Tutta Rolf’s career. Rolf was one of the greatest stars in 1930s Swedish cinema. She was also a popular stage actress, vaudeville performer and recording artist. Despite her prominence she has been largely neglected in scholarly work. This thesis aim to bring new knowledge about this underresearched star by conducting basic research. I situate her within the field of star studies by deploying Richard Dyer’s influential theory to abstract a method on how to look at the praxis of Tutta Rolf’s stardom. Thus, I deploy her films, newspapers, Filmjournalen and archival material to tell the story of her early career. My basic assumption, i.e. hypothesis is that there existed a Swedish star system in the 1930s. Earlier there has been a lack of research regarding a potential Swedish star system. Hence, this is an inductive study that will try to bring forward new knowledge about Tutta Rolf, Swedish stardom and its star system that may be used for future research.

The primary target for this thesis is to examine what characterizes Nordic slasher films. When the subgenre became successful in North America in the beginning of the 1980’s, the genre was almost nonexistent in the Nordic countries. When a boom of horror films emerged in the beginning of the new millennium almost every Nordic country within a couple of years had produced at least one slasher film each. To outline the purpose of this essay three research questions have been formed: (1) how do gender roles differ? (2) what narrative and stylistic features are used in the films? (3) how is gender specific violence represented? Since the essay aims at defining Nordic slasher films and not a specific country, at least one film from every Nordic country has been employed as a case study. Sweden is represented by Camp Slaughter (Martin Munthe, 2004) and The Drowning Ghost (Strandvaskaren, Mikael Håfström, 2004), Iceland by Reykjavik Whale Watching Massacre (Júlíus Kemp, 2009), which is the country´s very first horror film, Denmark by Room 205 (Kollegiet, Martin Barnewitz), Norway, where most of the horror films from this period were produced, by Cold Prey (Fritt vilt, Roar Uthaug, 2006), Cold Prey 2 (Fritt vilt II, Mats Stenberg, 2008) and Manhunt (Rovdyr, Patrik Syversen, 2008) while Finland is represented by Lake Bodom (Bodom, Taneli Mustonen, 2016). The analysis is based on research about the slasher films produced in North America, where the authors have pointed out two particular cycles: the classical, which extends from 1974 to 1996, and the postmodern which began with Scream in 1996. The Nordic slasher films are produced in the postmodern cycle, but, based on comments and the few surveys that have been done, the films are highly influenced by the classical genre cycle. My study shows that the Nordic slasher films employ conventions and features from both the North American cycles, but differ for various other reasons. First, the killer is not per se the main antagonist per se, he is just an extension of Nordic nature which is the real threat. Moreover, the last surviving character, the one who famously has been called the “final girl” (Clover), is represented in a more progressive manner, not being punished for having sex, drinking alcohol and doing drugs. And, finally, my thesis shows that there is no gender bias with regards to violence against individuals.

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<p> </p><p><strong>Abstract</strong></p><p>The focus of this essay is the american director Wes Anderson and the use of colour in his films. I also put some focus on colour as a neglected element in film studies, and what has caused this neglect. In my own research, I have analysed three of Anderson's films: <em>Bottle Rocket</em> (1996), <em>The Royal Tenenbaums</em> (2001) and <em>The Darjeeling Limited</em> (2007). To get a broad sense of a films use of colour, I have investigated the colour scheme, the colours of the costumes, as well as colour patterns. I have also interpreted the symbolism related to certain colours and then used the results of the analyses to answer the question; "how does Wes Anderson use colour, and in which film is this most apparent?" A very generalizing answer to this question, is that Anderson use colour as a means of signifying the characters' feelings and ambitions, and also their relations to the themes of the films. He does this by connecting symbolic values to certain colours and makes these colours stand out in certain scenes and in the characters' clothes. The film that best shows this use of colour is <em>The Royal Tenenbaums</em>. In short, this essay will hopefully bring some understanding of how colours are used in the films of Wes Anderson, but also open up the eyes of the readers to the importance of the neglected element itself; colour.</p><p> </p>

Abstract The focus of this essay is the american director Wes Anderson and the use of colour in his films. I also put some focus on colour as a neglected element in film studies, and what has caused this neglect. In my own research, I have analysed three of Anderson's films: Bottle Rocket (1996), The Royal Tenenbaums (2001) and The Darjeeling Limited (2007). To get a broad sense of a films use of colour, I have investigated the colour scheme, the colours of the costumes, as well as colour patterns. I have also interpreted the symbolism related to certain colours and then used the results of the analyses to answer the question; "how does Wes Anderson use colour, and in which film is this most apparent?" A very generalizing answer to this question, is that Anderson use colour as a means of signifying the characters' feelings and ambitions, and also their relations to the themes of the films. He does this by connecting symbolic values to certain colours and makes these colours stand out in certain scenes and in the characters' clothes. The film that best shows this use of colour is The Royal Tenenbaums. In short, this essay will hopefully bring some understanding of how colours are used in the films of Wes Anderson, but also open up the eyes of the readers to the importance of the neglected element itself; colour.

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This bachelor thesis takes the quality term about film from the Swedish Film institute’s founder, Harry Schein and puts it in a historical and present context. Quality films as Schein puts it will be analysed in relation to SFI and Folkets Bio’s national and local association, and through this the relationship between SFI and Folkets Bio will indirectly be analysed. To do this I had to put both SFI and Folkets Bio in a historical and present context where the quality term is in focus since the 1960s. The quality term is further explained with a couple of auteur theories by different film theorists because of the term’s close connection to one of Sweden’s or the world’s most recognizible auteurs, Ingmar Bergman. Because of Folkets Bio’s usage of the term in later years I found it to be a fleeting one that in the 1960s was not close to Folkets Bio, but has changed and is today a big talking point of the association. This allowed me to make a reception study based on reviews from film critics of different news outlets. Based on the insights of Janet Staiger’s reception theory on how film critics review art and avant-garde cinema, I picked three films that were distributed by Folkets Bio’s national association and screened at the local association of Växjö, Sweden. I also use interviews with two people working in the local association and the audience count for the three films that are analysed. My intention with this is to see how both the population and the local association of Växjö look at quality film. What I found was that the local association in Växjö did not want to market the films they are showing as quality film because of the term’s exclusion as something that is high cultured and not for the ”people” which Folkets Bio was meant for in their beginning in the 1970s.

<p>One of the characteristics of film viewing since the beginning is the reaction film causes in the audience. This emotional reaction puzzles me. The aim of this study is to discover how film conveys emotions to the viewer and how these emotions are triggered. Film viewing has an emotional response often expressed by the viewer whether the film was good or not. What is it that makes it so appealing to our emotions?</p><p>In order to find an answer I have looked through the theories of Greg M. Smith, Annette Kuhn, Allan Casebier and Colin McGinn, among others, to unveil how this emotions emerge. These theories approach the emotions in different ways giving a wider view of how emotions emerge during the film viewing. Personally, I am emotionally attracted to black and white Mexican films from the 40’s and 50’s and based the analysis on some of this films.</p><p>After analysing Mexican films from the 40’s and 50’s I have come to the conclusion that the emotional reaction can be analysed by filmic tools such as the mood-cue system or the reading of thresholds and boarders, among others. The sum of visual, aural, narrative, movement among other elements together trigger emotions expressed depending of one’s own beliefs. Films have developed a wide range of ways to cue the viewer to a certain response and enhance determined emotions. The emotional response is however strongly linked to the individual background of the viewer and its beliefs. This makes a general reading not always easy to predict.</p>

<p>Split-screen innebär att filmduken är uppdelad i flera delar. Uppsatsen behandlar</p><p>filmer där subjektiva upplevelser beskrivs med hjälp av split-screen. Det är ett berättande utifrån en karaktär. En subjektiv upplevelse kan vara en dröm, en hallinucation, ett minne, eller förnimmelse. Split-screen har funnits sen filmens begynnelse och haft sina glansdagar på bland annat 1910-talet och 1970-talet. I och med datorerna är det lättare att skapa split-screeneffekter Vi som publik är också mer vana vid flera datorfönster och bildrutor samtidigt. Split-screen har kommit in i en ny glansdager era. Det finns ett flertal filmer som använder sig av split-screen för att skildra subjektiva upplevelser. Uppsatsens metod är att lyfta fram exempel då det fungerar med split-screen och subjektiva upplevelser.</p>

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