[pt] Esta dissertação irá discutir a série de televisão A Grande Família, exibida na TV Globo em dois períodos distintos, 1972-1975 e 2001-2014. O objetivo é avaliar como se relacionam os elementos cômicos e melodramáticos na série e o quanto estes são afetados pela ideologia individualista e pelo sentido atribuído à maternidade na sociedade ocidental moderna e contemporânea. Para esse fim, vou examinar a personagem Nenê, que representa na série a mítica mãe de uma grande família, sempre agindo para o bem comum em detrimento de seus desejos individuais. No percurso de análise foram separados seis roteiros, um do primeiro período e cinco do segundo período da série, que permitem um aprofundamento da questão enunciada. / [en] This dissertation will discuss the television series A Grande Família, broadcasted by TV Globo during two distinct timepoints, 1972-1975 and 2001-2014. The objective is to evaluate the comical and melodramatic elements of this series, how they are impacted by individualist ideology and by the meaning attributed to the notion of motherhood in a modern and contemporary Western society. For this purpose, I will examine a character called Nenê, who represents the mythical protective mother of a big family, always prioritizing the greater good over her personal desires. Throughout this analysis, six scripts were assessed, one of the first period and the other five of the second period of this series, allowing for an in-depth analysis of the main question of this dissertation.

Entertainment media, specifically television, plays a big part in the construction of ideas and thoughts within a society. Television is a form of popular culture which can be used as a source of entertainment but can also promote certain ideologies and values to its audience. Sex Education is a Netflix series released in 2019 with a primary focus on knowledge around sexuality. This study aims to investigate how the Netflix-show Sex Education constructs knowledge around sexuality and how it conveys values and ideologies through this construction of knowledge. The study is different from other studies about the show as it focuses explicitly on the knowledge and conversations around sexuality, not how the knowledge is constructed in sex scenes or through other relations and characterizations in the show. The study specifically interests itself with the conversational and articulated elements of sex education. It is important to study how Sex Education portrays knowledge about sexuality as it reflects values and ideologies within a western society, and can be helpful in exploring the discourse around sex education that prevails within this type of society. This construction will have an effect on the audience which consumes it and will showcase the boundaries which sex education presents and articulates itself within. The discourse within the show sets the grounds for how the topic of sex education is spoken about within their given culture. The study uses a poststructuralist discourse analysis to approach the research and finds similar elements within twelve selected scenes from the show to explore how knowledge about sexuality is constructed in the material. Important factors of the analysis are power, ideology, status and values. These are explored in connection to characters' subject positions and the context in which the factors exist: a fictional exaggerated version of western society. The study finds that the selected scenes create a power struggle between a hegemonic, traditional and progressive discourse around sex education. The suggested discourse in their fictional world is the progressive discourse which includes a positive attitude towards diversity and social aspects of sex education. It also highlights a difference in characters' attitudes depending on their subject positions.

Denna uppsats utforskar förhållandet mellan filmtekniska aspekter av klipptempo och en mors ilska i avsnitt 6 Fishes av TV-serien The Bear. Genom en kvalitativ analys, med en kvantitativ tabell som bas, granskas avsnittet med hjälp av semiotisk teori om symboler och genusteori om mom rage för att upptäcka kopplingar mellan timern som symbol och mammans ilska. Resultaten visar på en medveten användning av tempo och timer för att gestalta mammans stress och ilska. Användningen av tempo och timer i köksscenerna i The Bear bidrar till att skapa en känsla av intensitet och stress som speglar mammans upplevelse av händelserna.  Detta dokument inkluderar även en designdokumentation vid namn Stranger Things - en titelsekvens som var en del av examensarbetet för Visuell kommunikation. Projektet är en animation på hur en titelsekvens till TV-serien Stranger Things hade kunnat se ut. Designdokumentationen börjar från sida 31. / This paper explores the relationship between filmic aspects of editing pace and a mother's anger in Episode 6, Fishes, of the TV series The Bear. Through a qualitative analysis, supported by a quantitative table, the episode is examined using semiotic theory of symbols and gender theory of mom rage to uncover connections between the timer as a symbol and the mother's anger. The findings demonstrate a deliberate use of tempo and timer to portray the mother's stress and anger. The utilization of tempo and timer in the kitchen scenes of The Bear contributes to creating a sense of intensity and stress that mirrors the mother's experience of the events.

Alstom wanted to investigate the possibility of adapting its light emitting diode (LED) technology for shunting signals in train traffic. The LED technology uses 50V, but Alstom wants to adapt it for 12V. The LED technology is energy efficient but needs to be adapted for existing signal interlocking by drawing a higher current. This meant that the possibility of reactive power compensation was investigated to obtain lower thermal dissipation in dwarf signal. The essay presents a couple of possible solutions. One of the solutions is to raise the voltage by using a booster converter to use the existing 50V LED unit. Capacitors were reviewed to be used in reactive power compensation to increase current supply. One of the solutions then became a capacitor bank. Simulations indicated that a booster converter and a capacitor bank can be used to adapt the circuit. However, some modifications must be made. / Alstom ville undersöka möjligheten att anpassa sin lysdiodsteknik för dvärgsignaler i tågtrafiken. Lysdiodstekniken använder 50V men Alstom vill anpassa den för 12V. Lysdiodtekniken är strömsnål och behöver anpassas för befintliga signalställverk genom att dra en högre ström. Detta innebar att möjligheten för reaktiv kompensering undersöktes för att få en låg värmeutvecklingen i dvärgsignalen. I uppsatsen presenteras ett par möjliga lösningar. En av lösningarna för spänningen är en step-up omvandlare för att nyttja 50Vs enheten. Det gjordes också en genomgång av kondensatorer för att nyttjas i reaktivkompensering för att öka strömförbrukningen. En av lösningarna blev då ett kondensatorbatteri. Det kunde konstateras med matematisk simulering att step-up omvandlare och ett kondensatorbatteri kan användas för att anpassa kretsen dock måste vissa modifieringar utföras.

Uppsatsen undersöker feministisk argumentation i två artiklar publicerade av Expressen. Syftet har varit att ta reda på hur diskussionen om ett slags normerande feministisk kvinnlighet tar form. Analysen är uppdelad i två delar: i den första används Lloyd Bitzers teori om den retoriska situationen samt en pragmadialektisk teori och metod. Den information som utvinns i analysens första del kontextualiseras sedan med hjälp av olika genusvetenskapliga ingångar.  I den första delen skisseras argumentationens utgångspunkter och sedan dess argumentationsstruktur. I analysens andra del knyts den ena artikelförfattarens argumentation till en radikalfeministisk tradition, och den andra till en mer postmodern feministisk hållning. Argumentationsstrukturen var till stor nytta för att identifiera hur den första artikelförfattaren räknar upp flera egenskaper som ett kvinnligt subjekt inte kan inneha om hon ska erhålla rätten att kalla sig för feminist. Uppsatsen diskuterar sedan feministers möjligheter att skava, göra fel, och på så sätt tänja gränserna för vad som anses vara respektabelt. Också möjligheter för en bredare feminism som kan inkludera fler och en eventuell dekonstruktion av begreppet feminism är ämnen som uppsatsen argumenterar för. Slutligen resoneras kring de faktorer som samverkar för att skapa normer som både inkluderar och exkluderar kvinnliga subjekt.

Made available in DSpace on 2016-04-26T18:15:33Z (GMT). No. of bitstreams: 1 dissertacao_completa_052006.pdf: 18424321 bytes, checksum: d7915f81df2dce1a7d03b141378ee0e2 (MD5) Previous issue date: 2006-05-11 / nenhum / This dissertation verifies the narrative construction characteristics which allow the mediatic audiovisual production transitate along different media. The study was developed on the audiovisual production called O Auto da Compadecida , an originally TV production made in 1999 and cinematographically edited in 2000, directed by Guel Arraes. Through a descriptive analysis it was possible observe three narrative compounds: the script, the image and editing, used for both television and movie production. The hybridism and multiplicity theories so well structured by Arlindo Machado, Raymond Bellour and Lucia Santaella, as the script and editing theories proposed by Doc Comparato, Syd Field, Graeme Turner, Maria de Fátima Augusto, Ken Dancyger and D. W. Griffith gave the path for the qualitative bibliographic research. This research was fundamental for the reflection of what was considered here as contemporary audiovisual or intermultimidiatic narrative, a production style that gives the product a various media adaptation condition, specially television and cinema, thanks to the experimentalism used on the main narrative compounds. It was also analyzed the use of dramatic cells here defined as stories with beginning, development and end, inserted into the main story, witch can be handled as sketches, composing different editions from the same script and same setting. The research shows its relevancy facing the innovations detected on the recent audiovisual productions, witch are changing the way of understanding the actual audiovisual productions, well defined by its inter-relation between techniques and the media / Esta dissertação verifica as características da construção narrativa que possibilitam à produção midiática audiovisual transitar entre diferentes meios. O estudo foi feito sobre a obra O Auto da Compadecida dirigida por Guel Arraes para a televisão em 1999, e sua montagem cinematográfica, realizada em 2000. Através de uma análise descritiva, foi possível observar três componentes narrativos: o roteiro, a imagem e a montagem das produções realizadas tanto para a televisão quanto para o cinema. As teorias do hibridismo e da multiplicidade, tão bem traçadas por Arlindo Machado, Raymond Bellour e Lúcia Santaella, bem como as teorias de roteiro e montagem propostas por Doc Comparato, Syd Field, Graeme Turner, Maria de Fátima Augusto, Ken Dancyger e D. W. Griffith, deram o direcionamento na realização da pesquisa bibliográfica de cunho qualitativo. A pesquisa foi fundamental para a reflexão do que foi aqui considerado como narrativa intermultimidiática ou audiovisual contemporânea, um estilo de produção que graças ao experimentalismo utilizado nos principais componentes narrativos, confere ao produto uma condição de adaptação aos diversos meios, em especial à televisão e ao cinema. Foi conferido também na produção o uso das células dramáticas que são aqui definidas como histórias com início, meio e fim, inseridas dentro da história central, que podem ser manuseadas como blocos, compondo diferentes montagens a partir do mesmo roteiro e mesma filmagem. A pesquisa se mostra relevante diante das inovações percebidas nas atuais produções audiovisuais, que estão modificando a maneira de fazer e a maneira de perceber as produções audiovisuais atuais, bem marcadas pela inter-relação entre as técnicas e meios

The purpose of this study is to investigate how homosexuality and homosexual adoptions are manifested in children's comic "Bamse" and study the result in the light of a brief background about the western society and gay history. The study has a historical gender perspective and focus homosexuality primarily in modern times. Drawing on critical theory and semiotic analysis, the study shows how ideas and ideology surrounding same-sex relations and parenting are negotiated in the ”Bamse” comic. 2010 was the year when the Bamse cartoon took a step into the gender debate and introduced two gay rabbits who adopted an infant. The study shows that despite the obvious intent to anchor homosexuality as normal and integrated in the society there are hidden ideologies that reveals homosexuality as abnormal and excluded. Homosexuality in "Bamse" includes a male homosexuality and no female representatives are visible. Also is homosexuality normalized by including both traditional male and female attributes and domains. The gay man emerges as emotional, scared, unused to children, colored, not belonging in a middle or upper class, surrounded by darkness, but, while fully capable of providing care to a child, just as heterosexual parents. The study reveals how ”Bamse” contains and negotiates between conflicting ideoligies about same sex parenting. This duality of the prominent ideologies may well reflect the social concepts that exist at the time of this study in the media debate. / Syftet med denna studie är att undersöka hur homosexualitet och homoadoption manifesteras i barnserietidningen ”Bamse – världens starkasta björn” och studera resultatet mot en kort bakgrund kring samhälle, ”Bamse-” och homohistoria samt genus. Studien tar sin utgångspunkt i ett historiskt genusperspektiv som belyser homosexualitet främst under modern samtid. Vid närmandet av empirin tillämpas kritisk teori och semiotisk analys för att utkristallisera föreställningar och ideologier som omfattar studieobjekt. 2010 var det år då tidningen om Bamse tog steget in i genusdebatten och introducerade två homosexuella kaniner som genom en homoadoption bildade familj. Studien påvisar att trots att ett uppenbart uppsåt finns att förankra homosexualitet som normalt och inkluderat i samhället återfinns dolda ideologier som befäster homosexualitet som avvikande och exkluderande. Homosexualitet i ”Bamse” innefattar en manlig homosexualitet då inga kvinnliga representanter syns. Likaså understryks en homosexualitet som normaliserats genom att innefatta både traditionellt kvinnliga och manliga attribut och domäner. Den homosexuella mannen framträder bland annat som känslosam, rädd, ovan vid barn, färgad, icketillhörande av medel- eller överklass, med ett avsides boende, omgiven av mörker, men samtidigt som fullt kapabel att ge omsorg till ett barn, på samma sätt som heteroföräldrar. Denna kluvenhet eller dubbelhet i de framträdande ideologierna kan också väl avspegla de samhälleliga föreställningar som återfinns vid tiden för studien i till exempel mediadebatten.

My objective for this project was to create a short but thrilling 2D-animation intended as promotion for an online comic book. The purpose of the project was to learn more about animation and graphics, to further my artistic skills and to learn how to work in Adobe After Effects. I also wanted to learn more about scheduling, project methods and how to handle stress. During the ten weeks of the project I have created the story, the storyboard, the character design, the backgrounds and the animation. The voice over was recorded with the help of a fellow student who also made the music and the sound effects. In all else I have worked on my own. During the work I have principally learned more about graphics and animation, both classic animation made on paper and digital animation. I have also gained more knowledge concerning technology as it is used in artistic processes, criticism and self criticism, personal development and learning, working alone as an opposite to working in a group, how to handle problems, setbacks and conflicts, time and planning, various ways of analyzing working processes and methods, the creative process and the balance between work and relaxation. I discuss and reflect on these and more phenomena in the end of this study. It has been a demanding but exciting journey. / Detta är en reflektionsdel till en digital medieproduktion. You can mail me at: kippokippo@yahoo.se

Syftet med denna undersökning var att genom en innehållsanalys undersöka hur de kvinnliga karaktärerna Maggan, Nina och Christina representeras i förhållande till deras roll och maktposition i samhället i TV-serien Vår tid är nu. Vidare har vi undersökt hur dessa framställningar skiljer sig åt i första respektive sista säsongen i och med feminismens framväxt.Med ett målstyrt urval av scener som underlag och med ett genusteoretiskt perspektiv, applicerades vårt analysschema på det utvalda scenerna. Analysschemat har vi skapat med hjälp av Keith Selby och Ron Cowderys narrativa analysmodell. Vidare har vi använt oss av semiotiken som analysverktyg för att kunna ge svar på våra forskningsfrågor.Resultaten visade att de kvinnliga karaktärerna skildras som drivna i båda säsongerna. I första säsongen framställs karaktärerna dock som mer begränsade till samhällets ramar och de drömmer om att bli självständiga. I sista säsongen framställs de kvinnliga karaktärerna som starkare, de har större integritet och de vågar gå sin egen väg. Resultaten visade också att skildringarna av de kvinnliga karaktärernas roll och maktposition skiljer sig mellan första och sista säsongen. I första säsongen är deras roll mer präglad av samhällets normer och deras maktposition är underordnad de manliga karaktärernas. I sista säsongen är deras roll mer jämställd med de manliga karaktärernas och deras maktposition är högre, i vissa fall högre än männens. Dessa förändringar i hur kvinnornas roll och maktposition skildras går att sammankoppla med feminismen som växte fram i tidsperioden mellan de två säsongerna. / The purpose of this study was to examine, through a content analysis, how the female characters Maggan, Nina and Christina are represented in relation to their role and position of power in the society in the TV series Vår tid är nu. Furthermore, we wanted to investigate how these representations differ in the first and last season, respectively, with the emergence of feminism.With a targeted selection of scenes as a basis and with a gender-theoretical perspective, our analysis scheme was applied to the selected scenes. We have created the analysis chart with the help of Keith Selby and Ron Cowdery's narrative analysis model. Furthermore, we have used semiotics as analysis tool to provide answers to our research questions.The results showed that the female characters are portrayed as driven in both seasons. In the first season, however, the characters are portrayed as more limited to the society’s rules and they dream of becoming independent. In the last season, the female characters are portrayed as stronger, they have greater integrity and they dare to go their own way. The results also showed that the portrayals of the female characters' role and position of power differ between the first and last season. In the first season, their role is more marked by society's norms and their position of power is subordinate to the male characters. In the last season, their role is more equal to the male characters and their position of power is higher, in some cases higher than the men’s. These changes in how women's role and position of power are portrayed can be linked to the feminism that emerged in the time period between the two seasons.

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