The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally. / Whole document restricted, but available by request, use the feedback form to request access.

Denna studie är en kvalitativ filmanalys av den populära tv-serien Bron, med fokus på huvudkaraktären Saga Norén. Studien utgår från teorier kring den manliga och kvinnliga blicken. Uppsatsens syfte är att belysa ämnet kring hur en kvinna förväntas uppträda utifrån de rådande normerna, men också hur hon uppfattas av andra. Uppbyggnaden av genus- och könsmaktsordning är ett ständigt relevant forskningsämne, där mediernas kraft att påverka publiken spelar en viktig roll.   Studien är baserad på könsteorier som relaterar till stereotyper, såväl som den manliga blicken. Till studiens analysdel skapades ett analysverktyg baserat på Selby och Cowderys trestegsmodell och mise-en-scén. De scener som valdes ut för analysen sorterades i fyra olika kategorier baserat på återkommande mönster. Varje kategori sammanfattades i en kort sektion, som samtliga diskuteras i det sista avsnittet. Resultatet av studien visar att Saga Norén avviker från hur en stereotyp kvinnlig karaktär förväntas uppträda. Hennes sätt att framträda, och det avvikande beteendemönstret bidrar också till att hon inte upplevs att synas i bild för att behaga någon. / This study is a qualitative film analysis focusing on the main character Saga Norén in the popular tv series Bron, based on the male and female gaze. The essay highlights the topic of how a woman is expected to behave based on the prevailing gender roles, but also how she is perceived by others. The construction of gender and gender roles is a constantly relevant research topic, where the media's power to influence the audience plays an important role.   The study is based on gender theories that relate to stereotypes, as well as the male gaze. For the analysis part of the study, an analysis tool was created based on Selby and Cowdery's three-stage model and mise-en-scène, using these theories as a foundation. The scenes selected for the analysis were sorted into four various categories based on recurring patterns. Each category was summarized in a short section, to be discussed in the final section.   The result of the study shows that Saga Norén departs from how the stereotype female character is expected to behave. Her way of appearing, and the deviant behavior pattern also contributes to her not being perceived to exist in a position to please.

This thesis examines the way in which imponderable problems are mediated in the everyday work of commercial film production in Egypt. By 'imponderable problem', I mean a working problem encountered in an extended production process whereby the individual worker, in the present, cannot account for all courses of action leading onto the process's expected outcome. I argue that workers in film production can never entirely solve this kind of problem: they 'mediate' it. They rely on various assumptions and material mediators to break this overall imponderability into a series of contingent tasks, thereby modifying the expected outcome. I situate this mediation in the wider context of the contemporary Egyptian film industry, with its interpersonal mode of interaction, its labor hierarchy, its socio-technical process of production, and its technological implements. This thesis analyzes three imponderable problems in particular: how to coordinate a shooting day; how to visualize the film; and how to anticipate the audience's composition and reaction. The overall argument is situated within media anthropology, where media production tends to be examined as a 'social' phenomenon inscribed on an invisible technological substratum, without exploring the material implications of everyday technological objects in a temporally extended process of production. This literature, moreover, tends to be inattentive to the gap between the way in which the film unfolds and the way in which social agents involved in its making anticipate this unfolding. This thesis, by contrast, considers how Egyptian filmmakers try to anticipate the future of their activity. In addition to being an ethnographic account of the Egyptian film industry, this thesis contributes to the anthropological literature on media production by exploring how workers concretely mediate between the present and the near-/far-future.

Lärare idag är överlag positiva till skolans digitalisering och många använder redan nu digital verktyg i sin undervisning dagligen. I och med att digital teknik har fått en allt större betydelse i skolans vardag, så ställer detta nya krav på lärarens kompetenser och skolans sociala arbete. Digital kompetens handlar om mycket mer än att bara kunna använda en dator och söka information. Om lärare vill använda internet, appar, filmer eller andra digitala verktyg i undervisningen måste skolan skapa en utbildning där man lära sig att använda digitala medier både kritiskt och kreativ för att förstå och utmana de medier som eleverna kommer att möta i livet. I samband med de nya revidering kring skolans digitalisering, som kommer att träda i kraft hösten 2018, har Filmriket skapat en film- och mediepedagogisk webbplattform som bland annat ska bidra till att ge eleverna ett källkritiskt förhållningssätt till rörlig bild genom att öka barn och ungdomars kreativa förmågor och digitala kompetenser med hjälpa av färdiga övningar skapade med utgångspunkt i grundskolans läroplan. Denna studien riktar sig mot filmskapande kopplat till bildämnet och syftar till att undersöka Filmrikets potential i undervisningssammanhang. Genom intervjuer har studien även undersökt lärarnas behov för att möjliggöra utvecklingen av elevernas digitala kompetenser. Studien visar att det finns ett intresse från lärarhåll att arbeta med filmskapande i undervisningen, men att det är viktigt att övningarna är tidseffektiva och att det finns tydliga kopplingar till kursmålen. Problemen som kan uppstå i arbetet med filmskapande är allt som oftast kopplat till skolverksamhetens organisatoriska aspekter och inte verktygen i sig, vilket tyder på att Filmrikets film- och mediepedagogiska webbplattform har potential att bli ett användbart hjälpmedel i grundskolans undervisning.

The idea of what is suitable for children depends on the understandings and expectations of what childhood is and should contain. While "suitable" films have been praised for their obvious pedagogic function, "non-suitable" films (such as popular and violent films) have also managed to emerge into the film pedagogic context with varying arguments, e.g. that film education should reflect the reality of the youth or that children will see the films anyway and need guidance.     This thesis explores a contemporary Swedish example of a contested children's film that was produced for school cinema but classified as harmful for children under the age of fifteen by the Swedish Media Council. By situating the case in relation to film pedagogic history and aspects from  the use of violent films in the 1980's, the study shows how the film pedagogic discourse can be influenced by an anxiety concerning the "child's best".  The study enhances the significant role of "enthusiastic teachers" and  the importance of considering the current film pedagogic conditions.

This thesis examines how the Spanish film legislation that was passed between 1982 and 2010 has shaped the production, circulation and reception of contemporary Spanish cinema. The study of film legislation is crucial to understanding how the cultural value of contemporary Spanish cinema is created since laws are the main instrument through which the Spanish state has established the funding policies directed towards the production of films. Owing to the weak nature of the Spanish production sector since its inception, and the lack of private investment, the Spanish state, and, since 1999, the public and private television companies, have been the major financial support for the production of films. Furthermore, film legislation itself defines the type of films that are considered to be worthy enough to receive state funding, and, therefore, the type of films promoted by the state to be nationally consumed and internationally exported. Consequently, it is essential to understand why and how the funding policies have been established, by whom, and towards the support of what type of films. My thesis' argues that film legislation should be regarded as the key instrument through which a state tries to regulate the national film industry. It is nonetheless necessary to point out that the Spanish case is more complex, since film legislation has also been mainly enacted to solve the Spanish film industry's endemic problems. More importantly, my thesis' main contention is that film legislation has to be regarded as the site in which the debate about the type of cinema wanted for the nation acquires its main expression. In order to critically address the political, economic and cultural functions of the different funding policies established between 1982 and 2010 my thesis is informed by Pierre Bourdieu's theory of cultural production; in particular, on his notions of field, capital and habitus as specifically stated in Distinction. A Social Critique of the Judgements of Taste ([1984] 2010) and The Rules of Art ([1996] 2012). Through this theoretical framework, my thesis argues that film legislation does not emerge in a vacuum because the laws respond to different demands from those involved in creating the cultural value of Spanish cinema: the policymakers in charge of the film policies, the film professionals, and, to a lesser extent, the key film critics. My thesis accounts for the ways in which the cultural value of these films has been created by locating and interrogating the main demands of the type of films regarded to be worthy of the state financial support and by pointing out who have raised them; secondly, it identifies whether those demands have been enshrined in the laws and it demonstrates the ways in which the interests of those involved in the creation of the cultural value of Spanish films have informed the funding policies set by the laws. Thirdly, it provides an understanding of how the key policymakers have acquired their ideas about cinema and how those ideas have been reflected in the laws. Finally, through four case studies, my thesis analyses the modes of cinematic production that those funding policies have led to and the types of films that they have fostered.

In this essay I aim to examine how camp could be used as a method in the reading of camp as a theory. This will be followed by an analysis of how The Watermelon Woman (Cheryl Dunye, 1996) could be seen as an expression of camp. I am intending to do so by using camp as a method combined with queer phenomenology and theory about social abjection. By having a phenomenological base I hope to show how camp is contextual - and how its resistance is fluid. In my analysis I will look closer at the relationship between Dunye, the director, Cheryl, the protagonist - played by Dunye, and Fae - the actress who has been lost in the archives. Together, they show how camp becomes a method in the film itself, as a film, as well as a film within the film. Camp will be my method in the reading of The Watermelon Woman, claiming that the film as well uses camp as a method - both as an aesthetic expressions and as a (re)writer of history.

Denna studie jämför de nya norska tågresefilmerna inom så kallad sakte-TV (eller Slow TV) med den tidiga filmens phantom rides. I båda fallen dominerar ett förstapersonsperspektiv filmat i tågets färdriktning och uppsatsen undersöker hur likheter och skillnader i stilmässiga grepp och paketering relaterar till samtida uppfattningar kring tid och rum. Vidare utforskas om det moderna fenomenet kan ses som en återkomst av en vy-baserad filmestetik, där den så annars vanligt narrativa konstruktionens dominans förflyttas till bakgrunden.

Jordens klimat blir allt varmare. Fortsatta utsläpp innebär fortsatt stigande temperatur. I takt med att vårt klimat blir allt varmare, får även miljöfrågorna alltmer uppmärksamhet i vårt samhälle. Vi har blivit medvetna om vilka konsekvenser vårt agerande har och fokusen ligger på hur vi skall stoppa denna utveckling och vända trenden mot ett mer hållbart samhälle. De största frågorna handlar om att ta vara på restprodukter och att återanvända dessa och på så vis spara naturens resurser. En viktig del i detta arbete är återvinning och hållbar utveckling. Hållbar marknadsföring verkar som kommunikation utav hållbar utveckling. I dagens samhälle där vi lever och konsumerar mer än någonsin, är det viktigt att kunna kommunicera ut olika alternativ. Denna studie undersöker hur hållbar marknadsföring kan använda olika visuella medel för att kommunicera ut en mer hållbar framtid.

Loke Carlsson: Spelmusik – Musikens funktioner i tre datorspelsserier Denna uppsats handlar om datorspelsmusik och syftet är att ta reda på vilka funktioner denna musik har i datorspel. Först presenteras ett antal teorier om filmvetenskap. Med hjälp av dessa teorier sammanställer jag sedan en metod för att analysera musiken i några få datorspel. I metodkapitlet hittar man också en redogörelse för de grundläggande skillnader mellan datorspel och filmer när det gäller musik. Tre olika spelserier analyseras i denna uppsats. I analyserna presenteras och beskrivs musiken, varefter den ställs mot de teorier som presenterats i teorikapitlet. Resultatet blir att jag kan sluta mig till att datorspelsmusiken i de analyserade spelen har fyra viktiga funktioner som stämmer bra överens med flera av filmmusikens funktioner.