The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.

Examensarbete, Programmet för Inredning- och butikskommunikation, Ekonomihögskolan Kalmar, Linnéuniveristetet. 2FE77E. VT19. Det fygitala intåget av Emma Albertsson, Fanny Wallin och Mikaela Westerlund Bakgrund: Från att den svenska handeln började med vandrande knallar på landsbygden till att utvecklas mot att låta kunden plocka varorna själv, det här var starten för detaljhandelsbranschen. När utveckling tillkommit blev det en multikanal som sedan utvecklades till en omnikanal. Från omnikanal utvecklades fygital som är aktuell för denna studie. Där de fysiska kanalerna sammanflätas med de digitala kanalerna och blir till en kanal. Frågeställning & Syfte: Studiens frågeställning är: Hur arbetar konsultföretag respektive onlinebutik och fysisk butik i klädbranschen med fygital? Syftet med studien är att få en ökad förståelse i hur de olika företagen i klädbranschen använder sig av fygital. Detta för att bidra med kunskap om vad fygital står för, samt vilka likheter och skillnader som existerar mellan företagen. Metod: Studien innefattar en kvalitativ metod med ett hermeneutiskt synsätt, genom en deduktiv ansats med induktiva inslag. Insamlingen av empiri har utförts genom semistrukturerade intervjuer med representanter från tre konsultföretag, en onlinebutik och en fysisk butik. Slutsats: Studiens resultat visar på att det fygitala inte går att förbise då digitaliseringen utvecklas konstant. Utvecklingen av digitalisering påverkar den fysiska butiken genom att butikerna kan bli mindre samtidigt som de kan erbjuda företagens hela sortiment. Därmed blir de digitala kanalerna inte en konkurrent till de fysiska kanalerna utan ett komplement till varandra då de fyller ut varandras brister. I framtiden kommer det omfatta en förändring och utveckling för att det fygitala ska samspela på bästa sätt. / Bachelor thesis, Interior design and visual merchandising at School of business and economic Kalmar, Linnaeus university. 2FE77E. Spring of 2019. The entry of phygital by Emma Albertsson, Fanny Wallin och Mikaela Westerlund Background: The Swedish trade market began from wandering itinerant out on the countryside to stores where customers could pick the goods by themselves, this was the beginning of the development into becoming the retail industry which is still ongoing today. The companies had to make changes to go from multi-channels to omni-channels. And omni-channels led to new development called phygital, where the physical channels are intertwined with the digital channels to become one. This is what this thesis is aiming to study. Reserarch question & Purpose: The research question of the study is: How do consulting-firms, online stores and physical stores work in the clothing business with phygital? The purpose of the study is to gain an increased understanding of how the various companies in the clothing business are using phygital. This is to contribute with knowledge of what phygital stands for, as well as which similarities and differences exist between the companies. Method: This study involves a qualitative method with a hermeneutic approach, through a deductive approach with inductive elements. The collection of empirical data has been carried out through semi-structured interviews with representatives from three consulting-firms, one online store and one physical store. Conclusion: The conclusion of the study shows that the digitization is constantly evolving which makes the digitalisation hard to surpass. The physical store becomes affected by the development of the digitization because it enables the physical stores to become smaller while still being able to offer the entire range of the companies supply. Thus, the digital channel do not become a competitor to the physical channels, but a complement to each other as they fill out the absences of each other. In the future it will evolve and change for the fygital channels to interact in the best way possible.