Bakgrund- Sensorisk evoked potentials (SEP) är en neurofysiologisk undersökningsmetod som används för att monitorera svarspotentialer från kroppens sensoriska nervsystem efter en sensorisk stimulering. Registreringen av sensorisk evoked potentials sker med små elektriska stimuleringar över en perifer sensorisk nerv och registreras från tre olika registreringskanaler som benämns N9 över plexus brachialis, N13 Erb’s punkt och N20 för det primär sensoriska cortexområdet. Metod- I denna studie bearbetas data från 20 registreringar för N20-kanalen. Med registreringen av den klinisk använda standardmontaget C3’-Fz som används vid Karolinska universitetssjukhuset, som jämförs mot nya registreringsmontagen C3’-CPz, CP3-Fz CP3-CPz. Stimulering skedde unilateralt över höger nervus medianus på handledsnivå. Syftet med studien var att ta reda på om det fanns någon statistisk signifikant skillnad mellan standardmontaget C3’-Fz mot de alternativa montagen med avseende på amplitud, duration och latenstid mellan två registreringsomgångar. Den statistiska analysen genomfördes med Wilcoxsons teckenranktest för differenserna av registreringsomgångarna i amplitud, duration och latenstid. Spearmans rangkorrelationstest användes för att visa sambandet mellan standardmontaget och de nya registreringsmontagen i amplitud. Resultat- Resultatet visade ingen statistisk signifikant skillnad mellan standardmontaget mot de alternativa montagen för differenserna av amplitud, duration och latenstid mellan de två registringsomgångarna. Korrelationen för amplituderna visade att montaget CP3-Fz hade en starkare grad av samband mot standardmontaget C3’-Fz jämfört med registreringsmontagen C3’-CPz och CP3-CPz. Slutsats- Slutsatsen av denna studie är att det inte fanns någon statistisk signifikant skillnad i differenserna för amplitud, duration och latenstiderna vid jämförelse av standardmontaget mot de nya alternativa montagen. Dock visade montage CP3-Fz på ett starkare samband mot den klinisk använda C3-Fz jämfört med resterande montage med avseende på amplituden. / Background-Sensory evoked potentials (SEP) are a neurophysiological examination method used to monitor electrical response potentials from the body’s sensory nervous system. The registration follows three recording channels throughout the sensory pathway as N9 over plexus brachialis, N13 over cervical vertebrae mentioned as Erb’ point and N20 represented for the primary somatosensory cortex area. Method- In this study data was collected from 20 registrations for N20 channel. Registration for this study measured the clinical used cortical registration montage at Karolinska university hospital C3’-Fz against new registration montages C3'-CPz, CP3-Fz and CP3-CPz, with stimulation on the right median nerve at wrist level unilateral. The purpose of the study was to see if there exists any significant difference between the standard montage C3’-Fz against the new alternative registration montages in regard to amplitude, duration and latency after two registration rounds. Wilcoxson’s singed rank test were used to compare the difference in amplitude, duration and latency between registration rounds. Spearman’s correlation test were used to show the correlation between the standard montage and the new registration montages in amplitude. Result-The result showed no statistical significant difference between the standard montage and the new alternative montages in amplitude, duration and latency for the two registration rounds. The correlation showed registration montage CP3-Fz with a greater correlation towards the standard montage C3’-Fz compared to registration montages C3’-CPz and CP3-CPz in amplitude. Conclusions- This study showed no significant difference in amplitude, duration and latency when it compared the standard montage C3’-Fz against the new alternative montages. The correlation in amplitude showed montage Cp3-Fz with a stronger correlation towards the clinical used registration montage compared to the other new alternative montages.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.