I denna semiotiska analys granskas hur nakenhet i Westworlds första säsong används för att stöda en etablering av androiderna som objekt. Detta görs utifrån en analys av mise-en-scène i två sekvenser av scener där nakenscenen följs av en påklädd sådan. I analysen ses ett samband mellan nakenscenernas science fiction-kodade miljöer och teorier kring en perfekt artificiell kropp, medan de påklädda scenerna visar livfulla och känslosamma ögonblick. Detta resulterar i en nakenhet som inte kan bli osedd och som även förändrar hur tittaren ser på påklädda scener. / This semiotic analysis examines the way nudity in Westworld’s first season is used to support an establishment of the androids as object. This is done through an analysis of mise-en-scène in two sequences of scenes where the nude scene is followed by a clothed one. In the analysis a connection between the nude scenes’ science fiction coded environments and theories about a perfect artificial body can be found, while the clothed scenes show lifeful and emotional moments. This results in a nudity that cannot be unseen and even affects the way the viewer sees clothed scenes.

This thesis is an attempt to reflect on my own creative process and put it in relation to  critical ideas and artworks that deals with themes of apocalypse, ecology and political theory. By doing this I hope to examine the role of apocalyptic narratives in our society today and see how my own film relates to these ideas. By putting my artistic process and film in relation to a theoretical framework I hope to discover new perspectives on aesthetics and how to tell an apocalyptic story in our day and age and how this relates to documentary filmmaking and digital culture.  To engage with a critical perspective on the ecological questions regarding my work I am taking help from thinkers such as the finish art historian and media professor Jussi Parikka and his ideas about geology of media where the earth crust itself can be considered a mediating force. I am also introducing the concept of buen vivir presented by the post-colonial theorist Rolando Vásques to critically examine the documentary process in Sápmi. Furthermore, I explore the religious idea of the holy fool who appears in the film from a societal perspective by turning to the media theorist Byung- Chul Han. I also make us of the theologian Ola Sigurdsons ideas about the transcendental power of comedy to understand the more comical sides of my filmmaking.  By putting these theoretical ideas against my practice I try to find an expanded understanding of the apocalyptic film genre and how the artistic process relates to healing and transformation in times of societal and existential crisis.

This thesis focuses on Astrid Lindgren and film tourism in the Vimmerby region in Sweden. Lindgren introduced her imagined worlds in her books and films, which was inspired by her personal experience of growing up in Vimmerby. Film location sites and other film tourism places around Vimmerby indicate the relationship between the imagination of the author and the local region. This thesis draws on the concept of imagination and Stijn Reijnders research about Places of the Imagination, as well as Abby Waysdorf and Reijnders research on film tourism as an imaginative experience. By focusing on these sites and the advertisement, the main research question is what experience these sites offer for the film tourist and how they present the local identity and imagined world by Lindgren. This thesis introduces a new approach called imaginative archaeology. It describes film tourism as an archaeological reconstruction of imagination and the imagined world, that is presented on screen. As a result, the film tourism sites offer an archaeological reconstruction. The film sites can be seen as archaeological sites, the tourism sites in Vimmerby provide traces of Lindgren’s imagination, the theme park can be seen as an open-air museum and the film museum offers a museum experience for the film tourist.

The main purpose of the study is to understand how Vestiaire Collective’s campaign film #saynotofastfashion from 2022 visually communicates two different messages. One intentional message about an activistic positioning in the issue of textile waste as well as one unintentional message about white supremacy.   The material is investigated through a qualitative content analysis based on theories about activism in media and documentary narration, the white man’s guilt and postcolonial stereotypes in film. By splitting the material and analyzing text and image separately, markers for both messages are found. In a summarizing analysis the text and images separate communication are put in relation to each other in order to draw conclusions about the two part’s common message and function.   The study concludes that the meaning of the text as well as text and image together is to show Vestiaire Collective as a wholesome, conscious and charitable company. However the images also send the message that westerners are needed in order to solve problems in non-western countries. Vestiaire Collective’s film represents the dark skinned Ghanaians in a diminishing and colonially stereotyped way and themselves as heroes in line with the white-savior-stereotype.  Markers for activism are interpreted to be the way Vestiaire Collective are positioning themselves in the issue of textile waste as well as their suggestions and prompts for solutions. Another marker for activism is under which circumstances the film was published; in connection with Black Friday 2022 on social media.  The media production included below is a documentation of the process of making a short advertising film about a cancer story from a relative’s perspective.

Denna uppsats undersöker användningen av stop motion-estetik i den CGI-animerade serien Oni: Thunder God's Tale. Syftet är att analysera vad denna estetik kan framkalla känslor och vad för påverkan CGI-tekniken har för påverkan på dessa känslor. Undersökningen styrs av frågeställningen Vilken effekt får användningen av stop motion-estetik i CGI-producerade serien Oni: Thunder God's Tale (2022) enligt en visuell analys? Metoden är en kvalitativ visuell analys med fördjupning i filmanalys där teorierna nostalgi och remediering tillämpas för att förstå de estetiska valen och CGIs inverkan på tolkningen av serien.  Resultatet visar att de visuella elementen, textur, ljus och rörelsekvalitet inte bara frammanar minnen av stop motion-estetik, utan anspelar på leksaker och gosedjur som väcks till liv. Detta förmedlar en känsla av trygghet från barndomen och väcker en känsla av nostalgi. Fortsättningsvis tolkas CGI-tekniken i serien som ett sätt att skapa uppskattning för stop motion genom estetiken, även om en nutida teknik används. Medieproduktionen för denna student består av två videor för språkkursen Tagalog nivå 1, som erbjuds av Folkuniversitetet. Videorna är utformade med en collage- och stop motion-estetik för att skapa en engagerande kampanj, särskilt anpassad för sociala medier med fokus på Instagram. Med utgångspunkt i Folkuniversitetets grafiska manual har videornas innehåll noggrant utformats och berikats med kulturella referenser.

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.

The purpose of this study is to examine in which way power structures are played out in the 2022 movie The Menu (2022). Five categories of scenes with the main focus on the main character have been selected to be analyzed through a narrative movie analysis with focus on intersectionality regarding class and gender in relation to the theory of the final girl. Every scene is to be explained and then, together with the main narrative, analyzed through theories of marxism, Bourdieu’s capital theory and Clover’s final girl in focus.   The study concludes that the power structures of class and gender is played out through the main character by her using her looks as a beautiful and young woman as well as her working class background in the service industry as an escort to her advantage in getting to know the male antagonist. By doing so she can, unlike the other guests which are all upper class, escape the safe death they all face. / The purpose of this media production is to be used as a base for discussion during seminars regarding honor related violence and oppression. The mateiral is the be used during education for proffesionals in the field of social work.

This essay deals with the idea of women as the ”the other sex” within the field of authorship, and aims to bring to together feminist, film and auteur theory with analysis of historic documentations of reception as well as context for academic treatments of Mai Zetterling as an auteur/director. This, in attempt to, through intertwined discussion, catch a glimpse of better understanding how gender specificity may have influenced and continue to influnce perceptions of auteurs of female gender and their works, yet keeping focus on the case of Mai Zetterling and hers in specific.

This thesis addresses the complexity of digitalization and humanities research practices, with a specific focus on digital archives and film history research. I propose the term “Frankenstein Complex” to highlight and contextualize the epistemological collision and empirical challenges humanities scholars encounter when utilizing digital resources with digital methods. A particular aim of this thesis is to scrutinize digital archiving practices when using the Media History Digital Library (MHDL) as a case for a themed meta-inquiry on the preservation of and access to classic horror cinema in this particular digital venue. The project found conventional research methods, such as the close reading of classical cinema history, to be limiting. Instead, the project tried out a distant reading technique throughout the meta-inquiry to better interrogate with the massive volume of data generated by MHDL. Besides a general reassessment of debates in the digital humanities and themes relating to horror film culture, this thesis strives for a reflection on classic horror spectatorship through the lens of sexual identity, inspired by Sara Ahmed’s perspective on queer phenomenology. This original reading of horror history is facilitated by an empirical study of the digital corpus at hand, which in turn gives insights into the entangled relation between subjective identities and the appointed research contexts.

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.