<p>Validerat; 20101217 (root)</p>

Denna uppsats undersöker TV-serien Star Treks värderingar ur ett politiskt ideologiskt perspektiv. Star Trek är en amerikansk science fiction-serie som skapades av Gene Roddenberry i mitten av 1960-talet. Frågeställningarna behandlar om det finns politiskt relaterade värderingar framställda i Star Trek, vilken politisk ideologi som mest liknar värderingarna i serien, och om det går att tolka det som om Star Trek har en ideologisk värdegrund. Med hjälp av dagordningsteori, kritisk medieteori och teorier om budskap diskuteras TV-bolagens makt över seriens innehåll. De politiska ideologierna konservatism, liberalism och socialism har valts för att kunna jämföras med analysmaterialet. Sex avsnitt från originalserien analyserades med hjälp av en hermeneutik och kvalitativ metod för att bäst kunna få insikt i materialet. Den faktiska analysen har skett med den narratologiska aktantmodellen samt närläsning baserad på kritisk medieteori, där citat bryts ut och tolkas. Resultaten har delats in i tre kategorier, nämligen ekonomi, människosyn och samhällsstruktur för att underlätta sammanställandet. Undersökningen visar att det finns både positivt och negativt framställda värderingar i Star Trek.Ingen politisk ideologi framställs som denenda rätta, men tendensen är att konservatism är minst propagerat för, medan den demokratiska varianten av socialism verkar förespråkas mest. Att resultatet blev splittrat kan härledas till att medieföretagen har stort inflytande över innehållet och att det är svårt att konsekvent framhäva en politisk ideologi i en TV-serie som Star Trek. Detta till följd av formatet på serierna och att de amerikanska TV-bolagen sätter speciella kommersiella krav på produktionen. Det reflekteras också över att politiska värderingar i ett underhållningmedium kan vara effektiva eftersom de politiska budskapen inte har fokus utan intas indirekt. / This thesis examines the values in the TV-series called Star Trek from a political perspective. Star Trek is an American science fiction-series that was created byGene Roddenberry during the mid-1960s. The queries are about whether or not political values are expressed in Star Trek, what political ideology is coherent with those, and if it is possible to interpret this as if Star Trek has an actual politically ideological fundament. Media power over content has been discussed, and because of this there has been made use of critical media theories together with theory of agenda setting and message. The political ideologies of conservatism, liberalism and socialism have been chosen to be compared with the material of analysis.Seven episodes of the original series have been chosen to get a good view of the material by the use of hermeneutic and qualitative research methodology.The analysis was done with the narratological actant model plus a method based on critical media theory, where quotes are being extracted and interpreted. The results have been categorised as either relating to economics, view of mankind or structure of society. The examination shows that there are both positively and negatively described values in Star Trek. No distinct political ideology is being clearly advocated, but there are tendencies for negative views of conservative values aswell as a positive coherence with democratic socialism. The results were difficult to conclude, and this could point towards that the media companies have big influence over their transmitted contents, and that it is difficult to consistently highlight politically ideological values in a television series like Star Trek. This is because the format of TV-series set by american commercial interests puts certain demands on productions. There are reflections about that political values in a medium of entertainment could be effective since the political messages are not in focus but received indirectly.

This essay notice film and TV-series as a resource, which can be utililized by the tourism industry. To be more concrete, the aim of this essay is to examine if and how the Television series “Midsomer murders” can be utilized as a tourism product. To fulfill the purpose of this essay, two different methods have been used: the study off literature and a content analyses, the later in form of a picture &amp; film analyses. The results of this study showed that “Midsomer murders” have qualifications enough to be a successful tourism product. Among other things, tourism based on TV-series or film, seem to be right in time. The post-tourist accepts imagination and finds “authentic” meaning in experiences rather than in objects. The post-tourist even prefer and expects some form of imagination. ”Midsomer murders” as a tourism product, offers a stay based on fiction where rooms of “tourism” comprehend a stage where the tourist plays his part like an actor in the theatre. The plot in the series can be utilized through arranging role-playing, where the tourist is allowed to leave the daily life and assume new identities. The qualities of the post-tourist, easily correspond to those experiences, attractions and attributes offered by filmtourism. That is why the tourism product ”Midsomer murders” is right in time. Further, the plot, sceneries, actors and characters in “Midsomer Murders” can be utilized to create a lasting tourism product. The study also found that locals as well as private, governmental and municipal actors needs to be involved in the tourism planning in order for the tourism product to work efficiently. Agreements on writing guide books and to create an official ”fansite” need to be established by involving the producers and distributors of the series. The study also found that the village of Great Missenden as well as the village of Bledlow could serve as main attractions for the “Midsomer murder” tourism product.

The aim of the study is to identify possible differences regarding how men and women pay attention to product placement. The overall issue underlying the study is as follows: ● How does the attention of product placement differ between men and women? In this study, the authors have chosen to use a multimethod research, which combines qualitative and quantitative methods. In order to fulfil the purpose and answer the main question, quantitative data was initially collected in the form of questionnaires. The data from the surveys were compiled and then mapped to provide a basis for the qualitative focus groups held with ten people, five women and five men. The choice of methodology fell naturally since the aim of the study was to identify possible differences regarding how men and women pay attention to product placements. The result shows that there are similarities as well as differences between the sexes within product placements dimensions, attitude, memory and brand recognition.

Målet med denna studie är att med hjälp av en semiotisk innehållsanalys av två svenska tv-serier skapa medvetenhet kring genusutvecklingen. Detta genom att undersöka hur kvinnor framställs i tv-serierna Andra Avenyn och Bonusfamiljen. Framställningen av två kvinnliga huvudkaraktärer från vardera serie granskas i avseende på könsroller, stereotyper och normer för att besvara frågan om och hur framställningen skiljer serierna åt. Studien syftar även på att besvara om Bonusfamiljen är normbrytande i jämförelse med Andra Avenyn, detta med tanke på deras olika produktionsår. Frågorna besvaras genom analys av utvalda scener. Dessa granskas utifrån en denotativ och en konnotativ nivå. Som stöd till analysen har även ett analysschema utformats. Detta baseras på två teman: ”interaktioner” och ”personlighet”. Det teoretiska ramverk som används innefattar genusteori och feministisk teori.  Resultatet visar att karaktärerna är skapta med stor medvetenhet kring genus och feminism. Kvinnorna är självständiga och starka och återspeglar således ”den moderna kvinnan”. En av de kvinnliga huvudkaraktärerna i Bonusfamiljen speglar dock en mer könsstereotyp bild i jämförelse med karaktärerna i Andra Avenyn. Gemensamt för serierna är att de bryter könsmaktsordningen. / The goal with this qualitative semiotic analysis is to enlighten awareness regarding gender development. This, by examining how women are pictured in two Swedish tv series, Andra Avenyn and Bonusfamiljen. Two female main characters from each series are examined in terms of gender roles, stereotypes and norms in order to see if and how the female role differs between the series. The study also aims to answer whether Bonusfamiljen is normative or not in comparison to Andra Avenyn. This, in consideration to their different production years. The questions are answered through analysis of selected scenes. These are examined based on a denotative and a congenational level. In support to the analysis, a schedule has been developed. This is based on two themes: "interactions" and "personality". The theoretical framework used in this study includes gender and feminist theory.  The result shows that the characters are created with great awareness regarding gender and feminism. The women are independent and strong and thus reflect the "modern woman". However, one of the female main characters in Bonusfamiljen reflects a more gender stereotypical image compared to the characters in Andra Avenyn. Although, both series show a more modern look on gender roles.

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Euphoria is a popular tv-series that has become a part of popular culture with its dark imagery and strong characters. The characters became a big discussion in social media and mantras that people are taking inspiration from. The series has become a phenomenon in social media where people recreate the characters makeup and outfits. This study looked at how female characters are portrayed in Euphoria from a female stereotypic and gender identity perspective. And we wanted to see if the female characters are challenging heteronormativity that is reflected in our society. We used a narrative analysis and mise-en-scéne to analyze the chosen scenes, the theories we used were gender theory, gender role theory and queer theory. The result showed that three of the characters are shown as the typical female stereotype and two of them are not. The three females that are more like the stereotypes are portrayed in a sexualized way and their bodies are shown for entertainment and selling purposes. Meanwhile the two female characters that challenge heteronormativity are portrayed as norm breaking and they are not sexualized. The gender roles are shining through when some of the feminine women are acting from what is expected of a woman. They are seeking after what the ideals are and how they can be their most beautiful selves based on the stereotypes while some of them do not.

Syftet med denna uppsats är att undersöka hur Tv-serier representerar våldtäkter och dess efterföljande trauma utifrån tanken att Tv formar tittares föreställningar om den verkliga världen. Empiriskt material i form av utvalda scener ur ungdomsserierna 13 Reasons Why och Björnstad har analyserats utifrån filmanalysteori för att undersöka hur scenerna är uppbyggda och har sedan analyserats utifrån teorier kring våldtäktskultur, våldtäktsmyter, intersektionalitet och genusordning. Resultatet visar att serierna använder sig utav många filmtekniker för att frambringa en stor reaktion hos tittaren. Serierna både problematiserar samt förstärker de våldtäktsmyter som upprätthåller våldtäktskulturen i de scener som behandlar misstro, efterföljande trauma samt själva våldtäktsscenerna. Serierna visar två skilda följder för våldtäktsoffer där den ena slutar i självmord och den andra i hämnd. Resultatet visar även utifrån ett intersektionellt perspektiv att kön räknas högre än klass i fråga om trovärdighet i Björnstad samt visar att social status är viktigt i fråga om trovärdighet och stöd. Båda serier har sitt fokus på offret och inte på förövaren i våldtäktsscenerna för att framkalla medkänsla hos tittaren och inte avsmak. Serierna framställer dock förövarna som personer vars handlingar kan ursäktas då båda visas ha en svår relation till sina föräldrar.

Denna uppsats har som avsikt att belysa och problematisera hur rasifierade maktstrukturer konstrueras i representationen av olika etniska grupper i svensk populärkultur. I uppsatsen analyseras den första säsongen av tv-serien Snabba Cash producerad av Netflix Sverige år 2021, med hjälp av en narrativ analys. Rasifiering av grupper har uttryckts i populärkulturen i och med att svarta och bruna respektive vita representeras med rasifierade skillnader, detta har bidragit till att grupperna värderas olika och placeras utifrån en makthierarki. Konstruktionen av skillnaderna är även grundade i stereotyper vilket ger en ensidig bild av de som rasifieras svarta och bruna. Genom åtta utvalda scener undersökte vi därför narrativet i Snabba Cash utifrån hur karaktärer som rasifieras svarta/bruna respektive vita har framställts, men även hur de framställs i jämförelse med varandra enligt teori om rasifiering, representationsteori, stereotyper och populärkultur.   I vår analys har vi kommit fram till två teman i hur karaktärerna har framställts i tv-serien. Det ena menar att karaktärerna har framställts med skillnader gentemot varandra grundat i hur de har rasifierats. I det här temat påvisar vi att de svarta/bruna karaktärerna porträtterades med ofördelaktiga egenskaper medan de vita karaktärerna i motsats har uppfattats med fördelaktiga egenskaper. I och med detta har de svarta/bruna karaktärernas agerande uppfattats som ett icke-önskvärt beteende enligt ett ideal medan de vita karaktärernas agerande i stället har uppfattats som önskvärt i linje med en samhällsnorm. Detta antagande är i enlighet med postkolonialismens perspektiv på hur grupperna rasifieras. Utöver detta fann vi även att de rasifierade skillnaderna förstärker och påverkar andra maktordningar hos karaktärerna vilket har påverkat hur de framställs i tv-serien. De svarta/bruna karaktärerna porträtteras med sämre socioekonomiska faktorer och mindre makt än de vita karaktärerna. Det andra temat tar upp att de svarta/bruna karaktärerna är framställda utifrån etablerade stereotyper om gruppen vilket innebär att karaktärerna går i linje med en förutfattad bild om hur gruppen förväntas agera. Däremot utmanar tv-serien stereotypen om brottsbenägenhet vilket gör att Snabba Cash går emot det välkända mönstret, och i detta fall bidrar till att ge gruppen en mer nyanserad bild. Utifrån vår analys drar vi slutsatsen att Netflixs tv-serie Snabba Cash från år 2021 har konstruerat rasifierade skillnader mellan svarta/bruna och vita karaktärer vilket har bidragit till att upprätthålla och reproducera kunskap om hur olika etniska grupper kontrasteras emot varandra utifrån ett maktförhållande. / This essay intends to highlight and problematize how racialized power structures are constructed in the representation of different ethnic groups in Swedish popular culture. We analyze the first season of the television series Snabba Cash produced 2021 by Netflix Sweden using a narrative analysis. Racialization of groups has been expressed in popular culture where black and brown people have been compared to white people and represented with racialized differences, this has contributed to an unequal treatment of the groups which is based off a power hierarchy. The construction of the differences is also based on stereotypes, which gives a one-sided picture of those who are racialized black and brown. Through eight selected scenes, we therefore examine the narrative in Snabba Cash based on how characters who are racialized black/brown and white have been portrayed, but also how they are portrayed in comparison to each other according to theories of racialization, representation theory, stereotypes, and popular culture.    In our analysis, we have seen two themes in how the characters have been portrayed in the television series. One of the themes says that the characters have been represented with differences from each other based on how they have been racialized. Here, we demonstrate that the black/brown characters were portrayed with unfavorable characteristics while the white characters, in contrast, have been perceived with favorable characteristics. The actions of the black/brown characters have been perceived as an undesirable behavior according to an ideal, while the actions of the white characters have been perceived as desirable in line with a societal norm. This assumption is also in accordance with the post-colonial perspective on racialization. In addition to this, we also found that the racialized differences reinforce and affect other power structures for the characters, which affected their portrayal in the television series. The black/brown characters are portrayed with lower socio-economic factors and less power than the white characters. The second theme addresses that the black/brown characters are based on established stereotypes about the group, which means that the characters are in line with a preconceived image of how they are expected to behave. On the other hand, the tv-series challenges the stereotype of criminality, which means that Snabba Cash is going against the well-known pattern, and in this case contributing to giving the group a more nuanced image. Based on our analysis, we conclude that Netflix's television series Snabba Cash from the year 2021 have been constructing racialized differences between black/ brown characters and white characters, which has contributed to maintaining and reproducing knowledge about how different ethnic groups are contrasted against each other based on a power relationship.

The purpose of this study is to examine how television series can function as a resource for existential reflection in peoples’ lives and thus, be a tool in the creation of a personal view on life. Furthermore, the study aims to investigate how television series can answer existential matters such as life, death, conflicts and finding peace.   The study was based on a survey which was answered by 82 informants and contained 42 questions in which 38 out of these concerned television series explicitly. 25 questions were closed multiple choice questions and 13 were open ended qualitative questions in which the informants were given the opportunity to give examples of different television series and reflect on these. Furthermore, the analysis was based on the reception theory which states that we as viewers are not apathetic to what we see, but reflect on it, both consciously and subconsciously. The results were analyzed from a theoretical framework which categorized the answers into seven different ways a viewer can relate to television series. The dimensions were the following: the contemplative dimension, the problem-solving dimension, the utopian dimension, the senso-motoric dimension, the ethical dimension, the philosophical-existential dimension and the self-reflexive dimension.   The results show that television series do function as a resource for existential reflection in the informants’ lives and can also be a resource for the construction of the informants’ personal view on life. Additionally, the results show that television series, although not always as explicitly, illustrate and provide answers for existential matters.