This study was performed to examine the performance of an equity based crowdfunding campaign, as well as seeking to describe the risks, complications and the opportunities that this kind of funding brings. The study was conducted by an empirical case study of a company that was about to initiate an equity based crowdfunding campaign. The conclusion is that the planning of an equity based crowdfunding campaign is time consuming and requires knowledge in many different areas. Therefore it is important to identify in which areas skills and resources already are available within the company, and where it must be obtained through a learning process. The report also highlights that equity based crowdfunding, because of legal restrictions surrounding the issue of unlisted shares, can not be marketed as other types of crowdfunding. This leads to the conclusion that those who invest in equity based crowdfunding do not necessarily belong to the crowd that crowdfunding is generally associated with. Arguments can be made that this crowdfunding model rather resemble traditional angel networks. A technical study was also made about the company's products. The result of the technical study can be used by customers to get a clearer understanding of the company's products, but also by the company itself as a good insight into how their products work in practice and to develop the existing products.

This study was performed to examine the performance of an equity based crowdfunding campaign, as well as seeking to describe the risks, complications and the opportunities that this kind of funding brings. The study was conducted by an empirical case study of a company that was about to initiate an equity based crowdfunding campaign. The conclusion is that the planning of an equity based crowdfunding campaign is time consuming and requires knowledge in many different areas. Therefore it is important to identify in which areas skills and resources already are available within the company, and where it must be obtained through a learning process. The report also highlights that equity based crowdfunding, because of legal restrictions surrounding the issue of unlisted shares, can not be marketed as other types of crowdfunding. This leads to the conclusion that those who invest in equity based crowdfunding do not necessarily belong to the crowd that crowdfunding is generally associated with. Arguments can be made that this crowdfunding model rather resemble traditional angel networks. A technical study was also made about the company's products. The result of the technical study can be used by customers to get a clearer understanding of the company's products, but also by the company itself as a good insight into how their products work in practice and to develop the existing products.

Denna studies ändamål är att undersöka hur entreprenörer upplever mötet med finansiärer och om upplevelserna skiljer sig mellan kvinnor och män. För att undersöka detta har elva stycken djupintervjuer gjorts med entreprenörer. Sex av dessa entreprenörer är kvinnor och fem stycken är män. Frågorna är semistrukturerade för att ge entreprenörerna utrymme att på ett naturligt sätt kunna beskriva sina upplevelser. I resultatet visas det hur entreprenörerna beskriver situationer med finansiärer, hur de upplever sig behandlade och hur de känner inför dessa möten. Slutsatsen av studien är att det finns skillnader på hur manliga och kvinnliga entreprenörer blir bemötta av finansiärer. Kvinnorna får utstå situationer som männen aldrig får, exempelvis sexism. De behöver tänka på sitt utseende i högre grad och de använder sig av olika strategier för att hantera den ojämlika situationen. Vi kan även se att kvinnorna upplever situationen som jobbigare än vad män gör. / The purpose of this study is to investigate how entrepreneurs experience the meeting with financiers and whether experiences differ between women and men. To investigate this, eleven in-depth interviews have been conducted with entrepreneurs. Six of these entrepreneurs are women and five are men. The questions are semi structured to give the entrepreneurs space to be able to describe their experiences in a natural way. The result shows how entrepreneurs describe situations with financiers, how they are treated and how they feel about these meetings. The conclusion of the study is that there are differences in how male and female entrepreneurs are being treated by financiers. Women are exposed to situations that men never are, for example sexism. They need to think about their appearance to a greater extent and they use different strategies to cope with the uneven situation. We can also see that women experience the situation as more difficult than men experiance it.

Disruptive innovation pertains to a process wherein a modest idea can grow and transform the entire landscape among established companies within the same industry. While this type of innovation has the potential to revolutionize markets and industries, it also presents challenges, particularly in securing funding. Financing disruptive companies can be a difficult endeavor as they may be challenging to comprehend and assess. Traditional financiers may not recognize the potential in these ideas and may be reluctant to risk their resources on what may appear to be uncertain ventures. Thus, the question arises whether the financing process for entrepreneurs engaging in disruptive innovation differs from that of other entrepreneurs. The purpose of this study is to observe the factors that influence disruptive entrepreneurship and how they are reflected in the financing process. Empirical findings were analyzed alongside theoretical findings. The results indicated that external financing capable of primarily providing knowledge was valued more highly than external financing that could only offer capital. / Disruptiv innovation handlar om en process där en liten idé kan växa och förändra hela spelplanen bland etablerade företag inom samma bransch. Denna typ av innovation har potentialen att revolutionera marknader och industrier. Men med disruptiv innovation kan det också uppstå utmaningar, särskilt när det gäller att hitta finansiering. Att finansiera disruptiva företag kan vara en svår uppgift eftersom de kan vara svåra att förstå och värdera. Traditionella finansiärer kanske inte inser potentialen i dessa idéer och kan vara ovilliga att riskera sina pengar på vad som kan verka vara osäkra satsningar. Det kan således ifrågasättas huruvida finansieringsprocessen för entreprenörer som ägnar sig åt disruptiv innovation skiljer sig från andra entreprenörer. Syftet i denna studie är att se vad som har en inverkan på disruptivt entreprenörskap och hur det speglas i finansieringsprocessen. Empiriska fynd analyserades med teoretiska fynd och resultatet visade att extern finansiering som kunde bidra med främst kunskap värderas högre än extern finansiering som bara kunde erbjuda kapital.

"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent". Cousins, 2004, s13. Sättet att göra film på har ständigt förändrats och fortsätter att förändras men som citatet syftar till så verkar inställningen till film stå sig lika genom tiderna. I grund och botten handlar det om att berätta en historia som berör publiken. En historia berättad utifrån filmskaparnas olika stilar. Tack vare teknikutvecklingen har många effekter i film, både digitala och fysiska blivit möjliga och vem vet vad den tekniska, och kanske framförallt den digitala utvecklingen, kommer att leda till för effekter i film i framtiden? Vi är trots allt bara i början av den digitala eran. Samtidigt som det nya introduceras kanske de gamla beprövade fysiska effekterna etsar sig fast som klassiska och erkända arbetsmetoder. Vad vi behandlar i den här uppsatsen är hur digitala och fysiska tekniker att skapa effekter används och nyttjas i den svenska filmbranschen. Hur ser beslutsfattare i branschen på effekter som filmskapande och varför ser användandet ut som det gör idag? Vi har också undersökt vad det är som styr användandet av effekter inom filmskapande utifrån ekonomiska, tekniska och konstnärliga överväganden. Vi har samlat in information genom kvalitativa, djupgående intervjuer med tre produktionsbolagsföreträdare och tre finansiärer. Vi har även samlat in information kring begreppen fysiska effekter och digitala effekter bland sex stycken filmarbetare som aktivt arbetar med effektskapande på olika sätt. Det har visat sig att det råder meningsskiljaktigheter när det kommer till definition av begreppen kring digitala effekter och fysiska effekter mellan de bolagsföreträdare och finansiärer vi har intervjuat och de aktiva effektmakare som vi har bett definiera begreppen. För att underlätta framtida kommunikation kommer vi i den här uppsatsen definiera dessa begrepp utifrån våra resultat. Våra resultat tyder på att det finns en vilja inom filmbranschen att arbeta med effekter inom film men att det samtidigt saknas resurser och kompetens idag. Samtidigt tycker vi oss utläsa en okunskap kring effekter vilket ställer till det för dem som vill arbeta med effekter. Exempelvis gällande Guldbaggegalan, där kategorin "Bästa Visuella Effekter" togs bort efter bara några år efter införandet för att det ansågs vara för svårt att utläsa vad som var effekter och inte i en film. Utifrån det vi kan utläsa från våra resultat finner vi det motsägelsefullt att vilja utveckla branschen och arbetet med effekter och samtidigt inte utveckla kunnandet kring det, när man istället för att plocka bort en kategori på grund av okunskap istället borde lära sig mer om det. / "Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent." Cousins, 2004, s13. The way of filmmaking has always been changing and it continues to change but as the quote leads up to it seems like the attitude stays the same. It is essentially about telling a story, which affects the audience. To tell a story with the different approaches the creators favors. Thanks to the technical development, many of these effects, both physical and digital have become practicable and who knows what the technique and digital progress will lead to in the future of filmmaking. After all, we are only in the beginning of the digital era. In the same time, the old and proven effect making techniques might inculcate as both classic and recognizable working methods. In this essay, we will talk about how the techniques of digital and practical effects are being used in the Swedish film industry. What does the decision makers in the business think about using effects in filmmaking and why are effects being used the way they are in todays film industry? We also wanted to examine what regulates he use of effects based on economical, technical and artistic considerations. We have collected our data from interviews with three representatives from production companies and three film financiers. We have also collected information considering the definitions of visual effects and special effects from six filmmakers who that works with effect making on a daily basis. It has become apparent that there are some confusion considering the definitions of the concepts of visual effects and special effects between the producers and financiers and the filmmakers. In order to ease future communication, we will in this essay define these concepts out of our results. Our result suggests that there is a will in the Swedish film industry to work with effects in filmmaking but in the same time parts of the industry lacks of resources and capability. Simultaneously, we can note that the ignorance around the concept of effects causes communication problems for digital artists and prop makers. For instance, on the Swedish film gala "Guldbaggegalan" they added a new category only a few years back and this year they took it away because of the problems of recognizing what's visual effects and what's not. It is interesting that there is an interest in developing effects in filmmaking and at the same time takes away the award. Instead of taking it away, they should focus on educating people about effects.