Under det senaste årtiondet har sociala medier använts av mode-influencers till att sprida sina budskap om personlig stil. Med de senaste årens klimatintresse har början till ett skifte skett från att uppmuntra till konsumtion till att i stället skapa medvetenhet om textilindustrins negativa påverkan på miljön. Syftet med denna masteruppsats är att göra en visuell kulturstudie av tre av dessa influencers argumentation genom de filmer de publicerar på Youtube. Den undersöker hur de använder visuell retorik i filmerna för att göra ett trovärdigt intryck och på så vis locka till sig en allt större följarskara och få betalda samarbeten, utan att uppmuntra till onödig konsumtion. I studien ingår sammanlagt nio filmer som publicerades under 2019 och 2020. Filmerna analyseras med hjälp av visuell retorik som kvalitativ metod och tolkas med visuell retorik och produktion av social och kulturell identitet som teoretiska utgångspunkter. En analys av tittarnas kommentarer på filmerna används för att validera resultatet av tolkningen. De tre studerade Youtube-kanalerna ökade sitt antal prenumeranter med i genomsnitt 64 % under den tid som studien pågick och alla tre influencers får betalda samarbeten som de helt eller delvis kan försörja sig på. De undersöker noga de företag de inleder samarbete med och undviker varumärken som inte är accepterade av deras tittare som etiska och miljömässigt hållbara. Alla de tre influencers som ingår i studien använder samma typ av visuell huvudargumentation för att övertyga sina tittare om vikten av en hållbar garderob. De visar exempel på hur de själva kombinerar sina egna kläder på nya sätt för att skapa en personlig stil utan att behöva köpa nytt. Studien visar dock att filmernas innehåll är mindre viktigt än hur trovärdig influencern uppfattas av sina tittare. En tolkning av tittarnas kommentarer ger att de i första hand är intresserade av hur influencern producerar sin identitet med hjälp av kläder och utseende, för att själva inspireras till att hitta sin personliga stil. Genom att efterlikna deras stil kommunicerar de grupptillhörighet med den influencer de följer och får på så sätt del av samma sociala status. / During the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.

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This essay aims to investigate the visual and symbolic language of banners and standards belonging to two Swedish temperance organizations, the Independent Order of Good Templars, and the Swedish Blue-Ribbon Movement. The examined material is 98 banners and standards from Folkrörelsearkivet för Uppsala län. Mieke Bal and Norman Bryson's semiotic starting point in the article "Semiotics and Art History" (1991), mainly based on Charles Sanders Peirce's semiosis, has been used as the method of analysis. Support has also been taken from Roland Barthes' semiotic concepts of denotation and connotation. Visual culture studies, with support from Nicolas Mirzoeff's Introduction to Visual Culture (1999) has been used as a theoretical and structural starting point of the essay. The analysis has shown a rich use of symbolic signs within the material, and that – and how – the use of said symbolic signs is both similar and different between the organizations. The analysis has further demonstrated the possibility to interpret meaning which were communicated through the banners and the standards visual and symbolic language. In the essay's discussion, these meanings have been divided into different themes which can be said to reflect the ideals, ideas, and activities of the organizations. The visual communication is understood based on the activities and religious history of the organizations, and on the political, social, historical, and cultural context of the collective symbols.

In response to the recent political decision in Sweden in 2023 to reduce the allocation of hours for visual art education in Swedish Schools Högstadiet (grade 7-9), this study is motivated by a commitment to substantiate our stance against this policy through scientific rationale. This paper undertakes a literature review to explore the significance of visual arts within the evolving landscape of educational curricula. Focusing on the domain of teaching and education, our main objective is to investigate the positive impact visual art education provides. The approach employed involves an analysis of existing studies and research findings related to art and art education. The findings of this study highlight the multifaceted benefits of visual art education in schools. By thoughtfully combining various scholarly insights, this investigation asserts that art education bestows a range of favorable outcomes upon students, equipping them with essential tools to navigate the expanding visual environment in both current and future societal contexts.

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[pt] Com uma perspectiva estética, filosófica e antropológica, a tese ora apresentada propõe atenção especial à produção audiovisual realizada em instituições formais de ensino, procurando perceber uma imagem dialética da educação a partir de uma seleção de 251 vídeos produzidos em escolas do estado do Rio de Janeiro e exibidos no segmento infanto-juvenil do Festival do Rio, a Mostra Geração, entre os anos de 2000 e 2014. Entendendo a noção benjaminiana da dialética das imagens como dinâmica que conflagra uma experiência, a constituição de um olhar crítico que observa a imagem e que também é afetado por ela, a autora acredita que as imagens nos levam a experimentar um tipo diferenciado de conhecimento. Deste ponto de vista, portanto, surge a relevância de tentar, dentro do contexto acadêmico, uma aproximação sensível (estética) com a escola, para enriquecer as reflexões, a ciência e a imaginação sobre as instituições sociais de formação. Dividida em três fases, a pesquisa teve como principal objetivo testar uma combinação de estratégias da arte, da filosofia e das ciências sociais na produção de conhecimento para o campo da educação. Após uma categorização básica do material empírico com o auxílio de um software de análise quantitativa (ATLAS.ti), a pesquisadora segue um percurso analítico aberto por sua apropriação pessoal dos escritos de Georges Didi-Huberman. A segunda fase, que se desenvolveu concomitantemente às demais, é uma experiência estética/criativa de edição de partes dos audiovisuais escolares, utilizando a montagem como método investigativo e reflexivo para compor um instrumento de consulta que atendesse adois objetivos adicionais: a) compreender e estranhar a imagem de escola partilhada nos vídeos; b) conceber imagens-pensamento com e a partir dos planos que a escola põe em circulação. Em um terceiro momento, a autora produz um discurso como método de desconstrução de um ponto de vista e de (re)constituição de um outro olhar-saber, uma tese, sobre a aparição da escola no material construído. O Atlas do Audiovisual Escolar, Territórios da Mostra Geração: Rio de Janeiro, 2000 a 2014, composto por um filme e um ensaio, reflete paixões e inquietações; emoções e sonhos despertados no encontro com a amostra do imaginário audiovisual escolar abordado. Violência, drogas, corrupção, poluição, mídias e inovação são os problemas que ocupam a imagem de escola formada. Conclui-se que encarar o audiovisual escolar com responsabilidade é, obrigatoriamente, interrogar imagens que nos olham e imaginar, com as escolas, novas imagens por vir. / [en] With an aesthetic, philosophical and anthropological perspective, her doctoral research proposes special attention to the moving imagens of the video production carried out in educational institutions, analyzing a selection of 251 videos produced by schools in the state of Rio de Janeiro and exhibited in the Generation Programme - the Rio Int l Film Festival s Segment for Children and Young People, between the years 2000 and 2014. The study starts from the Benjaminian concept of dialectic images understooded as a dynamic that constitutes a critical gaze that look to an image while the observer is also looked by the image (Benjamin). Believing that images can lead us to experience a peculiar kind of knowledge, emerges the relevance of attempting, within the academic context, a sensitive (aesthetic) approach with the school, to contribute to reflections, to the science and the imagination on the educational institutions. Divided into three phases, the main objective of the research is to test a combination of strategies of art, philosophy and social sciences in the construction of knowledge for the educational research field. The first approach of the data collected was a categorization of the empirical material with the aid of quantitative analysis software (ATLAS.ti). Then the researcher follows an analytical path opened by her personal appropriation of the writings of Georges Didi-Huberman. The second phase, which develops concomitantly to the others, is an aesthetic / creative experience of editing parts of the school-produced videos, using montage and remix as investigative and reflexive methods to compose a query instrument that serves two additional objectives: a) to compreheend and to strange the image of school that is shared by the videos of this study; b) to conceive Thought-Images (Denkbilder) with and from the frames that the schools put into circulation. In a third moment, the author discuss what was visualized, by producing a discourse as a method of deconstructing a point of view and (re) constitution of another gazeknowledge, a thesis about the school s appearance in the builded material. The Atlas of the School-produced Video: territories of Generation Programme/Rio de Janeiro Int l Film Festival (2000-2014), composed of a film and an essay, reflects passions and anxieties; emotions and dreams awakened in the encounter with the sample of the studied video-imaginary. Violence; Drugs; Corruption; Pollution; Media and Innovation are issues that occupy the school image formed in the remix produced by the research. It is concluded that video remix is a methodology that supports creation of knowledge in both Media Education and Educational fields, since it is a way to manipulate and, hence, is a form of material engagement with the data. Finally, the researcher states that to see school-produced videos, with responsibility in fact, necessarily is to ask questions to the images that affect us and to imagine with the schools new images to come.

<p>The marketing of Indigenous peoples, lands, art and culture from within areas that can loosely be drawn together under the rubric of “tourism,” draws Indigenous peoples in a tenuous and complex web of negotiations of imagery, authenticity, nationalism, economics, and identity. Many scholars have explored the economic implications of such interactions. My dissertation, however, is instead focused on attending to the relationship between the contemporary representation of Indigeneity, Canadian national identity, and the intensifying commoditization of ‘all things Indigenous’ (such as Indigenous bodies, identities, languages, spirituality, and material culture) within such spaces. My work asks, what are the consequences of particular forms of commodification of Indigenous culture and identity? In what ways are Indigenous peoples complicit with such forms and in what ways do we negotiate and/or resist them? How do current representations differ from those during the height of “Wild West” shows during Canada’s early nation- building phase, if at all? Mapping a trajectory of representations and visual spectacle in the latter part of the twentieth and early twenty-first centuries across a number of sites I explore Indigenous and Canadian tourism marketing, the 1976, 1988 and 2010 Olympics, and Casino Rama. Such Indigenous self-conscious representation has often taken up through a constitutive, discursive lens of “Aboriginality.” Since the Canadian state’s entrenchment of the term “Aboriginal” within the <em>Constitution Act</em> (1982), Aboriginality has become its own representational force whereby some Indigenous peoples embrace it as a pathway to community economic revitalization. It is rather more productive, I argue, to recognize the Aboriginal as an allegorical figure of a contemporary market-focused society. While certainly related to what Daniel Francis refers to as the “Imaginary Indian,” the figure of the Aboriginal and of Aboriginality conceals much more sinister state projects that are tied to lingering Canadian state racism and colonializing agendas that seek, through, neoliberal economic terms, to assimilate Indigenous peoples. This assimilationist project is relaunched by the intensification of the corporatization and marketing of culture and identity. Indigenous peoples participation in the production of Aboriginality is increasingly positioned by the state as evidence of a willingness to assimilate but also as evidence of the reconciled nature of relationship between Indigenous and settler Canadians and the indigenization of settler Canadians. I close out by engaging in the fourth chapter a discussion of the artistic expression of Indigenous mixed media artists Rebecca Belmore and Terrance Houle, artists who, I contend, resist the increasingly regimented frame of Aboriginality and challenge the ease with which the state and settlers lay claim to Indigenous imagery, stories, lives, and lands.</p> / Doctor of Philosophy (PhD)