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Steven Peacock

social-political film, and the combination of subtle acting, authentic locations, and bit parts played by drug addicts increased the film’s credibility. Also, the film had a special atmosphere engendered largely by the unstable camera and the restless music characterised by the use of a flute. But the really unique feature for Swedish cinema was the large-scale action scenes: a killer makes his stand on a rooftop in central Stockholm and shoots down a police helicopter that crashes onto the crowd below. The filming of this sensational helicopter crash, with thousands

in Swedish crime fiction
The ‘psychological films’
Maryann De Julio

. 22 In an interview for Cinéa (1921–1923), a film journal that successfully elevated cinema to the status of art, and introduced the French public to major international productions from American, German, and Swedish cinema, Dulac describes in similar terms the task that she sets herself in La Mort du soleil : ‘Décrire les mouvements intérieurs de l’âme, dans le thème de l’action … Surtout l’au-delà des actes’ (‘To describe the inner movements of the soul, in the theme of the action … Especially what lies beyond acts’) (Dulac 1922

in Germaine Dulac
Anu Koivunen
Katariina Kyrölä
, and
Ingrid Ryberg

Institute takes centre stage, also attracting much international attention. The current CEO Anna Serner has, since launching a programme for gender equality in Swedish cinema in 2013, held seminars at several top-​tier film festivals and inspired policymaking within the British Film Institute and Eurimages.4 In the midst of the #MeToo campaign, Serner announced that the institute would launch an education programme about sexual harassment, mandatory for all production companies seeking its support (Keslassy, 2017). Against the extraordinary institutionalisation of

in The power of vulnerability
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Andrew Dix

titles such as Masculinities in Contemporary Argentine Popular Cinema (2012), Men and Masculinities in Irish Cinema (2013), Stars and Masculinities in Contemporary Italian Cinema (2014) and Masculinity in the Golden Age of Swedish Cinema (2014). The plural noun in the titles of many of these books is significant. Whereas earlier critics tended to regard masculinity as an enduringly stable category – ‘monolithic’ and ‘unperturbed’, in Cohan’s and Hark’s words ( 1993 : 3) – contemporary writers foreground instead a sense of its multiplicity and plasticity

in Beginning film studies (second edition)
Brett Bowles

. Idestam-Almquist , Bengt ( 1952 ), Classics of the Swedish Cinema: the Stiller and Sjöstrom Period , Stockholm, Swedish Film Institute. Imbs , Paul, ed. (1971–94), Trésor de la langue française: dictionnaire de la langue du XIXe siècle et du XXe siècle , 16 vols , Paris , Gallimard . Jeancolas , Jean-Pierre ( 1983 ), Quinze ans d’années trente: le cinéma des Français, 1929–1944 , Paris , Stock

in Marcel Pagnol