Contemporary constantly expanding content of social media like Instagram brings the medium of photography to new contexts. Photography becomes an instrument of immediate communication and its historically defined functions are an object of change. The continuity of Instagram content creating, the personal perspective of its users, the constant presence of camera accompanying them are aspects analogous to the artwork of Nan Goldin. Goldin's photo essay ​The Ballad of Sexual Dependency (1986)​has a character of visual diary that captures the life of her community with almost obsessive continuity. It's also captured from deeply personal perspective depicting intimate moments and describing Goldin's personal relationships. Publishing of ​The Ballad​and formation of Instagram is divided by more than twenty-five years and both events and its meanings are profoundly different. This thesis nevertheless presumes that comparison of these, in many aspects alike phenomenons can help describe the change of the function of the media of photography, explore contemporary tendencies in photography aesthetics, the meaning of instagram's content to its users and provide general understanding of the role of shared photography in social and historical context. The methods of comparison are semiotic visual analysis,...

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Denna studie ämnar undersöka hur Youtube-profilen Logan Paul agerade under en kris orsakad av det som populärkulturen kallar cancelkultur. Tre av Logans Youtube-videor undersöktes för att studera vilka reparationsstrategier och visuella element han använde sig av i videorna publicerade efter Aokigahara-incidenten. För att analysera det empiriska materialet tillämpades en kvalitativ innehållsanalys med utgångspunkt i Benoits teori om reparationsstrategier och Hearits apologia-teori, samt en visuell analys med verktyg grundade i semiotik. Studiens resultat visade på att Logan använt en rad olika försvarsstrategier, men att han använt olika strategier i olika faser av hans kriskommunikation. I den första videon fann vi att fokus låg på mortifikation, den andra videon kretsade kring korrigerande åtgärder, och den tredje videon innehöll mycket nedtonande av kränkning. I video 1 och 2 använde sig Logan av visuella element för att bygga upp en mer allvarlig stämning, för att sedan i den tredje videon återintroducera tittarna till hans normala och mer avslappnande videouppbyggnad. Det observerades även att Logan initierade ett annat tillvägagångssätt för att möta kritik under den tredje videon. Han var fortsatt ångerfull och erkände skuld, men detta kombinerades med en sorts machoattityd och barnslighet. Denna nya reparationsstrategi valde författarna att benämna som ”Love me or hate me”. Av resultatet dras slutsatsen att Logans kriskommunikation och reparationsstrategier lyckades rädda hans rykte, då han behöll sina tittare och publicerar videos som vanligt. / This study aims to examine how the Youtube profile Logan Paul acted during a crisis caused by what today's media landscape calls cancel culture. Three of Logan’s Youtube videos were examined to study the image repair strategies and visual elements used in the videos published after the Aokigahara incident. To analyze the empirical material, a qualitative content analysis is applied based on Benoit’s image repair theory and Herait’s apologia theory, as well as a visual analysis with tools based on semiotics. The result of the study showed that Logan use a number of different image repair strategies, but that he used different strategies in different phases of his crisis communication. In the first video we found that the focus was on mortification, the second video revolved around corrective actions, and the third video contained a lot of reducing offensiveness. In videos 1 and 2, Logan used visual factors to set a more serious mood, to then in the third video begin to reintroduce the viewers to his normal and more casual video structure. The study also observed that Logan initiated a different approach to meet criticism in the third video. He remained remorseful and admitted guilt, but this was combined with a kind of ambiguity and childishness. The authors named this new image repair strategy “Love me or hate me”. In the result, it is concluded that Logan’s crisis communication and image repair managed to save his reputation, as he retained his subscribers and is publishing videos as usual.

Syftet med den här uppsatsen är att undersöka filmen Scott Pilgrim vs the World (2010) sätt att använda sig av klipp och övergångstekniker och hur de förhåller sig till humor och komedi.Tre sekvenser som representerar en bredd av olika klipptekniker och teorier har analyserats för att undersöka hur olika övergångar som till exempel en svepning kan användas, hur kontinuerlig klippstil fortsätter filmen visuellt framåt, hur en rörelse kan bidra till klippningen och vad detta har för relation till humor. Med hjälp av Walter Murchs teorier om vad som motiverar att göra ett klipp, Bordwells och Thompsons teorier om hur olika klippningar och övergångar används och vilken påverkan dessa har på filmen samt Rosengrens teorier om klippning i komedifilm och Meyers (2000) teorier inom humor, undersöker uppsatsen klipptekniker samt övergångar och hur dessa kan förflytta filmen i tid och rum eller föra vidare en rörelse över ett klipp. Resultatet visar på att Edgar Wright, Jonathan Amos och Paul Machliss använder sig av flera sätt för att visa ett filmspråk i Scott Pilgrim vs the World (2010) där fokuset ligger på hur rörelse, energi, förflyttning på ett överraskande och annorlunda sätt kan skapa humor. / The purpose of this thesis is to analyze the movie Scott Pilgrim vs the World (2010) way to use transitions and cuts and how they relate to humor and comedy. Three sequences that represent a breadth of different techniques and theories from cuts gets analyzed and explored. This to understand how transitions, for example a wipe, gets used, how the movie progresses with continuity editing and how the movement contributes to the editing and to the comedy. With the help of Walter Murch's theories about what motivate a cut, Bordwell and Thompson’s theories about how cuts and transitions is used and what impact this has on the movie and Rosengrens theories about editing comedy and Meyers (2000) theories about humor, the essay investigate editing techniques and transitions and how they are able to move the movie in space and time or transfer a motion in a transition. The result shows that Edgar Wright, Jonathan Amos and Paul Machliss uses a lot of different techniques to develop a visual style and in Scott Pilgrim vs the World (2010) the focus lies on how motion, energy, movement and comedic timing drives the movie forward and perceived it as a comedy.

Social media analysis, in feminist critical military studies, is a highly underrepresented field. Although, the world is evolving faster than ever and, within the digitalised world, different methods of representation are used to (re-)produce ideologies, signify meanings, and interpellate individuals accordingly. Militaries are making use of social media accounts as representational tools to justify their informal and formal structures. Nonetheless, these organisations are challenged to become more inclusive, more democratic, and more diverse. The Bundeswehr (German Armed Forces) is considered a highly heteronormative, masculine connotated, white organisation and is in the midst of transformation, too. On social media, the Bundeswehr tends to represent itself as a more inclusive, tolerant, and diverse organisation. Nonetheless, the public eyes are watching and valuing the reaction of this highly symbolic organisation when their heteronormative settings are under pressure. Opinions are shared, communities are formed, voices are being raised and simultaneously silenced. Thus, questions emerge, such as how are glimpses of inclusivity regarding gender norms and gender relations (re-)presented on the Bundeswehr’s Facebook account? How does the public engage with the posts? Who is included? Who remains hidden? Therefore, I have developed a case study in which I shall employ a mix of the methods and apply an intersectional lens to analyse glimpses of inclusivity on the Bundeswehr’s Facebook account. I argue glimpses of inclusivity have to be analysed from two perspectives. The Bundeswehr’s perspective needs to be analysed in relation to how they represent glimpses of inclusivity and how they negotiate possible tensions of inclusivity. At the same time, engagements with the posts by users in relation to glimpses of inclusivity and tensions of inclusivity are crucial to analyse, too.

Interactive cinema is a relatively unexplored area of film and new media studies. This thesis summarizes the theories and models which relate to interactivity, interactive narrative and interactive cinema that have been developed so far, and defines the main elements which the interactive cinema consists of. It sets this area in the context of new media and their properties, such as interactivity and convergence. It also briefly deals with interactive cinema from the historical perspective. The thesis explains the basic methods of narrative and visual analysis, especially in the context of interactive cinema. These findings are then used in the analysis of three films with a nonlinear narrative structure using viewers interaction. These movies are set into the models and theories that were introduced in the first part of this thesis. Finally, the films are compared and confronted with the author's hypothesis, which is based on the relatively negative public acceptance of interactive cinema.

Porträtteringen av kvinnor inom manliga hiphopartisters musikvideor har varit i debatt och forskningens fokus länge. Denna studie ämnar att genom en kvalitativ forskningsstudie bidra med ett nytt perspektiv där vi analyserar kvinnliga hiphopartisters musikvideor utifrån ett genus och historiskt jämförande perspektiv med hjälp av en visuell textanalys. I studien syns en tydlig åtskillnad mellan två musikvideor. Lauryn Hills musikvideo Everything is Everything lyfter samhällsproblem och hon vill skapa debatt om orättvisor i det amerikanska samhället. Hill’s musikvideo har hög representation av olika etniciteter i videon och anspelar på musik som räddningen för den afroamerikanska minoritetsgruppen. Denna typ av användning av musik för att föra samhällsdebatt är inget ovanligt fenomen inom genren hiphop.  Nicki Minajs musikvideo Super Freaky Girl objektifierar män, kvinnor och använder sig av självobjektifiering. Minajs musikvideo anspelar på sexuell njutning utifrån the male gaze och visar hur den kvinnliga artisten har tagit på sig rollen som hon har blivit tillskriven i decennier av hennes manliga kollegor. Studien ger ett nytt perspektiv på forskning inom hiphop och populärkultur och ämnar bidra till debatt om objektifiering av kvinnor i samhället. / The portraying of women in male hip hop artists’ music videos have long been in debate and in the center of attention. This study aims to through a qualitative study contribute to the research with a new perspective where we analyze female hip hop artists' music videos from a gender and historical comparative perspective using a visual text analysis. The study shows a clear distinction between two music videos. Lauryn Hill’s Everything is Everything brings society’s issues to light and aims to create a debate about the injustices in American society. Hill’s music video has high representation of different ethnicities in her music video and alludes to music as the savior of the afro-american minority group. This kind of usage of music to start a debate in society is not uncommon in the genre of hip hop.  Nicki Minaj’s music video Super Freaky Girl objectifies men, women and shows usage of self-objectification. Minaj’s music video alludes to sexual pleasure from the male gaze perspective and shows how the female artist has taken on the role that she has been given for decades by her male colleagues. This study gives a new perspective on research in hip hop and popular culture and aims to contribute to the debate of objectification of women in society.

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This paper will examine, how queer is represented in the animated tv-serie She-Ra and the princesses of powerfrom 2018-2020. To understand this work, the paper will define representation, gender and queer, and examine the visual and narrative elements in the tv-serie. Through a visual analysis, the paper can understand if the serie represent queer values. Then the paper will look at some characters from the serie, to see if their visual design and the narrative structure reflects queer characteristics. This means the paper will define what are queer values and how is it shown in the characters of the show. It will be supplied with theory about queer and gender, for examples Raewyn Connell and Stuart Hall. The theory will supply characteristics, which have defined the social norms about genders through history. This paper concludes that the tv-serie reflects queer values through it’s visual and narrative structure. The characters have queer personalities. I need this paper with a discussion of the effects of queer representation and other ways to look at the serie from a perspective of gender.