Coolness is a desired but overlooked concept in fashion. The thesis The Vincent Vega in Helmut Lang: Framing Helmut Lang’s Coolness in Relation to Cool Movie Characters sheds light on how coolness is created in Helmut Lang’s spring 2004 collection in relation to movie representations. The thesis frames coolness as a myth and gendered performance. With the method of representation studies, several movies are analysed in how they present coolness. It is discovered that movies continuously reproduce the same myth. With critical visual analysis, Lang’s collection is put in context to these movies. It is shown that Lang’s collection has many similarities to the movie costumes and although he tries to break out the gendered myth, he still reproduces it. The thesis contributes to understand coolness as a concept but also that coolness, at least in Lang’s case, is heavily dependent on the cinematic representations rather than pursuing his own unique approach.

Syftet med den här uppsatsen var att vidga förståelsen av hur musikgenren death metal samspelar med scener från skräckfilm. För att metodiskt genomföra detta skapades fyra gestaltningar där musikstycken av sagda genre spelas ihop med fyra filmscener. Dessa gestaltningar analyserades och visades för fem informanter i samband med att de blev intervjuade. Resultatet indikerar på att genren deathmetal samspelar med sagda gestaltningar likt traditionell filmmusik. Resultatet indikerar även på att detta samspel uppfattas snarlikt oberoende på informanternas erfarenhet av musikgenren.

Machine Learning is improving at being able to analyze data and find patterns in it, but does machine learning have the capabilities to predict something subjective like a movie’s rating using exclusively objective data such as actors, directors, genres, and their runtime? Previous research has shown the profit and performance of actors on certain genres are somewhat predictable. Other studies have had reasonable results using subjective data such as how many likes the actors and directors have on Facebook or what people say about the movie on Twitter and YouTube. This study presents several machine learning algorithms using data provided by IMDb in order to predict the ratings also provided by IMDb and which features of a movie have the biggest impact on its performance. This study found that almost all conducted algorithms are on average 0.7 stars away from the real rating which might seem quite accurate, but at the same time, 85% of movies have ratings between 5 and 8, which means the importance of the data used seems less relevant.

In dieser Arbeit soll es um die Ehre gehen, insbesondere um die kritische Auseinandersetzung mit den komplexen Regeln des Ehrenkodex in zwei Filmen des italienischen Regisseurs Pietro Germi, Divorzio all\''italiana (F/I 1961, Scheidung auf italienisch) und Sedotta e abbandonata ( F/I 1963, Verführung auf italienisch, DDR-Titel: \"Verführung auf sizilianisch\"). Die beiden Filme gehören zusammen mit Signore & Signori (F/I 1965, Aber, aber meine Herren...) zu einer Trilogie, mit der Germi die Verlogenheit und die Mängel der italienischen Gesellschaft angreift und karikiert. Alle drei Filme wurden in den 1960er Jahren gedreht. Im Gegensatz zu Divorzio all\''italiana und Sedotta e abbandonata, deren Handlungsort Sizilien ist, spielt Signore & Signori in Norditalien. Wenn auch in allen drei Filmen gegen die Scheinheiligkeit bestimmter Gepflogenheiten der italienischen Gesellschaft polemisiert wird, so sind die beiden in Sizilien angesiedelten Filme vor allem auf den Ehrenkodex fokussiert, der bekanntlich im Süden des Landes eine existentielle und umfassende Bedeutung hat. Gesellschaftlicher Hintergrund sind die Jahre des Wirtschaftswunders, des sogenannten miracolo economico, einer Zeit des wirtschaftlichen, gesellschaftlichen und sozialen Umbruchs, dessen Auswirkungen vielschichtiger Natur sind und teilweise jahrhundertealte Regeln und Verhaltensmuster in Frage stellen. Nicht zuletzt das Verhältnis zwischen Mann und Frau ist von den gravierenden Umwälzungen betroffen. Wie sich die Veränderungen in der filmischen Darstellung niederschlagen, soll an den verschiedenen Rollenbildern von Männlichkeit und Weiblichkeit in Divorzio all\''italiana und Sedotta e abbandonata vertieft werden. Der Film war damals ein wichtiges Medium und in der Lage, Impulse für Veränderungen zu geben. Seine Gesellschaftskritik brachte Germi - dem Charakter der kritisierten Normen und Gebräuche entsprechend - in Form einer parodierenden, satirisch-tragischen und teilweise bis ins Groteske gehenden Darstellung zum Ausdruck. Ausgewählten und in der Literatur immer wieder auftauchenden Verweisen auf mögliche Bezüge und Parallelen zum Werk anderer Schriftsteller und Künstler, wie Bachtin und dessen Definition des Grotesken, die grotesken Gestalten de Goyas oder Pirandellos Begriff des Humors soll kurz nachgegangen werden. Hauptthema ist jedoch die Ausarbeitung der Darstellungen von Männlichkeit und Weiblichkeit in Germis Filmen Divorzio all\''italiana und Sedotta e abbandonata. Traditionelle und neue Rollenmuster sollen identifiziert und beschrieben, eventuelle Widersprüche aufgedeckt und thematisiert werden. Männlichkeit und Weiblichkeit im Wandel können auf ganz unterschiedliche Art und Weise ausgedrückt werden. Sowohl nonverbal, durch reine Äußerlichkeiten, wie etwa Kleidung, Frisur, Figur, Gesicht und durch Handlungen bzw. das Unterlassen von Handlungen kann eine bestimmte Position bezogen werden. Daneben postuliert sich Männlichkeit bzw. Weiblichkeit auch durch das Tätigen von Aussagen. Es soll versucht werden, unter Berücksichtigung dieser Aspekte Germis satirische Darstellung und Recodierung von Männlichkeit und Weiblichkeit zu erfassen.

Online movie distribution has become a common practice after giants such as HBO and Netflix have entered the scene. Despite the new digital technologies, the Danish movie industry are having a hard time benefitting from these. While watching the Danish movie ticket sales decrease, the film industry can observe the increasing number of people staying at home watching Netflix. Therefore, it is essential that the movie industry start looking at their business- and distribution models in order to find out where they can optimize their businesses. By using a qualitative inductive approach, this study explored how the Danish movie industry’s traditional business- and distribution models can be adjusted; in order to meet customer demands and be able to compete with its digital competitors. Focus groups with movie customers as well as interviews with industry experts were conducted. The main results were that the participants preferred watching Danish content at home, because of the lack of special effects; because of the cinema ticket prices; as well as the many different options they have at home. Furthermore, it was found that the film industry has difficulties creating content that is embracing new technologies such as 3D; that they are still focusing on the mass when producing movies; and they are not able to get first-hand data from customers. Based upon these results, new business models and distribution models were created. These implement concepts of how the Danish movie industry can meet the requirements of the audience and be able to compete with its digital competitors. The business models include a varies of factors such as Virtual Reality, 3D, data-driven marketing, audience co-creation, new niche subsidy possibility, crowdfunding, more film club memberships and QR codes. The new flexible distribution model makes it possible for a movie to move into the Video-on-Demand window as soon as the movie stops selling in the cinema. These models propose that by implementing these concepts in their business models, the film industry can attract more customers to Danish movies as well as move toward a digital transformation, letting them benefit from the new technologies and be able to compete with its digital competitors. Thereby this study contributes with the first steps for the Danish movie industry to go through a digital transformation.

Research on the criminal justice system, punishment, and media continue to generate academic interest, particularly in the realm of social constructionism. The social construction perspective provides insight into the process through which media-controlled images are translated into social definitions of crime and justice. One new area of interest is the representations of prisons and penal culture by the entertainment media, namely the film industry. In this study, the author contributes to the area of social constructionist literature by administering a content analysis of eleven feature films on male prisons produced between 1979 and 2001. The author examines the frequency and context of several constructs of penal culture: drug use and trafficking, rape and sexual assault, violence, and gang affiliation. This research examines whether the representations of these issues in recent motion pictures are consistent with extant academic correctional literature. The present study found that within prison films the amount of portrayal of drug use and trafficking, and rape and sexual assault is consistent with the academic literature. Overall, when compared to the academic literature, prison movies under represent gang affiliation but within movies that portray gang affiliation, that portrayal is similar to the academic literature. Notably, heroin was the drug of choice depicted within prison films while academic correctional research in prisons shows marijuana as the drug of choice. The most significant finding was that the amount and type of violence, specifically murder, was overrepresented in prison films compared to the amount and type of violence reported within current academic research. The over emphasis on violence and killing within prison films and the representation of heroin as the major drug consumed and trafficked could lead to public misunderstanding about the realities of prison life and living conditions of the prison institution. This study provides not only noteworthy information concerning the representations of prison life and penal culture by the film industry but also insight into the inconsistencies between the information presented on film and that within academic correctional literature that are transferred via this medium to the general public.

La présente étude aborde le documentaire italien sous l'ère berlusconienne tout en réfléchissant sur ses interactions avec les transformations historiques et culturelles de l'Italie. Cette production documentaire témoigne de l’urgence de dénoncer les mécanismes du pouvoir et de rechercher la vérité à une époque où réaliser du cinéma politique paraît difficile. Nous sommes partis de l’hypothèse qu’un documentaire de contestation a bien existé et l’étude du contexte social dans lequel un film a été réalisé permet de constituer un cadre de référence qui manifeste quelle production de sens les auteurs ont voulu contester. Le documentaire s’est concentré sur la réalité, en se posant par rapport à l’histoire et à la mémoire. Il a servi d’archive des luttes. Les images de ces films sont des témoignages d’une histoire douloureuse, mais elles montrent également qu’une partie du peuple résiste. Ces documentaires semblent avoir pour objectif d’être la mémoire de cette Italie-là. / The present study debates the Italian documentary in Berlusconi’s era reflecting on its interactions with historical and cultural transformations in Italy. This documentary production reveals the urge to expose power mechanisms and seek truth in a moment when making political cinema looked difficult. We started from the theory that a political protest documentary certainly existed, and the study of the social context in which a certain movie was realized allows us to establish the frame in which the authors operated their criticism. The documentary focused on reality, correlating with history and memory. It served as an archive for struggles. These movies witness painful stories, but also show the resisting fraction of a people. This kind of documentary aspires to being the historical memory of that Italy.

京都大学 / 0048 / 新制・課程博士 / 博士(情報学) / 甲第18618号 / 情博第542号 / 新制||情||96(附属図書館) / 31518 / 京都大学大学院情報学研究科社会情報学専攻 / (主査)教授 矢守 克也, 教授 多々納 裕一, 准教授 永田 素彦 / 学位規則第4条第1項該当 / Doctor of Informatics / Kyoto University / DFAM

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Stereotypes routinely appear within Hollywood films. This study focuses on films released from 1994-2000 that feature Arab/Arab-American characters. A literature analysis reviewed the use of stereotypes in other portrayals of Arab/Arab-American characters. A qualitative analysis of six movies examined specific characteristics that were displayed by Arab/Arab-American characters. These characteristics included speaking with an accent, traditional/native attire, acts of hostility and aggression, affiliation with terrorism, and whether they were depicted as victimizers or victims. These films were selected in order to demonstrate the frequent existence of negative portrayals in popular films prior to 9/11. A primary coder, the author, analyzed 108 scenes, while the secondary coder analyzed 10% of the total scenes as a reliability check. The findings suggest that negative images of Arabs/Arab-Americans appeared frequently in the popular films within this study. The conclusions suggest that stereotypes are evident in films and are detrimental to Arab/Arab-American races and cultures.