Syftet med uppsatsen är att undersöka hur lärarrollen karaktäriseras i filmer och TV-serier under 2000-talet. I undersökningen görs en framställning av karaktärernas utmärkande drag samt en indelning i kategorierna: The Good, The Saint, The Sad och The Bad. I resultatet ställs karaktärernas drag i förhållande till människosyn och etiksyn. Sist men inte minst dras några tänkbara slutsatser utifrån resultatet. / The purpose of this essay is to highlight how the popular culture, focusing on film and TV-series during the 2000's, describes the characterization of the teachers' role. The survey gives a description of the character´s significant features and the character´s are placed in one of these four categories: The Good, The Saint, The Sad and The Bad. In the result, these features are set in relation to the vision of human beings and the vision of ethics. Last but not least, some conceivable conclusions are drawn from the result.

Each year well over one billion movie tickets are sold to an audience who knows very little about what they are getting themselves into. Why is it that despite the uncertainty, people return to the theaters to see what Hollywood has in store for them? In efforts to provide answers regarding the driving forces behind Hollywood’s blockbuster hits, this study takes into account the integration levels of the studios. Specifically, does a movie produced in-house at a large studio have a better chance of being a blockbuster hit than one which is outsourced to an independent production company? Further, I discuss the motivation behind the studios’ decision. While considering the embedded integration within the motion picture industry, this study aims to provide insight regarding the extent of internal studio productions and the effects of these films on the box-office.

This essay will focus on the people using and are involved in, and have a large interest in the horror film genre. The purpose of this essay is to find what urge these people to continuously watch horror movies and how they believe to be acknowledge by the society in a modern sense. Our study is mainly based on two separate interviews and therefore, mainly from the users perspective. This essay is also complemented by earlier research on this topic. In context of stigma, violence debate, exclusion we found that the users truly can be found in a rare type of alternative sphere, besides the public sphere. But this is also in relationship with age and gender of the user. Our stands in all this is that horror movies should be accepted as an escape from reality, not a genre that twist people to become violent, and that users can see the difference between reality and fiction and using horror movies should not be considered a deviant behavior in a modern society.

The purpose of this study is to generate a greater understanding of the different ways in which music can be used to build an identity and create image within movies, and also to explain the different impacts this can have on the parties involved. Through the history of movies music has been used as a tool for enhancement and for expression of emotions. Through music the audience relates to personal memories or emotional states and the experience is given a deeper impact, helping to create memorable movie scenes. Certain directors have created a unique identity through the use of music in their movies, and also artists have been brought forward by starring in a soundtrack. What we find interesting, and what is also the discussion in this study, is in what ways this collaboration/artistic expression can be done and what impact it has on the parties involved. This study is made from a qualitative approach based on nine interviews with respondents working in the business of movies and film music, carefully chosen to answer and fulfill our purpose from various perspectives. All the interviews are presented in full length in the appendix, and serves as the base of our analysis. Since our study is made with a qualitative approach, is it not of our intention to generalize the results. Although, we do in the analysis recognize patterns which guide us to our conclusions about film music: the characters, functions and impacts of music in film, and how it generates identity and image. These conclusions are later brought together in our figure, presented in chapter six, through which we intend to clarify and further explain our conclusion.

From Taiwanese movie viewers¡¦ perspectives and in the three periods, including before the movie, during the movie, and after the movie, this study aims to understand reasons why they watch movies, their habits of going to the cinema, and responses after the movie. By doing so, this study is in the hope of depicting current Taiwanese movie viewers¡¦ characteristics. This study chooses the survey method as methodology, and questionnaires are distributed to movie viewers in Taipei and Kaohsiung and to internet users on movie discussion forums. The research funding as follows: First of all, the research finds that it is important for the movie viewers to learn movie information via television and internet and that they do proactively search for movie information. Secondly, Taiwanese movie viewers¡¦ motivation for watching movies is to relax and to be entertained, and they go to the movie theater because they want to watch ¡§movies¡¨, not ¡§watch¡¨ movies. Thirdly, the most significant element of a movie for Taiwanese movie viewers is its story, and the trailer is the most important marketing. About spectators¡¦ behavior, Taiwanese movie viewers watch movies in the afternoon and at night during the weekend most. The frequency of going to the cinema does not show seasonal variations. On the average, each year they watch Taiwan movies 1.61 times and foreign movies 7.38 times. In addition, friends and classmates are their most important reference group. The quality of movie theater equipment will affect these viewers¡¦ desire for movies. They take public transportation or motorcycles to the movie theater most, and it usually takes 16-30 minutes. For Taiwan cinema, audiences in Taiwan have the highest satisfaction in entertainment and appreciation and creation. Audiences in Taiwan admit that tax deduction could be an incentive to watch Taiwan movies. Besides, moviegoers watch quite a few of Taiwan and non-Taiwan movies. Also, they have higher acceptance of various types of movies. It differs little in past and current researches. They will vent negative emotions through the internet and talk to friends and family. Due to the prosperity of internet nowadays, information about movies via portal sites is easily accessible to audiences. Movie viewers would have a better understanding of the movie and be more involved during the movie. The relaxation function of the movie is emphasized and moviegoers regard watching movies as one important leisure activity.

Two important issues regarding international market entry strategy remain largely unexplored: international launch time window (the elapsed time between product launch in the home country and launch in the focal country) and country sequence. First, I investigate the factors that drive international launch time window and its impact on the performance of new products in foreign markets. The results show that launch time window is positively associated with word of mouth, but negatively related to prelaunch advertising efforts and foreign demand potential. Second, I examine the determinants of the sequence of countries in which firms introduce new products and its impact on performance in foreign countries. The findings include that a country‘s order in the international launch sequence of a new product affects the product‘s performance in that country. Country order is negatively related to country revenues. A country‘s cultural distance (economic openness) is positively (negatively) associated with its order in the sequence. I also find that there is cross-country spillover effect - lagged revenues from other countries and lagged marketing efforts in the home country are positively related to a new product‘s revenues in the focal foreign country. The more culturally sensitive a product, the earlier culturally closer countries are in the launch sequence for that product. Based on the cross-country performance spillover effects, I recommend a launch sequence that can maximize overall performance in foreign markets.

There's been a lot of debate behind frames per seconds in gaming recently and many people come with all kinds of strange claims. For example, that the eye can only see 30 frames per second, its more “cinematic” and that it is the optimal framerate for games.This thesis studies about the importance of frames per second within games and the history behind frames per seconds, in games and all the way back when movie industry began. What is best for higher player performance and what should developers strive for? There was a personal preliminary test with an extended playthroughs of each game, to see if the playstesters would experience similar issues. Afterwards two quantitative tests with two different methods, a blind test and a performance test, are conducted to measure if any player notices the differences, how the framerate can affect the player’s performance and what they preferred. / Det har varit en hel del debatt om bilder per sekund inom spel under de senaste åren och det har kommit fram alla möjliga konstiga påståenden. Till exempel, att ögat kan bara se 30 bilder per sekund, det är mer ”filmiskt” och att det är den optimala bildhastigheten för spel. Denna studier handlar om hur viktigt bilder per sekund inom spel är och historien bakom bilder per sekund, allt ifrån spel till filmindustrins början. Vad är bäst för högre prestationer för spelarna och vad bör spelutvecklare sträva efter? Ett personligt förberedande test med utsträckt igenomspelning av båda spelen, för att se om speltestarna skulle få ett liknande problem. Därefter två kvantitativa tester med två olika metoder, ett blindtest och ett prestandatest, genomförs för att mäta om någon spelare märker skillnaderna, hur de olika nivåerna av bilder per sekund kan påverka spelarna prestanda och vad de föredrog.

In order for the study of French to survive in American higher education, it will be necessary to adopt a pedagogy that motivates learners as well as teaches them both language and culture. I argue that the judicious use of visual materials (film, video and graphic novels) is ideal for this undertaking. I further assert--based upon numerous sources from fields such as Second Language Acquisition, cognitive psychology, anthropology and sociolinguistics--that language and culture are inseparable, and that visual materials provide the necessary context to facilitate the teaching of both. Visual materials present both problems and opportunities. I discuss such difficulties as cognitive overload (i.e., students’ being overwhelmed by too much information in too short a period of time) and suggest practical solutions. I also present criteria for the selection of films, such as appropriateness, learning goals and appeal to US university students. I also show how authentic media such as video can be adapted for all proficiency levels (e.g., assigning beginners’ simple word recognition tasks). In considering graphic novels, I suggest a familiar comic strip, Tintin, which is appropriate for beginning to advanced students, and which is likely to appeal to all students, given its American film adaptation. In the appendices, I include applications of the points presented in this report. In the conclusion, I argue that, regardless of the length formal instruction in French, this pedagogy can support practical skills (for example, dealing with people from other cultures) and lifelong learning (for example, staying involved with French culture through the aforementioned media). / text

Syftet med detta arbete är att utforska vad det är som gör att en protagonist i en film blirintressant. Med hjälp av boken Dramatiskt berättande av Mats Ödeen har vi fördjupat oss itermen dramaturgi eftersom huvudpersonen är en viktig del av den. Vi har valt att analyserafilmer där vi anser att karaktärerna är väl uppbyggda och intressanta utifrån dramaturgiska ochtekniska aspekter. De filmer som vi har valt att analysera är True Grit och Big Eyes. Analysen avTrue Grit fokuserar på protagonistens resa genom berättelsen. Analysen av Big Eyes kommer attfokusera på karaktärsrelationerna och dramat som uppstår under en av berättelsens vändpunkter.Avslutningsvis kommer vi att analysera vårt egna manus för att sedan jämföra och utforskakaraktärsmodeller med karaktärer från True Grit och Big Eyes.Med hjälp av en utvecklad metod lånad från artikeln From Antz to Titanic: A Students Guide toFilm Analysis identifierar vi de delar som formar en protagonist. På detta sätt kan vi själva se vaddet är som skapar en god karaktär för att sedan försöka skapa vår egen i slutproduktionen. Somavgränsning har vi valt att endast analysera kvinnliga protagonister. För att få en större förståelseför det vi har gjort och vad vi kan ändra på i framtiden kommer vi även att analysera vårt egetkortfilmsmanus. / The purpose of this work is to explore what makes a protagonist in a film interesting. With thehelp of the book Dramatiskt berättande by Mats Ödeen we have become versed in the termdramaturgy. We have chosen to analyze films featuring characters that we think are wellconstructed and interesting based on dramaturgical and technical aspects. The films we havechosen to analyze are True Grit and Big Eyes. The analysis of True Grit focuses on theprotagonists journey through the story. The analysis of Big Eyes will focus on the relationshipsbetween characters during a mayor turningpoint. Finally we will analyze our own script and thencompare and explore the character models featuring characters from True Grit and Big Eyes.2With the help of a developed method borrowed from the article From Antz to Titanic: A StudentsGuide to Film Analysis , we identify the parts that influence the outcome of the protagonist. Inthis way we can see for ourselves what it actually is to creating a good character, and then beable to create our own, in the final production. The findings of this work is limited since we havechosen to analyze only female protagonists and not protagonists in general. To analyzeprotagonists from both sexes would have been too extensive for the time scope that has been setof for this project. We will also analyze our own short film script, because this will help us to geta better understanding of what we have done and what we can do differently in the future.

Using a close textual and contextual analysis, I trace themes of gender and race in the Matrix trilogy, arguing for the presence of a parallel, embedded filmic narrative, one that neatly aligns with African-American critical traditions affirming subjugated ideologies, knowledges, communities and forms. Decoding the films through the lenses of race, womanist, film studies and cultural studies theories, I explore this signified, covert storyline through phenotypes, casting choices, plot twists, and extra filmic events. In this dissertation project, I argue that their preponderance, consistency, and coherence are evidence of deliberate commentary. I further claim that that the trilogy can be reasonably understood as a historically motivated critique of Whiteness and White supremacy, offering references to American slavery and ideologies, as well as to cross-racial ideological domination and collective, coalitional and revolutionary change. Since long standing racial and gender understandings (along with their attendant domination and oppression) persist, examining popular films with transformed constructions is useful in supporting frameworks for conceptual change.