Den glömde mannen : Erik "Hampe" Faustmans filmer
Sammanfattning: This dissertation analyses the films of the Swedish film director and actor Erik "Hampe" Faustman (1919-1961). Faustman directed 20 films during the period 1943-1955. In the history of Swedish cinema, Faustman's role is that of the socially conscious spokesman for the working class.In an initial discussion on authorship the concept of "biographical legend" (introduced by the Russian formalist Boris Tomasjevskij, and applied in film studies by above all David Bordwell) appears to be a useful tool for maintaining a critical perspective on the biography of the auteur. The art historian Michael Baxandall method of providing historical explanations to pictures is further suggested as a way to describe different kinds of relations between the artist, the artefact and the context.One of the purposes of this dissertation is to examine, as well as question, Faustman's position in the history of Swedish cinema. Janet Stager's work on historical reception studies is used as a basis for the discussion. Observations that arise from the examination of the historical reception of Faustman's films form a basis as the focus shifts to Faustman's cinematic work. Style and narration are discussed more generally, using David Bordwell and Barry Salt as the most important sources.From a more specific viewpoint, questions of style and aesthetics are related to a national context. With reference to Baxandall, potential demands from political organizations, an instituting art-cinema, and the film industry are suggested. The actor in the cinema is examined from sociological, hermeneutic and aesthetic viewpoints (references: James Naremore, Richard Dyer, John Ellis and others). The discussion about the actors leads on to gender-related topics. The concept of masculinity is shown to be an especially productive perspective. It is also possible to read a growing criticism of the welfare state project into the films of Faustman. The last part of the dissertation concentrates more on the openly political content of Faustman's films. In his early films from the 1940s, Faustman was driven by an obvious social pathos. In his later work Faustman abandons this explicit approach. These films can be characterized by irony and satire rather than by pathos and political conviction.
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