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This essay is a comparative analysis of Quentin Tarantino´s first, Reservoir Dogs (Quentin Tarantino, 1992), and his latest screenplay, Hateful Eight (Quentin Tarantino, 2015). Focus of the essay is Tarantino as a screenwriter and investigates the correlation between visual intentions and formation of their effects on film. The starting point of the essay is a theoretical approach where the connection between screenplay and film is discussed as a continuous process. A description of the screenplay and the rules of its format precedes the analysis part of the essay. Focus on the analysis is the visual instructions in screenplay text and correlation between these instructions and the film. Two versions of each script will be used in the essay. The analysis is divided in three parts. First, the two different version of the screenplay will be compared separately; second, each script will be compared with the film and third, the two scripts from each movie will be compared with one and other. The conclusion of the thesis summarizes, the function of the screenplay in Tarantino´s work and discusses the possibilities for the screenplay in the filmmaking process and the complex relationship between script and film as well as the intentions of the script mirrored in the film.

In Japan, the question of how to best remember the events of World War II is often a politically sensitive issue. Japan has occasionally been accused of glossing over its history of war crimes and acts of aggression in textbooks, official statements and other areas. This essay looks at representations of World War II and the military in contemporary Japanese war films, and discuss how they deal with these necessarily political subjects. I use Akiko Hashimoto's categorization of Japanese war narratives - the hero, victim and perpetrator-narratives - to analyze and compare four movies released during the last five years. These movies are The Eternal Zero, The Wind Rises, Kancolle the Movie and The Emperor in August. I look at these films in the context of Japanese film history and current political debates around the role of the Japanese Self-Defense Forces and similar issues. Rather than any clear march towards nationalism, pro-militarism or any other political ideology, these films indicate that directors often avoid politically sensitive issues or taking explicit moral stances. There is often a lack of historical context to events portrayed. The dominant interpretation of history is the victim-narrative in Hashimoto's sense, while perpetrator-narratives are usually absent and hero-narratives are mostly visible in films that are heavily fantasy-based and removed from reality.

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Joaquin Phoenix gestaltning av karaktären Arthur Fleck i filmen Joker (Todd Phillips, 2019) prisades med en Oscar för bästa huvudroll. Filmen är en ursprungshistoria om den klassiska antagonisten till Batman och belyser de bakomliggande faktorer som bidrar till Arthur Flecks resa från offer till våldsverkare. Uppsatsen belyser utanförskap och hur det är att leva i samhällets periferi på grund av, men inte begränsat av, mental ohälsa, stigmatisering och normavvikande beteende. Den belyser också individens förhållande till maskulinitet och de förväntningar samhället har på denne i hur man skall agera och reagera. Todd Phillips målar upp en dystopisk tillvaro där staden Gotham är lika kylig och kall som dess palett, där våld är en del av vardagen och anses vara ett universalverktyg för att lösa diverse konflikter. Arthur är en skör individ som tvingas in i en våldsspiral (av flertalet olika anledningar) som till slut förgör honom, i hans ställe träder den våldsbejakande nihilisten fram: Jokern.

Syftet med studien är att undersöka hur kommunism och kommunister representeras i samtida populärkultur. Undersökningen utgår från tre filmer i olika genrer från 2000-talet som utspelar sig under perioder där samhället var kommunistiskt. Dessutom kommer karaktärer studeras för att se om det finns definierade kommunistiska karaktärsdrag och stereotyper i film. Den analysmetod som används i undersökningen är en kvalitativ textanalys för att hitta underliggande betydelser i materialet. Det teoretiska ramverk som valts för studien är semiotik, och undersökningen utgår från egna tolkningar av materialet. Den forskning studien utgår från involverar främst konstruktionen av stereotyper, men också representation av kulturer och kommunism i populärkultur. Resultatet av undersökningen visar att kommunism framställs som totalitärt och hierarkiskt, samt att det är brutalt och farligt. Liknande representationer framkommer i alla filmer trots skillnader i genrer, tid och plats. Dessutom visar resultaten att det förekommer en tydlig gemensam representation av kommunister, som är att de är lojala mot regimen de lever i. Dock finns det många olikheter av porträtteringen av karaktärerna, därav kan ingen typisk kommunistisk stereotyp fastställas. I två av karaktärerna som analyserats förekom det likheter så som våldsamhet och hotfullhet, men dessa karaktärsdrag återfanns inte i den tredje karaktären, som istället visade tydliga karaktärsdrag på omtänksamhet och vilja att göra gott i samhället.

In this study I will explore the representations of politicians in the documentary film I Am Greta (2020). Drawing from Stuart Halls work on representation and Martha Nussbaums and Rae Langtons theories on objectification, I will conduct a multimodal semiotic analysis in which the representations of people and persons are studied. The findings point towards the representation of politicians through stereotyping practices and signifying difference. I also conclude that individuals identified as politicians are objectified through representation. Contextualised within populist climate discourse, these representations of politicians might aid in the discursive construction referred to as the establishment.

The purpose of this study is to gain greater knowledge about how filmmakers can create a narrative by using sound in horror films. With this knowledge, it is desired to have the opportunity to create a short horror film that focuses on the use of sound. The study focuses on theories about narratology, narrative theory, film dramaturgy, and use of sound. The project work is guided by the research questions “What is the narrative role of sound in horror films?” and “How is sound used in horror films to create fear and discomfort for the audience?”.  To achieve the desired knowledge about the above-mentioned theories, we use relevant literature based on horror film, film and sound in film, and sound in specific horror films. Throughout the project we use the literature Gripsrud Mediekultur, mediesamhälle (2011), Bordwell och Thompson Film Art: An Introduction (2010), samt Kawin Horror and The Horror Film (2012), Ochoa Deformed and destructive beings: the purpose of horror films (2017), Grøn The Sound of Horror – Silence & Sound Contrasts in Sci-Fi Horror Movies (2013), Hansson et al., Seendets språk (2006), Martin (Why) Do You Like Scary Movies? (2019) and Cherry Routledge Film Guidebooks: HORROR (2009). This literature is used to get deeper insight into how the horror genre is structured and how the genre currently differs from other genres.  This c-project is based on a number of theories and qualitative film analyzes, in order to be able to apply the knowledge in our own short horror film. The project film and the essay writing have produced parallel to test theoretical knowledge and lessons in a practical work, this as the qualitative method provides an opportunity to test statements and observations during the working process. With relevant theories, film analyzes and film production, the work has resulted in a short horror film of about five minutes long, and with focus on the use of film sound. It also resulted in increased knowledge about the narrative role of sound in horror films, as well as how filmmakers structure film with sound and narrative to frighten their audience. We think this have come into great use during the project film’s work and final production.

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