Den här uppsatsen syftar till att undersöka hur trovärdighet i reklam skapas genom vilka val som görs när det kommer till narratologiska och filmtekniska komponenter. Genom en kritisk retorikanalys med stöd av narratologi och filmteknisk teori, granskas reklamfilmen ​Gunde Svan och sjungande grenar som drivmedelsbolaget Preem gav ut hösten 2019. I analysen framkommer det att Preem bygger sin trovärdighet i frågan på ethos- och pathosargumentation, där Gunde Svan och de sjungande grenarna spelar en stark roll i det narratologiska, med hjälp av filmtekniska aspekter som iscensättning, ljud och ljus.Sökord: Grön marknadsföring, Greenwashing, Kritisk retorikanalys, Trovärdighet i reklam, Burkes pentad, Filmtekniska komponenter. / This paper aims to investigate how credibility in advertising is created through what choices are made when it comes to narratological and film-technical components. Through a critical rhetorical analysis supported by narratology and cinematic theory, the commercial ​Gunde Svan och sjungande grenar, ​issued by the fuel company Preem in the fall 2019 is examined. The analysis reveals that Preem builds its credibility on the issue on ethos and pathos reasoning, where Gunde Svan and the branches play strong roles in the narratological, with the help of film-technical aspects such as staging, sound and light.Keywords: Green marketing, Greenwashing, Critical rhetorical analysis, Credibility in advertising, Burke’s Pentad, Film style

This study examines four different scenes in the documentary Kan vi förlåta Margaux? produced by the Swedish television company SVT. The scenes were studied through a qualitative analysis of the three different film techniques: speech and interaction, editing and setting in relation to how the main character Margaux Dietz is portrayed. Thereafter the results were decoded with the purpose to study the sympathy for Dietz in each scene separately and in relation to each other. The theoretical framework of Bill Nichols book Introduction to Documentary were used as the basis of the analysis as well as Bordwell and Thompsons theories of mise-en-scène and editing. The conclusion of this paper suggested that Margaux Dietz is portrayed dissimilar in the various scenes. This also implied that the sympathy for Dietz throughout the documentary shifts. In the discussion of this study the results and the conclusion was debated in relation to the documentary genre. Media production: How do you speak about a subject as sensitive as sex to a young target group? New studies have shown the negative effect of young people’s exposure to pornography, which lacks consent and has defected gender norms. At the same time, the accurate information is visually dull, avoiding, and childish. RFSU didn’t do the job with their visual communication targeting teens aged 15-20. This was when plej came to life — a sex magazine challenging conventional norms about how sex is taught to teens, focusing on lust, consent, and pleasure. A project by Amanda Lindh, Helena Ljunggren and Jennie Eklund.