Målet med denna uppsats är att undersöka vilka likheter och skillnader det finns i klippningen av actionsekvenser i filmer producerade i Hollywood och Hongkong. Analysen i uppsatsen bygger på Barry Salts analysmetod för att få fram en sekvens ASL (Average shot length). För att en scen ska få analyseras så måste den innehålla Dancygers fyra kriterier som behövs i en actionsekvens. Den statistik som samlas in jämförs sedan för att få fram vilka skillnader och likheter det finns i klippningen. Resultatet visar att klippningen av sekvenserna är relativt lika varandra men ger ändå olika upplevelser. Detta på grund utav att det är så pass många olika faktorer som spelar in i hur en actionsekvens skapas.

Philosophiae Doctor - PhD / The rationale to embark upon this research is based on the notion that stories are effective tools to support the teacher in implementing the curriculum as an entity instead of fragmented sections. Learning Outcome 1 outlined in the Revised National Curriculum Statement (DoE, 2002a:14) Languages Policy Document of the Grade R section states that the learner should be able to … [understand] short, simple stories …” by “ … [joining] in choruses at appropriate points … [draw] a picture of the story … [connect] the story to his own life …”. The goals of the proposed curriculum necessitated an investigation to firstly, establish whether stories are in fact used and if so how the stories are used. Secondly, I explored whether stories are integrated with other subjects in the curriculum. In the research the teachers were also assisted to expose Grade R children to stories whereby they could deal with traumas such as HIV and AIDS. The research was conducted before the implementation of CAPS (DBE, 2011b) but in the recommendations a model based on CAPS is proposed. The research was conducted with Grade R children therefore it was important to adhere to ethical considerations, such as anonymity and a protocol to follow the school programme. Of importance was to observe when you work with children you should acknowledge the sensitivity around their privacy and emotional needs especially with regards to fears and traumas. Based on the assumption by Levine and Foster as cited in Jackson (2000: 276) that “... story telling ... art, and music could be healing tools”, there seemed to be a need to research whether these were used as learning materials to empower teachers in Grade R classes. The literature underpins the theoretical framework. The theoretical framework was based on story theory and the integrated approach. In order to assess the approaches of teachers I applied an epistemological paradigm emanating from a qualitative framework which was embedded in a constructivist/interpretivist approach. The research design was a case study. I used interviews and questionnaires as research instruments. Triangulation was applied to validate my findings. In analysing the types of stories, it served to establish which kinds of stories appealed to the target group and what effect these stories had on the children. The integration of stories and other areas in the curriculum possibly gave more scope for optimal utilisation of the imagination of children. It was imperative to determine how teachers could be assisted to implement an approach whereby the imagination of a child is stimulated and optimally utilised in order to develop linguistic and social skills, as well as help learners to cope with trauma. The research was conducted in Grade R classes in the Western Cape, representing various strata of society namely a previously disadvantaged state school, a former model C school, a privately funded institution and a non-governmental institution. Ultimately the research was driven with the intention that once the approach had been negotiated and implemented the children and teachers would benefit. The types of stories and activities in the programmes presented were of great significance. It also called for creative and innovative teachers, who were not only acquainted with the circumstances of all the children they taught, but similarly equally sensitive to the circumstances of the children. The findings were informed by the data gathered at the schools, based on the main research questions and the subsidiary questions. Most teachers recognised the importance and value of stories as well as the significance of integration. However, the integration was mostly reserved for language lessons. The main recommendations are with regards to the teaching approaches to integrate lessons, selections of stories to integrate lessons, an environment conducive to integration of lessons and the role of the education department.

This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.

The Secret Society of Montreal Oculists 1. Our earliest records of their activities date back to the spring of 1898 with the birth of Lambert. Coincidentally, that spring saw the most destructive flood the settlement had ever known. Lambert was immediately inducted into the Society by his mother, Mme Lepage, who practiced capnomancy and kept a pair of female Dobermans in the basement of the family home. On May 10th, 1994, when Lambert was five years old and despite his mother’s recommendations, he opened his eyes during the solar eclipse, burning them instantly. From the smoke, Mme Lepage divined a future flood that would engulf the mountain. 2. A narrative device. 3. LE GRAND SALON, wherein the Society ritualistically performed Lambert’s demise at each partial solar eclipse, staring at the skies until they could see no more. Presented here is the facsimile of such a ritual, including an Oculists statuary.

In the exhibition An Ordered Absence, artist Justine Skahan establishes relationships between various types of imagery. The exhibition consists of paintings and drawings. The subject matter is a combination of architecture, hair, women, elements of the landscape, and domestic animals. The work was developed starting from an interest in the urban and suburban built environment, and is in part an exploration of how gender affects the experience of it.

Uppsatsen ämnar ge perspektiv på filmpedagogiska ideal vid analys av film i skolan. Studienundersöker vilken roll filmens formalistiska berättarkomponenter kan få i filmpedagogiskaresurser riktade till skolverksamheten, genom att analysera samtida filmhandledningarproducerade av Svenska Filminstitutet.Studien visar att det filmspecifika, så som formalistiska komponenter, riskerar få enunderprioriterad roll både i urvalet av filmer till filmhandledningar, likväl som i de parametrarhandledningarna lyfter. Genom tematiska ramar intar handledningarna allt som oftastmedieneutrala perspektiv, där arbete med bland annat temat värdegrund verkar står i centrumför analys av film i skolsammanhang. Samtidigt tyder analyserna i följande studie på att etthelhetsperspektiv är möjligt. Vilket öppnar upp för möjligheter till att i filmpedagogiskasammanhang både ta fasta på teman som värdegrund genom filmens innehåll eller tolkning avde kulturella koder som uttrycks, likväl som att utveckla en fördjupad förståelse för film- ochbildspråk genom tolkning av filmens formalistiska komponenter.

Whispers from the Ghost House is the concrete manifestation of the mutable nature of childhood memory held within the nebulous forms of home. In all of its many incarnations home exists as a construction out of time and space that absorbs the accumulation of life performed around and within its walls. Home is idealized and sought after, both sanctuary and snare. The iterations of home I created are primarily constructed from repurposed materials with inherent histories; unstable and malleable. Cardboard and paper holds the plastic veneer of various mediums to shape, color, and mar surfaces. The home develops an identity as it absorbs each action and material, gradually becoming an entity as well as a receptacle, to both display and obfuscate the nostalgic and the unattainable. Each hardened home becomes a haunted being in which memories interlace and fade away as they transform into the wild twisted houses of reverie. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

I denna uppsats har jag valt att göra en djupdykning in i bandet Gorillaz fiktiva värld. Syftet är att undersöka hur den är uppbyggd samt hur fans kan interagera med den. Jenkins teorier om Worldbuilding och transmedialt berättande har fått ligga som grund för att se hur detta kunnat appliceras på Gorillaz. För att underbygga mitt resonemang kring fansens inverkan i denna fiktiva värld samt vilka underliggande budskap de försökt kommunicera i sitt visuella material har jag använt mig av en semiotisk analysmetod för att exemplifiera hur Gorillaz officiella material och fan-kulturen kan knytas samman. Jag har först gjort en denotativ sammanställning av materialet och sedan en konotativ där jag läser in vissa av tecknen och hur de kan tolkas i syfte att skapa mening. Jag har genom undersökningen kommit fram till att Gorillaz både är mer politiska än vad som framskymtar vid en första anblick samt att deras framgång till stor del berott på fansens engagemang i den fiktiva historien genom olika medier. Jag avslutar med att i en slutdiskussion presentera budskap jag personligen tolkat in i det material jag analyserat och hur väl detta budskap fångats upp men ifrågasätter även faran av fictions kredibilitet. / In this essay, I have chosen to take a deep dive into the fictional world of the band Gorillaz. The purpose is to investigate how it is structured and how fans can interact with it. Jenkin's theories of Worldbuilding and transmedial narrative have been used as a basis for seeing how this could be applied to Gorillaz. To substantiate my reasoning about the fans' impact in this fictional world and what underlying messages they have tried to communicate in their visual material, I have used a semiotic analysis method to exemplify how Gorillaz's official material and fan culture can be linked. Through the investigation, I have come to the conclusion that Gorillaz are both more political than can be seen at first glance and that their success is largely due to the fans' involvement in the fictional story through various media. I finish with my final discussion presenting messages I have personally interpreted into the material I have analyzed and how well this message has been captured, but also questioning the danger of fictions credibility.

Med en gul termos som sällskap får man följa med på en resa genom det svenska landskapet. Essän beskriver observationer och spekulativa tankegångar, vilka fungerar som tankepelare i den konstnärliga praktiken. En stor del av essän består av fotografier på många av de platser och objekt som nämns, samt dokumentation på några konstverk som utgår ifrån dem. Människans perspektiv på sin omgivning skiljer sig anmärkningsvärt från det perspektiv hon sedan organiserar sin omgivning efter. Få människor är kapabla att varken gå i en spikrak linje eller rita en spikrakt streck. Trots det är våra omgivningar och det platser vi har ordnat åt oss ofta geometriska. Och desto högre hastighet människan ska röra sig i desto rakare blir vägen. Essän hänvisar till hjulet som den stora anledningen till att den raka linjen ofta prioriteras. Termosen hamnar på platser där den raka linjen är enkel att peka ut, platser på vilka dess existens är mindre tydlig och platser där den raka linjen och hjulet aldrig skulle fylla en funktion. Essän ger förklaringar till varför de platser som den gula termosen hamnar på under resan ser ut som de gör, både vad gäller geologiska förklaringar och människans påverkan.

Reflektioner om hur jag hittar vägar in i mitt arbete och hur jag tänker kring att exempelvis hitta lust för arbete.