The anatomy of the human body is important in both the video game and the VFX industry. Whenever a limb is bending or moving, there are several different muscles working for this to happen. This work will look at the re-topology of the arm and the moving anatomy around the bending and twisting areas of the arm. A method will be done were three different re-topologies of a muscular arm will be created. These arms will be deformed with common arm movements/animations to find better or worse retopology methods. / Anatomin i den mänskliga kroppen är viktig i både tv spels och VFX branschen. När en lem böjer eller rör sig, arbetar flera olika muskler på sig samtidigt för att detta skall hända. Detta arbete kommer undersöka den rörande anatomin omkring dom större böjnings och vridnings områdena i armen. En metod kommer att genomföras där tre olika om-topologier av en muskulös arm kommer att skapas. Dessa armar kommer att deformeras med vanliga arm rörelser/animeringar för att hitta bättre eller sämre om-topologi metoder.

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Virtual reality (VR) as a field is currently seeing big technological advancement and an increase in both interest and content. At the same time, the production workflows for creating content for VR are still in their infancy and there are few commonly accepted conventions within the field. This study aims to compare different sound field microphone techniques for classical music recording in virtual reality. A Sennheiser AMBEO microphone, a double MSZ array and an INA-5 array as well as a 360° camera were used to record a rehearsal of The Royal Swedish Orchestra. These recordings were then used to conduct a listening test in VR where subjects scored the different microphones techniques on “localisation” and “naturalness”. A t-test between the results of the different techniques showed that the AMBEO microphone was significantly better than the INA-5 array for localisation and that the double MSZ array was significantly better in terms of naturalness compared to the INA-5 array. However, these results should be interpreted with caution as many variables during the process might be unique to this particular study.

This thesis explores the role of the media in a "hybrid regime". Taking post-2000 Zimbabwe as a "hybrid regime" in flux over time, the thesis explores the media policies and strategies deployed by the ruling Zimbabwe African National Union - Patriotic Front (ZANU-PF) party in the context of the "revolutionary" seizure of white-owned farms in Zimbabwe in the early 2000s, what became known as the "Third Chimurenga". I examine how the ZANU (PF) media strategy was developed under the newly created Ministry/Department of Information and Publicity in line with the hegemonic ambitions and legitimation needs of the hybrid system that the party built during this period. Through this, the thesis exposes the shortcomings in the literature on hybrid regimes and a Zimbabweanist scholarly literature on the media and 'patriotic history', which both overly emphasise the formal media, and argues for a much deeper understanding of the role of the 'non-traditional' media and political practices that are historically and culturally constituted in the survival or persistence of these regimes. By showing the importance of history and culture in practices of regime legitimation and survival, the thesis challenges much of the assumptions within the literature on hybrid regimes which is largely quantitative and electoralist in approach. This thesis explores: i) the means and mechanisms of media control in a hybrid regime; ii) the tensions and contradictions that characterise a hybrid media system; iii) the role of the media in legitimacy construction, specifically how journalists framed events, and; iv) the role of the 'non-traditional' media or the forms of media drawn from history and culture in regime legitimation and survival. The thesis is based on interviews with ZANU (PF) elites, senior government officials, journalists, artists and a media content analysis as well as a variety of political actors in Murewa, a particularly violent and contested district in Zimbabwe.

This thesis examines the 'public sphere' of state reconstruction and political conflict across the Somali territories through comparative discursive and contextual analysis of media production and consumption on the ground in Somalia. Using Somali-language media sources - including political cartoons, editorials, radio broadcasts and audio-visual propaganda - the chapters cumulatively present a dual conceptualisation of the public sphere in the Somali context. Here, local media production centred in individual capitals of various political projects (The Somali Federal Government, Somaliland and Puntland) coexists and overlaps with a transnational arena of Somali-language broadcasting and debate from various externally-based media producers. These range from the British Broadcasting Corporation‟s Somali Service and popular diaspora-based satellite television stations, to sophisticated 'jihadi' propagandists, or individual geographically-detached cartoonists. Internationalised dynamics of economic and political change across the territories render distinctions between 'diasporic' and 'local' media production analytically unhelpful. At the same, ongoing popular rhetorical contestation over 'foreign' influence ensures an ostensibly paradoxical (and politically salient) discursive resilience of a culturally and religiously-defined 'Somali Ummah' across and beyond political boundaries. Although significant academic attention has been directed towards the role of decentralized 'new' or 'social' media and possibilities for civic agency vis-á-vis coherent, authoritarian state structures, the thesis argues that the Somali case highlights the significance of such public sphere technologies in altering discursive, political and security conditions for state (re)construction in socially fragmented and conflict scarred environments.

Since the 1980s and 1990s, cultural commodities produced in both Britain and Japan have enjoyed an upsurge in global popularity, giving rise to notions of “Creative Britain” and “Cool Japan.” As a result of this boom, British and Japanese governments have attempted to develop and/or collaborate with both domestic and foreign cultural industries as a solution to national economic decline. This turn to culture as a means of generating economic revenue is part of a global trend where neoliberal economic ideas converge with the rise of a “creative economy.” This thesis argues that the image of Victorian Britain in Japanese shōjo manga, as well as in British neo-Victorian fiction, suggests that the history of free trade and British imperialism in East Asia in the nineteenth century underpins this increasing emphasis on cultural commodity production and export in Britain and Japan. In other words, British and Japanese neo-Victorian texts published in the period 1980-present demonstrate that what we call “globalisation” today is deeply informed by economic relations and cultural hierarchies established between distant places in the nineteenth century. Recognising these connections between past and present helps us understand why the Japanese today “choose” to consume British “high” cultural goods, and why the Japanese state and cultural industries “choose” to focus their energies on exporting popular culture products. These “choices,” I argue, are historically conditioned by Japan’s encounter with the West, and especially Britain, in the nineteenth century, and the perception of British cultural superiority that this encounter has fostered. In examining the transnational networks that connect Britain and Japan in the nineteenth century and in the late twentieth and early twenty-first century, this thesis uses a “global history” framework to expand existing approaches to neo-Victorianism, girl culture in Japan, and World Literature.

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This thesis provides a comparative analysis of the way contemporary processes of global change have affected the development of the publishing industry in nations which can be labelled small. It is centred on the cases of Scotland and Catalonia, nations with comparable political and demographic similarities in size and composition but also disparities in terms of their linguistic distribution and governmental organisation. The analysis interprets the sectors as a whole, looking specifically at the publication of texts in trade, academic and specialist markets. The research includes an overall qualitative analysis which synthesises a quantitative approach by adapting the interpretive perspective of social network analysis to undertake a survey of each sector in its entirety. This is supplemented with in-depth, semi-structured interviews with key stakeholders that represent the poles of the sector in microcosm, as identified through the survey data. A model is developed as an analytical framework, which provides a theoretical contribution to the subject area and underpins the structure of the research. The study identifies the relationship between processes of change at the level of global enterprise and markets and the development and sustainability of materials published at the level of the local, and analyses how this inter-relation contributes to national identity development whilst considering the extent to which these processes affect the dynamics of this industrial activity in the cases of Catalonia and Scotland. Wider conclusions about other comparable small nations are drawn by interpreting the similarities and differences in these two nations. Particular factors for consideration include the linguistic status and socio-political situation of each location. The study also incorporates a diachronic perspective by underpinning the research with a contextual analysis of the historical development of the publishing industry in each nation from the seventeenth century to the present day. This research aids understanding of the position small-national cultures occupy in an increasingly globalised market and is designed to provide the basis for examination into the subject area from other comparable nations by focusing in on particular cultural variables as suggested in the conclusion.