3,388 research outputs found
Thick viewing : empirical examples of condensed moments of narrative impact in fiction film developing theoretical concepts for intensified engagements
No full textAbstract In a case study about viewing habits in a Swedish audience I sampled 309 questionnaires; interviews with five focus group were conducted together with ten in-depth individual interviews discussing altogether fifteen favorite films exploring specific scenes of idiosyncratic relevance. The outcome supports claims about viewers as active and playful (cf. Höijer 1998, Frampton 2006, Hoover 2006, Plantinga 2009). In line with mediatization theory I also argue that spiritual meaning making takes place through mediated experiences and I support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). What Hjarvard calls the soft side of mediatization processes (2008) is illustrated showing adults experiencing enchantment through favorite films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010). Vernacular meaning making embedded in everyday life and spectators dealing with fiction narratives such as Gladiator, Amelie from Montmartre or Avatar highlights the need for a more nuanced understanding of elevated cinematic experiences. The reported impact of specific movies is analyzed through theories where cognition and affect are central aspects of spectators’ engagements with a film (Tan 1996, Caroll 1999, Grodal 2009). Crucially important are theories of meaning-making where viewers’ detailed interpretation of specific scenes are embedded in high-level meaning-making where world view issues and spectators’ moral frameworks are activated (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Lynch 2007, Avila 2007, Axelson 2008, Plantinga 2009). Also results from a growing body of empirical oriented research in film studies are relevant with an interest in what happens with the flesh and blood spectator exposed to filmic narratives (Jerslev 2006, Klinger 2008, Barker 2009, Suckfüll 2010, Oliver & Hartmann 2010). Analyzing the qualitative results of my case study, I want to challenge the claim that the viewer has to suspend higher order reflective cognitive structures in order to experience suture (Butler & Palesh 2004). What I find in my empirical examples is responses related to spectators’ highest levels of mental activity, all anchored in the sensual-emotional apparatus (Grodal 2009). My outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Sückfull 2010, Oliver & Hartmann 2010, Axelson forthcoming). The presentation contributes to a development of concepts which combines aesthetic, affective and cognitive components in an investigation of spectator’s moves from emotional evaluation of intra-text narration to extra-textual assessments, testing the narrative for larger significance in idiosyncratic ways (Bordwell & Thompson 1997, Marsh 2007, Johnston 2007, Bruun Vaage 2009, Axelson 2011). There are a several profitable concepts suggested to embrace the complex interplay between affects, cognition and emotions when individuals respond to fictional narratives. Robert K. Johnston label it “deepening gaze” (2007: 307) and “transformative viewing” (2007: 305). Philosopher Mitch Avila proposes “high cognition” (2007: 228) and Casper Thybjerg ”higher meaning” (2008: 60). Torben Grodal talks about “feelings of deep meaning” (Grodal 2009: 149). With a nod to Clifford Geertz, Craig Detweiler adopts “thick description” (2007: 47) as do Kutter Callaway altering it to ”thick interpretations” (Callaway 2013: 203). Frampton states it in a paradox; ”affective intelligence” (Frampton 2006: 166). As a result of the empirical investigation, inspired by Geertz, Detweiler & Callaway, I advocate thick viewing for capturing the viewing process of these specific moments of film experience when profound and intensified emotional interpretations take place. The author As a sociologist of religion, Tomas Axelsons research deals with people’s use of mediated narratives to make sense of reality in a society characterized by individualization, mediatization and pluralized world views. He explores uses of fiction film as a resource in every day life and he is currently finishing his three year project funded by the Swedish Research Council: Spectator engagement in film and utopian self-reflexivity. Moving Images and Moved Minds. http://www.du.se/sv/AVM/Personal/Tomas-Axelson Bibliography Axelson, T. (Forthcoming 2014). Den rörliga bildens förmåga att beröra.[1] Stockholm: Liber Axelson, T. (In peer review). Vernacular Meaning Making. Examples of narrative impact in fiction film questioning the ’banal’ notion in mediatization theory. Nordicom Review. Nordicom Göteborg. Axelson, T. (2011). Människans behov av fiktion. Den rörliga bildens förmåga att beröra människan på djupet.[2]Kulturella perspektiv. Volume 2. Article retrieved from www.kultmed.umu.se/digitalAssets/74/74304_axelson-22011.pdf Axelson, Tomas (2010) “Narration, Visualization and Mind. Movies in everyday life as a resource for utopian self-reflection.” Paper presentation at CMRC, 7th Conference of Media, Religion & Culture in Toronto, Canada 9 – 13th August 2010. Axelson, Tomas (2008) Movies and Meaning. Studying Audience, Favourite Films and Existential Matters. Particip@tions : Journal of Audience and Reception Studies. Volume 5, (1). Doctoral dissertation summary. ACTA UNIVERSITATIS UPSALIENSIS. Article retrieved from http://www.participations.org/Volume%205/Issue%201%20-%20special/5_01_axelson.htm [1] English translation: Moving Images and Moved Minds. [2] English translation: Our need for fiction. Deeply Moved by Moving Images. Cultural Perspectives.Filmengagemang och självets utopiska reflexivitet. Den rörliga bildens förmåga att berör
The soft side of mediatization : fiction as a symbolic inventory for vernacular meaning making challenging the 'banal' notion in mediatization theory
No full textAbstract The outcome of a case study about contemporary viewing habits in a Swedish audience will support claims about viewers as active and playful (Höijer 1998, Hoover 2006, Plantinga 2009). In line with mediatization theory it is argued that spiritual meaning making is taking place through mediated experiences and supports perspectives that media has become the primary source of religious ideas (Lynch 2007, Hjarvard 2008, 2012). The soft side of mediatization processes is illustrated where results from in-depth interviews show how adults are developing moral and metaphysical ideas by reflecting on themes developed in fiction films (Zillman 2005, Partridge 2008, Oliver & Hartmann 2010). Vernacular meaning making beyond institutionalized religion, embedded in everyday life, such as viewer’s dealing with fiction narratives such as Pulp Fiction, Love Actually or Gladiator, highlights the need for a more complex understanding of elevated enchantment experiences. An overly cognitive understanding of these processes is challenged, questioning the ‘banal’ notion in mediatization theory (Hjarvard 2008, 2012, Lövheim 2011, Nybro Petersen 2012). Instead of sticking to the ‘banal’ notion adopted in the mediatization theoretical framework, indicating something predictable, trivial or even dull, the paper strongly argues for a less pejorative concept, giving a more adequate and nuanced description of the interplay between cognition and affects creating emotional response in the audience. The presentation contributes to a development of concepts which combines aesthetic, affective and cognitive components in an investigation of spectator’s moves from emotional evaluation of intra-text narration to extra-textual systems of beliefs and moral assessments (Marsh 2007, Johnston 2007, Axelson 2011). It calls for new ways of understanding audiovisual cinematic input as a form of ‘film thinking’, not equivalent to illustrated philosophy (Frampton 2006, Brodén & Noheden 2013), providing symbolic narratives stirring cognition, powered by affect. Tomas Axelson, ThDAssistant Professor Religious Studies, School of Humanities & Media,Högskolan Dalarna University, SwedenProject: Spectator engagement in film and utopian self-reflexivity. Moving Images and Moved Minds. (The Swedish Research Council)http://www.du.se/sv/AVM/Personal/Tomas-Axelson</p
Varför skapar religion rädsla?
No full textUppfattningar om religion pendlar mellan ytterligheter. Å ena sidan uppfattas religion som en god civilisatorisk kraft som kan bidra till ett gemensamt samhällsbygge. Å andra sidan som konfliktdrivande och bidragande till separatism och extremism. Tomas Axelson diskuterar religionspluralism och villkoren för religiös samexistens genom förhållningssättet "disagreeing well together". Inspelat den 25 maj 2021 på biblioteket i Campus Falun. Arrangör: Högskolan Dalarna. UR Samtiden - Kunskap för ett gott samhälleFöreläsningar om forskning som bidrar till ett gott samhälle för nuvarande och kommande generationer - i hemmet, på förskolan, under idrotten och på semestern. Inspelat den 25 maj 2021 på biblioteket i Campus Falun, Högskolan Dalarna. Arrangör: Högskolan Dalarna.</p
Varför skapar religion rädsla?
No full textUppfattningar om religion pendlar mellan ytterligheter. Å ena sidan uppfattas religion som en god civilisatorisk kraft som kan bidra till ett gemensamt samhällsbygge. Å andra sidan som konfliktdrivande och bidragande till separatism och extremism. Tomas Axelson diskuterar religionspluralism och villkoren för religiös samexistens genom förhållningssättet "disagreeing well together". Inspelat den 25 maj 2021 på biblioteket i Campus Falun. Arrangör: Högskolan Dalarna. UR Samtiden - Kunskap för ett gott samhälleFöreläsningar om forskning som bidrar till ett gott samhälle för nuvarande och kommande generationer - i hemmet, på förskolan, under idrotten och på semestern. Inspelat den 25 maj 2021 på biblioteket i Campus Falun, Högskolan Dalarna. Arrangör: Högskolan Dalarna.</p
DN Debatt. ”Coronakrisen mer oroande för dem som går till jobbet”
No full textDN debatt 17/5.Bi Puranen, Tomas Axelson och Jonas Stier: Stora skillnader mellan de som arbetar som vanligt och de som arbetar hemifrån.Bland annat är de som arbetar som vanligt mer oroade över att Sverige skadas av coronakrisen och anser i högre grad att vi själva bör lösa vårt eget lands problem.</p
Arbetsformer kring sociala risker : Med fokus på rasism och extremism
No full textSom ett led i länsstyrelsernas arbete med krisberedskap, uppdrog regeringen åt Länsstyrelsen i Dalarnas län att, utveckla arbetsformer för att motverka sociala risker med fokus på rasismoch extremism. I uppdraget ingick att sprida resultaten av arbetet samt att lämna förslag till eventuella fortsatta insatser inom området. Arbetet har genomförts av universitetslektor Helén Olsson, som också har närmare trettio års erfarenhet från socialsekreteraryrket. Bidrag av skrivarbetet har givits avdocent Tomas Axelson och professor Jonas Stier.</p
Arbetsformer kring sociala risker [Elektronisk resurs] : Med fokus på rasism och extremism
No full textSom ett led i länsstyrelsernas arbete med krisberedskap, uppdrog regeringen åt Länsstyrelsen i Dalarnas län att, utveckla arbetsformer för att motverka sociala risker med fokus på rasismoch extremism. I uppdraget ingick att sprida resultaten av arbetet samt att lämna förslag till eventuella fortsatta insatser inom området. Arbetet har genomförts av universitetslektor Helén Olsson, som också har närmare trettio års erfarenhet från socialsekreteraryrket. Bidrag av skrivarbetet har givits avdocent Tomas Axelson och professor Jonas Stier.</p
Thick viewing [Elektronisk resurs] : empirical examples of condensed moments of narrative impact in fiction film developing theoretical concepts for intensified engagements
No full textAbstract In a case study about viewing habits in a Swedish audience I sampled 309 questionnaires; interviews with five focus group were conducted together with ten in-depth individual interviews discussing altogether fifteen favorite films exploring specific scenes of idiosyncratic relevance. The outcome supports claims about viewers as active and playful (cf. Höijer 1998, Frampton 2006, Hoover 2006, Plantinga 2009). In line with mediatization theory I also argue that spiritual meaning making takes place through mediated experiences and I support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). What Hjarvard calls the soft side of mediatization processes (2008) is illustrated showing adults experiencing enchantment through favorite films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010). Vernacular meaning making embedded in everyday life and spectators dealing with fiction narratives such as Gladiator, Amelie from Montmartre or Avatar highlights the need for a more nuanced understanding of elevated cinematic experiences. The reported impact of specific movies is analyzed through theories where cognition and affect are central aspects of spectators’ engagements with a film (Tan 1996, Caroll 1999, Grodal 2009). Crucially important are theories of meaning-making where viewers’ detailed interpretation of specific scenes are embedded in high-level meaning-making where world view issues and spectators’ moral frameworks are activated (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Lynch 2007, Avila 2007, Axelson 2008, Plantinga 2009). Also results from a growing body of empirical oriented research in film studies are relevant with an interest in what happens with the flesh and blood spectator exposed to filmic narratives (Jerslev 2006, Klinger 2008, Barker 2009, Suckfüll 2010, Oliver & Hartmann 2010). Analyzing the qualitative results of my case study, I want to challenge the claim that the viewer has to suspend higher order reflective cognitive structures in order to experience suture (Butler & Palesh 2004). What I find in my empirical examples is responses related to spectators’ highest levels of mental activity, all anchored in the sensual-emotional apparatus (Grodal 2009). My outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Sückfull 2010, Oliver & Hartmann 2010, Axelson forthcoming). The presentation contributes to a development of concepts which combines aesthetic, affective and cognitive components in an investigation of spectator’s moves from emotional evaluation of intra-text narration to extra-textual assessments, testing the narrative for larger significance in idiosyncratic ways (Bordwell & Thompson 1997, Marsh 2007, Johnston 2007, Bruun Vaage 2009, Axelson 2011).There are a several profitable concepts suggested to embrace the complex interplay between affects, cognition and emotions when individuals respond to fictional narratives. Robert K. Johnston label it “deepening gaze” (2007: 307) and “transformative viewing” (2007: 305). Philosopher Mitch Avila proposes “high cognition” (2007: 228) and Casper Thybjerg ”higher meaning” (2008: 60). Torben Grodal talks about “feelings of deep meaning” (Grodal 2009: 149). With a nod to Clifford Geertz, Craig Detweiler adopts “thick description” (2007: 47) as do Kutter Callaway altering it to ”thick interpretations” (Callaway 2013: 203). Frampton states it in a paradox; ”affective intelligence” (Frampton 2006: 166).As a result of the empirical investigation, inspired by Geertz, Detweiler & Callaway, I advocate thick viewing for capturing the viewing process of these specific moments of film experience when profound and intensified emotional interpretations take place.The authorAs a sociologist of religion, Tomas Axelsons research deals with people’s use of mediated narratives to make sense of reality in a society characterized by individualization, mediatization and pluralized world views. He explores uses of fiction film as a resource in every day life and he is currently finishing his three year project funded by the Swedish Research Council: Spectator engagement in film and utopian self-reflexivity. Moving Images and Moved Minds. http://www.du.se/sv/AVM/Personal/Tomas-AxelsonBibliographyAxelson, T. (Forthcoming 2014). Den rörliga bildens förmåga att beröra.[1] Stockholm: LiberAxelson, T. (In peer review). Vernacular Meaning Making. Examples of narrative impact in fiction film questioning the ’banal’ notion in mediatization theory. Nordicom Review. Nordicom Göteborg.Axelson, T. (2011). Människans behov av fiktion. Den rörliga bildens förmåga att beröra människan på djupet.[2]Kulturella perspektiv. Volume 2. Article retrieved fromwww.kultmed.umu.se/digitalAssets/74/74304_axelson-22011.pdfAxelson, Tomas (2010) “Narration, Visualization and Mind. Movies in everyday life as a resource for utopian self-reflection.” Paper presentation at CMRC, 7th Conference of Media, Religion & Culture in Toronto, Canada 9 – 13th August 2010.Axelson, Tomas (2008) Movies and Meaning. Studying Audience, Favourite Films and Existential Matters. Particip@tions : Journal of Audience and Reception Studies. Volume 5, (1). Doctoral dissertation summary. ACTA UNIVERSITATIS UPSALIENSIS. Article retrieved fromhttp://www.participations.org/Volume%205/Issue%201%20-%20special/5_01_axelson.htm [1] English translation: Moving Images and Moved Minds.[2] English translation: Our need for fiction. Deeply Moved by Moving Images. Cultural Perspectives.</p
Arbetsformer kring sociala risker : Med fokus på rasism och extremism
No full textSom ett led i länsstyrelsernas arbete med krisberedskap, uppdrog regeringen åt Länsstyrelsen i Dalarnas län att, utveckla arbetsformer för att motverka sociala risker med fokus på rasismoch extremism. I uppdraget ingick att sprida resultaten av arbetet samt att lämna förslag till eventuella fortsatta insatser inom området. Arbetet har genomförts av universitetslektor Helén Olsson, som också har närmare trettio års erfarenhet från socialsekreteraryrket. Bidrag av skrivarbetet har givits avdocent Tomas Axelson och professor Jonas Stier.Rapporten utgör även bilaga i:Sahlander, Camilla. Utveckla arbetsformer för att motverka sociala risker med fokus på rasism och extremism. Rapporter från Länsstyrelsen i Dalarnas län: 2017:07. Falun: Länsstyrelsen Dalarna, 2017.</p
Movies and the Enchanted Mind : Emotional Comprehension and Spiritual Meaning Making Among Young Adults in Contemporary Sweden
No full textThe outcome of an empirical audience study in Sweden including questionnaires, focus groups and ten in-depth individual interviews discussing favorite films supports claims about viewers as active and playful (cf. Frampton 2006, Hoover 2006, Plantinga 2009). The soft side of mediatization processes is illustrated showing young adults experiencing enchantment through films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010). The outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Suckfüll 2010, Oliver & Hartmann 2010, Axelson 2014). The results of the interviews exploring specific scenes of idiosyncratic relevance support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). The concept thick viewing is proposed for capturing these moments of film experience when profound and enchanted emotional interpretations take place
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