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  • 1.
    Abdulla, Lana
    Halmstad University, School of Humanities (HUM).
    Kulturkonflikter: En komparativ studie av synen på ras och klass i Spike Lees Do The Right Thing & Mike Leighs Hemligheter och lögner2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I två analyser av filmerna; Do The Right Thing av Spike Lee (1989) och Hemligheter och lögner av Mike Leigh (1996), har jag undersökt  hur och varför samhällsproblematik  som berör klass- och rasfrågan presenteras på film utifrån hur cultural studies teoretiskt förhåller sig till problematiska relationer mellan kulturella identiteter i USA och Storbritannien. Jag kom fram till att identifikationen av den kulturella identiteten var olika i respektive länder; USA och Storbritannien. I USA var rastillhörigheten utgångspunkten för den kulturella identiteten och i Storbritannien var det klasstillhörigheten utgångspunkten för den kulturella identiteten.

  • 2.
    Andersson, Carl
    Halmstad University, School of Humanities (HUM).
    Transhumanism: En studie av biomodifikation och makt i "Robocop" och "Gattaca"2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den mänskliga horisonten har alltid varit föremål för expandering. Sökandet efter att finna ny potential i vårt biologiska pussel har varit, och är, något som ständigt utvecklas. En kontroversiell gren i detta sökande utgörs av transhumanism. I denna uppsats tillämpas den teori och ideologi som utgör transhumanism, och återknyts övergripande till filmerna ”Robocop” och ”Gattaca” då dessa filmer belyser punkter som berör denna teori. Frågor som väcks utifrån denna teori är olika aspekter av makt, vilket knyts samman med en marxistisk teori om makten, men även utifrån Michel Foucaults biopolitik. Analysen avslöjar att det finns många bekymmer med transhumanismen, samtidigt som den inte på något sätt är en detaljerad redovisning av alla perspektiv av teorin – den är diskutabel, men tåls att kritiseras utifrån dess olika grenar och användningsområden.

    Studien utförs via en kvalitativ forskningsmetod, som fokuserar på frågeställningar anknutna till filmerna och teorierna, och där egna tolkningar utgör det resultat som framställs i uppsatsen.

  • 3.
    Andersson, Mari
    Halmstad University, School of Humanities (HUM).
    Kvinnan som partner i konsumtionssamhället2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Människans stressiga vardag påverkas genom konsumtionssamhället, där relationen mellan människor blir förbisedd och riskerar då att hamna i situationer där människans värde förminskas. Denna uppsats kommer att behandla konsumtionssamhället och hur detta påverkar människan och dess relationer, där även kvinnans roll kommer betonas, då hennes del i konsumtionssamhället och reklamen är stor. De filmer som kommer behandlas i analysen är Väninnorna (1960) av Claude Chabrol, Den Lena Huden (1964) av Francois Truffaut, och Den Röda Öknen (1964) av Michelangelo Antonioni. De teorier som kommer användas i analysen är Det andra könet (1995)av Simone de Beauvoir, Kvinnornas svarta bok av Christine Ockrent och Sandrine Treiner (2007), där dessa verk kommer användas genom att undersöka kvinnans roll, i ett dåtidens och ett nutidens perspektiv, samt hennes roll i media. Undersökningen gällande konsumtionssamhället och de mänskliga relationerna kommer analyseras genom Erich Fromms teori Kärlekens konst (1982), där en fokusering på de negativa sidorna av konsumtionssamhället kommer behandlas. Metoden som skall användas är hermeneutiken.

    Resultatet av min analys visade att konsumtionen kan skapa negativa situationer för individen, där dess sociala liv och relationer kommer i andra hand, samt hur individen kan känna rädsla för ensamhet i samhället. Konsumtionen och den stress den medför gör det svårare för individen att fokusera på de sociala relationerna, där tålamod krävs inom ett förhållande. Kvinnan situation i konsumtionssamhället visar på en stereotyp som skapas genom reklam och media, vilket gör att hon hamnar i en utsatt position.

  • 4.
    Axelsson, Elin
    Halmstad University, School of Humanities (HUM).
    Han var ett jävla svin som hatade kvinnor: En komparativ analys av kvinnosynen i Män som hatar kvinnor och The girl with the Dragon tattoo2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this essay I’ve chosen to do a comparative analysis of the two films Män som hatar kvinnor (Niels Arden Oplev, 2009) and The girl with a Dragon tattoo (David Fincher, 2011) based on feministic theories. I have done this with the intent of comparing the two versions way of viewing the woman. The analysis is based on my own questions, observations and interpretations, and has a hermeneutic approach.

    My conclusion is that “The girl with at Dragon tattoo” is closer to Stieg Larsson’s original story that both films are based upon, though the Swedish film Män som hatar kvinnor has got more of a feministic purpose. Män som hatar kvinnor proved to have a feministic perception of women. I found this to be much like the more radical forms of feminism, whereas The girl with the Dragon tattoo often tends to fall back to cinematic tradition, by depicting the lead role of Lisbeth Salander by the traditional female stereotype.

  • 5.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Amateur home movies and the archive of migration: Sandhya Suri's I for India (2005)2010In: CONFERENCES, 2010Conference paper (Refereed)
    Abstract [en]

    Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.

  • 6.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Hamburg University, Hamburg, Germany.
    Amateur Home Movies and the Archive of Migration: Sandhya Suri's I for India (UK, 2005)2012In: Tourists & Nomads: Amateur Images of Migration / [ed] Sonja Kmec & Viviane Thill, Marburg: Jonas Verlag , 2012, p. 153-160Chapter in book (Refereed)
  • 7.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Archiv und Gedächtnis im autobiografischen Film: Maria Langs experimentelles Home Movie Familiengruft. Liebesgedicht an meine Mutter (BRD, 1981/82)2013In: material, experiment, archiv: Experimentalfilme von Frauen / [ed] Annette Brauerhoch, Florian Krautkrämer & Anke Zechner, Berlin: b_books , 2013, 1, p. 89-111Chapter in book (Other academic)
  • 8.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Archival practice as counter memory: Preserving the cultural heritage of independent video workshops2011Conference paper (Refereed)
  • 9.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Hamburg University, Hamburg, Germany.
    Before YouTube and Indymedia: Cultural memory and the archive of video collectives in Germany in the 1970s and 1980s2012In: Studies in European Cinema, ISSN 1741-1548, E-ISSN 2040-0594, Vol. 8, no 3, p. 171-181Article in journal (Refereed)
    Abstract [en]

    Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory. © 2011 Intellect Ltd Article.

  • 10.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Black diasporic filmmaking and the political aesthetics of anti-essentialism2011Conference paper (Refereed)
    Abstract [en]

    The fact that Black artists are quite often pigeonholed as spokespersons of Black experience is due to a mimetic understanding of art. Using examples from 1980s Black British diasporic filmmaking I would like to shift the analytical focus from representation and mimesis towards art as interventionist practice. The mysterious deaths of young Black men in police custody form the point of departure for an exploration of memory and mourning in Mysteries in July (Black Audio Film Collective, 1991). Additionally, the Sankofa film collective's Territories (1985) is an exploration of urban space, historiography, heterotopia and Black masculinities, while practices of surveillance and the framing of Blacks via media discourses are addressed in Handsworth Songs (Black Audio Film Collective 1986). These filmic essays, instead of looking at the black male as a given social problem, reflect on its construction through discourses of media and governmentality. Rather than creating a counter-discourse, these films abstain from trying to depict events "as they really happened". Instead, they deconstruct the hegemonic media discourse through the use of self-reflexive means. While counter practices often assume a unified essentialist stand (as in concepts of Afrocentrism and négritude, for example) I would suggest that in 1980s diasporic Black British filmmaking self-reflexivity is employed as a strategy which might be able to solve a notion of "strategic essentialism" (Spivak). Filmmaking thus serves as an epistemological tool to deal with the gaps, fissures and absences in the national visual archive and in hegemonic historiography while at the same time defying notions of homogeneity and authenticity. The use of self-reflexivity enables the films to reflect on modes of exclusion of the Black subject from hegemonic discourses on the ontology of the image and on the filmic apparatus. To sum up, my paper outlines auteurist strategies of dealing with the exclusion of both the official canon and of the collective visual archive of the nation.

  • 11.
    Brunow, Dagmar
    Hamburg University, Hamburg, Germany.
    Bollywood im Zeitalter der Globalisierung: eine transnationale Perspektive auf populäres Hindikino2013Conference paper (Other academic)
    Abstract [de]

    Das populäre Hindikino, schon immer hybrid, ist seit den 1990er Jahren ein globales Phänomen. Die Ausrichtung auf ein internationales Publikum hat Konsequenzen für die Produktion, Ästhetik und Distribution der Filme. Inwiefern kann eine transnationale Perspektive dem Wandel Bollywoods vom Kino zur Kulturindustrie (Rajadhyaksha) Rechnung tragen? Der Beitrag untersucht veränderte Distributionsbedingungen, lokale Rezeptionen und Aneignungen sowie Bollywoods globale Fankultur.

  • 12.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Borderline: Ein Film von Kenneth Macpherson2009In: testcard #18: Regress / [ed] Athens, Atlanta (ed.), Behrens, Roger (ed.), Büsser, Martin (ed.), Engelmann, Jonas (ed.), Ullmaier, Johannes (ed.), Mainz: Ventil Verlag , 2009, no 19, p. 294-295Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of the DVD edition of Macpherson's experimental film "Borderline", a British avant-garde classic negotiating issues of race and sexuality.

  • 13. Brunow, Dagmar
    British Queer Cinema, ed. Robin Griffiths2007In: Extremismus / [ed] Roger Behrens, Martin Büsser, Tine Plesch, Johannes Ullmaier, Mainz: Ventil , 2007, p. 282-282Chapter in book (Other academic)
  • 14.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Cultural Memory as Counter Historiography: The Archival Practice of German Video Collectives2011Conference paper (Refereed)
  • 15.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing Essentialism and Revising Historiography: The Function of Metareference in Black British Filmmaking2011In: The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation / [ed] Werner Wolf, Katharina Bantleon and Jeff Thoss, New York: Rodopi, 2011, p. 341-355Chapter in book (Refereed)
    Abstract [en]

    This article describes the function of the metareferential turn in black British filmmaking of the 1980s. Metaisation is here a result of the impact of European art cinema (Godard, Paradjanov, Kluge) as well as of Third Cinema practice and of the ‘essay film’ represented by Alain Resnais, Chris Marker and Jean-Luc Godard. Using the examples of Handsworth Songs and Seven Songs for Malcolm X by the Black Audio Film Collective, directed by John Akomfrah, as well as Isaac Julien’s Looking for Langston and The Attendant, this article outlines five functions of metareference. First, it can be regarded as a means to counter and reflect on the absences in the visual archive in Britain and of questioning the master narrative of British historiography. Second, it is used as a way of transgressing the boundaries of representation and of escaping the fruitless debate about negative and positive stereotypes. Third, metaisation is employed as an artistic strategy in order to inscribe oneself as an auteur into film historiography. Fourth, it can be regarded as a means of escaping the critical label of the social realist filmmaker who deals with the representation of black experiences. Finally, metaisation contributes to a reconceptualisation of the works in terms of both media theory and the essay film.

  • 16.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing essentialism: metareference as aesthetic strategy in Black British filmmaking2009Conference paper (Refereed)
  • 17.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Deconstructing representation: ’Handsworth Songs’ as media criticism and filmic intervention2009Conference paper (Refereed)
  • 18.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Hamburg University, Hamburg, Germany.
    Der Essayfilm. Ästhetik und Aktualität2012In: Historical Journal of Film, Radio and Television, ISSN 0143-9685, E-ISSN 1465-3451, Vol. 32, no 4, p. 637-639Article, book review (Refereed)
  • 19.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Don Letts: Culture Clash. Dread Meets Punk Rockers2010In: Testcard #19: Blühende Nischen / [ed] Atlanta Athens, Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2010, p. 262-263Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of filmmaker and DJ Don Letts' autobiography

  • 20.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film als Historiographie.: "Handsworth Songs" als Dekonstruktion kolonialer Geschichtsschreibung2012In: "All We Ever Wanted..." Eine Kulturgeschichte europäischer Protestbewegungen der 1980er Jahre / [ed] Hanno Balz, Jan-Henrik Friedrichs, Berlin: Karl Dietz Verlag Berlin , 2012, 1, p. 107-119Chapter in book (Refereed)
  • 21.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film als kulturelles Gedächtnis der Arbeitsmigration: Fatih Akıns "Wir haben vergessen zurückzukehren"2011In: 50 Jahre türkische Arbeitsmigration in Deutschland / [ed] Ozil, Şeyda, Hofmann, Michael & Dayıoğlu-Yücel, Yasemin, Göttingen: V&R Unipress, 2011, p. 183-204Chapter in book (Refereed)
  • 22.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film as historiography: Mediations of social unrest, urban landscapes and surveillance in 1980s Black British filmmaking2010Conference paper (Refereed)
  • 23.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Filmisches Gedächtnis als (trans)kulturelle Selbstverortung: Anti-essentialistische Strategien in Fatih Akins "Wir haben vergessen zurückzukehren"2012Conference paper (Refereed)
  • 24.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Film-making as intervention: The performative turn and the political avant-garde2011Conference paper (Refereed)
    Abstract [en]

    Artists like Isaac Julien or John Akomfrah, founding member of the legendary Black Audio Film Collective, have recently made increasing use of the gallery space and the art circuits. John Akomfrah's The Genome Chronicles and Mnemosyne were created and exhibited as film installations, and so were most of Isaac Julien's recent works, e.g. Fantôme Créole, True North and Baltimore. Yet, even more striking is the fact that Handsworth Songs, the 1986 filmic essay by the Black Audio Film Collective, initially commissioned for television (Channel 4), 25 years after its premiere has experienced a renaissance when it was screened at the renown international art exhibition documenta XI. Recently, Tate Britain has acquired the piece for its collections, which in turn has been shown as a temporary video installation. What impact does the shift from the black box to the white cube have for Black British avant-garde film-making? I argue that the changed modes of distribution and exhibition are closely connected to a reconceptualisation of the works (Eshun 2011, Brunow 2011). This, in turn, has consequences for the auteur-status of the artists and, subsequently, the canonisation of their films and installations. I suggest that Handsworth Songs, while previously being classified as a 'documentary' (Corner 1996) and as a representation of a pre-given reality, should be perceived as a mediation on memory, colonialism and historiography. In creating a collage of archive footage, photographs and tableaux vivants, the film reflects on the ontology of the image and the racifying structures inherent in photography and the filmic apparatus. In the paper I will analyse the film’s aesthetic politics while taking a closer look at the use of intermediality and self-reflexivity as a means to transgress the notion of representation in favour of a performative turn towards the notion of film-making as intervention.

  • 25.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK). Halmstad University, School of Humanities (HUM).
    Frauen und Film. Heft 61. Krieg und Kino. Stroemfeld.1999In: testcard. Beiträge zur Popgeschichte #9: Pop und Krieg, p. 272-275Article, book review (Other (popular science, discussion, etc.))
    Abstract [en]

    A review of the recent issue of the feminist journal of film studies "Frauen und Film" and the previous edition of the journal testcard with its focus on gender studies. Using the issue of "Frauen and Film" as an example, the review argues for the need to include the notion of masculinity into gender studies.

  • 26. Brunow, Dagmar
    Im Bett mit Marcuse. Sexualitätsdiskurse in der radikalen Linken. Im Gespräch mit Massimo Perinelli2008In: Testcard #17: Sex / [ed] Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Tyskland: Ventil Verlag , 2008, no 17, p. 20-23Chapter in book (Other (popular science, discussion, etc.))
  • 27.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Mapping the Sound of the City: Artistic Counter Practice in Hamburg's Regeneration Areas2010In: Mapping, Memory and the CitySchool of Architecture, University of Liverpool 24-26 February 2010 ABSTRACTS, 2010Conference paper (Refereed)
    Abstract [en]

    This paper explores contemporary art practice in Hamburg as a way to counter current trends of regeneration in different areas of the city. While officials promote the concept of “the growing city”, artists have employed various strategies of resistance.

    For a couple of years now, artists, urban anthropologists or filmmakers have been mapping the city from different perspectives (urban, audio, post-colonial). The paper presents the case study of an artistic intervention organised by the independent radio station FSK collaborating with a dozen artists and researchers in a workshop. In a “futurist search for traces” a mapping of disappearing city sounds forms the first part of the project. In a second step these soundfiles are archived on the website of radio aporee (http://aporee.org/maps/). Here the sites and sounds can be accessed by GPS-enabled mobile devices. Aporee thus forms an expanding archive which enables us to trace changes in urban space, e.g. in the course of gentrification. The paper analyses the politics of disappearance as a counter strategy and critically examines archival practices to rescue oppositional experiences.

     

     

  • 28. Brunow, Dagmar
    Marie-Hélène Gutberlet/Hans-Peter Metzler (Hg.) Afrikanisches Kino. Olivier Barlet Afrikanische Kinowelten. Die Dekolonisierung des Blicks.2003In: Linke Mythen / [ed] Roger Behrens, Martin Büsser, Tine Plesch & Johannes Ullmaier, Mainz: Ventil , 2003, Vol. 12, p. 286-287Chapter in book (Other academic)
  • 29.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Modernist Cinema as Black (Atlantic) Historiography – Aesthetic Strategies in Black British Filmmaking2009In: Panels of the Eighth Conference of the Collegium for African American Research, 2009Conference paper (Refereed)
    Abstract [en]

    How do artists deal with the lack of discursive space for the representation of Blackhistory? While Spike Lee depicts the story of Malcolm X in an epic mode, the British Black AudioFilm Collective (BAFC) rather focuses on the ruptures, gaps and fissures of Black history. Theirfilm Seven Songs for Malcolm X (1993), which hit the cinema screens only a few months later than its US-counterpart, thus forms an interesting contrast to Lee’s feature film, in particular as itwas photographed by Spike Lee’s and Julie Dash’s cinematographer Arthur Jafa. Moreover, boththe BAFC-productions Handsworth Songs (1986) and Isaac Julien’s Looking for Langston (1989)acknowledge that Black history cannot be told in a linear mode. Instead, in centring around memoryand oblivion they focus on the “ghosts of stories” rather than on a chronological positivist narrative.My argument is that during the 1980s the BAFC (John Akomfrah, Reece Auguiste, Edward George,Lina Gopaul, Avril Johnson, David Lawson, and Trevor Mathison) as well as other British filmcollectives like Sankofa (Isaac Julien, Martina Attille, Maureen Blackwood and Nadine Marsh-Edwards) developed a modernist filmmaking that consciously employs formalistic means in orderto undermine the traditional depiction of history and memory inscribed into the Industrial Mode ofRepresentation.My paper explores the following questions: In what way did the industrial context in the 1980s enablethe avant-garde practices of British independent filmmaking? What aesthetic devices does the BAFCemploy to point at the “absence of ruins” (Derek Walcott)? How are modernist poetic strategies usedto reveal the “ghosts of history”? And in what way can Black British filmmaking be regarded as a siteof remembrance, as a part of postcolonial historiography?

  • 30.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Performativity, Self-reflexivity, and the Archive. Transnational family memory as national counter-historiography in Fatih Akin‘s Wir haben vergessen zurückzukehren (2001) and Sandhya Suri’s I for India (2005)2009In: Families and Memoriesisa Committee on Family Research OSLO, JUNE 15-17, 2009: ABSTRACTS, 2009Conference paper (Refereed)
    Abstract [en]

    Acclaimed German film director Fatih Akin‘s documentary Wir haben vergessen zurückzukehren (We forgot to return home, 2001) and Sandhya Suri’s film essay I for India (2005) both deal with questions of memory and belonging. Both films employ a parallel strategy of the filmmakers interviewing their parents, who migrated to Germany (from Turkey) or to Britain (from India) respectively. Suri’s film is based on super8-footage shot by her father that was originally sent to his family in India, recording the life of this 1st generation migrant family in Britain. In turn, Suri’s family received films and tapes from India. Thus, the home movie footage forms an epistolary account of the creation of transnational memory production. Furthermore, her film shows how some experiences are silenced and how a certain (official) narration of home and belonging is created. Also Akin’s film not only documents migrant history, but is in itself a document of the construction of memory.I would like to focus on the following questions: How does individual memory become collective memory? What aesthetic devices (use of archive footage, modes of self-reflexivity) do the filmmakers employ to broaden the narrative, to make the personal political? In what way do these films form a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible?In what way can these films become a source for migrant historiography? Do they even exceedthe representational level? My point is that these films are not mere documentaries and should not only be read from a mimetic perspective, as “representations” of “ethnicity”, but are more interesting to look at from the perspective of performativity. They show in what way memory is shaped, how a narrative is constructed and how individuals create their own perception of reality. Thus, they take an anti-essentialist stand and avoid presenting their characters as objects, granting them agency and subjectivity instead.

  • 31.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Representation and performativity: Methodological considerations on film and historiography. The example of Baader-Meinhof2009In: Historier: Arton- och nittonhundratalens skönlitteratur som historisk källa / [ed] Christer Ahlberger, Henric Bagerius, Carl Holmberg, Ulrika Lagerlöf Nilsson, Pia Lundqvist, Tomas Nilson, Brita Planck, Göteborg: Institutionen för historiska studier, Göteborgs universitet , 2009, p. 44-56Chapter in book (Other academic)
  • 32.
    Brunow, Dagmar
    Hamburg University, Hamburg, Germany.
    Reworking the archive: the essay film as an intervention into cultural memory2013Conference paper (Refereed)
    Abstract [en]

    In its highly self-reflexive mode, questioning the notion of filmic images as ‘visible evidence’, the essay film is an epistemological tool for the study of visual politics. Therefore, it can offer useful insights into the mediatization of cultural memory. This paper will look at the use of the essay film by minoritized groups (Black, diasporic, feminist, queer), focussing on the remediations of archival footage. How can essay films be conceptualised as an emancipatory practice opening up discursive spaces for vernacular and alternative memories without lapsing into essentialism? Using Black British avant-garde filmmaking as an example, this paper examines filmic interventions into the visual archive. It outlines three practices of an anti-essentialist use of images defying notions of ‘truth’ and ‘authenticity’:  reworking the archive as a) ways of deconstructing hegenomic representation, b) as archaeological excavations into the archive, and c) as a mode of carving out discursive spaces for utopian visions.

  • 33.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Roy Andersson2012In: Directory of World Cinema: Sweden (IB - Directory of World Cinema) / [ed] Marcelline Block, Bristol: Intellect Ltd., 2012Chapter in book (Other academic)
    Abstract [en]

    A portrait of the Swedish director Roy Andersson

  • 34.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The cultural heritage of collective filmmaking in Germany: The archival practice of independent film and video workshops2011Conference paper (Refereed)
    Abstract [en]

    Collective filmmaking practice in Germany is still a blind spot in film historiography. This is all the more surprising since independent film and video workshops established a nationwide network of political media practice during the 1970s. Inspired by Brecht and Tretjakov, Negt/Kluge and Enzensberger, their aims were twofold: first, to empower political activists departing from Tretjakov’s idea of “operative” art and second, to establish film archives and distribution networks. Yet, currently the archives are facing severe problems concerning  preservation: as the video tapes slowly disintegrate, the memory of the various media practices of the last decades is fading away. As digitization is costly and time-consuming, many video productions will not survive. This has, as I will argue, consequences not only for (left-wing) historiography, but also for the visual iconography of cultural memory. My paper focusses on the archival practice of two workshops in Hamburg: the mpz (Medienpädagogikzentrum, 1973-) and bildwechsel, the feminist film archive (1979-).  International influences such as the independent workshop sector in the UK as well as questions of auteurism and canonisation will be discussed.

  • 35.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The Ghosts of History and Cities as Palimpsest: Colonial spaces and visual archives in British avant-garde filmmaking2009Conference paper (Refereed)
  • 36.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    The language of the complex image: Roy Anderssons's political aesthetics2010In: Journal of Scandinavian Cinema, ISSN 2042-7891, Vol. 1, no 1, p. 83-86Article in journal (Refereed)
    Abstract [en]

    Departing from the opening scene of Roy Anderssons’s 1991 short Härlig är jorden/World of Glory, the article gives an overview of the director’s political aesthetics outlined in his book Vår tids rädsla för allvar (‘Our Time’s Fear of Seriousness’, 1995/2009).

    Through the use of static long shots, stylization and the condensation of time and space Andersson attempts to activate reflection upon existential questions such as solidarity, mutual support and the individual’s responsibility. In this scene from World of Glory Andersson links these ideas with a critique on Swedish passivity during the Holocaust.

  • 37.
    Brunow, Dagmar
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    ’We Have a Button for Every Job, But We Have No Button to Help Us Cry’ - G/localising Bollywood in Germany2009In: Glocal Imaginaries: Writing / Migration / Place : Lancaster University 9-12 September 2009 : Conference Abstracts, 2009Conference paper (Refereed)
    Abstract [en]

    Hell broke loose when Bollywood megastar Shahrukh Khan arrived at the 2008 Berlin Film Festival. While until then popular Hindi cinema and its star system had gone practically unnoticed in the German mainstream media, SRK's visit to the Berlinale epitomised that Germany, like Israel and the Gulf nations, despite its comparatively small numbers of NRIs, is an expanding market for the Hindi film industry.My aim in this paper is two-fold. First, instead of offering empirical audience research, I would like to emphasise the importance of the industrial context for the reception of film. Therefore, I am going to have a closer look at how distribution and marketing have contributed to changing the reception of Bollywood from being a diasporic cultural practice among NRIs (as well as for instance Turkish and Afghan immigrants) to attracting (female) audiences of the German majority. While reception studies often deal with the function of Bollywood for diasporic audiences, my focus lies thus on the discursive shift from margin to centre.Second, using the city of Hamburg as an example, I would like to complicate the category of “nation” in reception studies. Therefore, I am interested in aspects of how physical spaces like cities shape the reception of cultural products. In what ways have Bollywood films been distributed and circulated in Hamburg? What impact did the shift from community screenings in cinemas to video rentals in Desi stores to DVD consumption have? Does the internet eventually contribute to outweighing localised cultural practice? In short: what are the defining factors that the German reception of Bollywood can no longer be exclusively conceptualised in terms of “where you're from”, but of “what you're at”?

  • 38. Brunow, Dagmar
    Western: Zwischen nationalem Kino und transnationaler Hybridkultur2013In: Filmwissenschaftliche Genreanalyse: Eine Einführung / [ed] Markus Kuhn, Irina Scheidgen & Nicola Valeska Weber, Berlin: Walter de Gruyter, 2013, p. 39-61Chapter in book (Refereed)
  • 39.
    Bång, Jenny
    Halmstad University, School of Humanities (HUM).
    Psykopatens karaktär: psykiatri vs. film2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats har som mål att undersöka om, och i så fall hur, gestaltningen av psykopaten på film skiljer sig från psykiatrins beskrivning. Uppsatsen tar även upp människosynens påverkanpå dramaturgi och gestaltning.

    Den hermeneutiska analysen görs på tre amerikanska produktioner:

    American Psycho (Mary Harron, 2000), Basic Instinct (Paul Verhoeven, 1992) och Halloween(Rob Zombie, 2007). Analysen grundar sig främst på psykiatriska teorier av Robert D. Hare och filmteorier av Wayne Wilson.

    Slutsatsen i uppsatsen är, att filmerna baserar sina karaktärer på de karaktärsdrag psykiatrin anser vara typiska för psykopaten, men adderar faktorer till karaktären. Detta görs för att uppnå ökad underhållning och spänning. Dramaturgin påverkas starkt av den psykologiserande människosynen i filmerna, som fokuserarpå begär och instinkter.

  • 40.
    Dzonlic, Muris
    Halmstad University, School of Information Science, Computer and Electrical Engineering (IDE).
    Informationssökningsprocess på Internet i studiesituationer2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen presenterar hur högskolestudenter och gymnasieelever av båda könen (killar respektive tjejer) hanterar informationssökning och källkritik på Internet i samband med studier. Syftet med studien är att se skillnader och likheter i tre sökaspekter (informationsbehov, sökstrategi och källkritik). Sedan vill jag se hur tre sökaspekter används av båda könen bland högskolestudenter och gymnasieelever. Undersökningen är en både kvantitativ och kvalitativ studie. Det kvantitativa inslaget bygger på enkätfrågor och öppna frågor medan det kvalitativa inkluderar intervjufrågor. Teoretisk referensram består av litteratur och vetenskapliga artiklar som ger teoretiskt stöd åt ett operationaliseringsschema och ger grund åt hela studien. Studien begränsas till högskolestudenter och gymnasieelever av båda könen som går medieinriktade studier, oberoende av årskursnivå. Ett oväntat resultat som studien visade är, att både högskolestudenter och gymnasieelever av båda könen tittar mest på sina träffar ”Till mitten pålistan”. I studien upptäcktes att högskolestudenter och gymnasieelever av båda könen har kunskap om källkritik, men det stora problemet hos båda grupperna är ”Tidsbrist” och ”Har inte lust”, så att de undviker granska källor på Internet. Högskolestudenter och gymnasieelever av båda könen är medvetna om konsekvenserna som kan uppstå om de inte kritisk granskar källor på Internet. Det sökmönster som högskolestudenter och gymnasieelever av båda könen använder är att de först söker med bred sökning och sedan med smal sökning. Deras val av sökverktyg är ”Google” och de söker mest med sökord.

  • 41.
    Eriksson, Jonnie
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Dialogue with a Woman Departed2000In: Victor - tidskrift för film, ISSN 1404-3505, no 3-4, p. 52-55Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    This article explores the holistic approach to Leo Hurwitz's documentary aesthetic, by looking at how "Dialogue with a Woman Departed" (1981) interweaves the portrait of an individual with the contemporary history of the American nation and with the cyclical processes of nature.

     

  • 42.
    Eriksson, Jonnie
    Halmstad University, School of Education, Humanities and Social Science, Contexts and Cultural Boundaries (KK).
    Diffractions of the Digital: Godard and the Kinetics of the History-Image2015In: In the flow – People, Media, Materialities: ACSIS conference 15-17 June 2015, Norrköping / [ed] Johanna Dahlin & Tove Andersson, Norrköping: ACSIS, Linköpings universitet , 2015, p. 127-128Conference paper (Refereed)
    Abstract [en]

    As exemplified by Eloge de l'amour (2001), Jean-Luc Godard's work after Histoire(s) du cinéma (1988–98) – which critiqued cinema's treatment of its contemporary cultural and oplitical history, – has made use of digital technology in order to explore the remaining potential of the medium after its purported demise and ethical failure. By drawing on concepts from Gilles Deleuze and Karen Barad, this paper aims to elucidate the techno-aesthetic conditions of Godard's implied method of imaging the dual flux of temporality: becoming history and becoming future. In this diffracting process, Godard's late films embody the present condition of visual culture as it splits between past and future from the point of a present crisis of its material conditions of representation. Neither virtual reality nor classical realism, a diffractive method of digital filmmaking explores the new materiality of motion pictures. 

  • 43.
    Eriksson, Jonnie
    Halmstad University, School of Education, Humanities and Social Science, Centrum för lärande, kultur och samhälle (CLKS), Språk, kultur och samhälle.
    Filming a New Earth: Ecopolitical Imagination in Cinema and Deleuze's Geophilosophy of Utopia2017In: ACSIS 2017: Sessions, Panels & Abstracts, 2017, p. 7-7Conference paper (Other academic)
    Abstract [en]

    This paper explores the concept of utopia in Gilles Deleuze’s philosophy and its significance for cinema, placing his and Félix Guattari’s “geophilosophy” in the context of posthumanist ecocriticism. It relocates the notion of utopia from out of a paradigm of political fiction and speculations of a possible social progress, towards Deleuze & Guattari’s ideas of a geography and topology of time as conditions for creative thought. Considering the importance of the concepts of becoming and virtuality in this philosophy, a utopian image is no mere speculation or representation, but a force of creation. Deleuze’s notion that philosophers and artists share the task of resisting the present in creatively thinking “a new people” and “a new earth” can be developed to view film as a medium for re-imagining nature, creating a new set of earth-images or geosigns for future thought. 

  • 44.
    Eriksson, Jonnie
    et al.
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Israel, Lena
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Tarkovskijs "Stalker": En analys1999Report (Other academic)
    Abstract [sv]

    Arbetet bygger på ett projekt inom ämnet filmvetenskap vid Högskolan i Halmstad, Foto- och Filmhögskolan i Göteborg samt Göteborgs Universitet, i vilket studenter analyserat Andrej Tarkovskijs film Stalker (1972) utifrån en rad frågor. Svaren på dessa uppgifter har här legat till underlag för en självständig bearbetning som sammanfattar resultatet i formen av en analys av filmen ifråga utifrån sju aspekter: handlingens tematik, den dramaturgiska framställningsformen, bildspråkets former, gestaltningen av tid och av rum, skildringen av fiktionens karaktärer samt den människosyn som representeras. Den teoretiska tonvikten ligger vid Bakhtins och Deleuzes idéer om bilden av rum och tid inom konst; en särskild hänsyn tas till filosofiska och religiösa frågor inom filmen.

  • 45.
    Harmath, Emilia
    Halmstad University, School of Humanities (HUM).
    Familjemaskinen - En schizoanalytisk studie om vänskap i Buffy the Vampire Slayer2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats studerar kultserien Buffy the Vampire Slayer (1997–2003) utifrån ett schizoanalytiskt perspektiv genom att applicera tre huvudsakliga begrepp inom Gilles Deleuzes och Félix Guattaris teorier på sju avsnitt, en från varje säsong; dessa begrepp är Anti-Oidipus, begärsmaskinen och krigsmaskinen. Syftet med uppsatsen är att undersöka huruvida vännerna i serien först och främst är en anti-oidipal familj. Den utgår från tre analysfrågor: Är de som en grupp en begärsmaskin? Är gruppen ”schizofren”? Utgör de tillsammans en krigsmaskin? Studien visar på karaktärernas samspel och sammanhållning som en grupp på ett sätt som visar att begreppet familj inte endast kan definieras av blodsrelationer utan av sammankopplingar vilka snarast är att beskriva som maskiner. Den finner emellertid att det också finns inslag av en oidipal ordning i skildringen av individers problem och lösningen av dem samt i en idealisering av det normala familjelivet. Den kommer därför till slutsatsen att serien i sig i en mening är ”schizofren”.

  • 46.
    Hjelm, Emma
    Halmstad University, School of Humanities (HUM).
    Från litteratur till film: En postkolonial analys av Wuthering Heights2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna uppsats handlar om skillnaden som uppstår mellan två filmer som är baserade på en och samma bok samt hur denna skillnad märks vad gäller den postkoloniala teorin. Filmerna och boken som har utgåtts från är Wuthering Heights (1939) av William Wyler, Wuthering Heights (2011) av Andrea Arnold och boken Svindlande höjder (1847) av Emily Brontë. De teorier som är använda som utgångspunkt för analysen är postkolonialism och intermedialitet. Analysen har en hermeneutisk synvinkel.

    Slutsatsen visar på att det finns många sätt man kan tolka en text. Hur man än väljer att göra det så gäller det att göra det lika ordentligt som Wyler och Arnold har gjort för att på så vis förmedla det syfte man vill få fram med filmen. Postkolonialismen som Arnold har utgått ifrån har satt sin prägel på filmen på ett intressant sätt genom alla dess aspekter. Wyler som har den typiska Hollywood-strukturen visar också detta i filmens struktur och framförande på sitt fascinerande sätt. En förklaring av omvandlingen kan vara som Anthony Burgess uttrycker sig: ”the verbal shadow turned into light, the word made flesh” (McFarlane, 2004:7).

  • 47.
    Israel, Lena
    Halmstad University, School of Humanities (HUM), Contexts and Cultural Boundaries (KK).
    Vilnapartituren: En existentiell resa i tid, rum, kropp och minne2010Book (Other academic)
  • 48.
    Jonas, Leo-Jacques
    Halmstad University, School of Humanities (HUM).
    Resan till naturen och förlorade minnen: En analys av Uncle Boonmee Who Can Recall His Past Lives2012Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Filmen Uncle Boonmee Who Can Recall His Past Lives (2010) presenterar ett antal scener som är till synes orelaterade till filmens övergripande handling. Filmens titel antyder att dessa scener möjligen kan vara minnen ur titelkaraktärens tidigare liv, emellertid finns det ytters lite underlag för en sådan tolkning i själva filmen. Syftet blir därmed att närmare undersöka dessa scener, att söka tematiska kopplingar mellan dessa scener och filmen som helhet, samt att försöka komma fram till hur dessa scener kan ses arbeta med minnen.Laura U. Marks bok, The Skin of the Film (2000), har valts som underlag för den följande analysen i förhoppning att de tankar som läggs fram där skall kunna nyttjas för att tolka och diskutera de nämnda scenerna i filmen. I arbetet nyttjas därtill den metod som förespråkas av det hermeneutiska vetenskapsidealet för att erhålla kunskap.Arbetet visar på att filmen inte nödvändigtvis söker att gestalta minnen utan kan ses locka åskådaren till att minnas genom att presentera bilder som bäst förstås genom kroppslig inlevelse i bilden, kort sagt; filmen söker att aktivera åskådarens minne genom bilder med haptiska kvaliteter. Detta görs samtidigt som filmen ständigt återkommer till samma tema; resan till naturen. Åskådaren får alltså både bevittna filmens karaktärers resa och lockas till att själv uppleva detta utifrån sina egna minnen. Naturen är dock inte nödvändigtvis resans mål, filmen ses snarare försöka föra åskådaren till ett visst sinnestillstånd.

  • 49.
    Karlsson, Maria
    Halmstad University, School of Humanities (HUM).
    Den Avvikande Individen: Identitet och Samspel: En analys av The Elephant Man och Mask2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Många individer är inte accepterade i samhället på grund av att de avviker. Detta är ett stort problem då de riskerar utanförskap och sämre livskvalitet. Vad jag därmed kommer att studera i denna uppsats är hur avvikande individer bemöts i samhället och hur de svarar på detta bemötande. De filmer som jag kommer att utgå ifrån i analysen är The Elephant Man (1980) av David Lynch och Mask (1985) av Peter Bogdanovich. Jag kommer sedan att använda mig av socialpsykologin som teori för att kunna analysera hur och varför detta sker. Då jag tolkar de scener jag valt ut kommer jag att använda mig av Hermeneutiken som vetenskaplig metod.

    I mitt arbete har jag kommit fram till att den avvikande individen bemöts olika i samhället beroende på de människor som bor där och vilken tid filmen skildrar. Vissa människor väljer att se individen utifrån kognitivt igenkännande, andra väljer genom socialt igenkännande. De kan se på den avvikande individen vara genom rädsla men också genom sympati, altruism. Dessa baseras i sin tur på de sociala normer som skapas i de samhällsgrupper som existerar. Den avvikande individens jag-identitet kan därmed påverkas negativt av andra människors handlingar. De väljer att svara på detta på olika sätt, antingen genom att försöka dölja sig, eller genom att stå emot och kämpa. De intar dock roller eller mimicry för att passa in.

  • 50.
    Kling, Ingrid
    Halmstad University, School of Humanities (HUM).
    Feminismer och filmteori: En undersökning av feministisk filmteori och dess användningsområden2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen undersöks den feministiska filmteorin utifrån ett feministisk perspektiv, för att sammanfatta och klargöra de ståndpunkter som utgör teorin. Fokus är framför allt lagt på sättet kvinnor representeras i film, och hur man kan tolka den kvinnliga närvaron. Diskussion förs angående de mest förekommande perspektiven inom filmteorin, såsom den psykoanalytiska, samt de alternativa perspektiven postkolonial och lesbisk teori, som bidrar till förståelsen av kvinnors representation i film. Resultatet av diskussionerna uppmärksammar både styrkor och svagheter hos teorierna, men visar framför allt hur relevant det är att använda sig av det feministiska synsättet för att öka jämställdheten inom filmbranschen, filmvärlden samt publiken.

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