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Barthes, R. (1977). Rethoric of the Image. I R. Barthes (Red.), Image Music Text ( ss. 32-51). London: Fontana Press.
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Bateman, J. A. (2013). Multimodal analysis of film within the gem framework. Ilha do Desterro, 0(64), 49-84. DOI: 10.5007/2175-8026.2013n64p49
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Bateman, J., & Schmidt, K. (2011). 3. Constructing the Semiotic Mode of Film. I J. Bateman, & K. Schmidt (Red.), Multimodal Film Analysis: How Films Mean ( ss. s. 24).
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Björkvall, A. (2019). visuella texten : multimodal analys i praktiken (Andra upplagan). Lund: Studentlitteratur. ISBN: 9789144132747
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Cutting, J. E. (2005). Perceiving Scenes in Film and in the World. I J. Anderson, & B. Fisher Anderson (Red.), Moving Image Theory: Ecological Considerations ( ss. s. 20). Carbondale: Southern Illinois Univ. Press.
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Davies, D. (2008). Vision, Touch, and Embodiment in The Thin Red Line. I D. Davies (Red.), The thin red line ( ss. s. 30). London: Routledge.
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Eidsvik, C. (2005). Background Tracks in Recent Cinema. I J. Anderson, & B. Fisher Anderson (Red.), Moving Image Theory: Ecological Considerations ( ss. s. 9). Carbondale: Southern Illinois Univ. Press.
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Ferencz-Flatz, C., & Hanich, J. (2016). Editor’s Introduction: What is Film Phenomenology?. Studia Phaenomenologica, 16, 11-61. DOI: 10.5840/studphaen2016161
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Foss, E. G., & Burgess, M. Ø. (2020). Optimism and alienation – colour schemes and soundscapes as means for the social construction of risk in climate education videos. Social Semiotics, 1-23. DOI: 10.1080/10350330.2020.1838871
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Grodal, T. (2008). The PECMA-flow. I T. Grodal (Red.), Embodied Visions ( ss. 145-157). Oxford: Oxford University Press.
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Ingram, D. (2014). Emotion and Affect in Eco-films: Cognitive and Phenomenological Approaches. I A. Weik von Mossner (Red.), Moving environments: affect, emotion, ecology, and film ( ss. 23-39). Wilfrid Laurier University Press.
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Jewitt, C. (2009). An introduction to multimodality. I C. Jewitt (Red.), The Routledge Handbook of Multimodal Analysis (1 uppl., ss. 14-27). London: Routledge.
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Kress, G. (2012). Multimodal Discourse Analysis. I J. P. Gee, & M. Handford (Red.), The Routledge Handbook of Discourse Analysis ( ss. 35-50). London: Routledge.
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Maran, T. (2013). Place and Sign: Locality as a Foundational Concept for Ecosemiotics. I A. K. Siewers (Red.), Re-Imagining Nature : Environmental Humanities and Ecosemiotics ( ss. 79-88). Bucknell University Press.
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Morel, E. (2020). Readerly Dynamics in Dynamic Climatic Times: Cli-Fi and Rhetorical Narrative Theory. I E. James, & E. Morel (Red.), ENVIRONMENT AND NARRATIVE: NEW DIRECTIONS IN ECONARRATOLOGY ( ss. 67-86). THE OHIO STATE UNIVERSITY PRESS.
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Olausson, U. (2020). Making Sense of the Human-Nature Relationship. Nature and Culture, 15(3), 272-295. DOI: 10.3167/nc.2020.150303
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Plantinga, C. (2009). Negative Emotions and Sympathetic Narratives. I C. Plantinga (Red.), Moving Viewers: American Film and the Spectator's Experience ( ss. s. 29). Berkeley: University of California Press.
Siewers, A. K. (2013). Introduction: Song, Tree, and Spring: Environmental Meaning and Environmental Humanities. I A. K. Siewers (Red.), e-Imagining Nature : Environmental Humanities and Ecosemiotics ( ss. 1-39). Bucknell University Press.
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Sobchack, V. (2014). The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic “Presence”. I Carnal thoughts: embodiment and moving image culture (1 uppl., ss. 135-164). University of California Press.
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Sprenger, F. (2019). Phenomenology, Immediacy, and Mediation: On Derrida, Meunier, and Landgrebe. I J. Hanich, & D. Fairfax (Red.), Structures of the Film Experience by Jean-Pierre Meunier: Historical Assessments and Phenomenological Expansions ( ss. s. 15). Amsterdam University Press.
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Stam, R., Burgoyne, R., & Flitterman-Lewis, S. (1992). Cine-Semiology. I R. Stam, R. Burgoyne, & S. Flitterman-Lewis (Red.), New Vocabularies in Film Semiotics: Structuralism, Post-structuralism, and Beyond ( ss. s. 41). London: Routledge.
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Weik von Mossner, A. (2014). Introduction: Ecocritical Film Studies and the Effects of Affect, Emotion, and Cognition. I A. Weik von Mossner (Red.), Moving environments: affect, emotion, ecology, and film ( ss. 1-19). Wilfrid Laurier University Press.
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Wood, D. (2001). What is Ecophenomenology?. Research in Phenomenology, 31(1), 78-95. DOI: 10.1163/15691640160048577
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Yacavone, D. (2016). Film and the Phenomenology of Art: Reappraising Merleau-Ponty on Cinema as Form, Medium, and Expression. New Literary History, 47(1), 159-185. DOI: 10.1353/nlh.2016.0001
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Hermansson, J. (2022). The hero's thematic journeys in advertisement films. Konferensbidrag. 14th SRN International Conference:Globalizing Screenwriting, 22nd-24th September 2022. Department of Theatre, Film and Media Studies, University of Vienna..
Hayden, H. (2016). Om 'Bildens retorik'. I R. Barthes (Red.), Bildens retorik ( ss. s. 15). Stockholm: Faethon.
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Lindgren, S. (1999). Textuell analys: Semiotik och strukturalism. I S. Lindgren (Red.), Populärkultur: Teorier, metoder och analyser (2 uppl., ss. 61-73). Malmö: Liber.
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