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  • 51.
    Swenberg, Thorbjörn
    et al.
    Dalarna University, School of Culture and Society, Moving Image Production.
    Thedeby, Max
    Berg, Lovisa
    Dalarna University, School of Language, Literatures and Learning, Arabic.
    Jonsson, Herbert
    Dalarna University, School of Language, Literatures and Learning, Japanese.
    Eyelight enhances perceived emotional responses in cinema2022In: Psychology of Aesthetics, Creativity, and the Arts, ISSN 1931-3896, E-ISSN 1931-390X, Vol. 16, no 3, p. 389-399Article in journal (Refereed)
    Abstract [en]

    Eyelight, in the eyes of a human portrayed on film, is a cinematographic means to augment the vividness of expressed emotions. This is used by both cinematographers and stills photographers, and it is also expressed in Anglo-Saxon, Arabic, and Japanese literatures. Here, the effect of using eyelight in the cornea of the human eye on film is examined by eye-tracking individuals on a Swedish university campus, in order to study their perceptual responses to film characters, with, or without, a glimpse of light in their eyes. The participants’ perceived capacity to discern the emotional states of the film characters was also tested. Eye-tracking data were analysed for entry time, fixation time, dwell time, hit ratio and revisitors, while emotional decoding was captured through a self-report survey, and by open questions. Our results demonstrated that film viewers’ attention is captured 49% faster, and 11% less time is used per fixation to film characters’ eyes, when eyelight is used. In addition, 58% of our participants claimed that emotions were easy to discern from eyes in the eyelight condition, whereas only 36% claimed that emotions were easy to discern under the no-eyelight condition. Although our results concern the subjective impression of one’s ability to discern the emotions of each film character, they offer preliminary support for the idea of using eyelight to enhance emotional communication in film and stills photography.

  • 52.
    Waller, Daniel
    et al.
    Dalarna University, School of Culture and Society, Moving Image Production.
    Pääjärvi, William “Wille”
    Dalarna University, School of Culture and Society, Moving Image Production.
    Franchisefeber: En netnografisk studie om franchisefilmens dragningskraft2024Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Det här är en netnografisk studie av film som en social praktik, med ett fokus på franchisefilmer och deras fanbaser. Studien utforskar diskussionstrådar på onlineforumet Reddit och presenterar och diskuterar de olika motiven som driver fans till att engagera sig i diskussioner online om franchisefilmer. Studien presenterar hur relationen mellan användare av onlineforumet ser ut och hur de förhåller sig till varandra och till makthavare i filmindustrin som utgör världen fans deltar i. Den här studien drar slutsatsen att film för en nutida digital publik inte bara är en estetisk produkt utan också fyller en social funktion i form av demokratiska diskussioner, gemenskap, kunskapskapande och skapande i sig. I den här möjligheten ligger också drivkraften till fansens engagemang.

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  • 53.
    Åhr, Jonas
    Dalarna University, School of Culture and Society, Moving Image Production.
    Känslomässig struktur: Scenstruktur och emotioner i The Truman Show2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats är att undersöka och förstå hur scenens olika dramaturgiska delar samspelar för att skapa en dramaturgisk känsloväckande scen. Denna scendramaturgi innefattar scenbeskrivning, karaktärsbeskrivning och actiontext. Uppsatsen analyserar filmen och manuset The Truman Show (1998) vilket gjordes med hjälp av berättarteoretiska begreppen två-sidig emotion och emotionell rytm som användes för att nå syftets slutsats, vilket visar ett återkommande mönster av emotionellt meningsbärande ord eller meningar som används för att beskriva emotionella tillstånd hos karaktären. Det är tydligt att huvudkaraktärens känslor återkommer i en logisk följd och det sker en upptrappning av dessa känslor som leder till svaren karaktären sökte i början av berättelsen. Slutsatsen förklarar och diskuterar att shooting-scriptmanus som skrivs med emotionellt meningsbärande ord eller meningar och utan kamerans närvaro tydliggör karaktären och omgivningens känslor. Detta antyder att manus i alla versioner bör beskriva bildmässiga tillstånd eller situationer med hjälp av meningsbärande ord eller meningar för att knyta samman berättelsen i enhelhet.

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  • 54.
    Grigor, Axel (Director, Producer, Film editor)
    Dalarna University, School of Culture and Society, Moving Image Production.
    Allard, Torbjörn (Cinematographer)
    Deodar - prelude to a documentary film2023Artistic output (Unrefereed)
    Abstract [en]

    In this short video – a prospective opening sequence to the theatrical documentary film "Deodar" – the researcher explores how the public screening of conceptual scenes from a work-in-progress film can help inform a film editor's still-evolving process of crafting a film's emotional tone, character introductions and themes. 

    BACKGROUND

    In the documentary film "Deodar", filmmaker Axel Grigor delves into the captivating story of Thomas Hellström, a Swedish boatbuilder who has spent over five decades restoring the historic sailing trawler, Deodar.

    Constructed in 1911 in Brixham, England, Deodar has been meticulously revived by Hellström, transforming it into a familiar and beloved sight in the Stockholm archipelago.

    Hellström's commitment to manifest the enduring beauty and sailing prowess of traditional English sailling trawlers through his efforts with Deodar, has seen him become one of Sweden's foremost wooden boatbuilders. However, his dogged dedication has come at a cost, straining personal relationships and causing financial hardship. At the age of 73 and faced with diminishing strength, Hellström grapples with the inevitable decision to part ways with the vessel that has defined his life.

    Drawing inspiration from maritime documentary films, such as "The Last Sailors: The Final Days of Working Sail" (1984) and "The Sailor" (2021), this documentary uses observational filmmaking techniques and archive-based storytelling to skillfully explore the confluence of Swedish and English maritime history in the early 20th century through the lens of one man's extraordinary devotion to a vessel that has become both his masterpiece and his burden.

    This conceptual opening sequence screened publically at the 2023 Dalarna Film Festival, Sweden, as part of a masterclass in film editing. The creative practice research project has received development funding from the regional film fund Film i Dalarna and Dalarna University.

  • 55.
    Grigor, Axel (Film editor)
    Dalarna University, School of Culture and Society, Moving Image Production.
    Cederstam, Ewa (Producer)
    Dalarna University, School of Culture and Society, Moving Image Production.
    Sarri ja Sanna2020Artistic output (Refereed)
    Abstract [en]

    "Sarri ja Sanna" is a short observational documentary that intimately explores the enduring friendship of Sarri and Sanna, two women of Finnish descent living in rural Sweden. Bound by childhood camaraderie and shared Finnish traditions, the film captures their lively interaction as they celebrate Finland's national day on December 6th.

    Through a delightful mix of Swedish and Finnish, the documentary unfolds in the kitchen, where the women reminisce about their lives, sharing anecdotes that transform them into spirited teenagers once again.

    The film opens a new and highly personal window into the contemporary lives of Sweden Finns, Sweden's largest minority language group. Its focus on the cultural nuances of the Finland-Swedish experience enriches the understanding of this community, showcasing the strength of bonds that extend beyond blood relations.

    "Sarri ja Sanna" was produced in collaboration with the Swedish Film Institute, SVT (Swedish public broadcaster) and film distributor Folkets Bio. The film received a national free-to-air broadcast through Swedish Television and has been shown to thousands of upper secondary school students as part of national educational efforts focussing on Sweden's minority languages.

  • 56.
    Grigor, Axel (Producer)
    Dalarna University, School of Culture and Society, Moving Image Production.
    Hegedus, Peter (Director)
    Griffith University.
    Sorella's Story2022Artistic output (Refereed)
    Abstract [en]

    Sorella's Story brings to life a smuggled atrocity photograph from December 1941 and places it into 360° immersive space. The photograph depicts the humiliation and murder of close to 4000 women and children on a Latvian beach allowing the viewer to accompany some of the women and an 11-year-old girl, Sorella, as they embark on their last journey.

    The memory of the Holocaust is fading, with studies revealing that two-thirds of millennials born after 1981 don’t know what Auschwitz is (Zauzmer 2018), and a higher percentage are ignorant of basic facts about Nazism and the Holocaust. And with anti-Semitism and extreme right-wing ideologies on the rise, Sorella’s Story is a visceral reminder and warning of how prejudice can escalate to devastating tragedy.

    Sorella’s Story is a Soul Vision Films production, with principal production funding from Screen Australia in association with Screen Queensland, Griffith University’s Disrupting Violence Beacon and Dalarna University in Sweden

  • 57.
    Grigor, Axel (Producer)
    Dalarna University, School of Culture and Society, Moving Image Production.
    Hegedus, Peter (Producer)
    Griffith University.
    To Never Forget2022Artistic output (Refereed)
    Abstract [en]

    Background

    TO NEVER FORGET is an 82-minute documentary, made in the tradition of Holocaust testimony in screen culture with documentaries such as Resnais’ Night and Fog (1956), Lanzmann's Shoah (1985) and The Last Days (1998).

    In the midst of extreme right-wing movements, this documentary uncovers an atrocity photograph from 1941 depicting a group of women and a 10-year-old girl before their execution. They are among 3640 Latvian Jewish women and children massacred by Nazi troops and collaborators. Peter Hegedus created an immersive experience out of the photograph through a dramatised VR360 film. Peter uncovers the story of his own Jewish grandmother who survived the Nazi Bergen-Belsen concentration camp. To Never Forget investigates the extent to which the Holocaust continues to affect lives, families and geopolitics.

    Contribution

    The documentary adopts an investigative approach with a personal narrative to offer perspectives on the Holocaust for younger audiences. An innovation that helps target young people is embedding black and white drawings to show the complex documentary narrative.

    As a child, the filmmaker’s grandmother shared stories about her time in the Nazi Concentration Camp, so the filmmaker’s imagining of the Holocaust had been rooted in this visual world. The drawings in the film reveal the horrors of the Holocaust in a way building on a tradition of artists who after World War II, took to comics to express views of the Holocaust best evidenced in the MAUS (1987) by Art Spiegelman.

    Significance

    The film had its premiere at the Brisbane International Film Festival with two screenings at the Powerhouse and at Dendy Cinemas. It was received positively by audiences with the Q&A hosted by journalist Peter Greste. The film has been one of the highlights of the International Jewish Film Festival (JIFF) that attracts 1000s of people, with the film shown in every major Australian city over three weeks. The film received a nomination for the Best Feature Documentary Award at the 2024 Australian Academy of Cinema and Television Arts Awards (AACTA Awards).

12 51 - 57 of 57
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