The aim of this study is to assess to which extent the concept called the final girl can be applied to a character produced outside USA. To achieve this, I have used a Japanese film called Evil Dead Trap (Toshiharu Ikeda, 1988), where I have analyzed the character Nami and her relations to the conventions of the final girl. Some of the more common conventions are that the final girl do not engage in sex or use drugs such as cigarettes. The theoretical framework focuses on identifying and establishing the different conventions of the final girl by using two different researchers and their texts. The state of research was used to place the movie in a historical context. Because of this, the research used focused on Japanese horror cinema from the fifties to the nineties. When the framework was established, an analysis of the final girl was made. Throughout the analysis I saw that, apart from three exceptions, Nami followed the conventions of the final girl. The exceptions were that she did not survive the movie, she took drugs in the form of a cigarette and showed a lack of intellect when they arrived at the military base.

The daytime serial drama, commercially known as the soap opera, has for a long time been diminished as an inferior artform, which previous research has connected to bias towards its historically predominantly female audience as well as its close relation to advertising. This thesis examines Guiding Light (original title The Guiding Light, CBS, 1937-1956, 1952-2009) and its transition from radio to television in the 1950s by using a historiographical approach through analysis of archive artefacts that cover the decade. The archive material, consisting of newspapers and magazines, have two parts to play: the first regarding the influence of the sponsor Procter & Gamble considering the soap opera’s status as a thriving advertisement vehicle of the time, and the second in the relationship between soap opera and its listeners/viewers throughout the era of transition. Throughout the years that it existed as a combination serial; both factors were seen to play a vital role in shaping the serial, both from an industry point-of-view, and as evident in its text. The two perspectives are often contradictory to one another but the co-existence of them is essential to the shaping of the soap opera’s history writing. Gender ties into both angles as the transition added to a growing social panic surrounding the housewife as a pillar for postwar US-American values.

I exhale. In the corner is a pile of cardboard boxes that I had just opened up. Stretched across the floor are many carefully measured lines of white duct tape. On the computer are countless browser tabs - from waves articles to small forums - telling me how to set up my new speakers. Equidistant triangles and other exact angles. All that is left to do is calibrate the volume so that each speaker reaches me equally. You see, I had decided to jump into surround sound. The thought of having a little personal cinema in my apartment to play with was not possible to pass on. I remember then sitting down in front of my digital audio workstation, with speakers surrounding me, and thinking.... Nowwhat? I had no idea what to do with it, what sound was supposed to go where, whether it should move or be still. I experimented with many surround things, never reaching a definite answer. I would go to the cinema to listen to other films - for research - but most of the time the sound never filled the room or left the screen, it is the spatial element of which I was mostly keen. What a waste. In the pursuit of discovering what surround means to me, the intimacy it can bring to a room; why mainstream films use it shyly, or don't use it at all. I discovered a rabbit hole. / <p>"Sound/Body" consists of a titular video essay, and "Surround/Body" - a complimentary text essay.</p>

This text uses a semiotic psychoanalytical framework to analyze season two of The White Lotus. This text examines the significance of the artwork of the show and applies Lacan’s mirror theory to the series’ artwork and the character Ethan. This thesis posits that the artwork is edited to accomplish the following: 1) to act as a metaphorical mirror for Ethan (a component of mise en scéne) 2) to heighten the series’ cultural appeal 3) to surveil the hotel guests and 4) to foreshadow future events.

This study examines four different scenes in the documentary Kan vi förlåta Margaux? produced by the Swedish television company SVT. The scenes were studied through a qualitative analysis of the three different film techniques: speech and interaction, editing and setting in relation to how the main character Margaux Dietz is portrayed. Thereafter the results were decoded with the purpose to study the sympathy for Dietz in each scene separately and in relation to each other. The theoretical framework of Bill Nichols book Introduction to Documentary were used as the basis of the analysis as well as Bordwell and Thompsons theories of mise-en-scène and editing. The conclusion of this paper suggested that Margaux Dietz is portrayed dissimilar in the various scenes. This also implied that the sympathy for Dietz throughout the documentary shifts. In the discussion of this study the results and the conclusion was debated in relation to the documentary genre. Media production: How do you speak about a subject as sensitive as sex to a young target group? New studies have shown the negative effect of young people’s exposure to pornography, which lacks consent and has defected gender norms. At the same time, the accurate information is visually dull, avoiding, and childish. RFSU didn’t do the job with their visual communication targeting teens aged 15-20. This was when plej came to life — a sex magazine challenging conventional norms about how sex is taught to teens, focusing on lust, consent, and pleasure. A project by Amanda Lindh, Helena Ljunggren and Jennie Eklund.

Denna uppsats undersöker hur de filmtekniska greppen ljus/färgsättning och kameraarbete används för att skildra Science fiction- tropen “det första mötet” mellan utomjording och människa i filmerna Arrival och Independence Day. Uppsatsen undersöker även hur utomjordingarna i filmerna används som representationer för det representationsteoretiska begreppet Den andre. Uppsatsen använder sig av en filmanalytisk metod, och använder sig av postkolonial teori samt representationsteori för att genomföra analysen. Slutsatsen för uppsatsen är att ljus och kameraarbete används dels för att förstärka skillnaderna mellan människan och utomjordingen i båda filmerna, och dels för att porträttera utomjordingen som Den andre. Analysen kommer fram till att Den andre i Independence Day porträtteras som aggressiv och farlig, medan Den andre i Arrival porträtteras som passiv och missförstådd. Uppsatsen kommer dock fram till att det inte går att se några direkta referenser mellan utomjordingarna och mer specifika grupper i samhället som ofta ställs i positionen som Den andre i väst. Utomjordingarna representerar snarare Den andre som ett bredare koncept, och speglar samtida kulturella attityder gentemot Den andre i tiderna filmerna producerades.  I min medieproduktion har jag skapat en fiktiv kampanj för Malmö Opera, som främjar intresset för opera och klassisk underhållning hos ungdomar. Kampanjen består av två affischer med tillhörande reklamfilmer, som hänger ihop via QR-koder. Filmerna är tänkta att visas i mobilutsnitt.

Podcast is an unregulated form of media that has grown in popularity over the past decade. Especially in the true crime genre. This type of podcast has attracted people's interest, but also criticism regarding the use of other people's suffering to create content. The purpose of this essay is to highlight how criticism towards true crime podcasts and documentary films is expressed and whether there is any difference depending on the type of media portraying the various criminal cases using discourse analysis as theory and method. The essay depicts two cases, the Engla case and the Arboga murders. With the help of three articles about each case, I have analyzed the discourse surrounding the producers' use of legal cases and the possible consequences this has on the victim's relatives. The criticism usually stems from the fact that the relatives have not been informed or given consent to a production about the murder of their relatives. The study concludes that the documentaries do not do anything wrong in using, for example, recordings from trials in their productions as it is a public document. However, some producers and publishers choose to take down episodes where relatives have been critical of them, while others leave the production available for everyone to see and listen to. In the essay, however, you get to see what it can look like when the relatives are informed and involved in various productions about their relatives. Then they get to tell about their experience and set the narrative around the case.

This BA thesis studies Göteborg Film Festival from a feminist theoretical perspective. It examines how the festival responds to recent efforts of working towards gender equality in the film industry. Through an interview with Göteborg Film Festivals Artistic Director topics on gender equality, representation and initiatives on gender equality reforms are discussed and analysed with the help from literature in film festival studies, film studies and feminist studies alongside other printed materials such as the festival´s website, press releases and interviews. The thesis also examines the festival´s way of marketing itself during their 5050 Vision initiative. It further discusses how the festival’s work with gender equality and inclusion could at the same time be consolidating a normative social order in society. The thesis concludes that Göteborg Film Festival is a progressive festival with regards to its work towards gender equality. Measures include attempts towards a more gender balanced film festival programming as well as hosting seminars and summits discussing gender equality in the festival sector and in film production. Although Göteborg Film Festival has not yet achieved gender equality, it provides a role model for how festivals can take a stand in a contested cultural arena.

Denna uppsats analyserar och diskuterar porträtteringen av homosexuella män och homosexuella kvinnor i film. Porträtteringen diskuteras huvudsakligen genom linsen av genus och heteronormativitet i filmerna Brokeback Mountain (2005), Carol (2015),Love, Simon (2018) och But I’m a Cheerleader (1999). Meningen med uppsatsen är att se om det finns tydliga skillnader mellan porträtteringen av homosexuella män och homosexuella kvinnor. Resultatet visar att i dessa fyra filmer det finns fler likheter än skillnader när det kommer till porträttering utifrån perspektivet av genus och heteronormativitet. Slutsatsen av studien är att trots de få skillnaderna i porträttering av homosexualitet mellan män och kvinnor blir filmerna om män mer uppmärksammade i populärkulturen, vilket uppsatsen inte finner ett svar till varför.

There’s a party this evening but Tilde is feeling too awkward. Travelling between mediums. What are the visual narratives I use in comics? What can be told better when adapted to the movie format? Which comic elements am I unable to translate to the film format? The relationship with the reader suddenly has the limitations of time, and explorations of sound. Does the experience of diving into a different medium affect how I swim in my usual field? With a background of 17 years’ experience as a comic artist, I explore the art of making a short movie. My degree project is a stand-alone short film and a chapter from a comic in the making. / Det är fest ikväll men Tilde känner sig för nervös. En resa mellan medier. Vilka visuella narrativ använder jag som serieskapare? Vad kan berättas bättre när det anpassas till film? Vilka serieelement kan jag inte översätta till film? Relationen till läsaren får här ett hinder i form av relationen till tid, men med ljudet som en ny möjlighet. Kommer erfarenheten av att doppa fötterna i ett annat fält påverka hur jag simmar i mitt egna? Efter 17 år i serietecknarbranschen kastar jag mig in i att göra en kortfilm. Mitt examensarbete är en fristående kortfilm och ett kapitel i en längre serieberättelse.