An investigation is made into the mathematics behind the noniterative inversion algorithm of Shimon Coen and Michael Wang-Ho Yu [1981]. The algorithm determines the conductivity profile of a horizontally uniform earth from surface measurements of apparent resistivity with a Schlumberger array. The algorithm is checked by performing the inversion on both artifical and raw field data

The aim of this thesis is to study the films of the Coen brothers at the intersection of the auteur film and the genre film, by conducting a literature review of the current research on their films. By means of a hermeneutic approach, mainly focusing on the term of genre, four major themes have been established based on the literary review: genres and conventions, hybridization of genre, other art cinema features, and the spectator as auteur. The analysis of the previous research shows that all Coen films have strong genre affiliations, foremost pertaining to classic Hollywood genres such as film noir, screwball comedy, and western. Furthermore, the Coens use gamesome strategies such as hybridization and allusions, which can be regarded as art cinema features. The meaning making is thus to a large degree left to the audiences, allowing them to be placed in the position of the “auteur”. These gamelike strategies and the fact that audiences are given the role as sort of co-creator constitute key auteur features in the filmmaking of the Coen brothers, who could thus be defined as auteur filmmakers rather than mainstream genre filmmakers.

This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Tomlinson in Globalization and Culture as ‘the rapidly developing and ever-densening network of interconnections and interdependences that characterize modern social life’. This theory of globalization is used as a methodological framework to understand the complex network of global and local interconnections that has driven the development of Working Title Films over the past twenty five years to becoming one of the most important British production companies in the international film industry. Through a detailed analysis of the practices of development, production, distribution and exhibition by Working Title Films and the Hollywood dominated global film industry, this thesis seeks to understand the function of genre and genre films as cultural products, economic products and meaningful representations in the global market and to better understand Hollywood, mainstream film and cinema as social institution. The analysis in the following chapters serves as evidence to support the central argument of this thesis that the use of genre in the film industry’s production, distribution and exhibition processes of globalization was the critical area for Working Title Films to master in order to produce value as meaningful audience appeal and connectivity to global audiences for on-going economic success.

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