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  • 51.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    The man and the line: Monographyc study of the work of animator, cartoonist and comics author Nedeljko Dragic2014Book (Other academic)
    Abstract [en]

    Nedeljko Dragic is without doubt one of the most important creators not only in the Zagreb School of animation but of cartoon films in general, if we accept this term as designating a particular subspecies within the medium of the animated image. However, because of several factors, not unimportant among them the author’s personal bohemian and nonchalant attitude to his work, his films and his other works have not to date been adequately studied.

    Dragic’s film animation, and also his comic strips and cartoons, are works of great complexity and stratified symbolism. Instead of treating animated artificial movement as a mimetic reflection of reality, as the great majority of his colleagues worldwide does, Dragic was practically from the beginning of his career interested in the concept of idea in motion, thought brought to life, visual anthropology and, especially topical in our time, documentary animation. For Dragic the viewer is an active consumer, and for him the act of projection is inter-sub- jective communication, an approach that has only become customary in our post- modern time. This, of course, is not the result of coincidence but of the intuition of an author who is turned to the future with all the force of his creative energy.

    This is why I decided on a combined form of monograph and author study, with emphasis on scholarly analysis and contextualisation in film history, not on the kind of text that is usually tailored to suit books of this kind. Therefore, the aim and purpose of this book is to lay an analytical foundation for the definitive contextualisation and evaluation of Nedeljko Dragic’s work in Croatian culture, and the development of the animation medium on the global level.

    I planned the book on several levels, where each chapter takes us one step further towards some aspect of Dragic’s opus, unaffected by time and still as interesting and provocative today at it was about half a century ago, when the majority of his works were created.

    The introductory chapter is a collection of personal notes about meetings with Nedeljko DragiÊ and the birth of the idea about this book, a process that lasted for decades.

    The second chapter focuses on Dragic the cartoonist, because, in my opinion, it was in this activity that all the preconditions developed which crucially determined the aesthetics of his animated films. Dragic the artist grew out of the modern cartoon, a tradition that differed comple- tely from the idea about the cartoon as a comical drawing, a drawn joke. The modern cartoon, whose prominent representative Saul Steinberg greatly influenced the formation of Dragic’s worldview as an author, is in the first place stamped by a wealth of symbolism and a great ran- ge of subjects which include practically all the basic philosophical issues about man and his world. Dragic’s experiences as a cartoonist fundamentally determin- ed him as a cineaste, animator, satirist and creator in general, sensitive to some of the basic moral issues of our time.

    The third chapter deals with the history of the contacts between and intertwining of comics and animation as a context for understanding Dragic’s work. In this chapter analysis focuses on the comic Tupko, which Dragic made for Vecernji list and which functions as a bridge notonly between his cartoons and films, but also serves to bring his entire opus toget- her into a coherent whole.

    The fourth chapter is a presentation of Nedeljko Dragic’s films, based on his personal attitude to each of them and showing characteristic excerpts from their critical reception.

    To completely understand the value of Dragic’s work, it must in my opinion be placed in the context of film history and global modernist processes in the animation medium, in the evolution of which an essential stage belongs to the phenomenon known as the Zagreb School. This is the purpose and ambition of the fifth chapter of the book. Dragic’s films grew out of and belong to the modernist wave that swept through animation from America after the 1940s and 1950s. This period brought a new trend in cartoon films, characterised by a different sensibility both in visual stylisation and approach to animation. This new current, known as limited animation in older film literature, meant a radical move away not only from the so-called Disney model but also from what was, for example, being created by Avery, Jones, Tashlin and other prominent authors in the Warner Bros. studio. Some important circumstances influenc- ed this development of animation, such as the war, change of lifestyle, industrialisation, the appearance of television, which soon became the main distributor of the animated picture, modern design and art in general. All these tendencies, after an initial spur from the United States, found fertile soil in, among other places, the Zagreb Animation Studio, and Nedeljko Dragic was one of the leading promoters and practicians of this trend.

    A precondition for any attempt to interpret Dragic’s work is the establishment of precise analytical instruments on which this analysis can be based. The- refore, the sixth chapter deals with animation semiotics, which has so far hardly ever appeared in its pure form, at least not in texts in languages that I know. I derived here this barely existent scholarly discipline from the relatively well-established film semiotics, because of the kind- red nature of the moving picture in animation and film (photography), whose basic characteristics are highly coincidental. I also see a reason for this approach in the fact that film semiotics often treat animation in a rather confused and contradictory manner. I will build a specific model for interpreting Dragic’s animation in the first place on the basis of the work of Yuri Lotman, an Estonian structuralist semiotician.

    The final chapter of the book is a long and detailed interview with Dragic himself, who comments all the essential issues concerning his work, the Zagreb School and animation in general from his own point of view.

     

  • 52.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    The Puppet-Actor in Virtual Environment: Theatrical puppetry, cinema puppetry, digital puppetry2014Conference paper (Other academic)
    Abstract [en]

    Abstract

    My concern is animated puppetry in the digital era. Actually, this presentation is a brief depiction of a much larger "to-be-a book" project.

    Puppet comes from pupa, Latin for "small creature that portray human".

    The idea about a movable, humanlike object emerged in puppet theatre but blossomed in animated film. By using an inanimate objects as an actor puppet animators create worlds we recognize as a deeper, metaphorical truth of own world. Animators are tasked with creating expressions and emotions for their artificial figures, thus turning them into characters.

    That is why probably no other form of creating moving pictures is lavished with as much time, care and passion as stop-motion. In difference to live-action directors that direct living people, the animation director directs his or her own deepest feelings through the material, which allows practically unlimited space for individualism and creativity. By touching the models the animator leaves traces of his life on them so the feelings and spiritual state emanate from puppet-films as some sort of fantastic reportage about the dreams hidden deep in their creators.A great number of important puppet-animators such as Starewitz, Zeman, Ewald, O?Brien, Moss, Trnka, Pall, Kajer, Kawamoto, Borowczyck, Barta, Shorina, Svankmajer or Burton developed the type of iconoclastic aesthetic of the three-dimensional animation.

    But what happened with the illusion of "living" object in the modern 3D computer animation? Can we consider the three-dimensional figures created with the help of some software application as puppetry?

    I argue that digital puppetry could be seen as a new stage in the development of this form of expression whose basic characteristics largely coincide with cinema puppetry and theatrical puppetry.

    In this presentation I focus on a phenomenon sometimes called "uncanny valley",or rather a reduced emotional response, which I see as one of the main reasons for some doubts and confusion in recent discussions concerning digital animation. Absence of human touch and tactile sensation in digital pictures contributes to a form of dehumanization in 3D CGI animation because of the fact that mathematic accuracy in digitally created characters may not elicit the intended empathetic response in the viewer.

    I present three ways in which the problem is usually addressed by animators: (1) creating puppet characters that are in appearance markedly non-human or non-realistic, based on a tradition inherited from theatrical and cinema puppetry, (2) employing some documentary methods, (3) applying a kind of surreal quality to the performing puppet.

  • 53.
    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.))
    Download (pdf)
    Throbbing Desire
  • 54.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Titoism and the Idea of “The Third Road” as Ideological Foundation of Zagreb School for Animated Film2017Conference paper (Refereed)
    Abstract [en]

    Geographically, and ideologically, Yugoslavia stood on the border between two confronted blocks during the Cold War, but belonged to neither. The idea of ‘the third road’ was extremely popular; people really saw their country as an alternative to imperialist West and bureaucratic East.

    Yugoslav regime was rarely criticized for lack of democracy; it was more fiercely attacked by the nationalist right wing, which sheds much light on the catastrophe that happened after Tito’s death.

    Yugoslav film makers rarely confronted the system; they were mostly its ardent propagators. The ‘third road’ idea was popular even among the creators of Yugoslav’s best films – members of the Zagreb School of Animated film. Still, satire was an important element of Zagreb films, but the satirical razor was directed towards actual global problems, racism, colonialism, pollution, hunger, poverty, fear of the A-bomb, war, etc. Criticism was present, but it did not include social criticism. Yugoslav system was not only spared of criticism, it was, indirectly but indisputably, celebrated. The idea of a small, spiteful country existing on the borderline between two gigantic and hostile worlds was interwoven in many films made in the Zagreb studio. A small freedom oasis, surrounded by pressures, terror and danger, was an all-present motif in animated anecdotes of the leading school’s masters. A small man abused by his surrounding, who, despite the troubles, kept fighting for his way of life, his independence and neutrality was a common denominator of the authors of the Zagreb school, regardless of their artistic profile and their filmic and visual expression.

    Soon after Tito’s death in 1980, the idea of the ‘third road’ turned out to be completely ‘unrealistic reality’, just like La Grande Illusion. After Gorbachov, perestroika, the fall of the Berlin wall, and the end of the cold war, the idea of the ‘third road’ and a country in between lost its initial meaning. Yugoslavia lost its international position, and moreover, dissolved in a bloody war.

    Download full text (pdf)
    fulltext
  • 55.
    Ajanović, Midhat
    University West, School of Business, 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.

  • 56.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Tragajuci za vidljivim pojmom / Searching for visible concept: Pokusaj definiranja semiotike animiranog filma na primjeru opusa Nedjeljka Dragica / An attempt to define animated film semiotic on the example on Nedeljko Dragic's work.2012In: Hrvatski filmski ljetopis / Croatian Film Cronicle, ISSN 1330-7665, Vol. Sommar 2012, no 70, p. 91-118Article in journal (Other academic)
    Abstract [en]

    The text looks at semiotics in animation, a branch of semiotic which, as far as the author knows, has practically never appeared in its pure form. Such barely existing scientific discipline is here derived from the comparison with a relatively established film semiotics, considering the similarity between animated and film (photographic) moving images, the basic characteristics of which in most pert overlap. A case study was conducted on the animated films by  Croatian author Nedeljko Dragic, due to their complexity and richness of layers in terms of symbolic charge. Instead of treating the artificial movement in animation as a mimetic reflection of reality, as most of his colleagues do, Dragic takes interest in a moving concept, in a thought brought to life, in visual anthropology amd in animated documentarism, particular topical in our times. For Dragic, a viewer is an active consumer snd he perceives the act of screening as intersubjective communication, an idea that will become popular only in our postmodern times. Of course, this is not a coincidence, this is the intuition of the author who has always looked at the future with the full force of his creative energy.

    Key words: Animated film, semiotic, sign, Nedeljko Dragic, Passing Days, Diary, Tup-Tup        

  • 57.
    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.

  • 58.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Vlado Kristls Don Quijote2011In: Maske und Kothurn, ISSN 0025-4606, E-ISSN 2305-0667, ISSN ISSN 0025-4606, no 3-4, p. 237-244Article in journal (Other academic)
    Abstract [en]

    The author studies the animated film Don Quixote (1962) by Vladimir Kristl and sees it as one of the first works of art which depicts a mechanical and dehumanized world marked by the loss of subjectivity and the violent erasure of cultural differences between people as an image of global civilization.

  • 59.
    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)
  • 60.
    Asplund Carlsson, Maj
    et al.
    University West, Department of Social and Behavioural Studies, Division for Educational Science and Languages.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Högberg, Karin
    University West, School of Business, Economics and IT, Division of Media Production.
    Kullgren, Carina
    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.
    Mårdén, Björn
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Social and Behavioural Studies.
    Att göras till filmarbetare i den nya kulturekonomin2011In: Att göras till filmarbetare / [ed] Margaretha Herrman, Nora: Nya Doxa , 2011, 1, p. 280-298Chapter in book (Other academic)
  • 61.
    Assmo, Per
    University West, School of Business, Economics and IT, Division of Law, Politics and Economics. University West, School of Business, Economics and IT, Divison of Law, Economics, Statistics and Politics.
    Creative Industrial Development for Regional Economic Growth: The Example of Regional Film Centres in Sweden.2007In: Uddevalla Symposium 2006: Entrepreneurship and Development - Local Processes and Global Patterns: Revised papers presented at the 9th Uddevalla Symposium, 15-17 June, Fairfax, VA, USA / [ed] Iréne Johansson, Trollhättan: University West , 2007, p. 91-103Conference paper (Refereed)
    Abstract [en]

    Knowledge and creativity are increasingsly important factors for economic growth. Changes in the economic landscape mean that the location of human capacity becomes a key aspect for knowledge creation and regional economic growth. This article discusses the influence of political-economic structures and the importance of the creative human capital, in relation to the development and localisation of a government supported regional film industry in Sweden. The overall aim for initialising these regional film production centres is to enhance regional economic growth in new creative industrial sectors that can replace and/or supplement the traditional industry in the respective region. This article argues that this kind of creative industry is generally most likely to be mor successful in locations that can provide financial support and attract the key creative human capital. Regions with high population density and diversified economy will thereby be the best suited.

  • 62.
    Assmo, Per
    University West, Department of Informatics and Mathematics. University West, School of Business, Economics and IT, Divison of Law, Economics, Statistics and Politics.
    Creative industry cluster growth in a global economy: the example of Film in Väst, Sweden2004Report (Other academic)
  • 63.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 64.
    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.

    Download full text (pdf)
    FULLTEXT01
  • 65.
    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.

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    Kontrollerad frihet i datorspel
  • 66. Borgendahl, Oscar Martin
    et al.
    Eriksson, Rasmus
    Inal, Tuba
    University West, School of Business, Economics and IT, Divison of Law, Economics, Statistics and Politics.
    Rape in Hollywood Combat Movies: Representations of the Causes of Wartime Rape2018In: Rape Cultures and Survivors: An International Perspective / [ed] Inal, Tuba & Smith, Merril D., Santa Barbara, Calif: Praeger, 2018, p. 1-101-1-138Chapter in book (Other academic)
  • 67.
    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.

    Download full text (pdf)
    svenskfilmgenomfönster.pdf
  • 68.
    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
  • 69.
    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.

  • 70.
    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.

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  • 71.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Att göras till filmarbetare2011Collection (editor) (Other academic)
  • 72.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Att skapa filmarbetare, team och organisation2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 79-111Chapter in book (Other academic)
  • 73.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Bransch i förändring?2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 51-78Chapter in book (Other academic)
  • 74.
    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.

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  • 75.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Förändringsagenter? Filmproduktionsstudenters förståelser av villkor och förutsättningar för etablering i filmbranschen2011In: Utmaningar och perspektiv på VerksamhetsIntegrerat LÄRande: Presentationer, 2011Conference paper (Refereed)
  • 76.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Med klassrummet som produktionskontor: att lära för arbetsliv och marknad?2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 210-232Chapter in book (Other academic)
  • 77.
    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)
  • 78.
    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)
  • 79.
    Herrman, Margaretha
    et al.
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Kullgren, Carina
    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.
    Studentpitchen: iscensatta branschnormer2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 233-253Chapter in book (Other academic)
  • 80.
    Herrman, Margaretha
    et al.
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences.
    Mårdén, Björn
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Social and Behavioural Studies.
    Bransch, utövare och utbildning2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 36-50Chapter in book (Other academic)
  • 81.
    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.

  • 82.
    Högberg, Karin
    University West, School of Business, Economics and IT, Division of Media Production.
    Kvinnor som producenter2011In: Att göras till filmarbetare / [ed] Herrman, Margareta, Nora: Nya Doxa , 2011, p. 142-172Chapter in book (Other academic)
  • 83.
    Inal, Tuba
    University West, School of Business, Economics and IT, Divison of Law, Economics, Statistics and Politics.
    The (re)production of a rape culture through film: Turkish cinema's love affair with rape2017In: Continuum. Journal of Media and Cultural Studies, ISSN 1030-4312, E-ISSN 1469-3666, Vol. 31, no 6, p. 802-819Article in journal (Refereed)
    Abstract [en]

    Sexual violence is a pervasive problem that continues to affect many women’s lives around the world. The cultural environment enables the continued perpetration of these crimes and the (re)production of these cultural environments as well as their subjects through visual arts, particularly cinema. In this article, the mutually constitutive relationship between the rape culture in Turkey and Turkish cinema, with its particular themes and characters, is explored and described in order to shed light upon the social setting that both produces and consumes the rape-themed movies while normalizing and allowing rape.

  • 84.
    Kullgren, Carina
    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.
    Filmarbetare i den nya ekonomin2011In: Att göras till filmarbetare / [ed] Herrman, Margareta, Nora: Nya Doxa , 2011, p. 11-35Chapter in book (Other academic)
  • 85.
    Kullgren, Carina
    University West, Department of Nursing, Health and Culture, Division of Health and Culture. University West, Department of Health Sciences, Section for health promotion and care sciences.
    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)
  • 86.
    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
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  • 87.
    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.

  • 88.
    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.

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    Häxa, offer, moder, revolutionär eller fjortis?
  • 89.
    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

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  • 90.
    Muminovic, Emir
    University West, Department of Social and Behavioural Studies.
    Borat Sagdiyev: Infringing conversational norms and principles2022Independent thesis Basic level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper analyses the actor Sacha Baron Cohen’s character, Borat Sagdiyev, and his infringements of conversational principles in unscripted real-world encounters with people in the movies Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan and Borat Subsequent Movie film: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan. The aim of this paper is to analyse how Baron Cohen uses Borat to produce unconventional conversations with unexpecting Americans. These conversations are analysed with Grice’s Cooperative Principle, which is a theory that assists in concretizing the infringements of social norms and principles in conversations via the Gricean maxims. When Grice’s maxims are applied to the conversations, the results display how Baron Cohen uses Borat’s cultural background to infringe the maxims. This approach enables Baron Cohen to use Borat as a veil to expose the otherwise evasive bigotry and ignorance within American society. Although this veil evidently serves a grand purpose, I additionally raise the collateral damage inflicted on bystanders and the undesirable potential of reinforcing negative sexual attitudes vis-à-vis women as grave problems Baron Cohen’s approach synchronously contributes to. 

  • 91.
    Mårdén, Björn
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Social and Behavioural Studies.
    Att skriva examensarbete vid ett filmproduktionsprogram2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 254-279Chapter in book (Other academic)
  • 92.
    Mårdén, Björn
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Social and Behavioural Studies.
    Filmproducentens syn på sin yrkeskompetens2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 112-141Chapter in book (Other academic)
  • 93.
    Mårdén, Björn
    University West, Department of Nursing, Health and Culture, Divison for Health, Culture and Educational Sciences. University West, Department of Social and Behavioural Studies.
    Filmproducentstudenter om sin utbildning2011In: Att göras till filmarbetare / [ed] Herrman, Margaretha, Nora: Nya Doxa , 2011, p. 193-209Chapter in book (Other academic)
  • 94.
    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)
  • 95.
    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.

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  • 96.
    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)
  • 97.
    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)
  • 98.
    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.

  • 99.
    Sunnemark, Fredrik
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Film and Ideology: Remarks on a Complicated Relationship2007In: Inter: A European Cultural Studies : Conference in Sweden 11-13 June 2007, Linköping: Linköping University Electronic Press , 2007, p. 593-599Conference paper (Other academic)
  • 100.
    Sunnemark, Fredrik
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Om relationen mellan film och ideologi2009In: Film mellan industri och estetik: Kulturvetenskapliga perspektiv på film och filmproduktion / [ed] Fredrik Sunnemark, Trollhättan: Högskolan Väst , 2009, p. 5-39Chapter in book (Other academic)
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