villkor.

  • 38.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Tystnad! Tagning!: Filmarbetare om teamarbete och delaktighet i filmiskt konstnärligt skapande2009In: Film mellan industri och estetik: Kulturvetenskapliga perspektiv på film och filmproduktion / [ed] Fredrik Sunnemark, Trollhättan: Högskolan Väst , 2009, p. 90-135Chapter in book (Other academic)
  • 39.
    Herrman, Margaretha 
    University West, Department of Health Sciences, Section for health promotion and care sciences.
    Äldre finns dom?: Om föreställningar och attityder till äldre/åldrande där film utgör exempel.2012Conference paper (Other academic)
  • 40.
    Herrman, Margaretha
    et al.
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Nilsson, Lena A.
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Health Sciences, Section for health promotion and care sciences.
    Attitudes to Ageing and Elderly Care: Film Stories as Mirror or Creator of Norms2015In: International Journal of Humanities Social Sciences and Education (IJHSSE), ISSN 2349-0373, Vol. 2, no 10, p. 55-66Article in journal (Refereed)
    Abstract [en]

    Research on representations of older people in popular culture shows that this group is awarded limited space and often assigned negative images. How older people are represented in film stories reflects general notions of ageing, which may have consequences for the design and quality of elderly care. In this study, cultural studies and gerontological research are used for interpretation of feature films to discuss how standards on age and ageing are created and maintained. Contemporary films with older starring characters are analysed. Ageism is visible in the films, which may contribute to negative views of old age. Older people have, or are perceived to have, impairments and extensive care needs. They are in some ways treated as minors. The older characters display resistance and ambitions to control their lives. There is a challenge to redefine prevailing age norms and meet increasing demands for care of older people.

  • 41.
    Kullgren, Carina
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    På tal om film: Regissörer om regi, stil och politik2009In: Film mellan industri och estetik: Kulturvetenskapliga perspektiv på film och filmproduktion / [ed] Fredrik Sunnemark, Trollhättan: Högskolan Väst , 2009, p. 40-89Chapter in book (Other academic)
  • 42.
    Lebar Sanders, Anna
    University West, Department of Economics and IT, Division of Media and Design.
    "Man åldras för varje produktion!": Några filmarbetares upplevelser av hälsotillstånd i sin yrkesutövning2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 43.
    Liljegren, Kristian
    et al.
    University West, Department of Economics and IT, Division of Media and Design.
    Mozart, Therése
    University West, Department of Economics and IT, Division of Media and Design.
    När Hollywood gör svensk film: En studie om skillnader mellan ideologiska reproduktioner i en svensk originalfilm och en amerikansk remake.2015Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Purpose:

    The aim is to gain a deeper understanding of the structure of ideological messages in the Swedish film Män som hatar kvinnor (2009) as compared to the U.S. American version The Girl ith the Dragon Tattoo (2011) through a qualitative approach and a multi-perspective film analysis as research method.

    Method and materials:

    Through the use of a qualitative approach we have analyzed the films Män som hatar kvinnor (2009) and The Girl with The Dragon Tattoo (2011). We have compared the films in order to read out the differences in ideological reproductions and films stylistic appearance.

    Results:

    The research has shown that the films relate differently to the theoretical premises that formed the basis of our analysis. The films narrative and methods of using cinematic basic elements, such as choices of actors, editing and lighting, are in some ways different from each other. At the same time it follows a line that is faithful to each film's cultural context and typical genre traditions.

    Män som hatar kvinnor is focusing on political elements and the film's gender representation violates traditional gender roles while The Girl with the Dragon Tattoo has a classic film style with commercial and spectacular elements.

  • 44.
    Lindberg, Marie
    et al.
    University West, Department of Economics and IT.
    Nilsson, Linda
    University West, Department of Economics and IT.
    Häxa,offer, moder, revolutionär eller fjortis?: En analys av hur kvinnor framställs pånutida svensk film baserade på originalmanus2011Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens titel: Häxa, offer, moder, revolutionär eller fjortis? – En analys av hur kvinnor framställs på nutida svensk film baserade på originalmanus

     

    Seminariedatum: 2011-05-31

     

    Ämne/Kurs: Filmproduktion 7, examensarbete filmproduktion

     

    Författare: Marie Lindberg & Linda Nilsson

     

    Handledare: Maj Asplund Carlsson

     

    Nyckelord: Filmanalys, genus, kvinnliga stereotyper, originalmanus, svensk film.

     

    Syfte: Syftet med vårt arbete är att analysera hur kvinnor framställs i fem svenska filmer med originalmanus och som utspelas i nutiden. Vi vill undersöka vilka tydliga stereotyper vi kan hitta och om det finns ett genomgående tema mellan filmerna. Vi kommer avslutningsvis att se det ur ett producentperspektiv och se vad det kan finnas för konsekvenser av filmerna och hur man som producent i framtiden kan hantera dessa.

     

    Metod: Vi har med hjälp av den kvalitativa forskningsmetoden rörlig bildanalys studerat våra fem filmer utifrån ett socialkonstruktionistiskt perspektiv.

     

    Teoretiska perspektiv: Vår huvudsakliga teori består av teorier kring genusvetenskap, populärkultur samt även stereotyper på film.

     

    Empiri: För att besvara frågeställningen har vi analyserat filmerna De ofrivilliga, Du & jag, När mörkret faller, Så som i himmelen och Vingar av glas.

     

    Resultat: Det vi har kommit fram till efter arbetes slut är att kvinnor till viss del framställs stereotypt och då ofta på ett negativt sätt. Däremot finns det undantag, då vissa kvinnor startar med att vara svaga under filmens början och utvecklas och växer sig så pass starka att de orkar bryta sig loss i slutet av historien. Det finns i relativt många fall spår av en könsmaktordning, till nackdel för kvinnorna.

  • 45.
    Magnusson, Tobias
    University West, Department of Economics and IT.
    Investerare eller mecenat?: En studie om riskkapitalanvändning inom den svenska filmbranschen2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Title: Investor or Maecenas? – A study on the usage of venture capital within the Swedish film industry.

    Author: Tobias Magnusson

    Supervisors: Ahmad Ahmadi, Clas Gunnarsson

    Purpose: The purpose with this thesis is to complement the research on procurement of capital within the Swedish film industry.

    Methodology: The primarily research method that have been used to gather material is qualitative interviews, that has been performed with four individuals that are active in the Swedish film industry.

    Theory: In order to create an adequate theoretical base, theories regarding investments and cultural entrepreneurship are presented.

    Empirics: In this chapter the results of the interviews are presented, sorted in several subcategories. The material is thereafter analyzed and discussed in the following chapter, with the theoretical base in mind.

    Conclusion: The usage of venture capital within the Swedish film industry is relatively low today. Non-monetary values are the primary reason to invest in the Swedish film industry today. A significant risk diversification, together with knowledge dispersion needs to be made in order to make the Swedish film industry more attractive to investors. If these changes will be made, there is a possibility that the industry’s self image will change.

    Keywords: Film, financing, venture capital, cultural entrepreneurship, Swedish film industry

  • 46.
    Nehls, Eddy
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    (Drog)filmens abstrakta maskin: Mer än bara bilder2009In: Film mellan industri och estetik: Kulturvetenskapliga perspektiv på film och filmproduktion / [ed] Fredrik Sunnemark, Trollhättan: Högskolan Väst , 2009, p. 136-158Chapter in book (Other academic)
  • 47.
    Nomark, Sanna
    et al.
    University West, School of Business, Economics and IT, Division of Media and Design.
    Pålsson, Miriam
    University West, School of Business, Economics and IT, Division of Media and Design.
    Representation av äldre i animerad långfilm: En kvalitativ innehållsanalys2018Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    There are few studies that investigate older characters in animated film. Older characters have been portrayed in a disproportionately negative manner according to previous studies. These studies were made over ten years ago, therefore new research is needed to investigate how older people are represented. The aim of this research is to examine how older characters are portrayed in mainstream animated films from 2017 by analyzing five animated films: Coco, Smurfs - The Lost Village, The Lego Ninjago Movie, Monster Family and Captain Underpants. Using a qualitative and semiotic content analysis, we investigate how identity markers, narrative functions, as well as stereotypes and signs are used to portray older people. The study shows a positive change in the representation of older people where the characters have more nuanced and important roles. The most common stereotypes around older people do not appear in these films, instead authority roles and archetypes such as the wise are used. Rather than a sign of chronological aging the appearance of elderly and signs of age primarily seems to be used to convey wisdom and experience.

  • 48.
    Persson, Åke
    University West, Department of Social and Behavioural Studies, Division for Educational Science and Languages.
    Maffian i de fina salongerna: Martin Scorseses filmatisering av Edith Whartons The Age of Innocence (Oskuldens tid)2009In: Film mellan industri och estetik: Kulturvetenskapliga perspektiv på film och filmproduktion / [ed] Fredrik Sunnemark, Trollhättan: Högskolan Väst , 2009, p. 159-188Chapter in book (Other academic)
  • 49.
    Persson, Åke
    University West, Department of Social and Behavioural Studies, Division for Educational Science and Languages.
    The Mafia in the Drawing Room: Martin Scorsese's Film Adaptation of Edith Wharton's The Age of Innocence2008In: NJES Nordic Journal of English Studies, ISSN 1654-6970, Vol. 7, no 2, p. 39-68Article in journal (Refereed)
  • 50.
    Rama, Arian
    et al.
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Sadiku, Blend
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Seljo, Samir
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Film från land till land: En studie om skillnaderna i arbetsvillkoren för svenska och albanska filmarbetare2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Purpose:

    Our purpose with this paper is to investigate what the work conditions look like for Swedish and Albanian filmmakers. What they think of their current terms, how the existing conditions are affecting their well-being and health, and how their working conditions can be improved.

    Methodology:

    Information has been collected through the interviews we have conducted with fourteen filmmakers, seven filmmakers from Sweden and sven from Albania. Filmmakers we interviewed also had various professional roles, resulting in more comprehensive and broad results. The intention of this approach was to provide a comprehensive picture of the situation for Swedish and Albanian filmmakers.

    Theory:

    This paper is based on several theories, and reports that have been collected in order to explain how the working conditions look for Swedish and Albanian filmmakers. To give a broad picture of how the film is produced and created in these countries, we have deepened ourselves in further information about each country's film history and policy. We begin by describing how the film industry looks like in Sweden and then immerse ourselves in the Albanian film industry. Here, we first describe each country's film history to explain how the film industry blossomed out, then we go on to examine how the policy in these country's has affected their film development. We finish by presenting information about the work conditions for Swedish and Albanian filmmakers, this helps us describe how the situation for film makers in both Sweden and Albania looks like today.

    Empirics and analysis:

    Here we present the results we have received through the interviews we have conducted. After this we analyze the respondents´ answers with the theories we have set up in advance. The things that are emphasized in this section are primarily film workers choice of occupation, working hours, their health and wellbeing, as well as the film workers economic situation and the gender equality in the workplace. We end this section by disclosing information about the respondents´ suggestions for improvements.

    Conclusion

    : Here we have a discussion about the responses we have received from our study subjects. Among other things, we describe all the positive and negative aspects of choosing a film career. What drives the study subjects to love their profession and what causes them to hate it.

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