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51	Vad är lätt i Nyheter på lätt svenska? : En jämförande undersökning av begripligheten i det audiovisuella språket i några av SVT:s nyhetssändningar / What is easy to understand in News in easy Swedish? : A comparative study of the comprehensibility of the audiovisual language in a sample of newscasts from SVT Hedberg, Ester January 2022 (has links) Not everyone can understand the regular news reports that are broadcast on television. The Swedish public service television company (SVT) therefore produces the newscast News in easy Swedish (Nyheter på lätt svenska), where the language is simplified. The purpose of this thesis is to investigate the comprehensibility of the audiovisual language in News in easy Swedish. Another purpose is to compare the level of comprehension in the audiovisual language in News in easy Swedish with that in SVT's regular newscast Aktuellt and Rapport. The foundation point is what content can be considered understandable for an audience who needs more time and more straightforward information than others in order to understand. The target audience could be, for example, people with cognitive disabilities. No individuals from the target group have been interviewed. Instead, knowledge of what is understandable to them has been obtained from projects where the target group is represented: Inclusion Europe (no date), Comprehensive text (Begriplig text) (2019) and EASIT (2021). A total of seven news units have been transcribed, analyzed and compared. Five of these come from News in easy Swedish, one from Rapport and one from Aktuellt. The analytical methods utilized have been both quantitative and qualitative. The verbal auditory language has been analyzed using traditional readability methods, such as LIX and nominal ratio. Speech rate has been considered, but not inflection. The exposure time of images has been estimated and the presence of environmental noise has been noted. Subsequently, a qualitative analysis was made of how different semiotic resources interact. Finally, the results from the different news items were compared with each other. The readability analysis illustrates that in the analyzed material there are no major differences in the level of verbal difficulty between News in easy Swedish, Rapport and Aktuellt. One of the news items on News in easy Swedish has the highest LIX and nominal ratio results, which indicates that it is the most difficult. At the same time, another news item from News in easy Swedish results in the lowest values, indicating that it is the easiest to comprehend. No example was found in the material regarding how the semiotic resources counteract each other and thus affect information to becoming more difficult to understand. On the other hand, there are examples of news items where an improved collaboration between the semiotic elements could enable enhanced comprehension, for example through a more concise description of what is seen and heard. News in easy Swedish does not have its own film team but reworks material produced for other news programs. The program News in easy Swedish is just under five minutes long and is broadcast five days a week. The lack of own material and the short duration of newscasts are two factors that limit the prospect of creating comprehensible news for an audience who requires more time to be able to understand. audiovisual multimodal semiotic resources comprehensibility news journalism easy language easy to read clear language audiovisuell multimodal semiotiska resurser begriplighet nyhetsjournalistik lätt språk lättläst klarspråk General Language Studies and Linguistics
52	Våld i film : En evolutionärbiologisk förklaring till vår fascination Felsing, Alexander January 2012 (has links) Denna uppsatsen undersöker varför våld i film är så utbrett och populärt. Jag använder mig av ett evolutionärbiologiskt perspektiv, som tidigare inte använts vid filmforskning i så stor utsträckning. Istället har filmforskning och andra studier på människans beteende oftast utgått ifrån ett socialkonstruktivistiskt perspektiv. Uppsatsen är av typen ”forskningsöversikt” vilket innebär att jag inte har gjort någon klassisk analys på ett filmiskt verk eller empiriskt material, utan har sammanställt en stor mängd forskning från andra forskare. För att kunna svara på min frågeställning har jag behövt forska inom mänsklig evolution, audiovisuell perception samt våld i film. Den viktigaste bokenför uppsatsen kom att bli Torben Grodals Embodied Visions. Huvudfrågan i min frågeställning löd: Vilka faktorer ligger enligt tidigare forskning bakom populariteten av våldsskildringar?Svar: 1. Film är utformad för att påverka oss, aktivera känslor. 2. Det som påverkar ossallra mest är de bilder som påminner om de djupast rotade mekanismerna inuti oss. 3. Av evolutionära skäl ingår våld och aggressivitet bland dessa djupt rotade mekanismer. / This paper examines why violence in films is so widespread and popular. I use an evolutionary biological perspective, that has not previously been used in film research as much. Instead, the film research and other studies on human behavior usually originate from a social constructionist perspective. The essay is a "research review", which means that I have not made a classic analysis of a cinematic work or empirical data, but have collected a large amount of research from other scientists. To be able to answer my question, I had to do research in human evolution, audio visual perception and violence in film. The most important book for the essay came to be Torben Grodals Embodied Visions. The main question in my research question was: What factors are in accordance with previous research behind the popularity of graphic violence? Answer: 1. Film is designed to affect us, activating emotions. 2. what affects us the most is images that reminds us of deeply rooted mechanisms inside us. 3. of evolutionary reasons, violence and aggression are among these deep-rooted mechanisms. violence film films cinema film violence Hollywood evolution evolutionary biology biology Torben Grodal Grodal Social constructivism audio visual perception brain science mirror neurons mirror neuron biocultural våld film filmer filmvåld Hollywood evolution evolutionärbiologi biologi Torben Grodal Grodal socialkonstruktivism audiovisuell perception hjärnforskning spegelneuroner spegelneuron biokulturell forskningsöversikt c-uppsats
53	Redigering och skuld : Ett kognitivt perspektiv på redigeringensfunktioner i ansvarsutkrävande tv-reportage / Editing and Guilt : A cognitive perspective on editing in investigative TV reporting Urniaz, Piotr January 2013 (has links) Abstract: During the past decade, media researchers have intensified the study of media scandals and the role of journalism as an institution that holds social actors responsible for malfeasance and wrongdoings. On a micro level of analysis, the main attention has beendirected towards the journalistic interview and its use to promote the impression of guilt and journalistic neutrality. However, such studies have not been able to address the editing dimension of TV journalism that transforms conversation to another type of communicativepractice – that of communication through TV-flows composed of speech sequences, pictures,and sounds. This doctoral thesis develops a theoretical framework for analysis of the functions of editing inthe process of guilt attribution by journalistic TV-flows – e.g. investigative TV reporting. The purpose is also to contribute to an understanding of the relationship between the communicative competences of viewers and the contextualization of speech acts through the composition of TV-flows. The developed perspective consists of three parts: 1) A division of viewers’ reception of TV-flows in two types of interpersonal relations (to a speaker and to the composer) that involves six levels of cognitive activities. This division is based on the Habermasian notion of communicative rationality; 2) An intent-model, that lists communicative intentions expressed by the composer when speech sequences are merged and pictures are inserted; 3) A guilt-model, that encompasses guilt as a mental structure of ontologically separated elements (e.g. deed,intention, norm) and the associative relations that the viewer uses to create a meaningful whole– a fabula of guilt. The conveyed analysis of three cases of investigative reporting illustrates how the developed framework can be applied in the study of guilt attribution. The analyses also describe several compositional strategies by which the viewer is encouraged to make certain meaning, evaluate, and judge. The strategies concern the following areas: promotion of certain understanding of speech, promotion of certain evaluation of the validity claims, and promotion of certain understanding of the speaker’s intentions. Also strategies of positioning of the reporter in constructed discourses, that enhance the impression of her performances and argumentation, are explored. Furthermore, the composer’s strategies for masking intentions to interfere with the speech acts, by increasing intent ambiguity, are described. The guilt-model is used to understand the workings of the TV-flow on an overreaching level of meaning (the fabula level). Here, the analysis explains the interplay between portrayed intentions and acts, and the different ways in which condemning norms can be activated and highlighted. Furthermore, the model explores the possible employment of categorization in theprocess of guilt attribution (e.g. when properties of an individual are transferred to a group). In sum, this thesis contributes to a new way of understanding the reception of current affairs programs and TV journalism, as relation building between composer and viewer, by means of contextualization of speech acts. TV journalism attribution of guilt mental models Jürgen Habermas Formal Pragmatics visual communication communicative ethics media literacy cognition the viewer investigative journalism media accountability political scandals critical realism documentary film Tv-journalistik granskande journalistik redigering dokumentärfilm reception kommunikativ etik Jürgen Habermas audiovisuell kommunikation argumentation skuld skuldattribuering ansvarsutkrävande medieskandaler formalpragmatik manipulation komposition
54	Ambient musik : En undersökning om spatial musik som klingande arkitektur / Ambient Music : Investigating spatial music as sounding architecture Milveden, Jens January 2022 (has links) ”Ambient Music”, established and described by its ”creator” Brian Eno, has become a term with a wide range of uses - as generative music, in sound- and audiovisual art installation, a mediated ”sound” of a genre through albums and artists to plug in to during your daily walk - as well as any imaginable association with the term connected to public, spatial or virtual ambience. Through the liner notes of the genres original albums (Ambient 1: Music For Airports of 1978, and to some extent Discreet Music of 1975) it is clear though that the original idea is more related to listening to your own spatial awareness as a form of music rather than a following of certain sounds and conventions that the term has been associated with. At the time as a sonic alternative to conventional background music of public spaces. The author suggests that these ideas never would have surfaced if it wasn’t for the earlier ideas of Erik Satie and John Cage, whose sonic frameworks and instructions beyond the traditional music sheet were vital for Eno to create generative canvases of sounding art for the spaces. The paper then focuses on consolidating the term ”Ambient Music” with its frameworks in art and function by deconstructing it between spatial, architectonic usage and as a mediated genre of a ”sound”, via virtual generative music - and back again, via its original description of enhancing environments ”acoustic and atmospheric idiosyncracies”. With Eno’s original thesis in mind the paper continues to explore where ”Ambient Music” (through arguably its sub-genre, ”Spatial Music”) is today, as well as looking at the potential futures for the genres’ artistic functions as an established and accepted sonic element of physical architecture and public spaces. This exemplified by building a bridge between ”Ambient Music” and the modern ”non-ambient” sonic scenographer, ”Spatial Music”-artist Mareike Dobewall, for further discussions on sound art as sounding architecture - a potential future for the Ambient label. Sonic Spatial Ambient Architecture John Cage Brian Eno Dobewall Erik Satie Music Soundscape Generative Music For Airports Furniture Music Indeterminacy Ambience Space Acoustics Sound Installation Audiovisual Atmosphere Landscape Muzak Background Music Musica Mundana Voicelanding Phenomenology Spatial Ambient Arkitektur Musik John Cage Brian Eno Dobewall Erik Satie Musica Mundana Voicelanding Ljudlandskap Generativ Möblemangsmusik Indeterminism Ambiens Rumslighet Akustik Installation Ljudinstallation Audiovisuell Atmosfär Landskap Muzak Bakgrundsmusik Fenomenologi Musicology Musikvetenskap

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