This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the director’s work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Marker’s editing. While questions of the director’s thematic concerns also arise in my study, I argue that Marker’s contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylistics—his expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Marker’s work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Marker’s exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.

This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the director’s work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Marker’s editing. While questions of the director’s thematic concerns also arise in my study, I argue that Marker’s contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylistics—his expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Marker’s work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Marker’s exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.

This thesis is a study of how the Swedish media company MTG Radio has developed new strategies and production practices in relation to technological change, new competition and media convergence during the first decade of the 2000s. During this period the media landscape in general has been marked by digitization, the rise of new media platforms and competition from new media companies. The study engages in an ethnographical perspective on media production, but also takes its starting point in political-economic theories on media work (Banks 2007, Hesmondhalgh & Baker 2011, Ryan 1992) in order to raise questions about the relation between technological and organizational changes and relations of power in production. Empirically, the thesis builds on interviews with production staff as well as an analysis of production documents and content produced by MTG Radio. The analysis shows that digital production technologies contribute to anincreased automation and centralization of control over editorial decisions, and hence to “de-skilling” (Braverman 1974/1999, Örnebring 2010). On the other hand, strategies of multiplatform production and the organizational changes taking place contribute to an “upskilling” (Edgell 2012) and give DJs and presenters more autonomy and control within production. This strengthened autonomy involves their possibilities for reflexivity and critical self-evaluation, as well as their control over content and production. Finally, the thesis connects these results to the more overarching question of alienation, arguing that upskilling and increased autonomy do not automatically create better jobs within the media house, or necessarily represent emancipatory possibilities within media work, as has been argued in previous research and theory.

This dissertation analyzes gender in the commercial production of digital games. The purpose is to develop a detailed understanding of gender as it plays out among individuals who develop creative content and in the ideological constitution of the workplace, and to examine the ways in which these individuals participate in and make sense of the production of digital cultural products. The broad line of questioning attempts to provide detail and depth to how gender is organized, symbolized, and identified during the production a commercial game. The digital game industry and culture have constructed a strong fortress of androcentric ideas, practices, and experiences, and excluding women from digital media production by making entry into the social space unattractive preserves men's dominance of the field. To research the practices at play in the design of digital games, I conducted a case study using participant observation of the production of a digital game at a U.S. game development studio combined with primary document collection and in-depth interviews of workers who produce the game play, technical and artistic elements used in the creation of games in a team-based organization of labor. My analysis of the game studio worksite and culture revealed entrenched rituals, practices, and discourses of masculinity that produce and are reproduced by digital game workers. The organization of work in terms of space, organizational function and teamwork form decentralized layers of a network that are tightly controlled by the commercial production cycle. Each layer creates boundaries of inclusion and exclusion along multiple lines, including gender. Additionally, I examined how family socialization, the sexual division of labor in computer work and education, and passion for games idealize masculinity in the habitus of game workers. The habitus also structures working practices that are infused with masculinity based on technical proficiency. These working practices reproduce the gender dynamic of the social and symbolic space of the field. The studio's culture also constitutes a masculine symbolic space through inter-related discourses of masculine aesthetics, hegemonic masculinity, and science and technology. Implications for making the field of digital games more diverse and open are discussed.

This master’s thesis revolves around the means of participation established around the newly formed Social Democratic Party in Sweden at the end of the 19th century. In 1889 the party was organized in close proximity to the editorial office of the party newspaper, Social-demokraten, and dependent on the support of its subscribers to uphold and increase circulation. Simultaneously, the consolidation of the Second socialist international provided a new framework for the national organisations as it was decided that May 1 of 1890 would be the date of synchronized mass- demonstrations for the legislation of the 8-hour working day. The thesis examines the means of participation and the associated construction of participatory political subjects in relation to the newspaper, the demonstration and the question of work time regulation. The analysis shows that the Swedish campaigns promoted an increased sense of self-awareness and obligation towards the larger organizational structures as well as society as a whole. Participation was put forth as a means of confessing to a genuine and unadulterated identity. This identity and its assigned biological features, as they were portrayed in relation to the question of work time regulation, created the physical characteristics of the participant as a focal point of the political project. The question was used to create knowledge about the participant as an objective outset in the quest for legitimacy. This process can also be seen as the creation of a situated public as an origin of power.