This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.

The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.

From the director’s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ”understanding” dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you don’t want your professional role to look like.

The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script.

The role of director is also a role, and must be played. Men and women often do it in very different ways. Much more is permitted for men, in the name of”art.” The role of the artist is as such, defined by men. Women are expected to be reasonable and the (their) stage for action appears to be more limited. This is what is expected of them, and is also what many women try to live up to, often in direct conflict with their own interests. It is important to become a less reasonable but clearly defined person.  This often requires training. To become a good director you need knowledge, empathy and experience gained through many mistakes, and not least, you need what Aritsoteles calls fronesis.

The purpose of this chapter is to make some general conclusions from recently conducted fieldwork on one of the world’s most comprehen- sive, but also selective, communities for film swapping; I have chosen to omit the name of this community out of concern for its members. Specialist torrent sites like these are unregulated in that they are not sanctioned by the copyright industry – yet, internally, they remain highly regulated. The chapter provides an overview and a discussion of these sites, and the way these are integrated in a wider economy of film circulation, user agency, knowledge and affects. In theorizing my findings, I mainly draw on theories of culture and sociality outlined by Pierre Bourdieu. 

Study objects: Three different productions companies which the authors have chosen to be anonymous. Purpose: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. Theoretical: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. Method: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. Conclusions: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.

With increasing inequality in the world, having knowledge about the apparatuses maintaining unequal social structures is important. Utopian and dystopian science fiction films are a good source for analysis of social structures, due to their inherent interest in social critique and the role of semiotics in the spreading of ideology. This essay examines how ideology is presented and represented in the science fiction films Metropolis and Snowpiercer. Within a Marxist theoretical framework, the essay analyses the presence and actions of ideological state apparatuses in the films, with a secondary focus on how the ideology on display is presented to the viewer. The analysis of the films shows that several different ideological state apparatuses, such as school and politics, are represented in the films. The apparatuses are also shown to use a variety of pedagogic actions for teaching the dominant ideology of the respective film’s ruling class to the citizens of the films, such as lecturing, singing and communicating through clothing and architecture. The analysis also shows that while two different political ideologies are represented in the films, corporatism in Metropolis and neoliberalism in Snowpiercer, both ideologies serve the same purpose of maintaining the capitalist order of the films’ societies: the division of labour. The essay argues that the findings of the analysis motivate a Marxist approach to teaching, in order to actively work against inequality and provide all students with a well-rounded education, no matter what social class they belong to.

The article examines early-Soviet figurations of cinema as a vaccine capable of inoculating workers with corporeal efficiency. Within this cultural fantasy, Charlie Chaplin was appropriated by the Soviet avant-garde to play an unlikely role of an expert in the theory and practice of labor. Tracing the cultural contexts of Chaplin's cameo in Iprit (1925), a science-fiction novel by Viktor Shklovsky and Vsevolod Ivanov, this article shows that the search for immunity from labor exhaustion opens wider vistas of the history of labor that run through the biocapital of slavery into the Soviet adoption of Taylorist practices of bodily standardization.

Uppsatsens syfte är att undersöka om manliga och kvinnliga filmrecensenter skriver om film på olika vis. Vi har undersökt totalt 120 filmrecensioner mellan 2 mars och 4 november 2011 i Svenska Dagbladet, Nöjesguiden och Cinema. Undersökningen genomfördes med hjälp av både kvantitativ och kvalitativ metod.

Den kvantitativa metoden i vår undersökning visar att männen i vårt material skriver längre texter än kvinnorna. Kvinnorna recenserar oftare genrerna familj och romantik, medan männen har ett övertag inom action och komedi. Männen använder sig av fler referenser än kvinnorna.

Den kvalitativa metoden i vår undersökning visar att männen i vårt material sällan förklarar sina referenser medan kvinnorna är mer beskrivande och förklarar referenserna i sina filmrecensioner. Kvinnorna vill ha ett samförstånd med läsaren, skapa ett förhållande, genom igenkänning och genom att tala till läsarens känslor. 

Med utgångspunkt i ett bildval till ett journalistiskt reportageanslag som inte riktigt blev som jag tänkt mig undersöker jag i den här essän hur bildens betydelse kan förändras genom de olika faserna i en produktionsprocess. Jag är också nyfiken på vilka möjligheter jag som reporter har att förhålla mig uppmärksam inför detta. Med essän som metod söker jag efter den uppmärksamma blicken och låter mig influeras av mötet med vardagsspråkfilosofin som filosofen och litteraturvetaren Toril Moi beskriver den. Med hjälp av begrepp och teorier från hermeneutik, praktisk kunskap och språkfilosofi undersöker jag nyhetsreporterns dilemma gällande val av bilder och vilket ansvar jag som berättare har för bildspråket. Slutligen gör jag ett försök att skissa på en bildspråksfilosofi för nyhetsreportrar.

sinecine: Journal of Film Studies aims to bring together various disciplines under the common ground of cinema, creating a space for research, discussion, critique, and inquiry within the social sciences, arts, and humanities, while fostering creative and original ideas.

While there is no topic limitation in sinecine: Journal of Film Studies, works must meet academic standards to be published. Submissions must be original; articles that have been accepted for publication (or previously published) elsewhere will not be considered. Articles deemed suitable for the preliminary evaluation will be sent to two different reviewers who do not know the author's identity, and a double-blind peer review process will be conducted during this stage.

This article examines the appropriation and redirection of the Gothic in two contemporary Native-centered feature films that concern a history that can be said to haunt many Native North American communities today: the history of Indian boarding schools. Georgina Lightning's Older than America (2008) and Kevin Willmott's The Only Good Indian (2009) make use of Gothic conventions and the figures of the ghost and the vampire to visually relate the history and horrors of Indian boarding schools. Each of these Native-centered films displays a cinematic desire to decenter Eurocentric histories and to counter mainstream American genres with histories and forms of importance to Native North American peoples. Willmott's film critiques mythologies of the West and frontier heroism, and Lightning attempts to sensitive non-Native viewers to contemporary Native North American concerns while also asserting visual sovereignty and affiming spiritual values. 

Antiziganism is a common phenomenon on the big screen. To examine this issue from various perspectives, acclaimed scholars and junior researchers, filmmakers and human rights activists, both Roma and non-Roma, gathered in Berlin in 2018 and presented their research output, shared personal testimonies and discussed films at the international conference Antigypsyism and Film.

The present bilingual volume is a documentation of the conference proceedings. It contains academic articles and essays as well as interviews with filmmakers grouped in four thematic sections: antigypsyism in film, the question of ethics, strategies of subversion and antigypsyism in comparison to other forms of racism.

The purpose of this study is to present and describe how the digital tool, film is used in teaching in the subject of religion in sixth grade. Film seems to be a great way to pass on knowledge, where students are familiar with interpreting the films with the help of image and sound. The curriculum tells that the students need to experience different expressions of knowledge. They should get the test and develop different forms of expression and experience feelings and moods. The subject of Religious Education will also offer students develop knowledge of reli-gions and philosophies around the world. They should be aware of how people express their religion and faith in different ways. (Swedish National Agency for Education, 2011)

This study has the following research questions:

• How teachers perceive that the film can allow the teaching of religious?
• How does the education take form after the film has been screened?

The surveyis based on interviews with three teachers and observations of three classes. Teachers' discussion of the film as a teaching aid analyzers as well as what film can allow the teaching of religious. The theoretical framework for the study is based on the socio-cultural perspective on learning. The results show the teachers' reasoning about film as a learning tool which proves to be posi-tive, also examples are given of how they proceed. Film proves to be a means of communication in teaching where students talk about religion and contribute their knowledge and reasoning about various religions and philosophies, and the big questions of life that affect students.