<p>The purpose of this study was to analyze the reconstruction in two short-documentaries by Arne Sucksdorff. The films are analyzed both in a stylistic and symbolical way.</p>

This thesis deals with export payment. Different payment methods that can be used in order to receive and secure payment when conducting international trade are analysed, and relevant risks and problems are examined. Particular focus is given to export trade with China. International trade offers great possibilities for companies, but also risks. There are several risks that should be taken into consideration, for instance the political risk, the exchange risk and the commercial risk. The commercial risk is the seller’s risk of non-payment or late payment and the buyer’s risk of non-delivery or faulty delivery Over the last decades the Chinese market has gone through considerable changes and today it is one of the world’s most important markets. The commercial risk is sometimes feared when doing business in China. This is because statements have been made claiming that Chinese buyers are somewhat untrustworthy payers. Payment is an essential part of all trade transactions. There are a number of payment methods that can be used in order to receive and secure international payment. Which payment method that should be used depends on the circumstances of the transaction. The documentary credit is a frequently used payment method in interna-tional trade. It offers the exporter security of payment because at least one bank adds its promises to pay. / Denna uppsats behandlar betalning vid export. Olika betalningsmetoder som kan användas för att erhålla och säkerställa betalning analyseras, och relevanta risker och problem studeras. Uppsatsen är särskilt inriktad på Kina. Internationell handel medför många möjligheter för företag, men också en ökad risk. Hänsyn måste tas till bland annat den politiska risken, valutarisken och den kommersiella risken. Den kommersiella risken är risken att betalning eller leverans inte sker i enlighet med vad som har avtalats. Den kinesiska marknaden har under de senaste årtiondena genomgått en omfattande förändring, och idag är den en av världens viktigaste marknader. Den kommersiella risken är ibland befarad vid kinesisk handel. Detta beror på att det finns en uppfattning att kinesiska köpare ibland kan vara osäkra betalare. Betalning är en viktig del av alla handelstransaktioner. Det finns ett antal betalningsmetoder som kan användas för att erhålla och säkerställa internationell betalning. Vilken metod som bör användas beror på omständigheterna vid handelstransaktionen. Remburs är en betalningsmetod som är vanligt förekommande vid internationell handel. Metoden ger exportören betalningssäkerhet eftersom minst en bank garanterar betalningen.

Reality television has inundated the networks, eliciting some of the highest viewership in the United States; therefore, it is important to understand why people watch these shows and what they gain from doing so. This study replicates and expands on the study by Barton (2009), which examined how difference in content in competition-based reality shows influenced viewer gratifications. The present study explored the effect of content on viewer gratifications in documentary-based reality television shows. Participants (n = 257) completed surveys asking about their television viewing habits, general reasons for watching reality programming and reasons for watching specific reality shows (Real Housewives of Beverly Hills and Here Comes Honey Boo Boo). Some results contradicted those found by Barton with no effect of content on viewer gratifications. However, consistent with Barton’s findings, gender differences were found in levels of gratifications obtained from these two shows with women reporting higher levels. In addition, when extreme levels of income were compared, greater gratification was found only for the Vicarious Participation factor. Video content positively correlated with amount of downward social comparison (schadenfreude) but there was no correlation between downward social comparison and participants’ income.

The Culinary Browns is an experimental documentary that traces four generations of the Brown family beginning with Bob Brown, my great-grandfather, a writer of pulp fiction, modern poetry, cookbooks and social commentary. This documentary is not a linear history or purely factual document, but instead, uses personal experience as a means to generate more universal connections to the inherently dysfunctional dynamics of family, the fragmentary quality of memory, and to ultimately remind the viewer that history is relative.

The Culinary Browns is an experimental documentary that traces four generations of the Brown family beginning with Bob Brown, my great-grandfather, a writer of pulp fiction, modern poetry, cookbooks and social commentary. This documentary is not a linear history or purely factual document, but instead, uses personal experience as a means to generate more universal connections to the inherently dysfunctional dynamics of family, the fragmentary quality of memory, and to ultimately remind the viewer that history is relative.

This research is intended to contribute to critical discussion concerning the development of independent visual culture initiatives giving voice to human justice concerns within the context of globalized, corporate-controlled media. The problem is how to devise visual strategies for effective cultural production that addresses contemporary social and political issues. This thesis examines two case studies of activist art, one American and the other Canadian, that utilize documentary modes to intervene in hegemonic discourses of neo-colonialism and new forms of imperialism: Michael Moores documentary film Fahrenheit 9/11 and Liz Canners digital video public art project Bridges. Analyzing the artists background, the political context, the intentions behind the project, the visual strategies, and the effectiveness of the work, the thesis concludes that there are barriers to creating works that function catalytically in service of social change. The limits of discourse in democratic societies, the difficulties of developing participatory audiences, the challenges of transforming the projection site into a democratic arena of discourse--these are some of the general factors that inhibit a works effectiveness. The case studies also show that strategies of political subjectivity are needed to counter the official narratives of power, while performance as an activist tactic, particularly if combined with technologies of mass media, engages audiences and helps to break down a separation between entertainment and activism.

This research is intended to contribute to critical discussion concerning the development of independent visual culture initiatives giving voice to human justice concerns within the context of globalized, corporate-controlled media. The problem is how to devise visual strategies for effective cultural production that addresses contemporary social and political issues. This thesis examines two case studies of activist art, one American and the other Canadian, that utilize documentary modes to intervene in hegemonic discourses of neo-colonialism and new forms of imperialism: Michael Moores documentary film Fahrenheit 9/11 and Liz Canners digital video public art project Bridges. Analyzing the artists background, the political context, the intentions behind the project, the visual strategies, and the effectiveness of the work, the thesis concludes that there are barriers to creating works that function catalytically in service of social change. The limits of discourse in democratic societies, the difficulties of developing participatory audiences, the challenges of transforming the projection site into a democratic arena of discourse--these are some of the general factors that inhibit a works effectiveness. The case studies also show that strategies of political subjectivity are needed to counter the official narratives of power, while performance as an activist tactic, particularly if combined with technologies of mass media, engages audiences and helps to break down a separation between entertainment and activism.

<p><italic>The Persistence of Smoke</italic> is a documentary opera. The libretto is based on interviews with various individuals related to the former Liggett and Myers Tobacco Company headquarters in Durham, North Carolina.</p><p>The cigarette industry once dominated Durham, but saw its decline in the 1990s as the link between cancer and smoking became increasingly clear. The American Tobacco Company and the Liggett and Myers Tobacco Company were once the biggest cigarette manufacturers in the city. As these companies left Durham, their factories and tobacco warehouses first sat vacant, but were gradually preserved and transformed into new spaces for offices, apartments and restaurants.</p><p>This project focused on the former Liggett and Myers headquarters along Main Street, a collection of buildings now known as "West Village". I interviewed current and former Durham residents who had a connection with these buildings, including local business representatives, community leaders, former Liggett employees, historians, current residents in the downtown area, municipal urban planners, journalists, and an architect. These interviews were given to local playwright John Justice, who created a libretto based on the themes that emerged.</p><p>The opera's story focuses on Kevin, an architect about to unveil his visionary master plan for redeveloping several defunct cigarette factories in an unnamed city. As Kevin leaves his newly renovated apartment for the press conference, he is confronted by his estranged father Curtis, a former cigarette worker who desperately wants to reconcile and reconnect, deliriously recalling the glory days of tobacco and the money that followed.</p> / Dissertation

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This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquo / s claim of representing reality. Within this respect, documentary has its own particular codes and conventions to construct its factual discourse. Mock-documentary, simulates these codes and conventions to create a fictional world. In this study, mock-documentary and its relationship with the most popular modes of documentary is examined. Within this study the earliest examples of mock-documentary and recent examples of the form are compared, and it is stated that with the recent examples of the form the critical approach of mock-documentary has been reduced.