Ett problemområde inom rap är att utövarna av genren tenderar att skildra kriminella levnadsvanor, och döms för exempelvis grova våldsbrott samtidigt som genren har expanderat kraftigt i Sverige sedan den introducerades på 90-talet. Denna uppsats utforskar människors förhållningssätt till rap, och främst universitetsstudenter som kan uppskatta genren även om dem lever ett liv som inte är nära de områden i Sverige där den vanligare förekommer. Utifrån insamling av data från fyra intervjudeltagare, samt relevant tidigare forskning har jag kommit fram till att det finns flera aspekter i rappen som kan leda till att människor kan förhålla sig positivt till genren. Det finns tillfällen då människor inte ens behöver sätta sig in i låttexten tillhörande ett specifikt verk gällande gangsterrap för att kunna uppskatta verket i sin helhet. Det är möjligt att skilja på verk och person, att uppskatta genren även om man tar avstånd från dess potentiellt kriminella textskildring, samt att även om denna skildring kan vara en del av ett verk är det möjligt att uppskatta texten likväl utifrån vad som uttrycks i texterna.

Bood is a comic British Western about the fall of British society.

The purpose of this study is to investigate the topic of how a brand’s increased associations with unintended customer segments may impact the consumers who purchase the brand’s products for their intended use. This regards the consumer’s brand perception, brand avoidance, and purchase intentions. The focus of this study is the outdoor sports brand Haglöfs and Swedish gangster culture as the unintended customer segment. The possible associations between Haglöfs and gangster culture gave rise to this thesis. This research adopts a qualitative logic, using a focus group to collect data and gain insight into consumers’ brand perception, brand avoidance, and purchase intentions. Six (6) participants in total were included in the interview. The data was analyzed with ananalytical framework with support from the existing theoretical frameworks. The results from the focus group suggested that the increased associations between gangster culture and Haglöfs have not largely negatively affected the participants’ brand perception, brand avoidance, and purchase intention, with the exception of one participant. However, other insightful results were discovered related to ‘product avoidance’. The managerial contributions may include insights for brands in mitigating potential devaluation of brand perception as a result of being associated with unintended customer segments.

Den här uppsatsen fokuserar på autenticitet inom rapp: hur den skapas och bibehålls. Först introduceras genren ”gangsterrapp” och därefter analyseras en uppsättning av låtar inom genren både text-, ljud- och bildmässigt. Därefter följer en diskussion om mina undersökningsresultat och slutsatsen att svenska gangsterrappare skapar autenticitet genom att vara kriminella. Oavsett var de kommer från eller vilka de känner presenterar gangsterrapparna sig som frontfigurer för stora kriminella nätverk och använder sina texter som en slags ”gangsters dagbok”. Teman såsom polishat, drogförsäljning och kallblodigt mord förekommer ofta och är till och med förväntade. / This paper focuses on authenticity in rap: how it is created and maintained. First, I introduce the subgenre of “gangsta rap” and how it is defined. Then, I continue by analyzing a set of songs both lyrically, audibly and visually, and while direct audible differences are included, they are deemed less important than the social aspect of said songs. Subsequently follows a discussion of my findings and the conclusion that Swedish gangster rappers create authenticity by being criminals. No matter where they come from, or who they know they will always present themselves as the front figure of vast criminal networks and use their lyrics as a form of “gangster diary.” Themes such as hating the police, selling drugs and killing in cold blood are commonplace and are even expected.

O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo. / The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.

O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo. / The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.

No description available.

Martin Scorsese's films, GOODFELLAS and CASINO, and Quentin Tarantino's RESERVOIR DOGS and PULP FICTION are examined to determine if the crime film of the 1990s has become increasingly more in the style of film noir. The differences and similarities between the two crime films each director has either written or co-written in the 1990s are delineated to demonstrate this trend. Other crime films of the latter 1990s (SEVEN, THE USUAL SUSPECTS, and MULHOLLAND FALLS) are also examined to aid in defining the latest incarnation of the crime film as "Noir Modernist," a term that is demonstrated to be a more accurate description for the current crime films than B. Ruby Rich's, "Neo-Noir of the 1990s."

No description available.

Syftet med denna studie är att, genom en netnografisk undersökningsmetod, få en större inblick för hur gängrelaterade brott och den kriminella livsstilen porträtteras i musikgenren gangsterrap. Materialet som analyserats består av 25 låtar av fem olika svenska rapartister på den sociala medieplattformen Youtube. Studien inkluderar även en analys av publikens reaktioner och gensvar på musikens innehåll, genom en analys av kommentarsfälten. Genom en tematisk analysmetod för att analysera det insamlade materialet var det möjligt för oss att identifiera betydelsefulla teman. Vidare har analysen genomförts med stöd av tre teoretiska ramverk: intrycksstyrning, kultivationsteorin och symboliskt kapital. Studiens resultat visar att gangsterrappens musikinnehåll består av skildringar av våldsam karaktär, förhärligande av riskabelt beteenden samt diverse referenser som kan relateras till gängkriminalitet i verkligheten. Analysen visar även ett övervägande neutralt förhållningssätt av publiken gentemot våldsamma illustrationer, och kriminella aktiviteter tycks sällan ifrågasättas. / The aim of this study is to obtain a greater insight of how gang-related crime and the criminal lifestyle is portrayed in the music genre gangster rap. Through a netnographic research method, 25 songs by five different Swedish rap artists on the social media plattform Youtube have been analyzed. The study also includes an analysis of how the audience reacts and responds to the content of the music, by examining the comment sections. Using a thematic analysis as a method for analyzing the collected data allowed us to identify important or interesting themes. Furthermore, the analysis was carried out with the support of three theoretical frameworks: impression management, cultivation theory and symbolic capital. The study shows that the music content consists of occurring depictions of violent nature, glorification of risky behavior and various references that can be related to gang crime in real life. The analysis also shows a predominantly neutral approach from the audience towards violent imagery, and criminal activities rarely seem to be questioned.