During the last 15 years, the film industry has undergone severe technological, cultural, and economic transformations initiated through online film distribution. Existing players need to adapt and innovate their business models to stay competitive. However, there is little knowledge about what players actually do in this respect. Since the film industry is of great economic and cultural importance, it is essential for researchers and managers alike to understand the transformations in the business models of film companies. Therefore, this thesis aims to investigate which areas of the business models of Nordic film studios have been most affected by changes and how the studios have responded to these transformations. Based on a longitudinal, comparative case study of the companies SF Studios and Nordisk Film, the study reveals that distribution channels, revenue streams, margins, partner network, customer needs, and core offerings have changed the most. The main transformations can be seen in stronger partnerships and an increased focus on in-house production to serve the high demand for content, secure a content flow for distribution, and generate new revenues. / Under de senaste 15 åren har filmindustrin genomgått stora tekniska, kulturella och ekonomiska förändringar som inleddes av den digitala filmdistributionens uppkomst. För att förbli konkurrenskraftiga måste nuvarande aktörer anpassa och förnya sina affärsmodeller. Det finns dock lite kunskap om vad företagen faktiskt gör i detta avseende. Eftersom filmindustrin har ett stort ekonomiskt och kulturellt värde är det avgörande att förstå förändringar i filmbolagens affärsmodeller, både för forskare och ledare. Syftet med denna uppsats är därför att undersöka vilka delar av nordiska filmstudiors affärsmodeller som är mest drabbade av förändringar och hur studiorna har reagerat på detta. Baserat på en longitudinell, jämförande fallstudie av företagen SF Studios och Nordisk Film visar denna studie att distributionskanaler, intäkter, marginaler, partnernätverk, kundbehov och kärnutbud har förändrats mest. De huvudsakliga förändringarna visas i starkare partnerskap och ett ökat fokus på egen produktion, för att uppfylla den höga efterfrågan på innehåll, säkra ett innehållsflöde för distribution samt generera nya intäkter.

The release of the two films, Madame Bovary (1992) by Claude Chabrol and Le Colonel Chabert (1994) by Yves Angelo, arouses an interest in a method which studies the rapport between the seventh art and literature. Following the studies of the narratologists, Gerard Genette, Yves Reuter, Gerard-Denis Farcy, Celestino Deleyto, Andre Gaudreault and Francois Jost, a method of analyzing and studying the relationship between literature and cinema can be developed. The principal interest of a comparative study can reside in the relationship between the story and the narration of the two genres of works. The study conducted at this level of analysis allows the appreciation of the impoverishments or the enrichments operated by the adapter. The comparative analysis of the works of Flaubert, Chabrol, Balzac, and Angelo reveal the problems relative to the cinematographic adaptation.

This dissertation analyses millennial film adaptations of five of Shakespeare's plays with a specific focus on a selection of different kinds of film. These are William Shakespeare's A Midsummer Night's Dream (1999: Dir. Michael Hoffman), 10 Things I Hate About You (1999: Dir. Gil Junger), Hamlet (2000: Dir. Michael Almereyda), Titus (1999: Dir. Julie Taymor), and Scotland, PA (2001: Dir. Billy Morrissette). The films covered include both box office and independent, textually close to Shakespeare's words or not, all totally different from each other. This thesis contextualises these film adaptations within the realm of film studies, music theory, Shakespeare performance theory, critical theory and popular culture. Rather than analysing each Shakespearean film adaptation purely on an aesthetic level, my dissertation will identify and analyse each director's

You Had to Have Been There challenges the role of fetishistic materiality throughout Film Studies using the history of New York underground film and video production from 1965 to 1985. It focuses on four situations of underground film and video production and exhibition: the relationship between Andy Warhol and the Velvet Underground's Exploding Plastic Inevitable and the Film-makers' Cinematheque, the screening of Michael Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen at Anthology Film Archives, the production of work by Ed Emshwiller, Nam June Paik, Steina and Woody Vasulka, Bill Viola, and other artists at WNET's Television Laboratory, and the exhibition of No Wave Cinema by Beth and Scott B, Lizzie Borden, Vivienne Dick, John Lurie, James Nares, and others at Max's Kansas City, the Mudd Club, and the New Cinema. This project uses the above exhibition sites to argue for the importance of liveness and presence in recording media, considering the affect of liveness not only on our definitions of cinema, but also on the relationship between cinema and historiography. While a canon of experimental film has emerged within Film Studies, determined by the alignment of experimental filmmakers and the academy, this dissertation carves out an alternate corpus of works screened in non-traditional environments. It finds an affinity between such spaces and the project of post-classical apparatus theory, both of which challenge the regimented space of traditional film spectatorship. The films and videos of this project are connected by two crucial elements: their location in New York City and their attention to sound. The personnel involved in the creation and reception of these films and videos constitute a network forum, or a group of artists who use the spaces of reception and production to reconfigure assumptions about film and video. Some of these spaces share direct links and touchstones, while others are tied together by shared concerns. One shared concern is a critical approach to the relationship between sound and image within cinema. Michael Snow and the filmmakers of the No Wave use pre-existing ideologies of sound to challenge cinematic presence and absorptive spectatorship while embracing the limits of subcultural spectatorship. The Exploding Plastic Inevitable and the Television Laboratory embrace sound's power as present, reorienting our perspective on the relationship between technology and the body. Taken together, these exhibition sites argue for the importance of sound and liveness in understanding experimental film history. They also suggest alternative modes of spectatorship that might hold productive power in our current media environment of hyper-reproduction and communicative capitalism.

Frame rate is a fundamental element of creating the illusion of movement in video based media. For almost a century film has been produced in agreement with a standard frame rate of 24 frames per second, originally established due to technical limitations. This number lives on for films today, despite many technological innovations and other video based media formats straying from this standard. With contemporary video technology, content cannot only be recorded in higher frame rate; frames can also be artificially interpolated. So called Frame Interpolation technology now comes as a pre-installed feature on most televisions. As a consequence, this has formed a debate on how video based media should be presented, not least when it is artificially generated outside of the creators’ control. This study therefore aims to explore how manipulation of a video clip’s frame rate influences the viewer experience and thereby if the use of Frame Interpolation technology in televisions is justified. A study was conducted wherein participants were shown video clips in their original frame rate and compared them to artificially manipulated copies. The results showed that there is no definitive frame rate that is preferred by all participants and that some participants did not perceive any difference at all. It is also shown that the artificial manipulation of frame rate is generally not appreciated, and that criticisms against its use are misguided in terms of content shown. It is then discussed how television manufacturers should reconsider the use of Frame Interpolation technology. Lastly, we affirm how the results of this study are limited in accuracy by its scope. Further exploration of the subject is suggested to further consider these results found here and the results of earlier papers. / Bildhastigheten i videobaserad media är en fundamental aspekt i hur vi översätter stillbild till rörlig bild. Sedan ett sekel tillbaka produceras film enligt en standard bildhastighet på 24 bilder per sekund, på grund av tekniska begränsningar. Den siffran lever kvar än idag, trots tekniska innovationer samt andra videobaserade medier som töjt på denna standard. Med modern teknik kan media inte bara spelas in i högre bildhastigheter; bilder kan också artificiellt interpoleras. Frame Interpolation-teknik som den kallas kommer numera förinställd på de flesta tv-apparater. Som konsekvens har det förts debatt för och emot högre bildhastigheter, inte minst när de manipuleras av tv-tillverkare utöver skaparnas kontroll. Den här studien vill ta reda på hur manipulering av ett videoklipps bildhastighet påverkar människors känslomässiga tittarupplevelse och därigenom om bruk av Frame Interpolation-teknik i tv-apparater är motiverad. Undersökningen testade deltagarna genom att visa klipp i sin ursprungliga bildhastighet i jämförelse med artificiellt manipulerade kopior. Studien visade att det inte binärt går att bestämma en bildhastighet som deltagarna fann definitivt bäst och att skillnaden inte är uppenbar för alla. Resultatet visar också att artificiell manipulering av bildhastighet inte uppskattas, och att kritiken riktar sig mot fel innehåll. Det diskuteras därför om tv-tillverkare bör överväga användningen av Frame Interpolation-teknik. Slutligen klargörs det varför man ska ställa sig kritisk inför resultaten utifrån studiens begränsningar. Vidare forskning föreslås som kan stödja studiens och liknande studiers slutsatser.

The Nigerian entertainment industry called Nollywood has for several years been one of the top audiovisual producers worldwide in regards to the volume of media produced. However, its market is to a large extent isolated from the dominant media flows, which has inspired interest for a detailed study of its role in the global cultural scene. The thesis is a theoretical treatise about the history and the present situation of Nollywood, which the author discusses in the context of the two seemingly oppositional paradigms of the globalization discourse: cultural imperialism and cultural globalization. To gather the most up-to-date and the most complex information, the thesis uses theoretical methods, such as the analysis, synthesis and comparison of the articles found in science journals and literature. The text is comprised of three main parts. After a brief introduction into the current situation in Nigeria and the historical development of its audiovisual media, the second chapter discusses the birth of Nollywood for the first time in the Czech academia, as well as its current production and distribution principles. In this part of the thesis, the focus is given to the description of the extent of Nollywood's influence in the world, including the Czech Republic, talking both about the audience size...

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

The Holocaust is a subject that seems to defy artistic representation by way of its sheer scale of tragedy and subsequent trauma. As I will demonstrate in this paper, it is hard to restore visibility – pictorial links between past and present realities – to crimes that have been deliberately submerged by its perpetrators. I will examine some of the common strategies used in representation of the victims of the Holocaust since the end of the Second World War, in the mediums of film and photography. As my main method of enquiry, I will examine three films from different eras, and of very different approaches in terms of their processing of the proposed original evidence, as examples to illustrate my arguments. In the second chapter Alain Resnais's documentary film Nuit et Brouillard (Night and Fog) is analyzed as a birthplace of the so-called iconography of the Holocaust. Chapter three examines workings of memory through the aesthetic form that was soon to follow; the role and testimony of the survivors is considered through Claude Lanzmann's Shoah. In the fourth chapter a new player is introduced: the second generation witness of postmemory, works of transmitted but unexperienced realities. In this chapter I will closer examine the workings of art in the game of reprocessing the evidence of the Holocaust, and through Dariusz Jablonski's film Fotoamator I aim to critique how the previously discussed approaches serve to further lock the Holocaust in an inaccessible canon. Moreover, the generalization implied – a drive toward universalization of the Holocaust as an idiom or even a metaphor for the dark sides of human history/character – derives from problems of representation; mainly that of anonymity in face of the proposed beauty of the spectacle, of tragedy and suffering in mass-media. A key problem is that any historical document, however we define one, is considered transparent and unmediated, whereas art is clearly something where a degree of mediation is necessarily recognized. In the face of this dichotomy it seems that all the collected "proof" of the Holocaust – witness accounts" photographs" films" material remains – achieves, is to stregthen the prevailing version of history.

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