Some game publishers and developers do not think that games with non-sexualized female protagonists are worth making because they would not sell. With close to a half of gamers being female (47%) it is a bit puzzling that they are not catered to. This could be because publishers think that male gamers, who they perceive as their main demographic, would not buy games with non-sexualized female protagonists. A study was done to see if that statement is correct. By questioning 91 Swedish male gamers, aged 18 and above, it was found that in games where one can choose the character’s sex 46% of the subjects play as a female character at least half of the time and in total 90% of the 91 subjects have at some point chosen to play as a female character. No one of the subjects have any negative thoughts about there being more games with non-sexualized female protagonists who are heroic in their own right and not a trophy, when asked 47% said it would be “Very good”, 24% said it would be “Good” and 29% said that they have “No opinion” in the matter.

Australian film has engaged social issues since its earliest days, often within the genre of comedy. Writers and filmmakers have treated a wide range of issues with varying degrees of success in engaging their audience in a level of social discourse. This success has been independent of the specific issue addressed, the government funding policy, cultural policy, the national and international political climate, and available technologies. Rather it can be attributed to the filmmaker's approach to both characterization and narrative. Of the films chosen for examination it appeared that a positively portrayed protagonist in combination with a narrative that provided a clear but balanced opinion on the issue addressed was more successful in engaging its audience in a level of social discourse. The ability of the films to engage their respective audiences was based on criteria such as box office success, critical reception, and media and public discussion of the film around the time of its release as well as more recently. The findings of this investigation arose from the production of a feature length screenplay, The Last of the Wombats, which dealt with the issue of national security. The screenplay follows the Ruddocks along on their journey from personal insecurity, through issues of perceived threat, to the initial response of increasing the physical security measures around their house. These actions produce more problems than they solve, and this state of imbalance forces the main characters (Amber, Brian and Karen) to address their own insecurities and eventually to move beyond them.

<p> An important issue in the study of conflict behavior concerns the manner in which one party involved in a conflict situation, can influence his protagonist to resolve the conflict in a way Which is mutually rewarding (i.e. cooperative). The present thesis is addressed to this issue. In order to study the relationship between preasymptotic interaction patterns and stable states of cooperation and conflict, the data from a. variety of two-person, mixed motive games are organized such that: a} criteria are established for defining stable states of cooperation and conflict; b) preasymptotic interaction patterns are clearly distinguished from these stable, asymptotic states; and c) the role of each dyad member is considered separately. </p> <p> Organizing the data in the manner outlined above allows the description of strategies used by real subjects Which lead to high levels or cooperation and conflict. Dyads who attain a high level or cooperation are found to use a cautious trust strategy. This strategy consists of two components, a cooperative signalling component and a firmness component. The cooperative signalling component is operationalized in terms of the difference in the proportion or cooperative choices between one dyad member and the other. The firmness component is operationalized in terms of the level of retaliation against an uncooperative action (D reciprocity). Dyads who attain a high level or conflict. are characterlzed by an inappropriate signalling compcinent, and/or the absence of a firmness component. Data are presented which indicate how the requirements for a successful cooperative signalling component vary as a function of other variables. </p> <p> The implications of focusing on stable outcomes in a conflict situation, and organizing the data in the manner developed here, are discussed in terms of notions current in the psychological literature on conflict behavior. Data from the present thesis are used to argue that strategic variables are relatively more important factors in determining stable outcomes in a particular conflict situation, than either predispositional or personality factors. </p> / Thesis / Doctor of Philosophy (PhD)

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.

Påverkar protagonistens bakgrund hur spelare gör sina moraliska val i spel? Den här studienundersöker vad spelare tycker och tänker när de får spela ut både en ond och en god protagonists perspektiv i ett narrativ med moraliska val. Studien går igenom tidigare undersökningar och teorier som är relaterade till ämnet moral i digitala spel. De tidigare undersökningarna visade på att spelare ofta väljer att gå efter sin moraliska kompass och att spelare kan basera sina val på vad de får för konsekvenser i spelet. Syftet med denna studie var att ta reda på hur moraliska val i ett digitalt spel/berättelse med en ond protagonist respektive en god protagonist upplevs, är valen baserade på karaktärens bakgrund och påstådda moral eller baserar spelaren valen på sin egen moral hämtad från verkliga livet? Samt om spelare spelar som ond moraliskt för att protagonisten är skriven som ond. Denna problemformulering testades genom en artefakt som skapades i programmet Twine. Resultatet blev att majoriteten av deltagarna utgick från sin moraliska kompass medan en del av deltagarna valde att spela strategiskt men stor del av respondenterna verkade utgå ifrån om protagonisten var skriven som ond eller god. Framtida arbeten kan genomföra samma undersökning i en större skala men finjusterad, och skulle kunna undersöka närmre vad som skiljer de som påverkas av protagonistens bakgrund och de som väljer att använda sig av sin moraliska kompass åt. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

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During the long, dark night of a volcanic winter, a young man clashes with his father over the fate of five desperate survivors who have arrived outside the gates of the family compound. Yet he soon discovers true darkness lies within.

Vår studie handlar om att jämföra klassiska folksagor och Disneys klassiker med en komparativ metod där vi jämför versionernas olikheter och likheter. Vi har inriktat oss på sagornas protagonister som i alla versioner är prinsessor. Utifrån detta har vi valt att redogöra våra frågeställningar ut ett genusperspektiv. Resultatet av studien visar hur Disneys versioner anpassat sig till målgruppen och förskönat versioner med bl.a. färgrika bilder som förtydligat handlingen och gjort dem mer barnvänliga. Studien redovisar hur folksagornas främlingsfientlighet och skoningslösa handlingar avdramatiserats i Disneys adaptioner.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form. / Creative writing. / 2031-01-01T00:00:00Z

The gaming industry is a multimillion-dollar industry that is male dominated. The games contain mostly male protagonists and the few female protagonists that makes it to the shelves are met with criticism from the players. I have taken an interest in how the protagonists are portrayed by reviewers. For example, when it comes to age and use of name, if there is any difference between genders and if there is any kind of discrimination like sexualizing in the text. In this study, I use critical discourse analysis to study game review articles of six different games, three with female protagonists and three with male protagonists. The reviews are from two different gaming magazines. The results are that the protagonists are rarely represented as the stereotypical hero to the readers and there is not a big difference between genders. An observation is that the male protagonists are described and depicted as ideal men that are supposed to be aggressive, violent and dominant. The female protagonists are described with similar traits as the male protagonists. The conclusion is that the female protagonists are fitted into the stereotypical main character role. This role is built up by hard traits where softer traits like passive, pacifistic and submissive, which are more considered stereotypically female, is absent from main protagonists.