Swedish Film Magazine #2 2009
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Rolf Lassgård
Rolf Lassgård ABOUT Birth 1955 Language Swedish, English Education The Academic School of Drama Eyes Blue Hair Blonde FILM AND TV PRODUCTIONS 2021 Jägarna (TV Series) season II. Dir: Jens Johnson. Harmonica Films 2021 Exit (TV Series) season II Dir: Oystein Karlsen. NRK 2020 Utredningen (TV Mini-Series) Dir: Tobias Lindholm. Miso Film 2020 Min pappa Marianne (Feature) Dir: Mårten Klingberg. Avanti Film 2019 Exit (TV Series) Dir: Oystein Karlsen. NRK 2019 The Spy (Feature) Dir: Jens Jonsson. 4 1/2 2018 Jägarna (TV Series) Dir: Jens Johnson. Harmonica Films 2018 Den döende detektiven (TV Mini-Series) Dir. Kristian Petri. SVT 2017 Downsizing (Feature) Dir: Alexander Payne. Paramount Pictures 2015 En man som heter Ove (Feature) Dir: Hannes Holm. SF 2015 Der Fall Barschel (TV Movie) Dir: Kilian Riedhof. Kasbah-Film Tanger 2015 Miraklet i Viskan (Feature) Dir: John O Olsson. Giraff Film 2014 Den fjärde mannen (TV Mini-Series) Dir. Kristian Petri. SVT 2015 Dag (TV Series) Season III. Dir: Øystein Karlsen. Viafilm 2013 En pilgrims död (TV Mini-Series) Dir. Kristian Petri. SVT 2013 Den fördömde (TV Series) Season II. Dir: Jörgen Bergmark. Tre Vänner 2013 Uferlos! (TV Movie) Dir: Rainer Kaufmann. UFA Fernsehproduktion GmbH 2013 Dag (TV Series) Season II. Dir: Øystein Karlsen. Viafilm 2013 Fröken Frimans krig (TV Series) Dir: Harald Hamrell. SVT 2011 Dag (TV Series) Season I. Dir: Øystein Karlsen. Viafilm 2011 Jägarna 2 (Feature) Dir: Kjell Sundvall. Harmonica Films 2010 Den fördömde (TV Series) Season I. Dir: Daniel Espinosa. Tre Vänner 2010 Bella Block (TV Series) Dir: Rainer Kaufmann. UFA Fernsehproduktion GmbH 2010 Kennedys Hirn (TV Movie) Dir: Urs Egger. -
Kvalitetsfilmen Kontra Kommers
SÖDERTÖRNS HÖGSKOLA Institutionen för ekonomi och företagande Konst, kultur & ekonomi - programmet Kvalitetsfilmen kontra kommers - en undersökning om kvalitetsfilmens villkor utifrån Svensk Filmindustri (SF) och Svenska Filminstitutet (SFI) Kandidatuppsats i Företagsekonomi, 15 p HT 2009 Författare: Miran Marlovic Handledare: Fotis Theodoridis 1 Innehållsförteckning INLEDNING 3 1.2 Problemställningar 4 1.3 Syfte 5 1.4 Avgränsningar 5 1.5 Om begreppet kvalitet 6 1.6 Disposition 6 TEORETISK REFERENSRAM 7 2.1 Val av teori 7 2.2 Institutionell beslutsteori 7 2.3 Systemteori 9 METOD 11 3.1 Val av metod 11 3.2 Datainsamling 11 3.2.1 Intervjuer 11 3.2.2 Litteraturstudier 11 3.3 Tillförlitlighet 12 EMPIRI & ANALYS 12 4.1 En kort introduktion av tiden före filmavtalet 12 4.2Utvalda filmavtal mellan åren 1963 – 2006 13 4.2.1 1963 – 1972 13 4.2.2 Analys 16 4.2.3 1972 – 1983 17 4.2.4 Analys 19 4.2.5 1983 – 2006 21 4.2.6 Analys 27 SF/SF Bio OCH SFI idag 29 5.1 Svenska Filminstitutet 29 5.2 Analys 35 5.3 SF/SF Bio 36 5.3.1 SF Produktion 37 5.3.2 SF Distribution 39 5.3.3 SF Bio 40 5.4. Analys 43 AVSLUTANANDE DISKUSSION 45 KÄLLFÖRTECKNING 46 2 1. Inledning Utvecklingen av svensk film har under en lång period varit, och är, beroende av samspelet mellan filmbranschen och politiken. Debatten har under många år gällt frågan om prioritering av film som bärare av kultur och konstnärlig stimulans kontra film som ren underhållning för den breda massan. -
Karin Franz Körlof + the Nile Hilton Incident, a Hustler’S Diary, up in the Sky and Much More
Issue 1 • 2017 SHOOTING STAR Karin Franz Körlof + The Nile Hilton Incident, A Hustler’s Diary, Up in the Sky and much more A magazine from the Swedish Film Institute • sfi.se 25 years Welcome 1 000 co-productions Head of International Pia Lundberg Film i Väst 1992–2017 www.fi lmivast.com Phone: +46 70 692 79 80 [email protected] Festivals, features Petter Mattsson Phone +46 70 607 11 34 Film i Väst congratulates [email protected] its co-productions in Berlin! Festivals, documentaries Sara Rüster A fresh start Phone: +46 76 117 26 78 [email protected] Panta rhei. All things are in flux. They A Hustler’s Diary, a dramedy where a certainly are, and Sweden and the Swedish suburban small-time criminal clashes film industry is no exception. At the time with his past and the very elite of Stock- Festivals, shorts Theo Tsappos of writing we are only weeks into a new holm’s cultural life. We have Sami Blood Phone: +46 76 779 11 33 national film policy. We see it as a chance in Berlin and the TV series Midnight Sun [email protected] to go through the old film funding that’s in Rotterdam – and they both, in com- been around for decades, modernize it – pletely different ways, tell a story about and start afresh. We’re going cherry-pick- the Sami minority. Those are just a few Special projects ing, taking what’s worked for us and other examples of Swedish films that are Josefina Mothander countries before, and putting the pieces selected for various festivals in the first Phone +46 70 972 93 52 together to build something new. -
Collection Adultes Et Jeunesse
bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal. -
The Seventh Seal : a Film
Ingmar Bergman Bergman, Ingmar zhlfs Seventh seal 3 1111 00826 2857 791 o 437 BERGMAN SAUSALITO PUBLIC LIBRARY DATIEDUE - NOV <J4 2006 DEMCO, INC. 38-2931 ..... •ft fill M ^T LJ ^r z •**«**. ^m j£ ~ mm mm B3^ + ; %-*.£!* MODERN /film SCRIPTS THE SEVENTH SEAL a Tim by Ingmar Bergman translated from the Swedish by Lars Malmstrom and David Kushner Lorrimer Publishing, London All rights reserved including the right of reproduction in whole or in part in any form English translation copyright © I960 by Ingmar Bergman Original Swedish language film entitled Det Sjunde Inseglet © 1956 by Ingmar Bergman Published by Lorrimer Publishing Limited 47 Dean Street, London Wl First printing 1968 Second printing 1970 Third printing 1973 Fourth printing 1975 SBN paper 900855 22 3 SBN cloth 900855 23 1 This edition is not for sale in the United States of America, its territories, possessions, protectorates, mandated territories, the Philippines or the Dominion of Canada Manufactured in Great Britain by Villiers Publications Ltd, London NW5 The publishers wish to express their gratitude for the help and co- operation received from the staff of Janus Films, Inc., particularly Cyrus Harvey Jr., and also Peter Cowie and the British Film Institute Note : The screenplay in this book is identical to that used by Ingmar Bergman when filming, except that: (1) the original script contains numbers before each sequence which indicate the estimated number of shots that will be necessary for that sequence; (2) since this screen- play is prepared before shooting begins, it contains sequences and dialogue which do not appear in the final film; Bergman has deleted some material to make the published script conform to the film. -
Filmfestivalen - Och Dess Inverkan På Filmdistribution Och Marknadsföring
Lunds universitet Anders Hagberth Språk- och litteraturcentrum FIVK01, Filmvetenskap:Kandidatkurs Filmvetenskap Handledare: Tommy Gustafsson 2010-01-15 Filmfestivalen - och dess inverkan på filmdistribution och marknadsföring. Innehållsförteckning Inledning .................................................................................................................................. 3 Bakgrund ................................................................................................................................ 3 Syfte ........................................................................................................................................ 4 Frågeställning ......................................................................................................................... 4 Metod och material ............................................................................................................... 5 Teori .......................................................................................................................................... 6 Filmfestivalens historia ........................................................................................................ 7 De tre stora – Venedig, Cannes och Berlin ............................................................................ 7 Filmfestivalen globaliseras ................................................................................................... 10 Fallstudie 1: Låt den rätte komma in ............................................................................. -
February 2018 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola. -
'Let's Pretend We Are the Only People in the Universe'
Scandinavica Vol 53 No 1 2014 ‘Let’s pretend we are the only people in the universe’: Entangled Inequalities in Lukas Moodysson’s Mammoth Elina Nilsson Uppsala Universitet (Uppsala University) Abstract This article utilizes an intersectional approach to examine Lukas Moodysson’s film Mammoth (2009). When the film premiered it was by some criticized for its over-explicit critique of globalization and its portrayals of the female characters as scapegoats. My aim is to show how the film’s critique of globalization entails even more complexity. An intersectional reading of Mammoth reveals that the film employs a structure of pronounced narrative layers to illustrate how different axes of stratifications are entangled on a global level, such as how the situation of the characters are determined by an interplay of their gender, class and race. The film is thus a rich example of why a sensitivity to intersectionality when mapping processes of globalization is highly important. At the same time there is an ambivalence with regard to how the female characters are represented, as the film in some respects fails to acknowledge their agency. Keywords Lukas Moodysson, Mammoth (film), globalization, intersectionality, gendered labour 55 Scandinavica Vol 53 No 1 2014 My first encounter with Lukas Moodysson’s international film Mammut (Mammoth, 2009) was at a movie theatre in Uppsala, Sweden, just shortly after its premiere.1 I remember stepping out of the theatre in the February cold feeling somewhat dispirited and sad, having read the film both as a critique of how contemporary parenthood (motherhood) fails to take care of children and as an over-explicit criticism of capitalist-driven globalization,2 consumption and Western exploitation of the South. -
Half a Century with the Swedish Film Institute
Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other. -
Notes on Ingmar Bergman's Stylistic
Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue Riis, Johannes Published in: Kosmorama Publication date: 2019 Document version Publisher's PDF, also known as Version of record Document license: Unspecified Citation for published version (APA): Riis, J. (2019). Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue. Kosmorama, (275), [275]. https://www.kosmorama.org/notes-on-ingmar-bergman Download date: 06. okt.. 2021 10.10.2020 Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue | Kosmorama Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue PEER REVIEWED. Ingmar Bergman is heralded as a model for cinema as personal expression. What rarely comes to the fore is the extent to which he drew on pre- existing schemas for his characters and how he developed staging techniques that would suit his existentialist themes. 24. april 2019 Johannes Riis By staging his actors frontally during their delivery, Ingmar Bergman fostered a tone of intimacy and vulnerabilty, allowing a calmness around their dialogue. Here Alma (Bibi Andersson) and Elisabet Vogler (Liv Ullmann) in 'Persona' (1966). Still: DFI Stills & Posters Archive. The March 1960 cover of Time Magazine cast Ingmar Bergman in the part of a visionary who stares into a brightly lit future while the background suggests darker demons in the woods. Were it not for the tilt of his thumb and forefinger, held up to his eye as if to frame the world, and the headline declaring ‘INGMAR BERGMAN - MOVIE DIRECTOR’, the subscribers might have mistaken him for a philosopher or author. -
To Download SEARCHING for INGMAR BERGMAN
SYNOPSIS Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and takes us to the places that were central to Bergman’s creative achievements. DIRECTOR’S BIOGRAPHY The daughter of Elisabeth von Trotta and the painter Alfred Roloff, Margarethe von Trotta was born in Berlin in 1942 and spent her childhood in Düsseldorf. After fine art studies, she moved to Munich to study Germanic and Latin language. She then joined a school for dramatic arts and began an acting career, in the theatres of Düsseldorf and afterwards in the Kleines Theater of Frankfurt in 1969 and 1970. At the end of the 1960 she moved in Paris for her studies and immersed herself in the film-lover circles of the time. She took part in script redacting and directing of short films and discovered via the Nouvelle Vague directors and critics the films of Ingmar Bergman and Alfred Hitchcock. In Germany, Margarethe von Trotta has worked with a new generation of young filmmakers: Herbert Achternbusch, Volker Schlöndorff who she married in 1971 and with whom she directed and wrote The Sudden Wealth of the Poor People of Kombach (1971) and The Lost Honour of Katharina Blum (1975), as well as Rainer Werner Fassbinder who made her act in four of his films. She directed in 1978 her first long feature, The Second Awakening of Christa Klages. -
The Life and Films of the Last Great European Director
Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress