Stämningen en film förmedlar är en av de viktigaste aspekterna inom filmskapande och filmmediet. Det är denna stämning som har möjligheten att påverka åskådarens känslor både under filmens gång och efter att eftertexterna har rullat förbi. Detta kandidatarbete syftar till att påvisa stämningens betydelse inom filmmediet samt se hur filmskapare kan utföra filmproduktioner för att förstärka stämningen deras film förmedlar. För att uppnå detta utförde vi två filmproduktioner som resulterade i en kortfilm och en presentationsfilm. Båda produktionerna utfördes med deltagande filmskapande som sin grundpelare, som var med och påverkade alla val och beslut vi tog genom processerna. Deltagande filmskapande ledde oss även till att få fler och mer unika idéer in i våra projekt och filmer för att förstärka stämningarna som förmedlas av våra filmer. Vi valde att utgå från filmteorier angående en films tempo av Ross Hockrow och platsens betydelse av Mats Ödeen, för att sedan utföra filminspelningarna med hjälp av inspelningsmetoder som The Master Scene Method och The Split Sequence efter Blain Browns och Luis Fernando Morales Morantes beskrivningar. Vi höll till sist en förhandsvisning av våra filmer för att undersöka och sedan diskutera huruvida vi lyckats med att genom deltagande filmskapande, filmteorier och inspelningsmetoder förmedla stämningar med våra filmer. / The mood that a film conveys is one of the most important aspects in filmmaking and the film medium. It is this mood that has the opportunity to elicit emotions in the viewer, both during the movie but also after the credits has rolled. This Bachelor Thesis aim to show the importance of mood in the film medium as well as how a filmmaker can produce a film project in a way that amplifies the mood that the film conveys. To achieve this, we produced two film projects that resulted in one short movie and one infomercial. Both productions were produced with participatory filmmaking as a foundation, a method that influenced every choice and decision we made during the design process. Participatory filmmaking also led us to get several and more unique ideas for our projects and films in order to amplify the moods that our films conveys. We chose to proceed from film theories regarding the tempo of a film by Ross Hockrow and the importance of the location by Mats Ödeen, to then produce our film projects with shooting methods such as The Master Scene Sequence and The Split Sequence as described by Blain Brown and Luis Fernando Morales Morante. In the end of the design process we arranged a pre-screening of our films to check and discuss whether we succeeded to convey moods with our films with the help of participatory filmmaking, film theories and shooting methods.

Over the last four centuries, South Africa has been shaped by the twinned, dialectical histories of violence and resistance to violence. However, because both violence and resistance encompass myriad formations and are underlain with a plethora of ideologies and hermeneutics, studying each - particularly from within critical community psychology - is oftentimes necessarily didactic and reductive. Yet, if this kind of research is to retain emancipatory potential, I contend, it should be both community-oriented and politically committed. In an attempt to understand how violence moves through Thembelihle, a low income community in South Africa, an expansive lens for conceptualising violence and resistance is advanced across this research’s four studies. In Study I, I use discursive psychology to examine how Thembelihle has been constructed in dominant discourse by analysing newspaper reporting on the community. Following this, in Study II and Study III, I draw on multimodal discourse analysis to study representations of quotidian life and political resistance in a participatory documentary film entitled Thembelihle: Place of Hope, which was collaboratively produced by residents of Thembelihle, professional filmmakers and myself. Lastly, in Study IV, I harness the narrative-discursive approach to explore how residents of Thembelihle build community in response to Thembelihle: Place of Hope. It was found that within dominant constructions, Thembelihle was personified as a monolithic and an essentially Other geo-cultural space, made newsworthy principally through its engagement with a broad, often vaguely-conceived, notion of violence. In response to dominant discursive constructions of this kind, community members who featured in and produced the documentary advanced a humanistic conception of Thembelihle which did not accept the different violences to which the community is subject. Following this, audiences of the documentary engaged the affective and political dimensions of community-building in order to advance a democratically conceived notion of collective will. These findings present critical community psychologists and violence scholars with a number of considerations around representation; the multitudinous nature of violence and resistance; psycho-politics; and radical hope. Ultimately, I argue, if such research is to be meaningful, it must be guided by and subordinated to the emancipatory requirements articulated by community members. / Psychology / D. Litt et Phil (Psychology)