Scandinavië in Beeld En Geluid
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10.9 De Jesus Precarious Girlhood Dissertation Draft
! ! "#$%&#'()*!+'#,-((./!"#(0,$1&2'3'45!6$%(47'5)#$.!8#(9$*!(7!:$1'4'4$!;$<$,(91$42! '4!"(*2=>??@!6$%$**'(4&#A!B'4$1&! ! ! ;$*'#C$!.$!D$*)*! ! ! ! ! E!8-$*'*! F4!2-$!! G$,!H(99$4-$'1!I%-((,!(7!B'4$1&! ! ! ! ! "#$*$42$.!'4!"'&,!:),7',,1$42!(7!2-$!6$J)'#$1$42*! :(#!2-$!;$5#$$!(7! ;(%2(#!(7!"-',(*(9-A!K:',1!&4.!G(<'45!F1&5$!I2).'$*L! &2!B(4%(#.'&!M4'<$#*'2A! G(42#$&,N!O)$0$%N!B&4&.&! ! ! ! ! ! P%2(0$#!>?Q@! ! R!;$*'#C$!.$!D$*)*N!>?Q@ ! ! CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Desirée de Jesus Entitled: Precarious Girlhood: Problematizing Reconfigured Tropes of Feminine Development in Post-2009 Recessionary Cinema and submitted in partial fulfillment of the requirements for the degree of Film and Moving Image Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Lorrie Blair External Examiner Dr. Carrie Rentschler External to Program Dr. Gada Mahrouse Examiner Dr. Rosanna Maule Examiner Dr. Catherine Russell Thesis Supervisor Dr. Masha Salazkina Approved by Dr. Masha Salazkina Chair of Department or Graduate Program Director December 4, 2019 Dr. Rebecca Duclos Dean Faculty of Fine Arts ! ! "#$%&"'%! ()*+,)-./0!1-)23..45!().62*7,8-9-:;!&*+.:<-;/)*4!%).=*0!.<!>*7-:-:*!?*@*2.=7*:8!-:! (.08ABCCD!&*+*00-.:,)E!'-:*7,! ! ?*0-)F*!4*!G*0/0! '.:+.)4-,!H:-@*)0-8EI!BCJD! ! !"##"$%&'()*+(,--.(/#"01#(2+3+44%"&5()*+6+($14(1(4%'&%7%31&)(3*1&'+(%&()*+(3%&+81)%3(9+:%3)%"&( -
Pernille Fischer Christensen
A FAMILY EEN FILM VAN Pernille Fischer Christensen WILD BUNCH HAARLEMMERDIJK 159 - 1013 KH – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx A FAMILY – Pernille Fischer Christensen PROJECT SUMMARY Een productie van ZENTROPA Taal DEENS Originele titel EN FAMILIE Lengte 99 MINUTEN Genre DRAMA Land van herkomst DENEMARKEN Filmmaker PERNILLE FISCHER CHRISTENSEN Hoofdrollen LENE MARIA CHRISTENSEN (Brothers, Terribly Happy) JESPER CHRISTENSEN (Melancholia, The Young Victoria, The Interpreter) PILOU AESBAK (Worlds Apart) ANNE LOUISE HASSING Release datum 4 AUGUSTUS 2011 DVD Release 5 JANUARI 2012 Awards/nominaties FILM FESTIVAL BERLIJN 2010 NOMINATIE GOUDEN BEER WINNAAR FIPRESCI PRIJS Kijkwijzer SYNOPSIS Ditte Rheinwald vertegenwoordigt de jongste generatie van de beroemde Deense bakkersfamilie. Haar eigen dromen en ambities zijn echter anders dan die van haar familie. Als ze een droombaan bij een galerie in New York krijgt aangeboden, besluit ze samen met haar vriend Peter de kans aan te grijpen. De toekomst lijkt stralend, het leven vrolijk en simpel. Maar dan wordt Ditte’s charismatische vader Rikard, meesterbakker en hofleverancier, ernstig ziek. Als Rikard eist dat zij de leiding overneemt van het familiebedrijf, raakt haar hele leven uit balans. Plotseling is het leven niet meer zo simpel. CAST Ditte Lene Maria Christensen Far Jesper Christensen Peter Pilou Asbæk Sanne Anne Louise Hassing Chrisser Line Kruse Line Coco Hjardemaal Vimmer Gustav Fischer Kjærulff CREW DIRECTOR Pernille Fischer Christensen SCREENWRITERS Kim Fupz -
Swedish Literature on the British Market 1998-2013: a Systemic
Swedish Literature on the British Market 1998-2013: A Systemic Approach Agnes Broomé A thesis submitted for the degree of Doctor of Philosophy UCL Department of Scandinavian Studies School of European Languages, Culture and Society September 2014 2 I, Agnes Broomé, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. …............................................................................... 3 4 ABSTRACT This thesis examines the role and function of contemporary Swedish fiction in English translation on the British book market in the period 1998-2013. Drawing on Bourdieu’s Field Theory, Even Zohar’s Polysystem Theory and DeLanda’s Assemblage Theory, it constructs a model capable of dynamically describing the life cycle of border-crossing books, from selection and production to marketing, sales and reception. This life cycle is driven and shaped by individual position-takings of book market actants, and by their complex interaction and continual evolution. The thesis thus develops an understanding of the book market and its actants that deliberately resists static or linear perspectives, acknowledging the centrality of complex interaction and dynamic development to the analysis of publishing histories of translated books. The theoretical component is complemented by case studies offering empirical insight into the model’s application. Each case study illuminates the theory from a different angle, creating thereby a composite picture of the complex, essentially unmappable processes that underlie the logic of the book market. The first takes as its subject the British publishing history of crime writer Liza Marklund, as well as its wider context, the Scandinavian crime boom. -
Leituras Freudianas E Lacanianas Do Espaço Simbólico Hitchcock's Films O
Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Universidade de Aveiro Departamento de Línguas e Culturas Ano 2017 Mark William Poole Os Filmes de Hitchcock no Sofá: Leituras Freudianas e Lacanianas do Espaço Simbólico Hitchcock’s Films on the Couch: Freudian and Lacanian Readings of Symbolic Space Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Culturais, realizada sob a orientação científica do Doutor Anthony David Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro o júri Doutor Carlos Manuel da Rocha Borges de Azevedo, Professor Catedrático, Faculdade de Letras, Universidade do Porto. Doutor Mário Carlos Fernandes Avelar, Professor Catedrático, Universidade Aberta, Lisboa. Doutor Anthony David Barker, Professor Associado, Universidade de Aveiro (orientador). Doutor Kenneth David Callahan, Professor Associado, Universidade de Aveiro. Doutor Nelson Troca Zagalo, Professor Auxiliar, Universidade do Minho. presidente Doutor Nuno Miguel Gonçalves Borges de Carvalho, Reitor da Universidade de Aveiro. agradecimentos Primarily, I would like to thank Isabel Pereira, without whose generosity this entire process would not have been possible. She believes in supporting all types of education and I cannot express my gratitude enough. I express equal gratitude to Marta Correia, who has been the Alma Reville of this thesis. She has had the patience to listen to my ideas and offer her invaluable insights, while proofreading and criticising the chapters as this thesis evolved. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
FILM#63 / CANNES SPECIAL ISSUE L1l FILM#63/ CANNES Issue INSIDE
WW2 rEsistAncE drAmA rEALitY BOrEs mE sEmAinE dE LA critiQUE With more than half a million tickets sold since its Henrik Ruben Genz brings the grotesque tale of his Young Man Falling, an experimental film with a release on March 28, Ole Christian Madsen’s Flame Terribly Happy to life in stark, carefully composed captivating visual style directed by Martin de Thurah, & Citron has proven to be one of Danish cinema’s images, recalling the American provinces of Edward is in the official selection of the 47th International greatest successes in recent years. Hopper’s lonesome tableaux or classic westerns. Critics’ Week. PAGE 3 PAGE 6 PAGE 18 l1l FiLm IS PUBLISHEd# BY tHE dANISH63 FiLm INSTITUtE / may 2008 PAGE 2 / FILM#63 / CANNES SPECIAL ISSUE l1l FILM#63/ CANNES ISSUE INSIDE 77ô2%3)34!.#%ô$2!-!ô 2%!,)49ô"/2%3ô-% 3%-!).%ô$%ô,!ô#2)4)15% 7ITHôMOREôTHANôHALFôAôMILLIONôTICKETSôSOLDôSINCEôITSô (ENRIKô2UBENô'ENZôBRINGSôTHEôGROTESQUEôTALEôOFôHISô 9OUNGô-ANô&ALLING ôANôEXPERIMENTALôkLMôWITHôAô RELEASEôONô-ARCHô ô/LEô#HRISTIANô-ADSENSô&LAMEô 4ERRIBLYô(APPYôTOôLIFEôINôSTARK ôCAREFULLYôCOMPOSEDô CAPTIVATINGôVISUALôSTYLEôDIRECTEDôBYô-ARTINôDEô4HURAH ô ô#ITRONôHASôPROVENôTOôBEôONEôOFô$ANISHôCINEMASô IMAGES ôRECALLINGôTHEô!MERICANôPROVINCESôOFô%DWARDô ISôINôTHEôOFkCIALôSELECTIONôOFôTHEôTHô)NTERNATIONALô GREATESTôSUCCESSESôINôRECENTôYEARSô (OPPERSôLONESOMEôTABLEAUXôORôCLASSICôWESTERNSô #RITICSô7EEKô FICTIOn IN tHE sErVICE OF TRUtH ô 0!'%ô 0!'%ô 0!'%ô Ole Christian Madsen’s Flame & Citron merges history-writing with psychological l1l portraits, adding new facets to the story of the Danish WW2 resistance. PAGE 3 &),-ô)3ô05",)3(%$#ô"9ô4(%ô$!.)3(ô&63),-ô).34)454%ôô-!9ô rEALITY BOrEs mE Henrik Ruben Genz’ new film Terribly Happy is another adaptation of an Erling Jepsen novel, following up last year’s big hit, The Art of Crying directed by Peter Schønau Fog — although Genz’ film is all its own. -
Dorothy Tubridy, Oral History Interview – 8/8/1966 Administrative Information
Dorothy Tubridy, Oral History Interview – 8/8/1966 Administrative Information Creator: Dorothy Tubridy Interviewer: Joseph E. O’Connor Date of Interview: August 8, 1966 Place of Interview: Dublin, Ireland Length: 38 pages Biographical Note Tubridy, an Irish friend of the Kennedy family, discusses the time she spent over the years with different members of the Kennedy family, her observations of Kennedy family dynamics, and John F. Kennedy’s relationship with Ireland and the Irish, among other issues. Access Open. Usage Restrictions According to the deed of gift signed July 16, 1969, copyright of these materials has been assigned to the United States Government. Copyright The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excesses of “fair use,” that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. The copyright law extends its protection to unpublished works from the moment of creation in a tangible form. Direct your questions concerning copyright to the reference staff. Transcript of Oral History Interview These electronic documents were created from transcripts available in the research room of the John F. -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
Vampire in the Stockholm Suburbs: Let the Right One in and Genre Hybridity
JSCA 1 (1) pp. 55–70 Intellect Limited 2010 Journal of Scandinavian Cinema Volume 1 Number 1 © 2010 Intellect Ltd Article. English language. doi: 10.1386/jsca.1.1.55_1 feature article ROCHELLE WRIGHT University of Illinois Vampire in the Stockholm suburbs: Let the Right One In and genre hybridity ABSTRACT KEYWORDS The article argues that one crucial factor in the success of the Swedish vampire vampire films film Låt den rätte komma in/Let the Right One In (Alfredson, 2008) is that it genre seamlessly merges several apparently disparate genres to create a hybrid form that hybridity appeals to widely divergent audiences. A detailed analysis of the film demonstrates gender identity how it simultaneously draws on and departs from common themes and motifs of the Other indigenous Swedish film as well as vampire film tradition, combining elements of Sweden the horror film, the coming-of-age story and the realistic socio-psychological drama to create a unique mix of the innovative and the familiar. A comparison of critical responses in Sweden with those in the English-speaking world sheds further light on genre-specific expectations and ways the film transcends them. When John Ajvide Lindqvist’s Låt den rätte komma in/Let the Right One In was published in 2004, he declared it to be the first Swedish vampire novel since Victor Rydberg’s Vampyren/‘The Vampire’, published in 1848 (Ordfront 2004). Though this claim may be hyperbole, the horror genre, as opposed to crime fiction, has hardly been a staple of recent Scandinavian popular literature. 55 JSCA 1.1_Art_Wright_55-70.indd 55 11/1/10 11:53:53 AM Rochelle Wright Let the Right One In received almost universally positive reviews and was hugely popular with readers as well. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Gender Equality Report?
Production: Swedish Film Institute Editors: Sara Karlsson and Jenny Wikstrand Production Manager: Ida Kjellgren Illustrations, cover and insert: Siri Carlén Translation: Matt Bibby Innehåll A comment from the CEO ................................................................................................................... 4 Anna Serner ............................................................................................................................................. 4 Foreword ................................................................................................................................................ 5 Why a Gender Equality Report? ......................................................................................................... 7 The emergence of gender equality in Sweden ................................................................................ 9 Rebellion the best cure for obdurate structures? ........................................................................... 11 Women’s demands and government equality measures ......................................................... 12 Obdurate structures and lower priority ........................................................................................ 13 Radical interpretations and unruly women ................................................................................. 14 A modified commission ...................................................................................................................... 16 Our view of the