The endeavour for gender equality and against gender-based patterns (stereotypes) are topics often discussed in relation to education. Correspondingly, extensive research on textbooks used in schools around the world has been conducted, some of which include the aspect of people beyond the binary. Research shows reinforcement of gender stereotypes and low visibility of females, and an absence of non-binary people. However, some research seems to indicate a change towards a more equal representation, hence the need for continuous research on the topic. In Sweden, there has been a statement in the steering documents about equality in rights and opportunities between men and women since the nineties. Since then, equality has been given greater prominence in the curriculum provided by the Swedish National Agency for Education (Skolverket). However, in the latest edition, the statement has been reformulated, and a gender- inclusive approach has been adopted as it now applies to all students, regardless of their gender identity. Additionally, Skolverket (2022) notes that schools are obliged to contribute to students’ digital competence, which can be done with the use of digital learning materials (DLM). Therefore, the present study seeks to investigate how gender within and beyond the binary is represented in a newly produced DLM called Digilär and to see whether it corresponds to the curriculum by counteracting gender-based stereotypes. To achieve the aim, a content analysis of the DLM is carried through. Furthermore, to deepen the analysis, and produce more valid results, all verbs used to describe characters’ activities and all adjectives used to characterise and portray them were noted and categorised by semantic type following Dixon’s (2005) typology. The findings show a non-existent representation of people beyond the binary, with the exception of groups or individuals without expressed gender. Moreover, male characters are precisely double the number of female characters which demonstrates imbalanced gender representation. Additionally, the findings generally showcase gender-based stereotypes being reinforced.

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Följande uppsats kommer att fokusera på relationen mellan Quentin Tarantino och blaxploitation, och syftet med uppsatsen är att undersöka huruvida Tarantino väljer att representera sina svarta kvinnliga huvudkaraktärer annorlunda i sina blaxploitation-influerade filmer Jackie Brown (1997) och Django Unchained (2012) i jämförelse med representationen av svarta kvinnliga huvudkaraktärer i två av de mest kända blaxploitationfilmerna från 1970-talet, Coffy (1973) och Foxy Brown (1974). Den grundläggande teorin för uppsatsen är den feministiska filmteorin, men andra texter som berör representationen av kvinnor och specifikt svarta kvinnor på film är lika väsentliga. Mitt tillvägagångssätt för att besvara uppsatsens frågeställningar är att genom närläsning av de utvalda filmerna samt deras respektive kvinnliga karaktärer, med understöd av relevant litteratur och teorier, göra en jämförande analys. Slutresultatet visar att Tarantino i och med filmen Jackie Brown lyckas utveckla den svarta och starka kvinnliga karaktären från blaxploitation dock utan att föra vidare undergenrens problematiska sexualisering av kvinnokroppen. Däremot lyckas han inte lika bra i samband med Django Unchained, där den kvinnliga, ofta hjälplösa, huvudkaraktären främst visas som antingen någonting vackert eller någon som plågas för andras njutning.

Svenska företag står inför stora marknadsförändringar i takt med att modern teknik, sociala strukturer och den etniska sammansättningen i samhället förändras. Ett sätt att arbeta med dessa förändringar är att öka mångfalden på arbetsplatsen genom inkluderande verksamhet. Detta arbete ska ge en nulägesanalys av graden av mångfald på Holmen Skog, som i sin tur kan ligga till grund för en fortsatt ökad förståelse kring begreppen och skapa förutsättningar att bedriva inkluderande verksamhet. / Swedish companies are facing major market changes as modern technology, social structures and the ethnic makeup in society is changing. One way of working with these changes is to increase diversity within the workplace though inclusiveness. This essay gives a current situation assessment of the degree of diversity within Holmen Skog, which in turn can form the foundation for an increased understanding of the concepts surrounding diversity and create pre-requisites to conduct inclusiveness in the workplace.

The purpose of this study is to compare the contents, editorials and front covers of Sweden’s oldest girl’s magazine Veckorevyn during two different years, in which the magazine had two very different chief editors. In the year 2000, Emma Hamberg got the job as editor-in-chief for Veckorevyn, with a vision of changing the way the magazine represented young females. She wanted to add a more feminist viewpoint to the magazine, since she felt that Veckorevyn didn’t live up to its claim of being “a girl’s best friend”. Six years later, the famous Swedish fashion editor Ebba von Sydow became editor-in-chief for Veckorevyn, with the intention of making the magazine better, smarter and more fun for young girls. Her ambition was also to add more features about career and affordable fashion, since she felt that those topics were important for young women of today. Since these two editor-in-chiefs wanted to do so different things with Veckorevyn, we found it interesting to try to pinpoint what their differences and similarities as editors-in-chief were and how this was reflected in the magazines. The methods used were quantitative content analysis and qualitative text analysis, together with a comparative analysis between the two annual volumes. We also did interviews with the two former editors-in-chiefs, Emma Hamberg and Ebba von Sydow to get a clearer image of what they wanted to do with the magazine and how well they thought that they reached their goals. As guidelines for the study, we used theories about the survival techniques used by female journalists, feminism, personification, the male gaze and the female gaze. We found that the two versions of Veckorevyn were similar in which subjects they chose to write about. Both versions had a content based mostly on fashion, beauty, and celebrities. However, we found a noticeable difference in how they wrote about these subjects. Other differences were found in how the editorials were written, and in the choice of what kind of people got to appear on the front covers.

The following thesis is dedicated to the investigation of the comparative gender discourse of two of the current South American female Presidents: Michelle Bachelet, the first woman elected President in Chile for a four year term, in 2006 and Cristina Fernández de Kirchner, the first woman elected President in Argentina also for a four year term, but in 2007. Using secondary sources and critical discourse analysis, the study attempts to characterize their agenda on gender both before and after their election campaigns. Recognizing that a candidate must balance between many actors, as one of the principles of social constructivism runs, the essay presents a short history of the feminist movement in both countries and the current state that the movement finds itself in, either institutionalized or absorbed and fragmented by party politics. The conclusions that the study arrives to are that, of the two subjects, the one who has presented a more concrete and convincing stand on gender thanks to her political views, the space created for feminism by her coalition and the climate of her country, is Michelle Bachelet.

This study explores how contemporary Afrikaans churches represent gender in their visual culture. For these purposes, a Barthean semiotic analysis is done on visual material produced between 2007 and 2008 by three Afrikaans corporate churches in the Pretoria- Centurion area, namely the Dutch Reformed congregations Moreletapark and kerksondermure (“church without walls”), and Doxa Deo’s Brooklyn and East campuses – Afrikaans Apostolic Faith Mission congregations. The analysis seeks to demystify and denaturalise the material’s potentially mythical, ideological and hegemonic underpinnings. Operating from an interdisciplinary theoretical framework comprising aspects of Visual Culture Studies and Gender Studies, this study primarily provides a focused analysis of the representation of men and masculinity in the selected churches according to three themes, namely professional occupation and leadership; physical activity and adventurism; and fatherhood. This focus was adopted owing to the lack of available literature on men and masculinity in the church and Christianity, as opposed to the more ready availability of research on women and femininity. The representation of gender in Moreletapark, kerksondermure and Doxa Deo is conceptualised in broad terms through a comparison of the representation of masculinity with femininity as its foil. In this regard gender is analysed in the three churches according to notions of gendered ontology and matters of work, marriage and family. Exscripted, or non-represented, themes are also problematised. It is argued that the churches under investigation represent gender in dualistic, essentialist and often stereotypical terms. This particular depiction of gender attests to the churches‟ participation in the biological essentialising of gender, polarising men and women into strict binary dualisms, whilst also visually denying the existence of homosexuality and alternative sexualities. This tendency is problematic, not only because it fails to provide a realistic portrayal of men and women in the three churches, but also because it visually participates in conservative and fundamentalist gender discourses. / Dissertation (MA)--University of Pretoria, 2013. / Visual Arts / unrestricted

Au XXIe siècle, les images sont partout. Les avancées technologiques rendent aujourd’hui la fabrication et la distribution des images accessibles à tous, et le temps passé devant les écrans ne cesse de croitre. Pourtant, malgré cette omniprésence, le besoin d’une éducation à l’image n’est pas encore ressenti. Alors que le cheminement scolaire veille à l’enseignement écrit, l’éducation visuelle semble être oubliée, notamment par le système d’éducation québécois. Face à ce problème, j’ai voulu explorer les capacités du cinéma comme outil dans l’enseignement de la littératie visuelle dans un mémoire de recherche-création. Ainsi, dans la première section, les concepts de littératie visuelle et de pensée critique sont définis et analysés, et leur place au sein du système d’éducation est examinée. La deuxième section traite du cinéma, notamment en tant que langage enseignable. La troisième partie couvre, sous divers angles, l’influence des images chez les spectateurs. La quatrième section offre quant à elle une réflexion sur la représentation des genres et son action sur les spectateurs du point de vue des goûts et du rapport aux genres. Enfin, la dernière section présente l’exercice pédagogique à la base de la création accompagnant ce mémoire. Cette création documentaire permet d’observer le processus d’apprentissage de participants dans leur processus d’exercice pédagogique et le développement d’une littératie visuelle. La double mise en abyme offre une opportunité de réfléchir à la capacité du cinéma comme moteur d’apprentissage face aux images. / In the 21st century, images are everywhere. Technological advances have made the production and distribution of visual media accessible to everyone; the time spent in front of screens keeps increasing. Yet, despite this ubiquity, the need for a visual education has not been felt. While the Quebec education system focuses on written language, the visual language seems to have been left apart. In light of this problem, this research-creation thesis intends to explore the potential of cinema to be a relevant tool for visual literacy. In the first section, I offer a definition and an analysis of the concepts of visual literacy and critical thinking, and examine their place in the Quebec education system. The second section covers how cinema can be considered as a teachable language. In the third section, I show different ways in which images can influence viewers. The fourth section reflects on how those influences affect the tastes and opinions regarding gender. As for the last section, it is a description of the pedagogical exercise created for this study. This written part is completed by a creation. My documentary film brings further reflections on visual literacy and how it can be acquired by the participants of the pedagogical exercise. This mise en abyme allows the viewer to look at how cinema can be a vector of learning in the face of visual media.

Syftet med uppsatsen är att belysa hur kvinnoideal och värderingar reproduceras på Instagram genom att undersöka hur de gestaltas i reklamfilm som använder influencer marketing. Genom att analysera och jämföra den visuella gestaltningen med det verbalt uttryckta i samband med betalda samarbeten kan frågeställningarna besvaras. 1) Vilka likheter och skillnader finns mellan det visuella och det verbala framställandet av kvinnoideal och värderingar i betalda influensersamarbeten? 2) På vilket sätt använder sig företagen av influencers uttalade ideal och värderingar i reklam?  De teoretiska utgångspunkterna har behandlat skapandet av influencers, förtroendet till influencers, feministisk teori och marknadsföring, feministisk blickteori, Goffmans teori om könsframställning samt gestaltningskomponenterna. I studien har jag utifrån denna teoretiska ram och en semiotisk innehållsanalys analyserat två reklamfilmer från de svenska företagen Aimn och Deodoc som använder influencer marketing publicerade på Instagram. Därefter har jag jämfört det visuella materialet med verbalt material i form av de medverkande influencers uttalade åsikter som de yttrat i reklam för respektive företag. I min analys av det rörliga materialet är underordning och en sexualiserad bild av kvinnan frekvent förekommande i porträtteringen. I Aimns video användes ofta en ovanifrån-vinkel och ifråntagandet av blicken som förminskar och underordnar objektet i relation till betraktaren. I Deodocs video användes en neutral kameravinkel och hon har en blick som möter kameran, på så sätt en kontroll av sin egen blick och en mer jämställd maktrelation till betraktaren. Beröring användes både i syftet att uttrycka ömtålighet och styrka i båda reklamfilmerna. I det verbala materialet användes starka ord och värderingar som anspelade på en stolt och stark kvinna. Dessutom uttrycktes ett värde i att vara naturlig och ”som man är” i det verbala materialet medan det visuella uttryckte en iscensättning och idealet som en fixad attraktiv kvinna. Resultatet tyder alltså på att de två kvinnliga influencerna gestaltades olika i den visuella och verbala gestaltningen.  På frågeställning ett kunde slutsatsen dras att i Deodocs video överensstämmer värderingarna även om företaget prioriterat en visuellt snygg scen där Bianca Ingrosso sexualiseras snarare än porträtteras som naturlig. Verbalt lyfter man i kampanjen menstruation som något naturligt som ingen bör skämmas för men i det den visuella gestaltningen görs detta på ett attraktivt sätt. I Aimns video så har slutsatsen för den första frågeställningen dragits att videon visuellt anspelar på kroppen som ett objekt medan influencern Nicole Falciani verbalt uttalar sig om insidan och vad kroppen kan göra som det viktiga. På den andra frågeställningen om hur företag använder sig av influencers unika och förtroendeingivande särställning i reklam har slutsatsen dragit att dessa företag har använt en influencer för att skapa förtroende och tillit till företaget och budskapet. / The purpose of this essay is to examine how women's ideals and values are reproduced on Instagram by examining how they are embodied in commercials that use influencer marketing. By analyzing and comparing the visual design with the verbally expressed within a paid collaboration, the questions can be answered: 1) What are the similarities and differences between the visual and the verbal presentation of women's ideals and values in paid influencer collaborations? 2) In what way do companies use influencers' stated ideals and values in advertising? The theoretical basis explains the creation of influencers, trust for influencers, in addition to a feminist theory, marketing, feminist gaze theory, Goffman's theory of gender representation and the design components. The study uses semiotic content analysis to analyze two commercials from the Swedish companies Aimn and Deodoc that uses influencer marketing published on Instagram. Then I compared the visual material with the verbal material in the form of the participating influencers' expressed opinions that they expressed in advertising for each company. In my analysis of the visual material, subordination and a sexualized image of the woman are frequent in the portrayal. Aimn's video frequently uses a camera angle from above and presents Nicole without a gaze which diminishes and subordinates her in relation to the observer. In Deodoc’s video, a neutral camera angle is used and Bianca is given a gaze that meets the camera, thus she owns her gaze and has equal power relationship to the viewer. Touch was used both to express fragility and strength in both commercials. In the verbal material, strong words and values which alluded to a proud and strong woman were used. Additionally, a value in being natural was expressed in the verbal material while the visual expressed a staging and the ideal of a fixed attractive woman. The results thus indicate that the two female influencers were portrayed differently in the visual and verbal portrayal. To answer the first question, it could be concluded that in Deodoc's video, the values are consistent even if the company prioritizes a visually attractive scene where Bianca is sexualized rather than portrayed as natural. Verbally, the campaign shows menstruation as something natural that no one should be ashamed of, but in the visual design, this is done attractively. In Aimn's video, the conclusion for the first question has been drawn that the video visually alludes to the body as an object while the influencer Nicole Falciani verbally speaks about the inside and what the body can do as the most important. To answer the second question about how companies use influencers' unique and trustworthy position in advertising, it has been concluded that these companies have used an influencer to create trust and confidence in the company and the message.

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