An important starting point for the thesis is the enormous importance of photography as a source for historical research. Earlier in history, this approach has not been obvious among many historians, but recent decades’ new trends have emerged that have changed the attitude towards the image as historical source. Against this background, the main purpose of the thesis is to study how the Swedish media have chosen to portray the genocide of the Kurdish population in Iraq in 1988. The material consists of photographs that has been published by Swedish newspapers from 1988. In order to visualize general patterns, trends and a symbolism in the images, the methodological approach has been based on a semiotic image analysis where the image has been placed in a context while analyzed from two levels. In addition to this, a cultural theoretical perspective has also formed the theoretical framework for the thesis. Here, the starting point has been that the photographs published in the Swedish press papers reflected a cultural as well as a historical context in which they existed in. The results of the thesis have shown that the imagery has testified to a clear tendency to create clear dividing lines between male and female individuals in the photographs. The research have showed that women and children got strong positions as victims while the men usually became absence or they became more dominant in the situations when they showed up. When it came to the context in which the images were published, it showed that the photographs usually came to be placed in context where they came to symbolize or manifest events that concern parts of the genocide. Sometimes images also came to complement each other like a story where each part had to manifest certain parts of the story.

The project consists of three parts: a summary of the research, a collection of sixteen oral histories of Latter-day Saint Electronic Media and Public Relations professionals who contributed to the development and growth of media in the Church of Jesus Christ of Latter-day Saints, and a one-hour documentary film, Pioneers in Mormon Media, which gives a brief history of the development of modern mass communications and its use by the Church. This qualitative study investigates who has been involved in Church media, what projects have been accomplished and provides some explanation as to why the Church uses media. The oral histories which are in DVD format are available in Special Collections, Harold B. Lee Library, Brigham Young University, Provo, Utah. The library has also made them available online at http://byugle.lib.byu.edu. Transcriptions of the oral histories are located in the appendix. The documentary film is available through BYU Broadcasting and the Harold B. Lee Library.

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This thesis addresses the complexity of digitalization and humanities research practices, with a specific focus on digital archives and film history research. I propose the term “Frankenstein Complex” to highlight and contextualize the epistemological collision and empirical challenges humanities scholars encounter when utilizing digital resources with digital methods. A particular aim of this thesis is to scrutinize digital archiving practices when using the Media History Digital Library (MHDL) as a case for a themed meta-inquiry on the preservation of and access to classic horror cinema in this particular digital venue. The project found conventional research methods, such as the close reading of classical cinema history, to be limiting. Instead, the project tried out a distant reading technique throughout the meta-inquiry to better interrogate with the massive volume of data generated by MHDL. Besides a general reassessment of debates in the digital humanities and themes relating to horror film culture, this thesis strives for a reflection on classic horror spectatorship through the lens of sexual identity, inspired by Sara Ahmed’s perspective on queer phenomenology. This original reading of horror history is facilitated by an empirical study of the digital corpus at hand, which in turn gives insights into the entangled relation between subjective identities and the appointed research contexts.

Den Namen »Büro« leitet die vorliegende Arbeit von den Überresten der Sumpfpflanze »eriophorum angustifolium« her, die auch Burra genannt wird. Im Mittelalter wurden aus den verwesten Fasern dieser Pflanze Rechentücher gewebt. Ausgehend von den Techniken und Praktiken der Buchhaltung und des Rechnens liegt der Schwerpunkt dieser Arbeit auf einer Geschichte der Routinen. Im ersten Teil leitet die Autorin die Techniken des deduktiven Beweisens von der Erfindung der ebenen Fläche ab. Mit den Techniken des Zeigens und Verweisens beschreibt sie die Anfänge der Abstraktion. Ein zweiter Teil wendet sich den Operationen der euklidischen Fläche zu. Ausgehend von der Etymologie der römischen Zahl X werden die Anfänge der Büroroutinen in den Operationen des Dezimierens, Abschlagens und in der Durchkreuzung gesucht. Mit ihnen konzentriert sich die Autorin auf die Techniken des Löschens und der Frage, wie man Zeichen in und auf der Fläche bewegen kann. Routinen werden als kleine Routen auf der Fläche aufgefasst, ihre Anfänge in den frühen Multiplikationsverfahren, einer Wissensgeschichte des Multiplikationszeichen X, in dem Zeilenvorschub und der doppelten Anschreibung der Posten in der doppelten Buchhaltung gesucht, die Luca Pacioli mit zwei gekreuzten Linien testiert. Das vorliegende Buch legt den Schwerpunkt auf die Kulturtechniken von Bild, Schrift und Zahl und kommt zu dem Schluss, dass das Büro im frühen 13. Jahrhundert ein neues operationales Wissen einführt. Es ist ein Ort, der der Gedächtniskultur der Erinnerung und Wiederholung ein Wissen der konstanten Zirkulation und Veränderung entgegensetzt. / The author traces the words »bureau« and »bureaucracy« back to the relics of eriophorum angustifolium, i.e. a marsh plant, that is also known under the colloquial name of »burra«. In the Middle Ages this plant was used as raw material for a portable abacus made of chunk wool. Starting from practices of counting and calculating this dissertation explores routines of office work. In the first part (A) the author argues that the practices and technics of diagrammatic reasoning depend on the invention of the plane surface. By exploring the routines of pointing and referring this part deals with the beginnings of abstraction. The second part (B), a media history of routines, takes a closer look at those operations that were performed on the plane surface. Starting from the etymology of the numeral X that the Romans used for operations of foiling and decimating, the author finds the origins of bureaucratic routines in techniques of erasure. Based on the thesis that routines are small routes on plane surfaces the author identifies the beginnings of bureaucratic operations in early multiplication algorithms, the operation sign x, and finally in the cancelling of posts in early double-entry bookkeeping. Thus, the second part of the dissertation closely relates the history of writing, spelling and accounting to the technics of erasing. By analysing the operations of writing, drawing and counting the author comes to the conclusion, that at the beginning of the 13th century the office is a place of new operational knowledge – it confronts a static memory culture of repetition and remembering with a mobile culture of circulation and constant change.

Les migrations de femmes et d’hommes depuis le Maghreb vers la France est un processus historique ancien, remontant pour les Algériens à la fin du XIXème siècle et à la première moitié du XXème siècle pour les Marocains et les Tunisiens. Ces individus forment aujourd’hui une composante importante de la population française. Néanmoins, malgré la patrimonialisation de l’immigration, ces mémoires peinent à s’inscrire dans le récit collectif national. Dans ce contexte, la démocratisation de l’internet grâce à l’essor du web à la fin des années 1990, constitue un nouveau terrain d’expression pour des mémoires perçues comme délaissées. Média et moyen de communication, le web apparaît ainsi comme une nouvelle source pour l’étude des médiations mémorielles et des usages du passé. L’étude de ces dispositifs mémoriels implique une analyse des acteurs et de leurs stratégies de valorisation de la mémoire en ligne, mais aussi dans le champ social. Ce travail entend donc proposer une première histoire des mémoires de l’immigration maghrébine sur le web français à partir des archives du dépôt légal du web gérées par la Bibliothèque Nationale de France (BNF) et l’Institut National de l’Audiovisuel (INA). Il montre la complexité du processus de reconfiguration de la mise en visibilité des mémoires de l’immigration maghrébine. L’internet apparaît comme un nouveau support proposant des modes scénographiques inédits. Vecteur et reflet de l’amplification mémorielle, le web participe à la présentification de l’histoire en articulant le passé avec les logiques commémoratives. / This thesis focuses on how the web is used as a privilege space to study how North African immigration memories. This is the first history PhD in France that primarily relies on French Web archives as a source. This one has not yet been integrated in the French collective memory in spite of recent institutional attempts to draw people’s attention back to this issue. This exclusion was and still is linked with many causes: the socio-economic situation of North African minorities in France, the taboo of the Algerian war as well as the unequal treatment by the media of the Maghreb population. Since the end of the 1990’s, in a context of competing memories, many websites have been recalling the immigration memories and have been asking for recognition from the French state. From a media history perspective, how can these memories be presented on the Internet? Moreover, how can the past be used to rectify and transform the present? In France, a historical approach to analyzing the web and its contents has started to develop: publishing strategies, temporalities, uses, internet history. This work would not have been possible without the existence in France, since 2006, of the Web legal deposit, which is shared by INA (Institut National de l’Audiovisuel) and the BNF (Bibliothèque Nationale de France). Thereby, along with traditional broadcast material, Web content can be considered for media history. The epistemological and methodological approaches remain to be devised. The composition and the scenario of some selected memory devices online are studying thanks to the French web archive from 1999 to 2014.

Given the 2017 discontinuation of the Swedish Film Agreement and the surrounding debate on the rationales of film policy, this thesis will conduct a historical study of a particular instance of Swedish film policy history, thus seeking to contribute to the understanding of the consequences of film policy for the outcome of film. Looking at the relationship between Swedish public broadcasting (SVT) and the Swedish Film Institute (SFI) during the mid-1980’s, this thesis aims to investigate the historical background of the funding and production process that enabled the creation of Pica Pica, a feature documentary film on magpies made by director Mikael Kristersson. By applying Geir Vestheim’s theory of the four instrumental arguments for public support of the arts and through an idea analysis, the thesis will investigate what arguments could be said to be pivotal for the funding and production of Pica Pica. Analyzing policy documents concerning the SFI and SVT, as well as using interviews conducted with the people in decision-making positions at the time, the thesis investigates what rationales and circumstances might be said to have informed the funding and production of Pica Pica. Furthermore, Kristersson’s film will be analyzed in relation to concepts of ecocinema and in relation to its lineage in nature portrayal in Swedish film. Through its investigation of the role of the funding and production circumstances for the stylistic outcome of the film, the thesis seeks to contribute to the understanding of the importance and consequences of film policy and production organization for the outcome of film in current times withal.

World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also reflect society's image of women as homemakers first and war workers second. This double vision,reflected throughout the documentary films became the catalyst which maintained women in traditional roles and, in turn, rejected attempts to alter those roles in any significant way.This study uses the vehicle of World War II documentaryfilms, utilizing the World War II Historical Film Collection, Bracken Library, Ball State University (the largest collection outside the National Archives), the Office of War Information papers, and extensive secondary research, to investigate the images of women during the war years. / Department of History

Ce travail de thèse se propose d’étudier le Mercure François comme objet d’histoire à part entière. Souvent considérée comme annonciatrice de la presse périodique d’actualité politique, cette collection de vingt-cinq volumes imprimés et publiés périodiquement à Paris entre 1611 et 1648, poursuit en réalité l’objectif d’écrire et publier l’histoire du temps présent du royaume de France et de l’Europe chrétienne entre 1605 et 1644. L’articulation d’une analyse de l’intégralité de la collection à l’étude de cas choisis dans le périodique pour leurs enjeux politiques est la méthode adoptée ici. Le croisement de sources internes et externes au Mercure François permet d’analyser la définition donnée au périodique par les acteurs, et, donc, de préciser leur conception de l’histoire. L’écriture de celle-ci est perçue comme un engagement politique et civique. La comparaison de la relation et de la publication d’événements politiques marquants par différents médias a permis de préciser le rôle déterminant des frères Richer, les imprimeurs-libraires du Mercure François, dans la fondation engagé de la collection. Il a également permis de noter les évolutions du Mercure François en fonction du contexte politique et de l’influence croissante des théories de la raison d’État. / This thesis is to study the Mercure Francois as a real history object. Often considered as an archaic form of the periodic political news media, this collection of twenty-five volumes printed and published periodically in Paris between 1611 and 1648, pursued in fact the goal of writing and publishing the present history of the kingdom of France and Christian Europe between 1605 and 1644. The joint analysis of the entire collection to the cases studied and chosen for the political issues at that time is the approach taken here. The crossing of internal and external sources to the Mercure François used to analyze the definition of the periodical by the actors, and, therefore, to clarify their definition of history. The writing of it was seen as a political and civic engagement. The comparison of the narration and the publication of important political events in various media has clarified the crucial role of Richer brothers, Mercure François’ printers and booksellers in the foundation engaged of the collection. It has also allowed to note changes in the Mercure François according to the political context and to the growing influence of the reason of State’s theories at the time.