In recently years, the online short films has become the most popular activity among the netizens of Taiwan. It was due to the improvement of online streaming technology, the increasing of network bandwidth, and the widespread of mobile device. Besides, the video recording and editing equipment have getting cheaper, and also more user-friendly. All these transformations have turned one-way passive audience into two-way positive ¡§Prosumer¡¨. The rising of online short films is the breakthrough of the traditional movie production, which empowered ordinary people to create their own videos. And, YouTube is the most popular ¡§stage¡¨ for amateur videos. Both the ¡§Cathedral style¡¨ videos of specialists and ¡§Bazaar style¡¨ videos of amateurs coexist and prosperous on the video-sharing website. The researcher, as a video amateur, was very curious about the ¡§carnivalization¡¨ of the online short films, and hope to investigate this effect through practice. This research takes the action research as the main research approach, and the content analysis as the supplement. The research process is divided into two stages. At the first stage, researcher analyzed the video content of ¡§YouTube¡¦s most viewed video¡¨ in order to find out what elements do these high click-through rate videos have in common. At the Second stage, the researcher implemented the action research base on the results of previous content analysis. The videos made by the researcher categorize as business-oriented and non-commercial oriented, in order to discover how these online short films constructed the carnivalization of the audience. The findings of this research could summarize into three main points. First, there are four important elements of YouTube¡¦s most viewed videos, which are ¡§music¡¨, ¡§love affair¡¨, ¡§joy¡¨ and ¡§story¡¨. Second, the business-oriented online short films construct the carnivalization of audience by ¡§culture identity¡¨, ¡§anti-normal performance¡¨, and ¡§sex appeal¡¨. Third, the non-commercial oriented online short films construct the carnivalization of audience by ¡§phonetic difference" game, ¡§nationalism¡¨, and ¡§cussing¡¨. Both of the carnival factors can be used in business-oriented or non-commercial oriented films, but the operating skills and strategy are quite different.

Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.

Films and series with criminal themes are very popular among audience. They also have quite a long tradition in the Czech (Czechoslovak) cinematography. Specifically in the 60's a lot of quality films with detective plots were made and they are appreciated among the audience until today. They are also repeated in television frequently. These films demonstrate both crime and further investigation, focused on the police activity. This representation is frequently portrayed as a reality and the audience tend to view it as such. Therefore, it is interesting to observe if this representation corresponds to real forensic practice. This diploma thesis deals with the given matter. It analyses five Czechoslovak crime films from the 60's and its goal is to determine if the forensic methods correspond to then reality. It also focuses on the figure of the investigator as the representative of the law and as the main character. The first part of the thesis is comprised of the theoretical background. It describes the principles of film narrathology and mainly the principles of forensic methodology and practice. The second part of the thesis is practical. The theoretical background is applied here to analyse each of the chosen films. The summary responds to the research question and summarizes results of the analysis.