The aim of this thesis is to understand the way the fan community of Marvel Cinematic Universe (MCU) perceives Marvel’s female characters. This study was focused on Marvel’s fandom on Reddit, which is a social media platform hosting millions of users. The research was conducted by using two methods – netnography and content analysis. Netnography helped for tracing Marvel fans’ behavior and engagement with other fans in an online environment, which were caused by their shared interests on discussing Marvel movies and their characters. Their comments on two key movies – ‘Black Widow’ and ‘Avengers: Endgame’ were analyzed, because these productions host female characters with major roles. Fans’ discussions on six key female figures were considered and content analysis was used for analyzing the comments of the fans. In order to understand the results, two theories were applied – affective disposition theory and feminist media (film) theory. The first one explains the way fans can form affiliations towards the movie characters, therefore it was used to understand the way they perceive the characters. The second one explains the stereotyped image of the woman in media and the way the audience perceives it. The research paradigm of interpretivism was considered for the outcome of the research, which leads to generalizations of the results. The results of this study show that there is no universal perception of the female character in Marvel, but many controversies arise. In the end, this paper discusses the limitations of this research and describes the recommendations for further research.

Объектом исследования являются концептуальные особенности современных журналов о кино в России. Предметом исследования является соответствие концепций журналов о кино запросам современного рынка. Цель магистерской диссертации – выявление эффективных с точки зрения современного рынка стратегий формирования контента, структуры и дизайна журналов о кино. В первой главе рассматриваются следующие аспекты: место кинематографа в современном мире, понятие, видовая классификация и концептуальные характеристики журналов о кино. В ходе изучения было проанализировано состояние журнального рынка в стране, рассмотрены отечественные издания о кино, определена доля этих изданий среди прочих журналов. Во второй главе проанализированы концептуальные особенности журналов «Сеанс» и «Искусство кино»: целевое назначение и читательский адрес, способы формирования контента и структуры, выбор дизайна и полиграфических особенностей, а также современные механизмы продвижения журналов. На основе проведенного анализа выявлены стратегии, позволяющие существовать журналам в условиях современного книжного рынка. / The object of the research is the conceptual features of modern film magazines in Russia. The subject of the research is the correspondence of the concepts of cinema magazines to the demands of the modern market. The purpose of the master's thesis is to identify effective strategies for the formation of content, structure and design of film magazines from the point of view of the modern market. The first chapter discusses the following aspects: the place of cinema in the modern world, the concept, species classification and conceptual characteristics of film magazines. During the study, the state of the magazine market in the country was analyzed, domestic publications about the cinema were examined, the share of these publications among other magazines was determined. The second chapter analyzes the conceptual features of the Session and Art of Cinema magazines: the purpose and readership address, ways of creating content and structure, the choice of design and printing features, as well as modern mechanisms for promoting magazines. Based on the analysis, strategies have been identified that allow journals to exist in the modern book market.

Throughout history, sex and sexuality has been a subject for many debates. It has been regulated through both authorities and social norms. Female sexuality has been seen both as a symbol for motherhood and as a sin. Women have also been judged both for their virginity and their lack of it. This matter appears regularly in the media, whereas women still are objectified and judged for how they choose to exert their sexuality. Therefor, we have chosen to study how this appears in teenage movies in modern times, through a case study of the movies Easy A, Juno and The first time. We want to examine which kind of messages that are transmitted to youths about women and their sexuality. We have used the variables informal sexual education, slut shaming, victim blaming, the madonna/whore complex and objectification. Our results shows that women’s sexuality still is criticized and regulated by society and its values.

This thesis is designed to determine the impact of the archetype of the Great Mother on the plot, characterizations, and interpersonal relationships in three contemporary films. Chapter I describes the elements and applications of the archetype and the Jungian analysis employed in the study. Chapter II details the phases of the Great Mother archetype and discusses Jung's process of individuation and how the Great Mother controls this quest. Chapters III, IV, and V focus on The Heretic, Network, and Looking for Mr. Goodbar respectively. Chapter VI summarizes the existence and power of the archetype in the films and postulates that the image of women in film may be stereotyped due to the Great Mother archetype.

Après le succès mondial de la série télévisée prolongé par les films, la franchise Sex and the City est devenue un phénomène de masse. Sujet de plusieurs études académiques qui mettent en évidence l’importance du post-féminisme pour le succès de la franchise, Sex and the City se distingue par la relation particulière qui s’instaure entre les spectateurs et les personnages, et qui est l’objet de la présente étude : relation qui passe par la représentation des thèmes et du quotidien féminins et surtout par la construction des personnages, principalement du personnage principal Carrie Bradshaw. De plus, elle est renforcée par des stratégies médiatiques utilisées pour rapprocher le public féminin à partir des processus de reconnaissance et d’identification qui dirigent la réception de masse. / After the worldwide success of the television series extended by films, the Sex and the City franchise has become a mass phenomenon. Subject of several academic studies that highlight the importance of the postfeminist for the success of the franchise, Sex and the City is distinguished by the special relationship that is established between the audience and the characters, and which is the object of this study: relationship that passes by representation of the subjects and the women's daily and especially by the construction of the characters mainly the main character Carrie Bradshaw. In addition, it is reinforced by media strategies used to bring the women's public recognition and identification with the characters.

This thesis follows the process of transformation of children's idols of film and music industry into adult artists and sex-symbols of contemporary popular culture. It especially focuses on the transformation of child character in adult representatives of pop-culture industry: development, change and building an image of an adult performer in terms of the sociology of childhood and adulthood career shift (change in the nature of work and roles, any rise or decline). The aim of this work is to find any trends in transition from children's heroes / heroines adults representative of contemporary popular culture. The premise is that children's personalities of the entertainment industry are used in the process of growing element of sexuality to reforging the stigma of "child stars". In addition to the sexual themes and monitors the aspect of gender roles and stereotypes depending on the developmental stage.

Romantic love since its beginnings raises the question of intimacy and has become an essential social force of society. In contrast to the forms of Christian love or passionate love, romantic love is the typical feature that imply a degree of self-knowledge and activity that leads to one of the characteristic elements of "heroic expedition". Since the establishment of the first novels, the concept has undergone significant way and has become the subject of much research int different disciplines. This thesis looks on the issue of display of romantic love in terms of a social construct which is variable over time and dependent on cultural and social factors of the society to which the media as part of the intended product. Constructing myth of romantic love is in this thesis elaborated in the cultural environment of Czech and Slovak film production, which shares a common history. Defined, collected and described myths, metaphors and archetypal view of the concept of romantic love, they were applied to the selected movie stories from the years 1992 - 2013.

Syftet med uppsatsen är att diskutera vilka funktioner dagboksberättandet i essäfilm skulle kunna fylla samt på vilket sätt dessa filmer reflekterar sin samtid. I uppsatsen kommer jag diskutera och identifiera olika funktioner med hjälp av relevant och teoretisk litteratur samt genom enstaka filmexempel. Om ny teknologi och tillgänglighet har öppnat upp gränserna för det privata och offentliga, kan essäfilmer, som för in det personliga och privata i det dokumentära, ses som ett uttryck för dessa uppluckrade gränsdragningar. Den digitala utvecklingen, vår samtid samt essäfilmens specifika möjligheter är områden som den här texten huvudsakligen berör.

This master thesis deals with one of the current trends in cinema - the so-called climate change film. Film as a popular medium is able to influence public debate and this paper's main objective is to explain how environmental issues can be portrayed in film and how such films shape the climate change debate. In the first, theoretical part of this thesis, the aim is to briefly introduce the history and context of climate change debate from the 1970s to the present day based on sources primarily from interdisciplinary cultural and environmental studies. It also explains how environmental problems started to arise in different art spheres, above all in American cinema from 1995 to the present. The second part analyzes four American feature films of different genres: The Day After Tomorrow (2004) directed by Roland Emmerich's, The Road (2009) directed by John Hillcoat, Before the Flood (2016) directed by Fisher Stevens and Darren Aronofsky's mother! (2017). The final chapter summarizes the findings, explains the currently prevalent apocalyptic narrative and discusses why such approach is not effective and how filmmakers need to transform climate change stories into positive narratives that inspire change and hope.

À partir de l’œuvre du cinéaste et artiste hongrois Péter Forgács, la thèse aborde plus généralement la question du remontage de films amateurs dans le documentaire contemporain et examine les enjeux esthétiques, historiques et politiques du remploi des films de famille. Les concepts de déterritorialisation et de reterritorialisation développés par Gilles Deleuze et Félix Guattari nous permettent d’interroger la manière dont la pratique « archéologique » du remontage ouvre les films de famille à de multiples resignifications. Comment traversent-ils des territoires esthétiques, géographiques, institutionnels et politiques, de mémoire, d’histoire et de pensée ? Comment, à travers le temps, les histoires que contiennent ces rouleaux des pellicules substandard sont-elles traversées par l’Histoire ? Comment ces films peuvent-ils, rétrospectivement, subvertir la construction officielle de l’histoire et de la mémoire et renégocier la perception du temps historique ? Quelle métahistoire construisent-ils ?L’analyse de la déterritorialisation et de la reterritorialisation des films de famille par le remploi, nous permet d’interroger la manière dont la pratique du remontage crée un nouveau territoire cinématographique, où la mémoire et l’histoire du passé comme de l’avenir peuvent être creusées dans et par l’image. Ici apparaissent les enjeux poét(h)iques et politiques du remploi. / Through the work of Hungarian artist and filmmaker Péter Forgács, the thesis addresses the question of the reuse (remontage) of amateur films in contemporary documentary and examines the aesthetic, historical and political implications of the appropriation of home movies. The concepts of deterritorialization and reterritorialization developed by Gilles Deleuze and Félix Guattari allow us to question how the “archeological” practice of reassembly exposes home movies to multiple significations. How can they traverse aesthetic, geographical, institutional and political territories as well as territories of memory, history and thought? How are the stories contained in these rolls of substandard film traversed by History? How can these films subvert the official construction of history and memory and renegotiate the perception of historical time? What metahistory do they establish?The analysis of deterritorialization and reterritorialization of home movies allows us to question how the practice of reassembly creates a new cinematographic territory, in which memory and history of the past, as of the future, can be mined in and by the image. Thus remontage implicates poet(h)ical and political issues.