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In this thesis paper, I will recount the creative and technical processes of making my graduate thesis film, KOOL. I will describe how the story was developed and written, then analyze the phases of pre-production, principle photography, and post production. I will then evaluate my leadership skills, and strengths and weaknesses as a film director.

This essay will examine how two Swedish newspapers from two different political wings reported the Troubles in Northern Ireland (1968-1998) in the early 1970’s. There was a very specific line of thought present in the general discourse about political violence in Sweden during the 1970’s. The study found that the two newspapers had different approaches to both this Swedish line of thought and the Troubles itself. The social democratic newspaper Arbetet had a rather emotional tone in their articles about the conflict.  In the moderate Borås Tidning the discourse was vastly different. The emotions present in Arbetet were missing and exchanged with an objective view of the conflict with a hardline neutrality embossing the articles. No sympathies for either side of the conflict was shown in any of the newspapers. Arbetet was however more passionate about the conflict while the interest for the conflict dwindled in Borås Tidning with smaller and smaller articles as a result.

[pt] Entre 1971 e 1978 o artista plástico carioca Hélio Oiticica (1937-1980) morou em Manhattan, Nova York. Batizada por Oiticica de Babylon, é durante sua estadia na cidade que ele investe grande parte de seu trabalho em um novo projeto: publicar uma série de textos escritos nesse período, em um livro cujo formato e conteúdo permaneceram em constante transformação ao longo dos anos, sem atingir um resultado final. Batizado com alguns nomes como Newyorkaises e Conglomerado, o projeto de publicação torna- se o epicentro da produção de Oiticica e, ao mesmo tempo, uma promessa não realizada. A Tese visa analisar a relação produtiva entre a obra de Oiticica e a escritura, além da forte presença da literatura em seus trabalhos e reflexões. A análise dessa relação percorrerá alguns espaços criativos desse escritor- leitor, como seu arquivo, seus escritos pessoais, cartas, cadernos e fontes de leitura por ele utilizadas. Ao apresentar e analisar documentos de pouca ou nenhuma divulgação escritos por Hélio Oiticica, a Tese pretende não só ampliar os debates sobre arte e literatura em geral como divulgar novas temáticas e possibilidades de pesquisa em relação à sua obra. / [en] From 1971 to 1978, Hélio Oiticica (1937-1980), a native of Rio de Janeiro, lived in Manhattan. During his sojourn in New York, a city he referred to as Babylon, he put much of his effort into a new project: that of publishing a number of texts written in this period as a book whose format and content would constantly change throughout the years, never reaching a final result. Variously known as Newyorkaises and Conglomerado, the publication project became both the epicenter of Oiticica`s production and a promise that never came to fruition. This dissertation analyzes the relationship between Oiticica`s art and his writings and addresses the marked presence of literature in both his works and his reflections. The analysis of the relation between the two takes into account different manifestations of this writer/reader`s creativity, such as his archive, intimate writings, letters and notebooks, as well as his reading. By presenting and analyzing little-known or previously unpublished texts by Oiticica, this dissertation aims not only to broaden the scope of debates on art and literature in general but also to disseminate new themes and possibilities of research into Oiticica`s work.

Este estudo busca examinar o teatro de Chico Buarque enquanto dramaturgia, tratar de sua concretização em espetáculo, expor a recepção crítica de cada texto e das montagens mais significativas, relacionar o conjunto da obra ao contexto histórico dos anos de 1968 a 1978 no Brasil. Acompanhando a trajetória do teatro de Chico Buarque, este trabalho traça um painel das difíceis relações entre os artistas, protagonistas de uma atividade que requer a liberdade como princípio e fim, e os homens da última ditadura militar da história brasileira, impositores da censura e praticantes da repressão oficial ou à margem da lei. A presente dissertação compõe-se por uma introdução ao tema, cinco ensaios relativos a cada uma das obras dramatúrgicas do autor e algumas considerações finais. / This study intends to examine the theater by Chico Buarque as playwriting, broach its realization as dramatic spectacle, expose the critic’s judgements on the author’s texts and their most important putting on a show, relate his plays with the historical context of the 1968 to 1978 decade in Brazil. Observing the trajectory of the theater by Chico Buarque, this work delineates a panel of the conflitive relationships between the artists − who are engaged in an activity that requires liberty as principle and purpose − and the men committed to inflict censure and execute the official or lawless repression during the last military dictatorship in Brazil. This dissertation is composed by an introduction to the theme, five essays concerning to each dramatic work by the author and some final considerations.

O presente estudo pretende analisar de que forma o filme Batismo de Sangue (2006), do cineasta Helvécio Ratton, contribui para retomar e ampliar a memória sobre a oposição à ditadura militar desempenhada pelos frades dominicanos do convento de Perdizes, em São Paulo, nas décadas de 1960 e 1970. Nosso objetivo é explicar qual o papel dos chamados frades pregadores naquele período e como eles se envolveram com o líder comunista Carlos Marighella (1911-1969), criador da Ação Libertadora Nacional (ALN). Antes de proceder à análise do filme e discutir as condições em que foi produzido, dedicaremos alguns capítulos à descrição da história da Ordem dos Dominicanos, do embate entre as alas conservadora e progressista da Igreja Católica brasileira ao longo do século XX e à biografia de Carlos Marighella. A análise do filme Batismo de Sangue é o assunto da segunda parte deste estudo. / This work aims to examine how the Brazilian film Batismo de Sangue (2006), directed by Helvécio Ratton, contributes to resume and to expand the memory of the opposition to military dictatorship exercised by the Dominican Friars of the Perdizes Monastery, in Sao Paulo (Brazil) in the 60\'s and in the 70\'s. For that, the goal is to explain the role of the so-called friars preachers during this period, showing how they got involved with the Communist leader Carlos Marighella (1911-1969), founder of the Ação Libertadora Nacional (ALN). Before proceeding with the movie analysis and discussing the conditions under which it was produced, some chapters will be devoted to describing the history of the Order of Dominicans as well as the clash between the conservative and the progressive wings of the Brazilian Catholic Church during the twentieth century. There will also be the biography of Carlos Marighella. The analysis of the film Batismo de Sangue is the subject of the second part of this study.

O presente estudo pretende analisar de que forma o filme Batismo de Sangue (2006), do cineasta Helvécio Ratton, contribui para retomar e ampliar a memória sobre a oposição à ditadura militar desempenhada pelos frades dominicanos do convento de Perdizes, em São Paulo, nas décadas de 1960 e 1970. Nosso objetivo é explicar qual o papel dos chamados frades pregadores naquele período e como eles se envolveram com o líder comunista Carlos Marighella (1911-1969), criador da Ação Libertadora Nacional (ALN). Antes de proceder à análise do filme e discutir as condições em que foi produzido, dedicaremos alguns capítulos à descrição da história da Ordem dos Dominicanos, do embate entre as alas conservadora e progressista da Igreja Católica brasileira ao longo do século XX e à biografia de Carlos Marighella. A análise do filme Batismo de Sangue é o assunto da segunda parte deste estudo. / This work aims to examine how the Brazilian film Batismo de Sangue (2006), directed by Helvécio Ratton, contributes to resume and to expand the memory of the opposition to military dictatorship exercised by the Dominican Friars of the Perdizes Monastery, in Sao Paulo (Brazil) in the 60\'s and in the 70\'s. For that, the goal is to explain the role of the so-called friars preachers during this period, showing how they got involved with the Communist leader Carlos Marighella (1911-1969), founder of the Ação Libertadora Nacional (ALN). Before proceeding with the movie analysis and discussing the conditions under which it was produced, some chapters will be devoted to describing the history of the Order of Dominicans as well as the clash between the conservative and the progressive wings of the Brazilian Catholic Church during the twentieth century. There will also be the biography of Carlos Marighella. The analysis of the film Batismo de Sangue is the subject of the second part of this study.

In this paper I study the Austrian author Ingeborg Bachmann’s novel Malina (1971) from the perspective of Gérard Genette’s narrative theory and his notions of tense, mood and voice. In dialogue with earlier research on Malina I reflect over the last scene in the novel, what really happens there and how it matters for the rest of the novel. I give an account of feminist theories with focus on the annihilation of the female voice, the memory as theatre and the folklore tale as flight. The result is a more distinct perception of Bachmann’s skill, closeness and awareness as a writer and her use of Malina as contribution to the feminist debate and as a tool to find a place in the patriarchal world of intellectual, postwar Vienna. / I min uppsats har jag undersökt hur Ingeborg Bachmanns roman Malina är uppbyggd ur ett berättartekniskt perspektiv med hjälp av Gérard Genettes begrepp tempus, modus och röst. I diskussion med tidigare forskning har jag reflekterat över vad det är som sker i romanens slutscen och vad det har för betydelse för resten av verket. Jag har redogjort för tidigare forskning som med feministisk grund studerar förintandet av den kvinnliga rösten, minnet som teater och sagan som flykt. Resultaten är en tydligare bild av Bachmanns tekniska skicklighet, täthet och medvetenhet som författare och hur hon dels använder Malina som ett inlägg i den feministiska debatten och dels använder den som ett verktyg för att själv kunna verka i det intellektuella, men patriarkala efterkrigstidens Wien.

This thesis focuses on the changes to law enforcement precipitated by the establishment of counter terrorist squads within State police forces during the late 1970's. It looks at the impact of Victoria's specialist counter terrorist squad, the Special Operations Group (SOG), on policing in Victoria and asks whether the group has led to the development of a more 'military based' approach to policing. The research demonstrates that the SOG has been the harbinger of more military styles of policing involving high levels of confrontation, more lethal weapons and a greater range of weapons and more frequent recourse to deadly force. The establishment of groups like the SOG has also undermined Australia's democratic traditions by blurring the boundaries between the police and military and weakening the safeguards which have in then past prevented military force being used against citizens. / The SOG has acted as a vanguard group within Victoria police, anticipating and leading progress towards a range of new military-style tactics and weapons. The SOG, although relatively small in number,, has had a marked influence on the tactics and operations of police throughout the force. The group was never contained to dealing with only terrorist incidents but instead used for a range of more traditional police duties. While terrorism has remained rare in Australia the SOG has nevertheless expanded in size and role. Because the SOG is considered elite and because the SOG are frequently temporarily seconded to other areas of policing, SOG members provide a role for other police and have the opportunity to introduce parliamentary tactics into an extended range of police duties. The parliamentary skills developed by the SOG have been passes on to ordinary police through training programs headed by former SOG officers. In addition, the group has effectively been used as a testing ground for new weapons. The structure of the Victoria Police Protective Security Group and the way public demonstrations and industrial disputes are viewed in police and security circles ensure that parliamentary counter terrorist tactics will be used to stifle dissent and protest. The move towards paramilitary policing is necessarily a move away from the police mandate to protect life, keep the peace and use only minimum force. / The interrogation of SOG and SOG tactics into everyday policing has occurred without any public debate or recognition of the important democratic traditions that have ensured that military force is not used against citizens except in the most extreme circumstances. Although the SOG is not formally part of the military it is nevertheless a significant parliamentary force virtually indistinguishable in terms of the weapons and levels of force at its disposal from the military proper.