The purpose of this thesis is to analyze DVD covers for the genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, genre, and visual rhetoric.  These theories will help answer the main question and help with the analysis. The objects for observation are ten DVD covers from the genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands for how many tickets were sold and how much money a film has earned. The use of numbers from Box Office shows that the movie had a successful marketing prior coming out as DVD. The analysis focuses also on movies from the year 2003 – 2012 as a way to get a ten years gap and also get the contemporary movies. The results show that there are codes and patterns provided from various DVD covers. Visual expressions as clothing, angles, perspectives, postures, facial expressions and colors say a lot about how the genre is visualized. It's also important for these visual expressions to work together – as they tell a story about the relationships and the characters, and also what the movie is going to be about. The main conclusion is that the woman is usually the one who is in focus and she is the active one. This doesn't necessary mean that the woman is in a higher position when it comes to the society or that she'll always have the upper hand in the relationship, but she is the one that has the upper hand right now. It's also clear that the DVD covers show when the couples aren't happily ever after. / Syftet med uppsatsen är att analysera DVD-omslag för genren romantisk komedi från 2000-talet för att få fram mönster och koder som ges från genren. Det teoretiska ramverket består av tidigare forskning som analyserat olika affischer - samt teorier om semiotik, genre och visuell retorik. Dessa teorier används för att svara på frågeställningen och för att hjälpa till vid analysen. En kvalitativ innehållsanalys har analyserat tio olika DVD-omslag för genren romantisk komedi. Filmerna som analyserats är från USA och anses som höga inom Box Office. Begreppet Box Office står för hur många biljetter som har sålts och hur mycket pengar en film tjänat in. Användingen av siffor från Box Office visar att filmen hade en lyckad marknadsföring innan den kom ut på DVD, vilket gör att den används för denna analys. Analysen fokuserar sig också bara på filmer från år 2003 – 2012 då man får ett mellanrum på tio år och filmerna blir samtida. Resultatet från den kvalitativa metoden visar att det finns koder och mönster som ges från olika DVD-omslag. Visuella uttryck som kläder, vinklar, perspektiv, kroppshållning, ansiktsuttryck och färger påverkar mycket hur ett DVD-omslag uppfattas och säger mycket om hur genren visualiserats. Det är också viktigt att dessa visuella uttryck arbetar ihop då de tillsammans berättar något om relationerna, karaktärerna och vad filmen kommer att handla om. Slutsatsen visade att kvinnan oftast är den som är i fokus och aktiv. Detta betyder inte nödvändigt att kvinnan är i en högre position i samhället eller att hon kommer alltid att ha övertaget i relationen, men att hon styr just nu. Det är också tydligt att DVD-omslagen inte visar när paren är lyckliga i alla sina dagar.

Vi har genomfört en komparativ kvalitativ innehållsanalys av filmen High Fidelity (2000) och serien High Fidelity (2020). Vårt syfte har varit att synliggöra hur romantiska relationer samt män och kvinnor representeras över tid. Studien har utgått från teorier om socialkonstruktivism, genus, representation, stereotyper och normen om tvåsamhet. Vi har tagit del av vårt material i sin helhet samt utifrån specifika scener för att genomföra en djupare analys. I kontrast till tidigare forskning som studerat verken utifrån musikteori, har vi studerat verken ur nya perspektiv. Studien bidrar till vidare forskning om ämnet genom att undersöka ett inte tidigare berört verk; High Fidelity (2020). Vårt resultat visar att både filmen och serien innehåller representationer som bekräftar och reproducerar normer. Serien innehåller, jämfört med filmen, en mer komplex och inkluderande representation av kvinnor. Sammantaget för de båda verken är att tvåsamhet tycks vara det centrala temat och idealet. / This essay consists of a comparative qualitative content analysis of the film High Fidelity (2000) and the series High Fidelity (2020). The aim of the analysis was to make visible how men and women and romantic relationships are represented over time. The study was based on theories of social constructivism, gender, representation, stereotypes and heteronormativity. We have taken part of the material in its entirety as well as on the basis of specific scenes in order to carry out a deeper analysis. In contrast to previous research that has treated the works based on music theory, we have studied the works from new perspectives. The study contributes to further research on the subject by examining a work not previously touched upon; High Fidelity (2020). Our results show that both the film and the series contain representations that confirm and reproduce norms. Compared to the film, the series contains a more complex and inclusive representation of women. Overall for both works, the norm of twosomeness seems to be the central theme and ideal.

<p>My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself.</p><p>Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria.</p><p>I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.</p>

My essay is about the latter period of Anne Charlotte Leffler’s authorship. In Part I of my essay, I describe her path from the 1880s, where she described femininity as a shortcoming, as writes Ingeborg Nordin-Hennel, towards the 1890s and towards describing femininity as a possibility. This development took place on two levels – on an outer level, where all the woman writers in the late 1880s were influenced and where they were pushed out by the male writers, and on an inner level with Leffler herself. Her late literary works depict new and more independent types of women, and eroticism is given a more prominent position. In Part II, I study Tre komedier (Three Comedies) which was published in 1891 and which includes the plays Den kärleken (Love is Strange), Familjelycka (Family Happiness), and Moster Malvina (Aunt Malvina). In my opinion, they are early expressions of the New Woman fiction. For my analysis, I use the criteria of genre for the New Woman fiction that is defined by Ebba Witt-Brattström. New Woman fiction is a lost link between the literature of social protest of the 1880s and female modernism. That characterizes, among other things, a new type of woman, who is intellectually and sexually aware. The plot is often contradictory and open-ended which allows scope for interpretation. The protagonist usually has a girlfriend or another woman, whom she can use as a mirror, and there is a new women’s “sistership” emerging, and the urban setting is yet another characteristic. The protagonist often stays at a boarding house or is out on a journey. The new male character is a weakling as opposed to the bourgeois masculinity. These features are distinct in Tre komedier. However, I have discovered a few more criteria. I also discuss how Leffler, in the comedic form, delivers a pronounced criticism of society. In Tre komedier, the bourgeois matrimony, the bourgeois family, and the treatment of unmarried women are focused upon and criticized. The three plays differ very much from one another in the dramatic forms. Lynn R Wilkinson considers that they are among the first modernistic comedies, and they point forward to authors such as Wilde, Shaw, and Chekhov.