In this essay we have chosen to immerse ourselves in music videos and figure out how and if the audience is affected by music videos. If so, how the interaction works when combining two different art forms, which in this case is sound and moving picture. With the help of theory and previous research, we have sought out information on this topic in order to carry out a qualitative study, where we have selected two popular songs to focus on, with associated music videos. The two music videos we decided to use in our survey are, Who You Are with Jessie J (2011) and A Different Way with Dj Snake and Lauv (2017).

Denna uppsats avser att undersöka hur en specifik subkultur tillägnad b-filmer förhåller sig till filmerna de ägnar sig åt. Frågeställningarna är: på vilket sätt betraktar de filmerna och på vilket sätt har den teknologiska utvecklingen påverkat kulturen? För att besvara dessa frågor tar uppsatsen främst stöd av mediekritiken Jeffrey Sconces paracinemateori som grundar sig på observationer av b-filmsfantaster och hur dessa ser på auktoriteter i förhållande till filmmediet, mediehistorikern Pierre Bourdieus modell kring kulturellt kapital, samt John Fiskes observationer av fankultur. Utifrån djupintervjuer med fyra medlemmar ur den svenska b-filmsklubben Klubb Super 8 används teorin för att undersöka uppsatsen frågeställningar. Slutsatsen är att för dessa filmfans erbjuder filmerna något mer än bara underhållning. Det är en form av livsstil för dem.

Denna undersökning tar hjälp av tidigare forskning, intervjuer, egna erfarenheter och diskussioner, för att komma till botten med om det finns en branschstandard gällande materialen som används i foleystudion samt arbetsprocessen. Stommen i undersökningen bygger på tre olika intervjuer gjorda med Klas Dykhoff, professor på Stockholms Dramatiska Högskola, foleyartisterna Patrik Strömdahl och Ulf Olausson som är egenföretagare och verksamma inom foley. Intervjuresultaten återkopplas till teori och tidigare forskning som i sin tur bildar underlag för diskussion. Även om intervjupersonerna påstår att det inte finns någon arbetsstandard kan vi konstatera att det finns indirekta riktlinjer som antyder på existerandet av en branschstandard. Det finns specifika metoder kring hur foley kan utföras som aspirerande foleyartister kan ta del av och utveckla sin egen arbetsmetodik. Vi anser att potentialen för foley och dess uttrycksmöjligheter fortfarande är outforskade men att denna uppsats bidrar till att glappet i kunskapen minskar.

This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.

This study aims to seek trainee Educational Psychologists’ (EPs) views about their experiences of using Video Enhanced Reflective Practice (VERP) to support the development of consultation and peer supervision skills. VERP is a new pedagogical approach. Limited research has focused on professionals’ experiences of using VERP, alongside exploring the supervisors’ views regarding VERP. Trainee EPs’ are studying a doctoral training course to become qualified EPs. Participants engaged in three cycles of VERP reflecting upon their practice, using video clips of themselves. An action research design was implemented and views from trainee EPs’ and the Video Interaction Guidance (VIG) supervisor were sought, using semi-structured interviews. A form of thematic analysis was used in order to analyse the data. Findings suggest that VERP was generally a positive experience for trainees and their experiences highlighted the impact of observing themselves in practice, as oppose to retrospective reflection. Trainee EPs’ acknowledged factors to consider within a ‘shared review’, their experiences of being filmed and using technology: the strengths and the challenges of which are considered. The findings are discussed in relation to the existing literature surrounding VERP and the potential limitations are also considered, whilst highlighting implications for educational psychology professional practice and research.

This study explores the possibilities of incorporating Bharathanatyam into the Roman Catholic Holy Mass in South India to enhance the liturgy. This thesis argues from the stand point of theology of inculturation, Pope’s encyclicals and Vatican I and II documents on culture, liturgy and the Church. It also looks into the history of the use of dance in the liturgy. A study is undertaken on Bharathanatyam to show that this is one of the Indian indigenous art forms with appropriate dance techniques to interpret the Gospel and the related messages effectively and creatively. The theology of dance discussed in this thesis forms the base for liturgical dance. This will help the congregation for active participation, to celebrate the Holy Mass more meaningfully and to make it relevant to their context. This thesis answers many questions in regard to liturgical dance. During the research, it is found that when the culture is integrated into the liturgy, it is not only the liturgy that can transform the culture but the culture can also transform the liturgy. The incorporation of Bharathanatyam in the Holy Mass can bring transformation in the local communities by bridging the gaps between the religious communities, caste identities and gender.

During the course of the Parliamentary debates about Catholic emancipation in 1829, around 120 original, single sheet prints were published in London on the topic of Catholic Relief, at which point it was almost the sole subject of visual satire. This was the first time in living memory that a debate around toleration and the relationship between temporal and spiritual authority had been conducted on such a wide reaching scale. On 3 February 1829 the King, George IV, the head of the Anglican Church, had introduced Roman Catholic Relief in his speech for the opening of the 1829 Parliamentary session. By 13 April 1829 an Act to grant Roman Catholics civil liberty was given Royal Assent, revoking laws that prevented non-Anglicans from holding public office. This had followed four failed attempts to introduce Catholic Relief in the 1820s which had also prompted satirical image making, but never on the same scale. This thesis analyses for the first time the extensive body of prints produced in 1821-9 that relate to debates around Relief and addresses the questions: why were images produced, why were they predominately single sheet etchings, and who was so interested in Catholic emancipation as to be buying them in such quantities?

Denna studie har för avsikt att finna optimala värden i reflektionsdjup och stråldjup genom att undersöka hur dess numeriska värde påverkar nivån av realism med avseende på reflektion och refraktion i en visuellt realistisk 3Dscen och hur det kan balanseras med en begränsad renderingstid. En ökad insikt i denna process kan ge 3D-artister en större förståelse för reflektionsdjup och stråldjupets påverkan i förhållanden till renderingstider. Genom ett experiment har deltagare utan erfarenhet av 3D-produktion fått bedöma realismen på 3D-producerade bilder. Deltagarna upplevde det som svårt att avgöra huruvida en bild upplevs som mer realistisk än andra. Detaljer som ljus, skuggor och reflektioner var avgörande vid bedömningarna. Studien visar att parametrarna reflektionsdjup och stråldjup är avgörande för att uppnå realism, dock finns en risk att ett för högt värde ger lägre nivå av realism. Det framkommer även att reflektionsdjup och stråldjup har en betydande inverkan på renderingstiden.

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This thesis documents a research and art project that explores the creative value of using constraints in film. The starting point is the Ouvroir de Littérature Potentielle (Oulipo), the Potential Workshop of Literature, whose members explore the Potential of Literature by writing with constraints, and the films of the early twentieth century avant-garde, which demonstrate the promise of experimentalism in cinema. From these points of inspiration, the idea of using constraints to explore the potential of a field is transferred to film. As the practice of filmmaking with constraints is yet to be fully formalised and currently lacks substantial academic recognition, this thesis presents a theorisation of constraint filmmaking as a creative practice that cuts across cinematic genres and already established areas of filmmaking practice – those of short, feature, and documentary film. The cinematic work emerging from the Ouvroir de Videographie Potentielle (Ouvipo), the Potential Workshop of Video, and the movement of Dogme 95, are shown to be influential in the theorisation of constraint filmmaking practice, and several other examples of constraint films across cinema will be addressed to show how the use of constraints can enhance a filmmaker’s creativity. The thesis is accompanied by three constraint films: Project Cube, A Day in your Life, and Tales and Tellers, which were made in adherence to the stages of the constraint filmmaking process. Project Cube is an exploration of mathematically inspired constraints and is grounded in the idea of permutation. Twelve shots are used to create several different films, with their order being determined by the rolling of dice. A Day in Your Life focuses on the interplay between linguistic constraints and their visual counterparts, reality and fiction, and past and present. Tales and Tellers is a project that shows the power of images, as fairy tales from participants are illustrated in moving images, using constraints to create these pictures. These short films demonstrate both my theorisation of constraint filmmaking as a practice that can be adopted by other artists also, and my journey from Potential Literature to Potential Film.