The diploma thesis concerns 1918-2017 stagings and adaptations of Strakonický dudák. We continue in the bachelor´s thesis Character of a bagpiper in 19th century Czech literature, a comparison with Pitinský's 2013 staging of Strakonický dudák. The aim of the diploma thesis is to show the changes in the attitude towards Tyl´s drama Strakonický dudák (1847) during the 20th and the beginning of the 21st century. On the basis of the interpretation of Tyl´s text we analyse chosen adaptations and stagings and we compare the main topics with Tyl´s version. In the first part we are concerned with interpretation of film adaptations of Tyl´s drama from 1937 to 1955. We examine different approaches to the theme and the way it is affected by socio-political situation. In the second part we deal with theatre stagings of Strakonický dudák. First, we deal with the position of theatre since the 1950s and with the demands on the adaptation on Tyl´s play. By means of interpretation of 1980-2006 stagings of Strakonický dudák we follow the shift from the adaptation based on Zdeněk Nejedlý´s thoughts to distinctive and original adaptations which offer current topics

<p>In this thesis I have done a discourse analysis of the documentary movie <em>A Jihad for Love</em>. <em>A Jihad for Love </em>came out 2007 and is directed by Parvez Sharma. The documentary movie is about homosexual Muslims and their jihad, struggle, for love and to be accepted in a world where they are barely recognized as a group. My aim of the thesis was to see how the movie portrays the persons who are in the film and their relationship to Islam and who gets access to the religion. I have also analyzed if Islam can be used to strengthen the sexual identity or if it works in the opposite way. I have used the theoretical instrument of intersectionality and religious proximity with a gender perspective with focus on sexuality and religion to analyze my material.</p><p>My conclusions of the thesis are that the men in the movie are often more portrayed as active subjects that can use the religion as a tool to strengthen the sexuality. The women are more portrayed as inactive objects that cannot use the religion to strengthen their sexual identity because of different power axes, like gender and sexuality, which collide and with each other. Another conclusion is that men have a higher grade of religious proximity which makes them closer to God, whereas the women traditionally don’t have the same closeness to God and cannot therefore have the same power in the religious hierarchy.</p><p> </p>

In this thesis I have done a discourse analysis of the documentary movie A Jihad for Love. A Jihad for Love came out 2007 and is directed by Parvez Sharma. The documentary movie is about homosexual Muslims and their jihad, struggle, for love and to be accepted in a world where they are barely recognized as a group. My aim of the thesis was to see how the movie portrays the persons who are in the film and their relationship to Islam and who gets access to the religion. I have also analyzed if Islam can be used to strengthen the sexual identity or if it works in the opposite way. I have used the theoretical instrument of intersectionality and religious proximity with a gender perspective with focus on sexuality and religion to analyze my material. My conclusions of the thesis are that the men in the movie are often more portrayed as active subjects that can use the religion as a tool to strengthen the sexuality. The women are more portrayed as inactive objects that cannot use the religion to strengthen their sexual identity because of different power axes, like gender and sexuality, which collide and with each other. Another conclusion is that men have a higher grade of religious proximity which makes them closer to God, whereas the women traditionally don’t have the same closeness to God and cannot therefore have the same power in the religious hierarchy.

The aim of this paper is to investigate what part film music plays in the creation of stereo-types in the production of Swedish cinema, in the 1990s and early 2000s. This period of Swedish cinema was largely defined through the visualization of life in the smaller provinces of the country. The results were reached through the analyzing of four important works of this era, representing different provinces and genres. The examined movies have shown frequent use of extreme characters and a somewhat hostile environment in search of an interesting story. The music is used in ways of describing class differences amongst the inhabitants and to set the gen-eral mood of the concerned provinces: an agent often working in the unconscious of the viewer in order to affect the final results.

Movie and literary tourism is a genre that has been recognized around the world for a long time but that has only recently got a grip on Sweden. More and more famous books are being cinematized and because of the success of these movies we can now walk in the traces of Wallander as well as the Millenniummovies. The focus of this study is mainly about the tourists’ motivation when it comes to this form of tourism and the purpose is to try understand what needs come in to play when a movie and literary tourism attraction is chosen. The study objects are two movie and literary walks which are based on books and movies with a fictitious storyline. The performed research was based on a multiple strategy with the qualitative method - consisting of respondent and informant interviews - in focus and the quantitative investigation - in the form of an one-page questionnaire - more as a complement. On the basis of the most fundamental theory of motivation in general (Maslow, 1970) and the tourism research’s more specific travel motivation theory (Pearce, 2005), the conditions for movie and literature as sorts of tourism have been made clear. Additionally, with the help of an additional motivation theory as well as several articles within the area of movie and literary tourism, this study has made an attempt to reach a more narrow theory for movie and literary tourism. The results from the research show that movie and literary tourism is a highly qualified tourism genre where the visitors’ needs are highly set and the motivation is primarily focused on self-development and the experience of new things. Also the possibility to exchange reality for a fictional surrounding and getting the opportunity to fantasize are highly prioritized motivation aspects. Movie and literary tourism is a big future area within the tourism industry, but before its potential can be fully understood and exploited, more research is needed. / Film- och litteraturturism är en genre som länge haft stort underlag i utlandet, men som först på senare år har fått fäste även i Sverige. Allt fler kända verk filmatiseras och blir till succéer och som en följd av detta kan vi idag vandra i så väl Wallanders som i Millenniumfilmernas spår. I denna studie ligger koncentrationen främst på turisternas motivation när det kommer till denna form av turism och syftet är att försöka förstå vilka behovsaspekter som spelar in när attraktioner baserade på film- och litteratur väljs. Fokus ligger på två film- och litteraturvandringar vilka bygger på böcker och filmer vars handlingar är rent fiktiva. Studien som utförts bygger på en flerfaldig strategi med den kvalitativa metoden – bestående av respondent och informantintervjuer - i fokus och den kvantitativa undersökningen – i form av en kortare enkät - mer som ett komplement. Utifrån den mest grundläggande teorin för motivation i allmänhet (Maslow, 1970) och turismforskningens mer specifika resemotivationsteori (Pearce, 2005) så har förutsättningarna för film och litteratur som turismart klarlagts, och med hjälp av ytterligare en motivationsteori samt flera artiklar inom området film- och litteraturturism har denna studie gjort ett försök i att nå fram till en mer avsmalnad teori kring just film- och litteraturturism. Resultatet av studien visar på att film- och litteraturturism är en högkvalificerad turismgenre där besökarnas behov är högt ställda och motivationen i första hand ligger i att utveckla sig själv och uppleva nya saker. Även möjligheten att byta ut verkligheten mot en påhittad omgivning och att få tillfälle att fantisera sig bort är högprioriterade motivationsaspekter. Film- och litteraturturism är ett stort framtida område inom turismen, men innan dess potential kan förstås och utnyttjas till fullo krävs mer forskning.

Posters had their breakthrough in 1830-1840’s all thanks to the lithographic printing technique. The poster was used as an advertising tool. In this essay, we have looked at which semiotic and rhetorical elements that are found in today’s Swedish movie posters. What kind of image and text elements does the poster use and with what function? With what and how do they persuade the audience that the movies are interesting and worth seeing? We have taken the most popular Swedish movies between 2001 and 2010, one for each year, going by the statistic found at the website of the Swedish Film Institute. We have first analyzed using a semiotic perspective (signs, codes, denotation, connotation and myth combined with Giddens´ lifestyle sectors). Then we have used a rhetorical perspective using the three persuasion categories: ethos (credibility), logos (logical) and pathos (emotional). The posters vary in their way of using different elements and tactics trying to interest audiences and communicate the intended information. Iconic pictures of people are important carriers of emotional bound codes. Symbolic signs communicate the title and names of participators. Some posters rely on the names of the actors and writers (ethos) while others focus on communicating the story (logos). Pathos is used to set the mood to connotate the genre. Every poster has its strengths and weaknesses. Promoting the strengths in the right way and finding a balance is key.

Introduction Movies are considered entertainment goods. Entertainment is one of the experience industries. Intangibility, perishability and heterogeneity are the most significant characteristics of the movie industry. An emotional reaction of consumers cannot be calculated in the same sense that most other physical goods can. If the movie succeeded in meeting the expectations, ticket price decreases will not necessarily indicate further purchases in the future. There are high risks and uncertainty in the movie industry. Purpose The purpose of this paper is to define through a hedonic price theory establishing whether the recognition is a significant factor to the global success of movies. The global success of the movies is determined by the global box office revenue. There are eight independent variables tested in this paper: global movie popularity, global popularity of the directors, global popularity of the authors, fame (determined by wining Academy Award), major studios, sequel, family genre and animation genre. Only one control variable, which is year of release, is included. Method The paper uses empirical model and the data set along with the results of the empirical analysis to achieve the purpose. Only secondary data were collected for the paper. Conclusion To reduce uncertainty in movie industry box office revenue, according to the data collected, recognition is significant to the consumers’ willingness to pay. The willingness to pay is determined by the global box office revenue. Only four independent variables, namely: sequels, Academy Award, the global popularity of the directors and the global popularity of the authors of the original script, are significant recognition factors to the global box office revenue. Movie producers shall be aware that consumers have to make sure utility gained from the consumption exceeds the costs in order to make purchases. Based on the sample collected, it can be summarized that consumers of the movie industry in general rely on previous consumption and recognition to reduce risks and uncertainty in terms of making purchases.

The aim of the present study was to investigate the effect of cinematherapy and its interaction with subjective well-being levels on self-perception and its dimensions. Additionally, the study aimed to select cinematherapy movies in accordance with self-perception dimensions, and their therapeutic functions. Moreover, the role of cognitive-emotional identification beside similarity identification was investigated. Three conditions were constructed by clinical and non-clinical samples consisted of 34 participants aged between 15 and 18. Clinical cinematherapy condition was composed of 10 out-patient psychiatric participants, and 24 high school students were assigned to non-clinical cinematherapy and control conditions. Cinematherapy conditions received 3-session cinematherapy intervention in which viewing and elaboration of cinematherapy movies took place. Control condition watched episodes of a documentary with no elaboration part. According to results, in pre-treatment measures, clinical sample had more negative self-perception and self-concept scores in scholastic competence, physical appearance, and global self-worth than non-clinical sample. Additionally, clinical sample had lower levels of subjective well-being than non-clinical sample. As a result of cinematherapy application, athletic competence positively changed in non-clinical sample. Besides, cinematherapy positively affected self-perceptions of participants with low levels of subjective well-being in clinical sample. For participants with low subjective well-being levels in non-clinical cinematherapy condition, athletic competence increased while global self-worth decreased. According to identification results, cinematherapy conditions had higher similarity identification scores than control condition and non-clinical cinematherapy condition had higher fictional involvement scores than clinical cinematherapy condition. The applications and findings were discussed in terms of sample characteristics and cinematherapy procedures.

Abstract Headline: Young trouble and teenage love (Fjortisgrubbel och tonårskärlek) Number of pages: 37 Author: Annika Ilmoni Tutor: Amelie Hössjer Course: Media and communication C Period: Autumn 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University Purpose/aim: The purpose of the work was to produce a comparing study of two Swedish teenage films from different periods of time, 1970 and 2005. An analysis was to be made of how love between teenagers as well as the heterosexual relationship in general was depicted in each of the films and further investigate the gender construction in both films. Material/method: With the intention of narrowing down the complexity and make the evaluation more lucid 5 scenes from each film were used for comparison, these were chosen through the Anglo Saxon dramaturgy. To make the scenes more comparable 4 factors were used for analysis in each scene, these were: clothes, recreational activities, behaviour and environment. Beside the above given factors the heterosexual relationship were analysed and compared in each of the scenes through the theory of dominance in dialogue. Main results: The gender construction occurs obliviously in the older film from 1970 while taking place in a more conscious way in the film from 2005. Further on the heterosexual relationship is perpetually depicted in the 70’s film with a submissive girl and predominant boy, the same dominance is easily seen in the more recent film but with a higher rate of equality as the girl is portrayed as the dominant character in almost half of all scenes. A general note for the comparison of the two films is that a consciousness of gender construction does not lead to a direct elimination of these. Keywords: Teenage movie, post-modern feminism, gender construction, heterosexual relationship

Le présent mémoire se propose de démontrer l’impossible concrétisation du « mythe de la disruption numérique d’Hollywood » tel que décrit par Kira Kitsopanidou et, par extension, l’augmentation de la diversité cinématographique en salles due à l’arrivée de la technologie numérique. Ce mythe, qui entretient l’idée de la mort d’Hollywood, a été véhiculé par certains textes (dont plusieurs provenant des médias de masse) qui participent à ce que nous pourrions appeler, à la suite de Foucault, une véritable « formation discursive » concernant les technologies. Ainsi, le premier chapitre fera l’analyse des principaux écarts entre ce discours utopique et la réalité en s’appuyant sur les facteurs socio-économiques qui touchent le processus d’adoption des innovations, particulièrement ceux qui ont trait à la salle de cinéma. Deuxièmement, nous étudierons les réalités qui touchent l’implantation de la technologie numérique dans les salles. Avantageusement, elles expliquent aussi la lenteur de ce processus que le discours a qualifiée de retard. Le troisième chapitre permettra d’illuster les concepts abordés précédemment grâce à l’étude du cas de l’entreprise DigiScreen qui souhaitait augmenter la diversité cinématographique en salles au Québec en proposant aux exploitants de l’équipement numérique à prix réduit. Elle constitue, en quelque sorte, l’incarnation de certains espoirs discursifs. Finalement, nous verrons l’héritage contemporain laissé par les tentatives de numérisation des salles au début du XXIe siècle. / The goal of this thesis is to demonstrate the impossible realization of the "myth of Hollywood digital disruption" as described by Kira Kitsopanidou. This idea put simply suggests the enlargement of film diversity in theaters due to the advent of digital technology. This myth, which perpetuates the idea of Hollywood’s death, was carried by several texts (espacially thoses produced by mass media) and participate in what can be qualified, following Foucault, as a "discursive formation" revolving around technology. The first chapter will analyze the main differences between this utopic discourse and reality based on the socio-economic factors affecting the processes of innovation’s implementation, particulary thoses related to the movie theaters. Secondly, we will consider the realities that affect the implementation of digital technology in movie theaters. Advantagously, these also explain the slowness of this process, a situation that was interpreted by the discourse as a delay. The third chapter will illustrate the concepts discussed in the previous chapters, using as a case study the example of DigiScreen, a company that wanted to increase film diversity in movie theaters by providing theatre owners with digital equipment at discounted prices. DigiScreen in some ways encapsulates the hopes generated by the digital utopia. Finally, we will look at different cases which draw a portrait of the digitization of theatres in the early years of the twenty-first century. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.