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En grundläggande regel i svensk aktiebolagsrätt framgår i 1 kap. 3 § ABL som fastställer att en aktieägare ansvarar, som huvudregel, enbart för sitt satsade kapital. Huvudregeln innebär även att det som händer i ett bolag skall stanna inom ett bolag och inte påverka andra parter. Koncerner är vanligt förekommande i det svenska samhället och det förutsätts att det är styrelsen och VD i moderbolaget som har den faktiska kontrollen över koncernens, inkluderat dess dotterbolag, verksamhet.Trots det tämligen stora inflytande företrädare i moderbolag har i dotterbolag saknar dagens lagstiftning klara regler som går att tillämpa på företrädarna från moderbolaget när de, direkt eller indirekt, har varit delaktiga i en handling som orsakat en skada i dotterbolag. Det finns, i teorin, möjligheter att analogt tillämpa 29 kap. 1 § ABL på företrädare som i själva verket styr ett bolag, trots att de inte är faktiskt valda bolagsföreträdare i det skadedrabbade bolaget. I avsaknaden av explicit lagstöd torde det däremot inte vara sannolikt att en talan skulle bifallas av en domstol baserat på en analog tillämpning av 29 kap. ABL, i och med att en fällande dom skulle markant förändra dagens rättsläge och skadeståndsansvaret för företrädare i koncerner. Troligtvis måste det ske en större lagändring för att rättstillämparen kan tänkas utdöma ett skadeståndsansvar till personer som faktiskt inte innehar en av företrädarskapen som anges i 29 kap. 1 § ABL.Skulle den svenska lagstiftaren blicka utomlands och erhålla inspiration från den engelska bolagsrätten skulle rättsläget förändras. I England har begreppen de facto-företrädare och shadow directors lagreglerats. Innebörden är att om en person anses uppfylla rekvisiten för att anses vara en bolagsföreträdare, trots att denne inte utsetts till det enligt bolagsrättslig lagstiftning, så kan personen tilldelas samma eller ett jämförbart ansvar som en regelrätt utsedd bolagsföreträdare. I Sveriges fall finns det några möjligheter att utveckla dagens lagtext så att företrädare från moderbolaget skulle falla under lagreglernas ordalydelse. Ett exempel skulle kunna vara att utvidga 29 kap. 1 § ABL och fastslå att bolagsföreträdare är ansvariga för skador de har åsamkat bolag och dess helägda dotterbolag. På så sätt skulle företrädare i moderbolaget få ett utökat ansvarsområde, nämligen samtliga helägda dotterbolag.

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This Masters thesis is based on the qualitative content analysis of four autobiographies of film directors Krzysztof Kieslowski, Vojtech Jasny, Roman Polanski and Juraj Herz. The goal of this thesis is to find out what are the most important aspects of the craft of directing for the selected directors of fiction and documentary films. The thesis consists of two main parts. In the first part, the craft of a director is analysed from the perspective of personal character traits of the directors. In the second part, the craft is analysed from the perspective of making a film. The focus of the second part is on how the directors come up with ideas, create scripts and direct actors. UNIVERZITA KARLOVA FAKULTA SOCIÁLNÍCH VĚD Institut komunikačních studií a žurnalistiky Katedra žurnalistiky Filmové řemeslo v autobiografiích filmových režisérů Diplomová práce Autor práce: Lubomír Ballek Studijní program: Žurnalistika Vedoucí práce: prof. MgA. Martin Štoll, Ph.D. Rok obhajoby: 2021

Bilge Olgac, one of the first female directors of Turkey, who shot her first film in 1965, shaped her films according to the developments in Turkey. This thesis investigates how Olgac was affected by the events that took place in Turkey from the 1960s to the 1980s and how she reflected this impact on the representations of men and women in her films. The study seeks answers to the following questions;  *How has political, economic, and social changes in Turkey, influenced Bilge Olgac and her films from the end of the 1960s and beginning of the 1970s to the 1980s? *How are men and women and their relationship represented and how is the gaze indicated in the films? These research questions are tried to be answered by analyzing Olgac’s films Lawless Land (1967), Dark Day (1971), Gulusan (1985) and Ipekce (1987). While analyzing women and femininity and men and masculinity in these films, Laura Mulvey’s Male Gaze theory is used. Findings suggest that between 1965-1975, Olgac tried to keep up with the male-dominated cinema industry on the one hand and tried to impose herself in the industry on the other and directed melodramas in which women were represented as weak and passive and men were represented as strong and active. Olgac, who took a break from cinema in 1975, focused on female protagonists by presenting a different perspective to the audience in the 1980s. However, detailed analyses of the films also reveal that she could not get rid of the dominant ideology and the female characters in her films could not escape from traditional roles. In other words, Olgac’s films reflect patriarchy, similar to the Hollywood films Mulvey has examined.

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Communication, in its most basic sense, is foundational for any personal, human interaction and relationship. As theatre artists, we are charged with communicating complex story lines, conceptual ideas, and emotion to an audience. Sound communication is paramount to every aspect of a musical production, be it communication between actors/characters, actor and director, amongst the production team, and arguable the most important, between the actors and the audience. My years of education as a Masters in Fine Arts candidate in Musical Theatre have been spent polishing my ability to communicate physical and emotional choices with greater accuracy, depth, and truth. By staging Jason Robert Brown‟s musical The Last Five Years and performing the role of Jamie, this performance thesis will explore, develop, and examine my mastery of the aforementioned varied forms of communication, all of which are necessary in building a successful musical production. Research will be conducted to gather information on relevant topics, including the history of The Last Five Years, the life of Jason Robert Brown, and his musical and theatrical influences. By further understanding Brown, his life, and his ideas about his works, I hope to more fully understand and communicate the message of the musical itself. A dramatic and musical structural analysis will provide further depth and insight into the piece, with the hopes of informing my production and individual performance. A thorough character analysis will provide connective tissue that will allow myself, as the actor, to more effectively communicate the psychological and emotional make up of the character Jamie. Lastly, the thesis document will culminate with a production journal, documenting the pre-production, rehearsal, and performance process. Through the journaling process, I will document and address the iii journey that I have experienced with the production, giving focus and attention to its many obstacles and discoveries, successes and failures, all of which have contributed to my personal growth as a young theatre artist.

This dissertation traces the early origins of Shirley Graham Du Bois, a well known Negro achiever in the 1930s and 1940s, from the decades preceding her birth in 1896 up through the mid-twentieth century when she has reached mid life and achieved a number of successes. It attempts to reclaim from obscurity the significant cultural production that Shirley Graham contributed to American society. Her artistry and activism were manifested in many ways. As a very young woman she conducted, throughout the northern and eastern parts of the U. S., musical concerts extolling the beauty and significance of spirituals. While attending school at Oberlin College, she wrote a musical opera that was regarded during its time as the world's first race opera. In 1936 she assumed the role of Director for the Chicago Black Unit of the Federal Theatre Project (FTP). After the FTP phased out, she attended Yale School of Drama to learn the craft of playwriting, and proceeded to write several plays that were staged and viewed by interracial audiences. As the country prepared for WWII, she was selected to head USO activities in Fort Huachuca, Arizona where the largest aggregation of Negro soldiers were stationed before being sent off to battle. She subsequently became a field secretary for the NAACP during this period of tumultuous change in the nation and the world. The early 1940s would see Graham reach the pinnacle of success during this phase of her life by writing biographies for a national children's audience. This success was short lived due to the political climate of red-baiting that became fashionable during the political reign of Senator Joseph McCarthy. Graham's progressive politics, communist affiliation and marriage to W. E. B. Du Bois placed her on the wrong side of the establishment. Each chapter develops the varying forms her activism took shape in each given situation. Following the example of fore-parents who were politically and socially engaged during their lifetimes, Graham follows suit. Her efforts reveal a woman who educated, inspired and empowered others while demonstrating the different ways one could use her abilities to confront racism.

The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.