Titlebook: Swedish Children’s Cinema; History, Ideology an Malena Janson Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive li

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书目名称Swedish Children’s Cinema影响因子(影响力)




书目名称Swedish Children’s Cinema影响因子(影响力)学科排名




书目名称Swedish Children’s Cinema网络公开度




书目名称Swedish Children’s Cinema网络公开度学科排名




书目名称Swedish Children’s Cinema被引频次




书目名称Swedish Children’s Cinema被引频次学科排名




书目名称Swedish Children’s Cinema年度引用




书目名称Swedish Children’s Cinema年度引用学科排名




书目名称Swedish Children’s Cinema读者反馈




书目名称Swedish Children’s Cinema读者反馈学科排名

CAJ

清澈

Like Other Kids, Yet Different: Sámi Children in Swedish Children’s Filmight and for oneself, or to find one’s own voice. The representations of Sámi children range from representations through the Swedish gaze, tinged with Romantic ideas, or ethnic prejudice, to contemporary, rather vague representations. The growing Sámi film industry provides opportunities for the Sá

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无意

A Relationship Revolution: Child-Centred Parenthood in Contemporary Children’s Cinemalso rebellious, sensitive but also headstrong, and to be able to grow into harmonious persons, they need understanding adults who really listen to them and treat them with goodwill and respect. By portraying child rearing as a learning process for the adults to the same extent as for the children, t

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‘The movie ended quite well, but not that well, and I liked that because that’s how it is in realityn’s theatre studies in Sweden but is largely unexplored within cinema studies. Children themselves have claimed that Osten’s films are interesting and important, and drawing upon these viewpoints, the chapter also discusses the sometimes striking differences between children’s and adults’ notions of

受伤

We’ll Never Be Those Kids Again: Queer Perspectives on Children’s Cinematheir way of creating a queer home together. The queer perspective on . deals with masculinity in non-male bodies and the negotiation of gender identity. Both of these queer perspectives are beneficial when analyzing children’s cinema and can be supplementary to each other in the analysis.

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Audiovisual Empathy: Adopting a Child’s Perspective in Children’s Cinemared to as . that emerged in Swedish children’s cinema in the late 1960s, at a time when novel notions of the child and child culture were developed. By combining the theoretical frameworks of childhood studies and cinema studies, the chapter argues that the rendering of a consistent child’s subjecti

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hypertension

Per Åhlin: The Master of Swedish Animationouches upon the positive conditions for Swedish animation during the 1960s, 1970s, and 1980s, when there was strong support from the Swedish Film Institute as well as Swedish public service television. Furthermore, the immense impact of Åhlin’s work on the Swedish animation industry as a whole is po