För många kan film vara deras första kontakt med en blind person och därför är det väsentligt att blinda representeras på ett rättvist sätt. 36 internationella filmer analyserades för att se vilka hjälpmedel som användes i filmerna och hur detta relaterar till hur det ser ut i Sverige. Av de 36 filmerna valdes fyra ut där huvudkaraktärerna analyserades utefter teorier från Eder och Schweintz. Resultatet av karaktärsanalysen visar att de blinda karaktärerna gestaltas på olika sätt och har olika stereotyper. Den vanligaste stereotypen är att den blinda karaktären saknar sin syn och vill ha tillbaka den. En stereotyp som däremot inte var vanlig i dessa filmer var annorlunda ögon eller användandet av solglasögon. Majoriteten av de blinda karaktärerna såg ut som de seende karaktärerna förutom när de använde hjälpmedel som en vit käpp eller ledarhund. Statistiken från filmerna visar inte en lika jämställd bild som statistiken från Synskadades riksförbund. Det är fler filmer med blinda män än blinda kvinnor vilket syns tydligast i statistiken om vit käpp. Ledarhundsstatistiken stämmer bättre överens med statistiken från Synskadades riksförbund som visar att det är några fler kvinnor än män som använder ledarhund. Slutsatsen blir därför att många av filmerna visar upp en blind karaktär som någon kan känna igen sig i, även fast karaktären visar upp en stereotyp. Representationen av blinda karaktärer visar nu en större bild av vad de kan göra än vad som visades innan 2000-talet.

The children born into the Canadian-Chinese community following the repeal of the Canadian Chinese Immigration Act (1923) were the first Chinese-Canadians to be born with full citizenship rights. After decades of isolation and segregation, the 1946 Canadian Citizenship Act transformed the limited citizenship of Chinese immigrants to full citizenship. Whether the parents of these children were Canadian or had just arrived, they could offer their children little guidance as Canadian citizens. The participants in the study are Canadian-born women, descendants from the four counties of Sun Wui, Hoi Ping, Toi San, and Yin Ping of the Pearl Delta District of Guangdong, China. Their region, dialect, class, gender, age, and ethnicity unite them. There were few Canadian-born Chinese from the time of the repeal until 1967 when Canada changed its immigration policy to a more equitable point system not based on race. This is an interdisciplinary study incorporating an anthropological interviewing methodology, an examination of Chinese-Canadian history and of Asian women in Hollywood films, and how these portrayals have impacted the contemporary societal perceptions of Chinese women. I have discussed Asian psychology, feminist, cultural, and film studies and how they relate to identity development. I examined the markers used by the participants to fashion their identity, looking at the themes of beauty, behaviour, language, culture, values, and expectations. I used oral history and narrative methodology through in-depth interviews to examine how the historical, economic, political, and socio-cultural contexts have influenced this generation of Canadian-born women of Chinese descent as they developed their identity in Canada. / Graduate / 0377 / 0326 / 0334 / gwongsne@uvic.ca

This study takes a closer look at the screenplay of the 2019 coming-of-age film, Booksmart. Using critical discourse analysis, and Fairclough’s three-dimensional method, it examines the way girls are portrayed based on the screenplay and its audience reviews. The main theories used in order to find the right perspective for this analysis, are Steiner’s (2014) feminist media theory. Gendered Language theories are also taken into account in order to find the right components in the text, such as word choices in the dialogue. Previous studies used to guide this study include Henesy (2020), Yue (2019), Shapiro (2017), Edwards (2016) and Nairn et. al. (2014). Using gendered language, performed gender and feminist values to decode the screenplay, the findings of this study show that the choices made in the screenplay of Booksmart (2019) are to distinguish the difference between the two female protagonists. The main component being how they deliver their dialogue and how certain characteristics in both conversation and personality can change the power dynamic between the two protagonists. The film also manages to split its audience into two groups: the ones who hate it, and the ones who love it.

L’étude thématique de l’évolution de la représentation de la Shoah fait avant tout ressortir des constances dans ce corpus filmique. Les traditions propres au cinéma, la tendance des auteurs à esquiver les aspects inconcevables mais vrais de l’événement, et la subordination aux forces politiques et sociales expliquent ce phénomène. C’est ainsi que la représentation des chambres à gaz obéit à une constance d’ordre éthique. La révolte militaire des civils souffre d’une représentation servile. La mémoire de la Shoah, déterminée par les instances officielles des pays étudiés, correspond aux traditions de ces derniers et reflète leur nature profonde. L’instrumentalisation de la Shoah, différente d’un pays à l’autre, est une donnée essentielle de ce cinéma. La spécificité de la Shoah est ignorée : les enfants comme ultimes victimes, le caractère universel du judéocide. Le défaut de représentation des Conseils Juifs, la sous représentation des femmes par rapport aux hommes participent au défaut de représentation du cinéma. L’évolution relevée est le plus souvent le résultat de la conformité des œuvres aux changements politiques et sociaux du pays concerné. La Shoah a acquis, à travers le cinéma, le statut de mythe essentiel de la démocratie libérale, au nom de valeurs morales universelles, masquant ainsi le syndrome d’une société incapable de se référer à son propre passé et de se projeter dans l’avenir en l’absence de projet spirituel et moral. / The thematic study about the evolution of the Holocaust representation emphasizes the works’ domination of the constancy. The Cinema’s proper traditions, the authors’ tendencies to evade the inconceivable but true aspects of the event, and the subordination to political and social strengths explain this phenomenon. Thus, the gas chambers’ representation obeils all ethical standards. The civilians’ military revolt suffers from an uninspiring representation. The Holocaust’s remembrance, determined by the official authorities of the studied countries, corresponds to the latter’s traditions and reflects their deep nature. The Holocaust’s instrumentalization, different from one country to another is an essential element of cinema. The Holocaust’s specificity is being ignored: children as the ultimate victims, the judeocide’s universal character, the Jewish Councils’ defect of representation, women’s under-representation as compared to men contribute to cinema’s fault of representation. The noticed evolution is most of the time the result of the works’ conformity with the political and social changes of the concerned country. Through cinema, Holocaust gained the status of an essential myth of the liberal democracy in the name of universal moral values, hiding thus the syndrome of a society unable to refer to its own past and to plan ahead in absence of spiritual and moral project.