Den här uppsatsen undersöker symboliken av blodet på och från kvinnliga kroppar i skräckfilm och jämför hur de kvinnliga och manliga karaktärerna behandlas. En central del av uppsatsen är också att hitta kopplingar mellan blod, religion och sexualitet. För att besvara frågeställningarna genomfördes en kvalitativ bildanalys av två scener från vardera av filmerna Carrie (1976), A Nightmare on Elm Street (1984) och Scream VI (2023). Den teoretiska grunden för uppsatsen är Erwin Panofskys ikonologiska tolkning samt den manliga blicken av Laura Mulvey. Sammanfattningsvis visar studien att blod har använts som ett medel för att straffa de kvinnliga karaktärerna i de tre filmerna, den ikonologiska tolkningen bidrog till en förståelse om hur den manliga blicken fortfarande formar karaktärer och berättande, samt hur puritanismen har satt spår i den amerikanska filmindustrin.

This essay is a qualitative study that analyzes how close-ups and point of view in relation to the narrative affect the viewer emotionally in the TV show The Last of Us episode 8. It examines the visualization of the character Ellie’s emotions and analyzes its emotional effect on the viewer. The theories applied explain the human ability to feel empathy and social cognition, film’s ability to evoke emotion and the concept of focalization. The theories also define the terms: narrative, point of view and close-ups. Five scenes were chosen and each scene was analyzed closely looking at facial expressions, point of view, camera movement, angles and more. Since this is a qualitative study it is based on subjective interpretations and assumptions which should be taken into account. However emotions are exceedingly subjective and a quantitative study would therefore be unmotivated.  The results suggest that assumptions can be made in how close-ups and point of view affect the viewer emotionally. When taken narrative into account, close-ups and point of view visualized the character Ellie’s emotions. These two techniques clarified and reinforced the character’s emotional state which, through the human ability to feel social cognition and empathy, transferred and/or influenced the viewer’s emotions.

Kandidatuppsatsens syfte är att genom arkivstudie utföra en historiserande kontextuell analys av Utvandrarna (1971) och Nybyggarna (1972) med produktionsstudie som metod. Filmerna gjordes samtidigt och hade en inflationsjusterad budget på sjuttiofyra miljoner kronor, vilket gör inspelningen till den största satsningen inom svensk film på hela 1900-talet. Hur planerades och genomfördes en produktion av sådan storlek? Ända från de tidigaste idéerna kartläggs processen i syfte att dra slutsatser kring dåtidens svenska kulturklimat, filmsamhälle och tekniska utveckling. Arkivmaterialet hämtas från Svenska Filminstitutets biblioteksarkiv och delas in trefaldigt: Manussamlingen, Bengt Forslunds personarkiv och Bildarkivet. Utifrån detta material återges händelseförloppet i detalj, kompletterat med senare vittnesmål från skådespelare och filmteam. Produktionen värdesatte framför allt verklighetstrogenhet och i stort sett alla scener filmades på plats vid historiska kvarlämningar eller ute i naturen, ofta med lokala amatörskådespelare i de mindre rollerna. Dessutom studeras Jan Troells roll som regissör, fotograf och klippare utifrån Bill Nichols teori om dokumentära representationsperspektiv, med fokus på Troells användande av drag från observerande och deltagande dokumentärfilm för att öka verklighetsintrycket. Slutsatsen blir att filmerna å ena sidan har en tydlig bakgrund i den svenska guldålderns litterära tradition, å andra sidan estetiskt och produktionsmässigt i mångt och mycket tillhör det sena 60-talets nyskapande kulturella våg. / The aim of the bachelor's thesis is to contextualize and historicize the production of The Emigrants (1971) and The New Land (1972), through arhival material. The films were made simultaneously and had a budget of 74 million Swedish Krona, adjusted for inflation, making them the Swedish film industry's biggest investment of the 20th century. How was a production of such scope planned and executed? The process is mapped out in order to draw conclusions around Sweden's cultural climate at the time, its film world and its technological developments. The archival material is taken from Svenska Filminstitutets biblioteksarkiv (The Swedish Film Institute's Library archive) and can be divided threefold:  Manussamlingen (the script collection), Bengt Forslund's personal archive, och Bildarkivet (the image archive). Using this material the events of the production are narrated in detail, completed by additional oral history given by the films' cast and crew. The production valued fidelity to reality above all and almost all scenes were shot on location, at historical sites or in nature, often with local amateur actors playing the minor parts. In addition, Jan Troell's role as director, photographer and editor is studied through Bill Nichols' theory of documentary modes, focusing on Troell's use of traits from the observational and participatory documentary modes to strengthen the impression of reality. In conclusion, the thesis finds that while the films are evidently a part of the literary tradition that goes back to the Swedish Golden Age, their aesthetics and means of production are closely tied to the innovative cultural wave of the late 60s.

Syftet med denna studie är att undersöka en dokumenterad respektive konstnärligt filmad metod för instudering av jazzdansmaterial, på ett sätt som samspelar med det egna sättet att lära. Undersökningen har gjorts genom intervjuer, film och observationer med hjälp av en danspedagogstudent. Litteraturen inom ämnet har varit begränsad vilket inneburit en kunskapsinhämtning från flera kunskapsfält. För att analysera materialet har jag använt en tematisk analys samt ett observationsschema med fokus på dansanalys av följande jazzdanskomponenter etablerade av Katarina Lundmark: bredd &amp; höjd, precision, timing, koordination och musikaliskt uttryck (2011). Analysen av intervjuerna resulterade i totalt 10 teman, varav 4st tillhörande respektive filmmetod. Observationerna jämförde två jazzdansfraser som båda filmats vid två tillfällen med en veckas mellanrum och skapade ett resultat för hur vardera jazzdanskomponent påverkade gestaltningen i respektive jazzdansfras. Ett av studiens fynd visar att arbetet med film som instuderingsmetod kräver ett tydligt situerat syfte där de inre processerna aktivt samspelar med de yttre processerna. / The purpose of this study was to investigate a documenting respectively screendance recorded rehearsal method for jazz dance material, in a way that interacts with one's own way of learning. The study has been done through interviews, film and observations with the help of a student in dance pedagogy. The literature on the subject has been limited, which led into the gathering of literature from several fields. To analyze the material, I have used a thematic analysis as well as an observation scheme combined with a focus on dance analysis of the following jazz dance components conducted by Katarina Lundmark: width &amp; height, precision, timing, coordination and musical expression (2011). The analysis of the interviews resulted in a total of 10 themes, of which 4 belongs to the respective filming method. The observations compared two jazz dance phrases that were both filmed on two occasions one week apart from each other and created a result for how each jazz dance component affected the performance in the respective jazz dance phrase. One of the study's findings shows that working with film as a rehearsing method requires a clearly situated purpose where the internal processes actively interact with the external processes. / <p>Angivet datum ovan för presentation är ifrån min opponering, uppsatsen godkändes först den 21 juni 2024, när revideringsarbetet till följd av opponeringen var avklarat. </p>

The research is exploring the liminal space of aporía within the experience of film. How can film be a poetic experience and inviting philosophical thinking? Motivated by the works of filmmaker Chantal Akerman, I have come to investigate the gap within the filmic narrative of character creation. With the obligation to create an ethical relationship to my audience, I take a closer look into the aesthetics of mimesis in storytelling. Proposing that there is a shared created gap of nothingness, which works as a portal of reflection between audience and art where the aporía take place, I am influenced by the philosopher Merleau-Ponty´s phenomenological image of the chiasm. The research is accordingly discussing the actor as the embodied surface of this interplace. The liminal space is the journey of the pre-reflective mind working with the unknowable. My thesis tries to show how the image of the thinking actor can hold a space for one shared experience. Departing from a background of actor and writer, the use of writing art throughout the research is a description of different ways of expressing my artistic language; as in writing, filming, directing or acting. The research is situated within the artistic research and the material of focus is art film, ethical philosphical thinking and my own practice with an essay film of 12 minutes, [Her]barium. The locus of the discussion is my own embodied conciousness, as a spectator and in the position of filmmaker.

This study combines analytical and narrative modes of historical enquiry with educational policy sociology to construct a history of media in education in Scotland. It uses the development trajectory of a single case, media education in Scotland's statutory education sector, to deconstruct and reconstruct a history of the institutional relationship between the Scottish Film Council (SFC) and the Scottish Education Department (SED) that stretches back to the 1930s. Existing literature describes media education in Scotland as a phenomenon located in the 1970s and 1980s. This study disaggregates media education discourse and dissolves chronological boundaries to make connections with earlier attempts to introduce media into Scottish education in the context of Scotland's constitutional relations within the UK. It employs historical and socio-cultural methods to analyse the intersections between actors and events taking place over six decades. The analysis and interpretation of the data is located in three time periods. Chapter 3 covers the period from 1929 until 1974 when, on the cusp of the emergence of the new texts and technologies of film, the SFC was established to promote and protect Scottish film culture and audio-visual technologies. During this time, the interdependence of teachers, the film trade and the educational policy-making community led to the production, distribution and exhibition of new and popular forms of text to national and international acclaim. By juxtaposing public and private documents circulating on the margins of statutory education, this chapter generates a new understanding of the importance of film and its technologies in Scotland in the pursuit of a more culturally relevant and contemporary model of education. It also describes how constraints upon Scotland’s cultural production infrastructure limited its capacity to effect significant educational change. In the 1970s, cultural, political and educational ferment in pre-devolution Scotland, created a discursive shift that gave rise first to media education and then to Media Studies. Articulating documents with wider discourses of educational and cultural change and interviews with key players, Chapter 4 describes a counter-narrative gaining momentum. The constraints of the practices of traditional subjects and pedagogies combined with the constraints on Scottish cultural production gave shape and form to the media education movement. Significantly for this study, the movement included influential members of Scottish education’s leadership class. Between 1983 to 1986, the innovative Media Education Development Project (MEDP) aimed to place media education at the centre of teaching and learning in Scottish education. This was fully funded by the SED, managed by the Scottish Council for Educational Technology (SCET) and the SFC and implemented by the Association for Media Education in Scotland (AMES). The MEDP overlapped briefly with another initiative in SCET, the Scottish Microelectronics Development Project (SMDP). During this period, Media Studies enjoyed rapid success as a popular non-advanced qualification in the upper secondary and further education sectors. Media education, however, did not. Chapter 5 explores the links between the MEDP and the SMDP through the agency of three central actors: SCET, the SFC and AMES in the context of a second term of Margaret Thatcher’s Conservative government. This study concludes that between 1934 and 1964, the SFC was a key educational bureaucracy in Scottish education. The SFC’s role as an agent of change represented the recognition of a link between relevant and contemporary Scottish cultural production and the transformation of statutory education. Between 1929 and 1982 three iterations for media and education in Scotland can be discerned. In 1983, the MEDP began a fourth but its progress faltered. The study suggests that if a new iteration for media and education in Scotland in the twenty-first century is to emerge, an institutional link between media culture, technology and educational transformation requires to be restored.

Eva Dahlbeck was one of Sweden’s most respected and popular actresses from the 1940s to the 1960s and is now remembered for her work with Ingmar Bergman, who allegedly nicknamed her “Pansarskeppet kvinnligheten” (“H.M.S. Femininity”). However, Dahlbeck had already established herself as a star long before her collaborations with Bergman. The popularity of Bergman’s three comedies (Waiting Women (Kvinnors väntan, 1952), A Lesson in Love (En lektion i kärlek, 1954), and Smiles of a Summer Night (Sommarnattens leende, 1955)) suggests that they catered to the Swedish audience’s desire to see the star Dahlbeck. To explore the interrelation between Swedish post-war popular film culture and the auteur Bergman, this thesis examines the stardom of Dahlbeck, who can, as inter-texts between various films, bridge the gap between popular film and auteur film. Focusing on the decade from 1946 to 1956, the process whereby her star image was created, the aspects that constructed it, and its relation to her characters in three Bergman titles will be analysed. In doing so, this thesis will illustrate how the concept “Pansarskeppet kvinnligheten” was interactively constructed by Bergman’s films, the post-war Swedish film industry, and the media discourses which cultivated the star cult as a part of popular culture.

Uppsatsen presenterar hur högskolestudenter och gymnasieelever av båda könen (killar respektive tjejer) hanterar informationssökning och källkritik på Internet i samband med studier. Syftet med studien är att se skillnader och likheter i tre sökaspekter (informationsbehov, sökstrategi och källkritik). Sedan vill jag se hur tre sökaspekter används av båda könen bland högskolestudenter och gymnasieelever. Undersökningen är en både kvantitativ och kvalitativ studie. Det kvantitativa inslaget bygger på enkätfrågor och öppna frågor medan det kvalitativa inkluderar intervjufrågor. Teoretisk referensram består av litteratur och vetenskapliga artiklar som ger teoretiskt stöd åt ett operationaliseringsschema och ger grund åt hela studien. Studien begränsas till högskolestudenter och gymnasieelever av båda könen som går medieinriktade studier, oberoende av årskursnivå. Ett oväntat resultat som studien visade är, att både högskolestudenter och gymnasieelever av båda könen tittar mest på sina träffar ”Till mitten pålistan”. I studien upptäcktes att högskolestudenter och gymnasieelever av båda könen har kunskap om källkritik, men det stora problemet hos båda grupperna är ”Tidsbrist” och ”Har inte lust”, så att de undviker granska källor på Internet. Högskolestudenter och gymnasieelever av båda könen är medvetna om konsekvenserna som kan uppstå om de inte kritisk granskar källor på Internet. Det sökmönster som högskolestudenter och gymnasieelever av båda könen använder är att de först söker med bred sökning och sedan med smal sökning. Deras val av sökverktyg är ”Google” och de söker mest med sökord.

The purpose of this study is to examine how the severed hand in the animated film I Lost My Body (2019) is presented as its own character, based on Jens Eder character analysis: the clock of character. This study aims to answer the question: How is the severed hand in a specific scene in the animated film I Lost My Body (2019) presented as both an artifact and fictional character according to the clock of character ? Through the application of Jens Eder character analysis model, a specific scene in the film was captured through screen shots, described, and analysed. The theoretical framework of this study includes characterization theories on anthropomorphism, body form, body language, and emotions in fictional characters as well as a cognitive theory examining the connection between hand and mind. The study’s result suggest that the severed hand is conveyed as a character due to its behaviour, characteristics, and body movement, which place it on the border between animal, human and a fictional creature. The human intelligence of the hand, along with its animal-like reactions and luck in navigating its environment, lends credibility to it as an independent, conscious character. Furthermore, this study discusses ways that this research could be expanded on and how it can be used by filmmakers and animators. This paper also includes a design documentation after page 43 called “Familjens Förmedlare”, which is part of the degree project that this paper was part of at the Visual Communication program at Malmö University.“Familjens Förmedlare” is a short film that highlights problems that arise when children are given the responsibility to interpret for their parents.

Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.