El objetivo de este trabajo es analizar los aspectos de la narrativa audiovisual de las películas Snowpiercer (2013) y Parasite (2019) de Bong Joon-ho que permiten que se evidencie la diferencia de clases sociales. Este protocolo de investigación tendrá un enfoque metodológico cualitativo y se dividirá en cuatro etapas: durante la primera etapa se identificarán las diferencias sociales en la estructura narrativa de ambas películas; la segunda etapa analizará las diferencias sociales en la construcción de los personajes protagonistas y antagonistas de ambas películas; la tercera etapa se centrará en reconocer cómo las acciones de los personajes anteriormente mencionados evidencian la diferencia de clases sociales; y en la última etapa se buscará establecer cuáles son los recursos narrativos que se utilizan para revelar las diferencias de clases sociales. / The objective of this work is to analyze the aspects of the audiovisual narrative of the films Snowpiercer (2013) and Parasite (2019) by Bong Joon-ho that allow the difference in social classes to be evidenced. This research protocol will have a qualitative methodological approach and will be divided into four stages: during the first stage, the social differences in the narrative structure of both films will be identified; the second stage will analyze the social differences in the construction of the main characters and antagonists of both films; the third stage will focus on recognizing how the actions of the aforementioned characters show the difference in social classes; and in the last stage it will be sought to establish which are the narrative resources that are used to reveal the differences of social classes. / Trabajo de investigación

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This mixed-media memoir uses a variety of forms from short epigrammatic essays to straightforward stories and graphic narratives to explore the author’s coming-of-age experiences augmented by chronic illness. Trying to succeed in the film industry, romance, and family situations, the young female narrator navigates the often unexpected or disappointing consequences of having an autonomic nervous system disorder. Relationships between conflicting identities emerge—between healthy versus sick self, projected/envisioned versus actual self, and tough versus vulnerable self—as the narrator journeys toward a more complete and accepting self-understanding.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen. / In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

This study examines through an equality lens, the lived experiences of nine female leaders in the male-dominated film industry in Sweden. The aim was to explore how women perceived equality in their workplace, their perception of the issue, and the coping strategies used by these women. In-depth interviews were done through a qualitative phenomenological approach. The theoretical framework used in this thesis is gendered organizations by Acker (2012), a social psychological perspective of gender gaps by Garcia and Hanek (2022), and how women can contribute to inequality by Parks-Stamm et al. (2008). I found themes influenced by a gendered industry, including masculine stereotypes and norms that affect employee behavior, and unintentionally contribute to organizational inequality.  My findings illustrate career obstacles for female leaders, in contrast to males who for instance, benefit from brotherhood, and loose requirements such as social skills. To succeed, women must work hard, act suitably, educate- and convince themselves, and use creative tactics for approval. I highlight strategies such as the competitive strategy to become “one of the boys”, and the chameleon strategy by adapting like a stereotypical female or male by mindset, male behaviors, or using male outfits. And specialization strategy, to ally with other women. Strategies were used to get access to particular environments and reach different goals. Two women didn’t experience gender discrimination, and the issue of equality was perceived in various ways. Collaborating with men had mutual benefits, as male mentors were well-intentioned, and male dominance didn’t exclusively drive inequality. My research also revealed contradictions in female rivalry showing disloyalty, abusive, unfavorable, and competitive behaviors rooted in self-protection and limited opportunities. However, the study illuminates the challenges and strategies of female leaders in a male-dominated industry. The women are creative, brave, and inspiring for other women by navigating against all odds in a profession they love.

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Die vorliegende Arbeit vergleicht die Filmförderungssysteme auf Bundesebene in Deutschland und Brasilien. Dia Analyse der gegenwärtigen normativen Strukturen in beiden Ländern umfasst vier Kernpunkte: i - die in den Rechtsinstrumenten zum Ausdruck gebrachten Ziele; ii- die Funktionsweise und Organisationsstruktur der Förderinstitutionen; iii - die Maßnahmen zur Finanzierung der verschiedenen Bereiche der Filmwirtschaft; iv - die rechtlichen Kriterien für die Gewährung von Finanzmittel. Solche Punkte werden als Bestandteile eines Systems von Rechtsnormen verstanden, durch das der Staat das einheimische Kino in beiden Ländern fördert und schützt. Die vergleichende Analyse des deutschen und brasilianischen Rechtssystems berücksichtigt die drei grundlegenden Aspekte eines Films: wirtschaftlich, kulturell und medial. Unterschiede zwischen deutschem und brasilianischem Föderalismus werden ebenfalls berücksichtigt. Ziel dieser Arbeit ist es, zu untersuchen, inwieweit Ziele, Institutionen, Förderarten und Kriterien rechtlich miteinander vereinbar sind und ob die Rechtsstruktur der derzeitigen Filmförderungssysteme den deutschen und den brasilianischen Staaten dazu bringen kann, ihre legalen Zwecke zu erreichen. / O presente trabalho compara os sistemas de incentivo ao cinema em nível federal na Alemanha e no Brasil. A compreensão das atuais estruturas normativas em ambos os países abrange quatro pontos-chave: i- os objetivos expressos nos instrumentos legais; ii- o modo de funcionamento e estrutura organizacional das instituições de incentivo; iii- os tipos de medidas adotadas para o financiamento das diversas áreas da economia do cinema; iv- os critérios adotados para concessão de incentivo. Tais pontos são compreendidos como componentes de um sistema de normas jurídicas por meio das quais o Estado promove e protege o cinema nacional nos dois países. A análise comparativa dos ordenamentos jurídicos alemão e brasileiro leva em conta os três aspectos fundamentais do cinema: econômico, cultural e midiático. Também são consideradas as diferenças entre o federalismo alemão e o federalismo brasileiro. O objetivo desse trabalho é investigar em que medida objetivos, instituições, tipos de incentivo e critérios são juridicamente compatíveis uns com os outros e se a estrutura jurídica dos atuais sistemas de incentivo ao cinema pode conduzir os Estados alemão e brasileiro ao alcance de seus propósitos legais. / The present work compares the cinema incentive systems at the federal level in Germany and Brazil. The analysis of the current normative structures in both countries covers four key points: i- the objectives expressed in the legal instruments; ii- the mode of operation and organizational structure of the incentive institutions; iii- the types of measures adopted to finance the different areas of the cinema economy; iv- the criteria adopted for granting incentives. Such points are understood as components of a system of legal norms through which the State promotes and protects national cinema in both countries. The comparative analysis of the German and Brazilian legal systems takes into account the three fundamental aspects of cinema: economic, cultural and media. Differences between German federalism and Brazilian federalism are also considered. The objective of this work is to investigate to what extent objectives, institutions, types of incentives and criteria are legally compatible with each other and if the legal structure of the current cinema incentive systems can lead the German and Brazilian states to reach their legal purposes.

Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben. / This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.

Questa tesi di dottorato ha l’obiettivo di analizzare i processi attraverso cui individui ed organizzazioni costruiscono la loro posizione e la loro valutazione nel contesto di field istituzionali culturali e creativi. La tesi contiene tre capitoli che rappresentano tre distinti lavori di ricerca. Le analisi empiriche svolte sono incentrate sui settori del cinema (primo capitolo), della quality television (televisione ‘di qualità’, serie televisive) e della musica indipendente negli Stati Uniti. In tutti i lavori di ricerca sono stati utilizzati database longitudinali e metodi quantitativi e qualitativi. Nel primo capitolo, si analizza come gli scandali personali (di natura sessuale e non sessuale) influenzino la costruzione della peer recognition. Si prendono anche in considerazione gli effetti degli stereotipi legati al genere e dei comportamenti orientati alla valorizzazione delle diversità (solidarietà femminile), per comprendere come questi influiscano sulla peer recognition, insieme agli scandali, nell’ambito della valutazione degli attori di Hollywood (candidatura all’Oscar), nel lasso temporale 2003-2018. Nel secondo capitolo, viene teorizzato il processo di nascita e di consolidamento di un field interstiziale (interstitial issue field), attraverso l’analisi del caso del field nato tra la musica indipendente e la quality television negli Stati Uniti, dal 2003 al 2018. Si delineano le caratteristiche della infrastruttura istituzionale del field emerso, si definisce il ruolo lavoro degli attori istituzionali (institutional work) e degli spazi interstiziali (interstitial spaces). Nel terzo capitolo, i field istituzionali della musica indipendente e della quality television sono ulteriormente esaminati, tra il 2013 e il 2018, attraverso una indagine della collaborazione tra i due field, nell’ utilizzo di un album indipendente nella soundtrack di episodi di una serie televisiva. La ricerca mira a comprendere gli effetti della collaborazione sulla valutazione di un prodotto del field della musica indipendente (album indipendenti) che collabora con un field più ‘commerciale’ (quality television). / This doctoral thesis aims at shedding light on the processes by which individuals and organizations negotiate their structure, position, and evaluation, within the context of creative and cultural fields. It contains three chapters that represent three research studies. The empirical analyses undertaken throughout the research pieces are focused on the fields of cinema (first chapter), quality television, and independent music (second and third chapter) in the United States. For all of them, longitudinal databases are employed, and both quantitative and qualitative methodologies are utilized. In the first chapter, the role of personal (sexual and non-sexual) scandals for peer recognition is investigated. The research focuses on how scandals, gender stereotypes, and engagement in diversity-valuing behaviors (female solidarity) affect peer recognition for Hollywood actors (nomination of actors for an Oscar), in the time frame 2003-2018. In the second chapter, the process of emergence and consolidation of an interstitial issue field is theorized, by exploring the case of the field that emerged between indie music and the quality television in the United States from 2003 to 2018. In the analysis, the features of the institutional infrastructure of the emerged field, with the role of institutional actors and of interstitial spaces, are taken into consideration. In the third chapter, the fields of independent music and quality television in the US are further examined, between 2013 and 2018, by focusing on the patterns of evaluation of one field’s products (independent music, independent albums) when this field interacts with the other (quality television) – that is, when independent albums are featured in quality television episodes.

本研究雖非旨在探討如何解決台灣電影產業困境，但不難看出研究最終的結論其實是解決台灣電影產業困境的方法之ㄧ。由於兩岸電影產業多年來缺乏交流，而原因除了中國對於電影的各項發展措施缺乏穩定性及中國電影法規與部門體制異常複雜之外，我們對中國電影之政策法制、市場偏好、產業規模及產業價值鏈知之甚少也是關鍵原因之ㄧ。 故本研究除了探討中國電影發展政策及其法規外，也以波特的五力分析模型探討兩岸電影產業的各個競爭面向，加上學者的產業研究及產業數據分析，用以回應本文欲探討的兩個問題包括: 1.中國在電影產業上之發展策略對台灣的機會與挑戰為何? 2.針對中國發展策略對台灣的機會與挑戰，台灣電影產業應採取哪些應變措施? 由本研究結果可看出，由於中國電影發展政策的影響，使得中國電影產業的替代品威脅遠較台灣電影產業低，但若台灣能夠與中國電影產業採取跨國合作的方式，爭取製作合拍片的機會，則可化危機為轉機，使台灣電影產業能夠走出市場狹小及人才不足的問題，並排除中國與香港簽訂CEPA後所帶來的華語合拍片的威脅。 關鍵詞:中國電影發展策略、電影產業、波特五力分析 / Though the purpose of this study is not to solve the current predicament of the film industry in Taiwan, it is obvious that the result of this research is one of the solutions of current situation. The insufficient communications between the film industry in Taiwan and mainland China is because that the developing policies of film are unable and the regulations and sections regard to the films are extremely complicated in China. In addition, we are not familiar with the film making policy, market tastes, industrial scale, and industrial value chain in China as well. Therefore, except for identifying the film developing policy and related regulations in China, this study also probed into the competitive factors of the film industries cross-Strait with Michael Porter's Five Forces Model and combined with the academic industrial research and data analysis to figure out the two topics of this study: 1. What are the opportunity and challenge of Taiwan to the developing strategy of the film industry in China? 2. What kinds of response measures should the film industry in Taiwan take to encounter the opportunity and challenge caused by the developing strategy of the film industry in China? The research result suggest that due to the influence of the film developing policy in China, the threat of substitution of the film industry in China is much lower than it is in Taiwan. However, if the film industries in Taiwan and China are able to cooperate and strive for the opportunity of film shooting, the crisis may be altered to a favorable turn, which allows the film industry in Taiwan to solve the problem of tiny market and insufficient human resource, and eliminate the threat of co-shooting of Chinese movies caused by the CEPA signed by China and Hong Kong. Keywords: developing strategy of film in China, film industry, Michael Porter's Five Forces Model.