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  • 1.
    Abdulla, Lana
    Halmstad University, School of Humanities (HUM).
    Kulturkonflikter: En komparativ studie av synen på ras och klass i Spike Lees Do The Right Thing & Mike Leighs Hemligheter och lögner2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I två analyser av filmerna; Do The Right Thing av Spike Lee (1989) och Hemligheter och lögner av Mike Leigh (1996), har jag undersökt  hur och varför samhällsproblematik  som berör klass- och rasfrågan presenteras på film utifrån hur cultural studies teoretiskt förhåller sig till problematiska relationer mellan kulturella identiteter i USA och Storbritannien. Jag kom fram till att identifikationen av den kulturella identiteten var olika i respektive länder; USA och Storbritannien. I USA var rastillhörigheten utgångspunkten för den kulturella identiteten och i Storbritannien var det klasstillhörigheten utgångspunkten för den kulturella identiteten.

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  • 2.
    Afdile, Mamdooh
    Mamdooh Afdile, Aalto University, Department of Neuroscience and Biomedical Engineering, Finland. Stockholm University of the Arts, Film and Media Department, Valhallaägen 189, 115 53 Stockholm, Sweden. Email: mamdooh.afdile@uniarts.se..
    Beyond Neurocinematics: Investigating Biased Social Perception through Collaboration between Neuroscience and Filmmaking2022In: Leonardo: Journal of the International Society for the Arts, Sciences and Technology, ISSN 0024-094X, E-ISSN 1530-9282, p. 278-282Article in journal (Refereed)
    Abstract [en]

    A growing number of neuroscientific studies use films as experimental stimuli, making filmmakers partners in investigations of the brain. The author provides his perspective as a filmmaker who has been conducting neuroscience experiments in collaboration with a team of neuroscientists at the Brain and Mind Laboratory of Aalto University, Finland, over the last five years. This collaboration led to the development of a novel method of investigating the subconscious brain using films as well as insights on how to create more empathy-evoking films. Finally, the author discusses the relationship between social bias and boundaries of collaboration between filmmaking and neuroscience.

  • 3.
    Ahlqvist, Thomas
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    När filmen kom till Karlskrona: Exempel på filmvisning i den svenska landsorten 1897 - 19052015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar filmförevisning i Karlskrona fram till nyårsafton 1905. Undersökningen, som utförts med 1897 som utgångsår, belyser också övrig bildvisning på orten. Uppsatsens huvuddel utgörs av en kronologisk genomgång av de filmvisningar som förekommit på orten.

    Uppsatsens arbetsmetod är arkivforskning. Som primärkälla har främst Karlskrona Veckoblad, som i den undersökta tidsperiodens slutskede utgavs med sex nummer per vecka, använts.

    Den första filmvisningen gick av stapeln 26 december 1898 i Ordenshuset på Ronnebygatan. Uppsatsen visar att denna lokal intagit en närmast monopolartad roll när det gällde uthyrning till kringresande filmvisare, vilka under tidsperioden framför allt visade ett blandat program med både kinematografi och skioptikonbilder. För mer religiösa filmer, som olika varianter av passionsspelet, erbjöd den vanliga kyrkan visningslokaler och dessa filmer verkar därmed ha nått en stor publik. Däremot har frikyrkorna och framför allt arbetarrörelsen i Karlskrona inte varit speciellt frekventerade som uthyrare.

    Kungsplanen var platsen för stadens enklare nöjesliv - hit kom både kringresande cirkus och tivoli. Just cirkusen verkar ha varit en viktig arena i Karlskrona för filmvisning under såväl det första som under undersökningens sista år. Under de mellanliggande åren var däremot cirkusen inte aktuell som filmvisningslokal. Den första fasta biografen etablerades i början av december 1905 i nära anknytning till området och den andra, som startade veckan efter, placerades i den cirkusbyggnad som uppförts på Kungsplanen. I Karlskrona existerade alltså en koppling mellan film och nöjesfält.

    I en avslutande del diskuteras också publiksammansättningen och en hypotes om att förevisarna ofta riktade sig till ung publik framförs.

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  • 4. Ahmadi, Ahmad
    et al.
    Herrman, Margaretha
    University West, Department of Nursing, Health and Culture, Division of Health and Culture.
    Högberg, Karin
    Från akademi till arbete i filmindustrin: Filmproduktionsutbildningens bidrag som kulturbärare eller kulturomformare2011In: Utmaningar och perspektiv på VerksamhetsIntegrerat LÄRande, 2011Conference paper (Refereed)
  • 5.
    Ahmed, Ishtiaq
    Stockholm University, Faculty of Social Sciences, Department of Political Science.
    The Lahore film industry: a historical sketch2012In: Travels of Bollywood cinema: from Bombay to LA / [ed] Anjali Gera Roy, Chua Beng Huat, New Delhi: Oxford University Press, 2012, p. 55-77Chapter in book (Refereed)
    Abstract [en]

    This chapter presents a sweeping historical overview of the flows between Lahore and Bombay before and after 1947. It shows how two major factors — Partition and the rise of Islam in Pakistan — led to the premature demise of a nascent film industry emerging around the Bhati Gate area in Lahore, despite the in-migration of Muslim talent from Bombay. It calls attention to the shared cultural memories that attest to the presence of Lahore in Bombay and Bombay in Lahore. It argues that in view of its pre-eminent position as the centre of Hindi /Urdu culture, Lahore would have emerged as a strong competitor to Bombay had Partition not occurred. However, it can still become a major production centre for Punjabi films that can cater to a transnational Punjabi population.

  • 6.
    Aini, Sorush
    Örebro University, School of Humanities, Education and Social Sciences.
    Från Rocky Balboa till Freddy Heflin: En komparativ stjärnstudie av Sylvester Stallone2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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  • 7.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    A lesson in film2019In: HRVATSKI FILMSKI LJETOPIS, ISSN 1330-7665, Vol. 25, no 100, p. 183-187Article in journal (Refereed)
  • 8. Ajanovic, Midhat
    Crtic kao zanr: pristup zanru u filmskoj i digitalnoj animaciji2009In: Hrvatski filmski ljetopis, ISSN 1330-7665, no 43/45, p. 99-105Article in journal (Other (popular science, discussion, etc.))
  • 9.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    De visuella tonsättarna II: Animationens mästare i urval2012Book (Other (popular science, discussion, etc.))
    Abstract [sv]

    Filmvetare Midhat »Ajan« Ajanovic har valt ut ytterligare 30 av sina favoriter i

    De visuella tonsättarna 2. Förutom klassiska animatörer som Bruno Bozzetto, Ray Harry -

    hau sen, Ub Iwerks, Chuck Jones, Jerzy Kucia, Ryan Larkin och Len Lye finns

    nyare världsberömda namn som Igor Kovaljov, Chris Landreth, John Lasseter, Michel Oce -

    lot, Nick Park och Peter Lord (Aardman), Joanna Quinn, Pjotr Sapegin, Georges Schwiz -

    ge bel och Koji Yamamura också med. Även framstående svenskar som Johannes Nyholm

    och Jonas Odell uppmärksammas förstås.

    Boken är andra delen av en planerad heltäckande animationshistoria samlad i fyra populärvetenskapliga böcker.

  • 10. Ajanovic, Midhat
    Dockorna som älskar och skrattar2011In: Göteborgs-Posten, no 30/1, p. 98-98Article, book review (Other (popular science, discussion, etc.))
  • 11.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Filmdockan: Dockfilmen : genre historia estetik2021Book (Other academic)
    Abstract [sv]

    Genom att undersöka en gren inom animationen som framstår som en alltmer betydelsefull del av vår tids bildkultur bidrar ”Filmdockan” till den pågående, både livliga och spännande, processen inom forskningen kring animerade bilder. Bokens huvudämne är dockfilm, en filmgenre som kännetecknas av att ett animerat, personifierat och människoliknande föremål används som rollfigur inom ramen för en bildberättelse. Genom undersökningar och analys av de animerade filmernas genrekonventioner, estetik, berättar- och montagestrategier kan man även närma sig en förståelse av de historiska, ideologiska, teknologiska, och politiska klimaten och maktförhållandena vid tidpunkten för deras tillblivelse.

    Det första avsnittet ”Docka, begrepp och typer” diskuterar olika definitioner av ordet ”docka” som utgår ifrån dockornas ursprung, deras form och funktion, tekniska aspekter etc. I det här avsnittet ligger betoningen på den så kallade föreställande dockan som med hjälp av dockteaterns spelteknik, filmisk eller digital animation framställs som en särskild sorts ”skådespelare”. Avsnittet inkluderar ävenfrågeställningar som specifikt behandlar animationens art, stil och väsentlighet som bland annat diskussioner om genre, estetik, och representation.

    Det andra avsnittet ”Historiskt panorama” gör en kronologisk genomgång av både de viktigaste estetiska tendenserna och några av de mest framstående människorna bakom historien om den animerade dockan. Den föreställande dockan är i regel en kulturell symbios – resultatet av mellanfolkliga blandningar. Dockfilmens estetik, teknik, motivkretsar, genrekonventioner och hybridiseringar förflyttar sig över tiden och i geografin via internationella kontakter och relationer mellan olika film- och kulturkretsar.

    Det tredje avsnittet ”Dockan på den digitala scenen” framstår som en kort promenad genom historien om digital animation. Flera av pionjärerna inom filmanimation i början av 1900-talet inspirerades av estetiken inom dockteatern i det då nya filmmediet. På samma sätt använde man i slutet av 1980-talet, när den ”digitaliserade dockan” trädde fram, datorer för att skapa en framställningsmodell som i grund och botten har sitt ursprung i teater- och filmanimering.

    Ämnet för det avslutande avsnittet ”Visuellt berättande och dockfilm” är alltså berättandet inom animerad film, och framförallt dess dockfilmsgenre. Animationsberättelsen (animerad film) består av filmspråk som grund med animationsspecifika och uttrycksfulla element som dess överbyggnad. Berättandet är även en viktig koppling mellan dockfilmer som stöds av filmisk respektive digital teknik. På det här viset är dockfilmen tydligt definierad i förhållande till berättelsen i allmänhet

  • 12.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Između sna i smijeha/Between dream and laughter: Luis Bunuel – život, karijera i dvije duboke brazde koje je prvak filmskog nadrealizma zaorao/Luis Bunuel – life, career and a profound imprint left by the pioneer of surrealist cinema2015In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 82-83, p. 05-36Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The paper gives an overview of the work, career and poetics of Luis Bunuel, the most important surrealist in the world (active in the cinema of several countries – France, Mexico and Spain). The paper explains the roots of Bunuel’s poetics that derive from the filmmaker’s life experience and different art forms (Goya, Cervantes), his cinema role models (Lang, Eisenstein), his status among other filmmakers, social environment, provocation methods, stylistic techniques, his favorite themes and worldviews (for example, sexuality and constant criticism of Christianity in his films), the context of surrealist art and relationship with film industry. Although very often demonstrating a lack of interest for the rules of the dominant cinema, the traditional film making, even opposing in a planned and explicit manner, Bunuel proved, states the author of the paper, that he could participate (both as director and producer) even in the classical feature film cinematic framework. Considering the wide variety of surrealist (and avant-garde) cinema in general and the complexity of the work by Luis Bunuel, the paper tackles Dada elements and different types of surrealism. Finally, the paper examines the traces of surrealism in cinema and animated film in the post-Bunuel period (and undoubtedly under his influence).

  • 13.
    Ajanovic, Midhat
    University West, Department of Economics and Informatics. University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Ohrozený megalopolis japaneského ANIME 32011In: Homo Felix, ISSN 1338-2268, no 1, p. 71-72Article in journal (Other (popular science, discussion, etc.))
  • 14.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME  42011In: Homo Felix, ISSN 1338-2268, no 2/2011, p. 67-71Article in journal (Other academic)
  • 15.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME 72013In: Homo Felix. The international journal of animated film,, ISSN 1338-2268, Vol. IV, no 1, p. 68-71Article in journal (Other academic)
  • 16.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Polish Animation Between Two Golden Ages2012In: Etiuda&Anima, 2012, p. 164-164Conference paper (Other academic)
  • 17.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Representative doll on a digital scene 31st Animafest: World Festival of Animated Film (2021)2021In: Hrvatski filmski ljetopis, ISSN 1330-7665, Vol. 27, no 107, p. 19-36Article in journal (Other academic)
  • 18.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media Production.
    The True Giant of Animation: The combination of skillful fingers and animation technique transformed mundane lumps of clay into some of the 20th century's funniest and smartest "people", Their home is the famous animation studio Aardman.2013In: Catalogue, 36th Göteborg International Film Festival, 2013, ISSN 1102-6448, Vol. 1, no 1, p. 13-20Article in journal (Other (popular science, discussion, etc.))
  • 19.
    Ajanovic, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Tito’s image in the post-Yugoslav essay film2020In: HRVATSKI FILMSKI LJETOPIS, ISSN 1330-7665, Vol. 26, no 101, p. 5-8Article in journal (Other academic)
  • 20.
    Ajanovic, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Ženska crta britanskog animiranog filma/Feminine current of British animation: Bokumentarizam, društveni angažman i feminizam britanske animacije.2011In: Hrvatski filsmi ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 65/66, p. 24-46Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    In the animated film of the 1970s and later, the modernist poetics of, for example, theZagrebSchoolstarted to feel outdated. This was the reason for the a whole group of new female and male authors to emerge and to tackle pressing social issues, including animated cinema as a new, alternative medium for public debate. Among a number of social issues tackled primarily in British and Canadian films, the field of gender inequality and the position of women in the society came to the foreground. The paper also follows the history of female presence in animated film and the history of female topics' affirmation in this medium, starting with Helen Smith Dayton, Lotte Reiniger and Mary Ellen Bute, to Marjut Rimminen and the influence of the Channel Four production (producer C. Kitson), or rather the authors such asCaroline Leaf, Angela Martin, Candy Guard, Alison Snowden, Karen Watson and Gillian Lacey. Special attention is dedicated to Alison De Vere and Joanna Quinn. Non.British authors are mentioned as well, such as Monique Renault. What is particularly interesting is the influence of British documentary tradition (alo0ng the lines of John Grierson( which blended with animated film and other visual arts traditions. However, in animated films women had to struggle for the right to comedy as an artistic choice as well because the prejudice related to female sense of humor was extremely strong. The author concludes by stating that contemporary animation does not discriminate against women at all.  

                                                                                                 

     

     

  • 21.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    100 years of Swedish Animation2015Conference paper (Other (popular science, discussion, etc.))
  • 22.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    A vivid connection: Comics and animation as a context for understanding the work of Nedeljko Dragic i Kresimir Zimonic2011In: Hrvatski filmski ljetopis/Croatian Film Cronicle, ISSN 1330-7665, no 68, p. 25-50Article in journal (Other academic)
    Abstract [en]

    Some of the most prominent authors of the Zagreb School of Animation were (or still are) equally active in the field of animations as in the field of caricature and comics. The co-dependency of interrelation of these two fields in terms of aesthetics, mindset and semiotics is being examined on the example of Nedeljko Dragic andKresimir Zimonic. The history of comic strips and caricature is brought into relation with animated film and with the emergence of modernist animation in particular. Moreover, a special emphasis is placed on the influence of the incursion of specific aesthetic movements, known as comic book schools, on the Croatian comic scene.   

      

     

     

     

  • 23.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    An Attempt at Reading and Understanding the Animated Film Don Quixote by Vladimir Kristl2015In: Animation: A World History: Volume II: The Birth of a Style / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 71-75Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om Zagrebskolan för animerad film.

  • 24.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animacija i modernizam / Animation and modernism.2013In: Hrvatski filmski ljetopis/Croatian Film Chronicle, ISSN 1330-7665, no 75, p. 27-44Article in journal (Refereed)
    Abstract [en]

    Many important periods of the history of animation arose directly from and are part of the radical modernist wave with the epicentre in the USA that bombarded the world of animation after World War II and the influence of which is still felt today. Explaining the origin of American modernist animation in propaganda and commercial film, as well as in eminent artistic aspirations for artistic freedom, Ajanovic describes the main characteristic and the importance of production of the UPA animation studio, i. e. John Hubley, Stephen Bosustow and other leading figures of animation, placing their work within the production frames of the epoch and stressing their importance. By doing so, he argues in favour of the term modernist animation – a term that is much more precise and useful when analysing the mentioned phenomena – instead of the term reduced or stylized animation.

  • 25.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animated Documentary – Documentary Animation2019In: Contemporary Animation JournalArticle in journal (Other academic)
    Abstract [sv]

    Denna artikels primära ämne är en tämligen okänd filmgenre, den så kallades animerade dokumentär vars utveckling under senare decennier fick ny fart tack vare moderna tekniska möjligheter. Med filmens inträde i den digitala eran blir denna genre allt mer vanligt inom de recenta rörliga bildproduktionerna. Förutom att ringa in grundläggande kännetecken av en specifik filmform grundad på genretraditionen som växt fram kring hybridiseringen mellan olika genrer är artikeln samtidigt ett försök till en samtidshistorisk kontextualisering. För att illustrera hur animerade dokumentärer synliggör några dolda aspekter av våra liv genom att behandla den mänskliga existensen i ett stort socio-politiskt sammanhang analyseras svensk animerad film i form av en specifik fallstudie.

  • 26.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animator in focus: Caroline Leaf2010In: Catalogue, 33rd Göteborg International Film Festival, no 33, p. 14-15Article in journal (Other (popular science, discussion, etc.))
  • 27.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Anime ohrozený megalopolis japaneského 2010In: Homo Felix, no 1, p. 68-71Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animerad verklighet2018In: Tecknaren, ISSN 0347-7673, no 6, p. 24-27Article in journal (Other (popular science, discussion, etc.))
  • 29.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Animerat skådespeleri som berör: Filmaren Chris Landreth sätter fokus på nya vågar ut ur "kusliga dalen"2012In: Göteborgsposten, ISSN 1103-9345, p. 66-66Article, book review (Other (popular science, discussion, etc.))
  • 30.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Beyond Self-images: The Context and Development of Animated Documentaries, the Cornerstones of Modern Animation in Sweden.2018In: Global Animation Theory / [ed] Franziska Bruckner et al., New York: Bloomsbury Academic, 2018, p. 99-116Chapter in book (Refereed)
    Abstract [en]

    It seems that the first decades of the new millennium have brought about a small renaissance of documentaries, especially those that combine live action and animated pictures and even those visualiezd totally by employment of various animation techniques. My concern in the following chapter is the conspicuous propensity in Swedish animation towards animated documentary. In my view Sweden is the country that, besides Canada and Great Britain, has developed the most prolific production of films that merge documentary purposes and animated imagery.

    In this chapter I define animated documentary, as I understand it. I will also take a look into the history of Swedish animation and documentary, with an emphasis on the features that might be the base for the development of the animated documentary. The text will also focus on some factors in the production and social background that, at least partly, explain why the animated documentary is such a prominent feature on the Swedish animation scene and, lastly, it will point at some films and filmmakers that eminently represent the genre. 

  • 31.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Bizarre and Depoliticized2014Conference paper (Other (popular science, discussion, etc.))
  • 32.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Black Trains through Dark Landscapes2014In: Catalogue, 37th Göteborg International Film Festival, ISSN 1102-6448, no 1, p. 19-24Article in journal (Other academic)
  • 33.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    ”F” kao Fellini / ”F” som Fellini2011In: Sarajevske sveske/Sarajevos Litterära Tidskrift, ISSN 1512-8539, no 35-36, p. 379-389Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    En personligt präglat studie i Federico Fellinis liv och arbete.

  • 34.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Film i strip2018Book (Other academic)
  • 35.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Filmska Lutka. Estetika, žanrovske konvencije i hibridiziranje u modelskoj animaciji2019Book (Other academic)
    Abstract [sv]

    Det finns varierande definitioner av ordet "docka" som utgår ifrån dockornas ursprung, deras form och funktion, tekniska aspekter etc. Vanligtvis gör man distinktionen mellan olika sorter dockor som exempelvis leksaksdocka (doll), marionett (puppet), handdocka ("glove puppet") och så vidare. I det här arbetet ligger betoningen på den så kallade föreställande dockan som med hjälp av dockteaterns spelteknik, filmisk eller digital animation framställs som en särskild sorts "skådespelare". För att kunna kalla ett föremål för docka måste man alltså urskilja en människa i den även om det handlar om en antropomorf djurdocka eller en på annat sätt stiliserad docka. Både dockteatern och dockfilmen för vuxna är ofta knutna till människans värld och framstår därmed som ett relevant material för att studera förhållanden knutna till livsvillkor i en samtid. Genom undersökningar och analys av de animerade filmernas genrekonventioner, estetik, berättar- och montagestrategier kan man närma sig en förståelse av de historiska, ideologiska, teknologiska, och politiska klimaten och maktförhållandena vid tidpunkten för deras tillblivelse. Den föreställande dockan är i regel en kulturell symbios – resultatet av mellanfolkliga blandningar. Dockfilmens estetik, teknik, motivkretsar, genrekonventioner och hybridiseringar förflyttar sig över tiden och i geografin via internationella kontakter och relationer mellan olika film- och kulturkretsar. Det här arbetet är således en filmvetenskaplig studie i animerad film vars huvudämne är dockfilmen, en filmgenre som framförallt kännetecknas av ett animerat, personifierat och människoliknande föremål som används som rollfigur inom ramen för en bildberättelse. Denna diskussion om dockfilmen är tänkt som en fortsättning till min tidigare forskning. Men detta menar jag framförallt böckerna Animation och realism (utgiven 2004 på engelska och kroatiska) och Den rörliga skämtteckningen (utgiven 2009 på svenska).

  • 36.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Good Soldier Schweik in Civil Suit: Reflections of the Middle European Tradition of Humor in the Animated Films of the Zagreb School2023In: Asifa Academic Magazine, Vol. 1, no 1, p. 9-21Article in journal (Other academic)
    Abstract [en]

    My ambition here is not to give a firm answer to the eternal question why man laughs. Just like love, humor remains an unsolvable mystery. We do not know why we love someone, just as we do not know what the source of humor is. Man does not know why he loves someone. Man does not know why he laughs at something or someone. And that is a good thing. Life without secrets would be infinitely boring.

    Still, if not humor itself, we can identify what humor carries. Humor, just like art (and art and humor are often united), presents a vision of the world, one view of life.

    This paper is an attempt to analyze humor in Middle European animation illustrated by the example of two characteristic films created within the Zagreb school of animation.

    Already over the first decades of the twentieth century, film animation appeared in almost all middle European countries. Still, the golden age of this medium in this region lasted from the 1950s to the end of 1970s. After World War II, a significant number of animated film studios were founded in the region producing innovative and fresh art of animation often recognized at international film festivals.

    There was no middle European equivalent of Popeye or Superman. Much like in regional literature and visual humor, in animation too there were heroes who were not heroes. Leading characters in middle European animation were often characterized by the “Schweikian” anomaly: little man, who felt like a looser, bearing no illusions towards the presence or the future.

  • 37.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media Production. University West, School of Business, Economics and IT, Division of Media and Design.
    "Jag går efter min näsa"2010In: Göteborgs-Posten, Vol. 28 januari, p. 131-131Article, book review (Other (popular science, discussion, etc.))
  • 38.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Little man at the turn of the worlds : A view of the origin, history and basis of the phenomenon of the Zagreb School of Animated Film 2010Other (Other (popular science, discussion, etc.))
  • 39.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Little Man at the Turn of the Worlds: A View of the Origin, History and the Ideological Foundation of the Phenomenon of the Zagreb School of Animated Film2019In: Propaganda, Ideology, Animation: Twisted Dreams of History / [ed] Olga Bobrowska, Michał Bobrowski, Bogusław Zmudziński, AGH University of Science and Technology Press , 2019, p. 154-174Chapter in book (Other academic)
  • 40.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Mannen som tecknade Musse Pigg2010In: Göteborgs-Posten, no 18/12, p. 114-114Article in journal (Other (popular science, discussion, etc.))
  • 41.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Microscopic reading of a story on animation2018In: HRVATSKI FILMSKI LJETOPIS, ISSN 1330-7665, Vol. 24, no 95, p. 53-58Article in journal (Refereed)
  • 42.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Milan Blazekovic: life in a cartoon =  Život u crtanom filmu 2010 (ed. 1)Book (Other (popular science, discussion, etc.))
  • 43.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Computer Science and Informatics.
    Nedovrsena prica2010In: Kvadrat, ISSN 1845-8009, no 22, p. 93-95Article in journal (Other (popular science, discussion, etc.))
  • 44.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Ohrozený megalopolis japaneského ANIME 52012In: Homo Felix. The international journal of animated film, ISSN 1338-2268, Vol. 3, no 1, p. 68-72Article in journal (Other (popular science, discussion, etc.))
  • 45.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Priit Pärn2015In: Animation: A World History: Volume III: Contemporary Times / [ed] Giannalberto Bendazzi, Oxford: Focal Press , 2015, p. 140-144Chapter in book (Refereed)
    Abstract [sv]

    Ett kompletterande kapitel om animation i Estland

     

  • 46.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Procvat cjelovečernje animacije (Renaissance of full-length animation): Srastanje dokumentarnog i animiranog filma jedan je od najinteresantnijih fenomena u medijskoj industriji našeg doba, osobito stoga što se u toj formi neke važne teme, pogled na stvarnost i historiju tretiraju na sasvim drugačiji način od onog u standardnim medijima.2015In: Mediacentar, SarajevoArticle in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    Linking up documentary and animated film is one of the most interesting phenomena in the media industry of our time especially as animated documentaries treat some important topics, view of reality and history in a different way from that of the standard media. 

  • 47.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    "Psychorealism" vs "The Uncanny Valley": Chris Landreth comes across as a digital animation heir to Norman McLaren2012In: Catalogue, 35th Göteborg International Film Festival, ISSN 1102-6448, no 1, p. 25-29Article, book review (Other (popular science, discussion, etc.))
  • 48.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Roundtable of the Month:The Image of Beyond Oneself:: The Context and Development of Swedish Animation Documentaries2019In: Contemporary Animation JournalArticle in journal (Other academic)
    Abstract [sv]

    Denna artikels primära ämne är en tämligen okänd filmgenre, den så kallade animerade dokumentären, vars utveckling under senare decennier fick ny fart tack vare moderna tekniska möjligheter. Med filmens inträde i den digitala eran blir denna genre allt mer vanligt inom de recenta rörliga bildproduktionerna. Förutom att ringa in grundläggande kännetecken av en specifik filmform grundad på genretraditionen som växt fram kring hybridiseringen mellan olika genrer är artikeln samtidigt ett försök till en samtidshistorisk kontextualisering. För att illustrera hur animerade dokumentärer synliggör några dolda aspekter av våra liv genom att behandla den mänskliga existensen i ett stort socio-politiskt sammanhang analyseras svensk animerad film i form av en specifik fallstudie.

  • 49.
    Ajanović, Midhat
    University West, School of Business, Economics and IT, Division of Media and Design.
    Seriously Funny: Animation, The Concealed Avant-Garde2017Conference paper (Other academic)
    Abstract [en]

    The progressive migration of the European avant-gardes to America in the late 1930s compelled an adjustment of modern art practice and theory to the new cultural environment and to the needs of the cultural institutions that supported them. This radical redefinition of modern art implied the construction of a modernist canon, one that became hegemonic after WWII with the institutionalization of a discourse of modernism strictly focused on the value of form and an adherence to medium specificity. Associated with cartoons, advertising, and with popular culture in general, animation was dismissed as kitsch.  Moreover, while modernist scholars widely acknowledged film as the modernist medium par excellence, they did not pay much attention to animation, which was relegated to the category of a minor, subsidiary cinematic genre.

    Inherently and unabashedly multidisciplinary (it encompasses and creatively blends painting, drawing, sculpture, film and many other artistic media), animation obdurately defied and still challenges disciplinary regulation. Animation and animation theory, developed in the interstices between modernist fields of practice and theorization such as art history and film studies, offer a unique standpoint from where to analyze modernism in art, the historiography of this discourse, and modernist theory itself.

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  • 50.
    Ajanović, Midhat
    University West, Department of Economics and IT, Division of Media and Design.
    Sketching Out the ”Proxy Space”2016In: / [ed] Franziska Bukner, 2016, p. 15-15Conference paper (Other academic)
    Abstract [en]

    Animation is usually defined as the moving image that
 is not recorded from a real-time movement but the
 movement created artificially. My concern here is the 
visualisation of the space inaccessible for either pho
tographic film image or our sensory apparatus. I see it
 as the crucial attribute of animated image that is equally 
important for understanding of the animation medium
as the movement making. What the philosopher Paul 
Crowther labelled as "proxy space in animated film"
(quoted by Donald Crafton 2013: 147) could in my own
interpretation be distinguished as the creation of the diegetic space that only exists in the viewers' imagination, and only in the moment while they are watching the film. Mise-en-scène in animation is always a symbol for a space, no matter how convincing an illusion of three dimensions is created in some particular film. Actually, many animators who are active in our time exploit the fact that digital animation made a possible perception of space totally inaccessible to the photographic film technique. For instance the penetrating camera (fly-through) dissolves the restrictions associated with the pictorial space so that we can reach what we cannot see beyond the picture's surface. However, in this short presentation I aim to examine that aspect of animation in the realm of traditionally made animated films in order to verify the view on the "proxy space" being always an essential part of the animated image regardless technical or production conditions.In order to explore varied approaches toward the creation of "proxy space" I will look at some canonical films produced during the golden age of Zagreb School of Animation. Those films made by Vladimir Kristl, Dušan Vukotić, Borivoj Dovniković, Vatroslav Mimica and Nedeljko Dragić, provide lot of evidences that prove that animation space stands for an inherent liberation from the limitations of the laws of physics and entering into the world of the fantastic, symbolical and metaphorical. Employing various minimalistic methods the Zagreb animators created a complex multi-dimensional representation of space. By using several film examples I am going to emphasise five different methods in this paper.

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    fulltext
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