<p>This is a case study of the music channel MTV and it’s impact on the Swedish mediascape. We want to look into the process that lies behind this huge intercontinental corporation. Through literature studies we present the mechanism’s that paved the way for MTV growing into the number one music channel of modern time. To investigate how MTV was received in Sweden, we analyse articles taken from databases providing us with essential information about how Swedish journalist’s debate the issue. To show an assumed development within the Swedish mediascape we are using two different time periods, the first represents the year 1993 through to 1995 and the second, 2000 through 2003. These time periods are also used within statistical research included in this paper. This part shows the differences between MTV and other music channels that are competitors in the Swedish mediascape. Altogether these parts helps us to bring out topics that hopefully gives answers to our main quandary – what kind of effect has MTV had on the Swedish mediascape?</p>

This is a case study of the music channel MTV and it’s impact on the Swedish mediascape. We want to look into the process that lies behind this huge intercontinental corporation. Through literature studies we present the mechanism’s that paved the way for MTV growing into the number one music channel of modern time. To investigate how MTV was received in Sweden, we analyse articles taken from databases providing us with essential information about how Swedish journalist’s debate the issue. To show an assumed development within the Swedish mediascape we are using two different time periods, the first represents the year 1993 through to 1995 and the second, 2000 through 2003. These time periods are also used within statistical research included in this paper. This part shows the differences between MTV and other music channels that are competitors in the Swedish mediascape. Altogether these parts helps us to bring out topics that hopefully gives answers to our main quandary – what kind of effect has MTV had on the Swedish mediascape?

Kritisk design är ett forsknings- och innovationsområde under utveckling. Teorin har använts inom många designrelaterade områden och ämnar få konsumenterna att bli mer kritiska när det kommer till hur deras vardagliga liv styrs av olika föreställningar, värderingar, ideologier och behavioristiska mönster som finns införlivade i design (Dunne &amp; Raby, 2001). Eftersom kritisk design är en teori som strävar efter att förändra i praktiken ligger utmaningen idag i att skapa praktiska exempel som visar hur utförandet kan gå till, vilket är en nödvändighet för att teorin ska kunna utvecklas (Bardzell et al., 2012). Denna studie ämnar vara metodutvecklande genom att skapa en uppsättning verktyg utifrån utvalda delar (teoretiska metoder och perspektiv) ur kritisk design. Målet med dessa verktyg är att de ska kunna användas som ett hjälpmedel för att kunna arbeta praktiskt med kritisk design i en design- och produktionsprocess. I denna studie har vi testat våra verktyg i design/produktionsprocessen av en musikvideo för att undersöka hur man kan applicera kritisk design i en specifik produktionsprocess. Till vår hjälp har vi förhållit oss till designorienterade forskningsmetoder och då främst Daniel Fällmans triangelmodell för interaktionsdesign och design forskning (2008). Genom att föra samman kritiska designperspektiv och videoproduktion ämnar denna studie att ge ett bidrag till ett metodutvecklande arbete för att överbrygga det befintliga glappet mellan teori och praktik inom kritisk design. / Critical design is a research- and innovationarea under development. The critical design theory has been used in many design-related areas and intends to get consumers to become more critical when it comes to how their everyday lives are controlled by different beliefs, values, ideologies and behavioral patterns that are incorporated into design (Dunne &amp; Raby, 2001). Since critical design is a theory that seeks to transform in practice the challenge today lies in creating practical examples that show how it can be done, which is a necessity for the theory to develop (Bardzell et al., 2012). This study intends to be method developing by creating a set of tools based on selected parts (theoretical methods and perspectives) from critical design. The goal of these tools are to function as an instrument enabling practical implementation of critical design in a design/production process. In this study we have tested our tools in a specific productionprocess of a music video to explore how to apply critical design practically. In doing so we used design-oriented research methods, in particular Daniel Fällmans triangelmodel for interactiondesign and design research (2008). By bringing together critical design perspectives and video production purposes, this study hopes to make a contribution to the method fulfilling work of bridging the existing gap between theory and practice in critical design.

Följande studie är en undersökning kring hur en del av dagens mest populära musikvideos inom den svenska hiphop-genren reproducerar normativa könsstereotyper. Under år 2019 dominerade svensk hiphop de svenska topplistorna och den både produceras och konsumeras i dagsläget av unga människor. Trots genrens popularitet har mycket kritik riktats mot den. Genren är ur vissa aspekter mansdominerad, heteronormativ och sexistisk. Det är dessutom ett känt faktum att könsnormativa stereotyper frekvent förekommer i musikvideos. Einár, Ant Wan och Z.E är ett urplock ur Sveriges mest populära rappare med miljontals streams och visningar på sina videos. De har därmed en stor räckvidd och således ett stort inflytande. Syftet för studien är därför att undersöka på vilka sätt dessa artisters musikvideos reproducerar könsstereotyper. Vi undersöker också dessa representationer i samband med hur samhället ser på genus och jämställdhet idag. Med hjälp av semiotiken som metod och genus som teoretiskt perspektiv analyserades musikvideorna tillhörande de tre populäraste svenska hiphop-låtarna år 2019. Efter analysen kunde vi konstatera att de normativa könsstereotyperna byggs i videorna främst genom att ge könen motsatta karakteristiska drag. Detta gäller hur de olika könen klär sig, beter sig, filmas samt hur mycket de inkluderas. En missvisande och enformig bild av respektive kön kom dessutom till uttryck, vilket skapar en stark kontrast med nuvarande debatter om behovet av att dekonstruera könsstereotyper. / The following study examines how today's most popular music videos in the Swedish hip-hop genre reproduce normative gender stereotypes. In 2019, Swedish hip-hop dominated the country’s music charts and today it is both produced and consumed by young people. Despite the genre's popularity, much criticism has been addressed towards it. The genre is in some aspects male-dominated, heteronormative and sexist. It is also a known fact that gender normative stereotypes frequently appear in music videos. Einár, Ant Wan and Z.E are a selection of Sweden's most popular rappers with millions of streams and views on their videos. Therefore, they have a very large reach and influence. The purpose of the study is therefore to analyze how these artists' music videos reproduce gender stereotypes. We also examine these representations in connection with how society views gender and gender equality today. By using semiotics as a method, the music videos that belonged to the three most popular Swedish hip-hop songs in 2019 were analyzed. After the analysis, we were able to state that the normative gender stereotypes are built into the videos mainly by giving the sexes opposite characteristic features. This applies to how the different sexes dress, behave, are filmed and how much they are included. A misleading and monotonous picture of the sexes was also expressed, which creates a strong contrast with ongoing debates of the need to deconstruct gender stereotypes.

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The goal of this thesis is to describe the influence of technological development on the ways in which the moving image is created and to introduce forms that this medium attains in the area of live audio-visual performances. The theoretical study approaches this topic as a historical overview of technical image, focusing on its connections with music. It thus observes specific creative processes of the avant-garde film and music video and subsequently puts them into the context of current types of moving picture created as a result of software codes. Based on the definitions of digital media's key principles, a theoretical basis is set up and then applied to the description of contemporary forms of audio-visual performances. These principles are also used for the definition of the features of software tools, numeric representations of which make it possible to work with any type of an image as with a set of mathematical functions. The main result of this thesis is thus a presentation of creative possibilities of today's image, which has - thanks to digital devices - disengaged itself from its previous technical limitation and become a fully dynamic element that can be created and modified in real time.

My study contains a semiotic analysis of three screen captures of still lifes from the music video PrettyBones by the artist Yeule, directed by Joy 秀 Song. The music video depicts several scenes with inspiration from the Dutch great power era and it’s still life painting. The visual elements of the music video have a focus on the course of life and one's own mortality, themes that have long been addressed through still life painting. My study is based mainly on David Petit’s (1988) studies about the symbolism and meaning of 16th-17th century Flemish still life painting. The study also contains segments of Fanny Ambjörnsson’s (2011) studies about the color pink. The purpose of the study is to investigate what the still life communicates through the context of 16th-17th century Flemish iconography and through acontemporary semiotic reading. Results of the study shows that there are similarities between the themes that are present in the still life with contemporary objects and the more traditional still lifes. It also touches on morals and societal norms about feminine identity.

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The purpose of this study is to gain a deeper understanding of how gender stereotypes are produced and reproduced in mass media popular culture. The material selected for the study is a music video. The study is carried out by analyzing both the visual material and the linguistic material. To study the material, the video has been divided into four different sequences. These sequences have been chosen based on how relevant the content was for the purpose of the study. The analysis is carried out using several semiotic resources. The semiotic resources that have been used in this study are poses, gaze, participants, objects and settings. The results of the study showed that gender stereotypes are expressed both visually and lexically. But these stereotypes were challenged and played with. It also became clear that the women in the video were more sexualized than the man, but that Nicki was playing on her sexuality to regain power.

Ce mémoire propose d’étudier les représentations de la masculinité dans les vidéoclips de musique populaire. Il consiste plus précisément en une analyse textuelle de vidéoclips suivant l’approche sémiologique. La représentation y est entendue comme un processus d’attribution de sens, agissant dans la construction sociale de la masculinité. Selon une méthode qualitative, il est premièrement question de cerner et, ultérieurement, explorer les principaux schémas de la masculinité dans un corpus de 29 vidéoclips sélectionné auprès de la chaîne québécoise Musique Plus. L’observation des codes visuels est centrale à cette entreprise, l’articulation de ces derniers permettant la prolifération d’expressions du genre masculin. Partant du point de vue que des attributs, notamment la force et l’invulnérabilité, apparaissent comme typiquement masculins au sein de certaines représentations, il sera question de confronter cette idée aux trois scénarios majeurs ayant émané du corpus ; l’homme-enfant, l’introspectif et le meneur, indiquant tous trois la récente montée des représentations d’une masculinité vulnérable en musique populaire. Les constats qui résulteront de cette exploration seront finalement recadrés dans l’actuel cadre social, où le masculin et le féminin sont de moins en moins enclos dans les moules traditionnels et tendent à se redéfinir sur une nouvelle matrice. / The following study pursues an analysis of the various images of masculinity represented in popular culture, or more specifically music videos. It consists more precisely of a textual analysis of music videos according to the semiological approach. It is understood that such representations undergo a process of sensory attribution, serving to build the image of masculinity in society. Qualitatively, the method of analysis will first treat, and later explore, the main forms related to masculinity from a body of 29 music videos broadcast by the Québec entertainment station Musique Plus. The observation of visual codes is imperative to this undertaking as the codes provide the means by which various expressions of the masculine type might proliferate. Beginning with the premise that certain attributes, namely force and invulnerability, are typically masculine according to certain representations, we can further the analysis by comparing it to three main scenarios (the homme-enfant, the introspectif and the meneur) resulting from the video evidence under study. In the final analysis, I shall demonstrate how the findings rest within our current social frame where notions of masculine and feminine image tend to submit less and less to traditional models and are redefined in a new matrix.