<p> </p><p><strong>Abstract</strong></p><p>The focus of this essay is the american director Wes Anderson and the use of colour in his films. I also put some focus on colour as a neglected element in film studies, and what has caused this neglect. In my own research, I have analysed three of Anderson's films: <em>Bottle Rocket</em> (1996), <em>The Royal Tenenbaums</em> (2001) and <em>The Darjeeling Limited</em> (2007). To get a broad sense of a films use of colour, I have investigated the colour scheme, the colours of the costumes, as well as colour patterns. I have also interpreted the symbolism related to certain colours and then used the results of the analyses to answer the question; "how does Wes Anderson use colour, and in which film is this most apparent?" A very generalizing answer to this question, is that Anderson use colour as a means of signifying the characters' feelings and ambitions, and also their relations to the themes of the films. He does this by connecting symbolic values to certain colours and makes these colours stand out in certain scenes and in the characters' clothes. The film that best shows this use of colour is <em>The Royal Tenenbaums</em>. In short, this essay will hopefully bring some understanding of how colours are used in the films of Wes Anderson, but also open up the eyes of the readers to the importance of the neglected element itself; colour.</p><p> </p>

Abstract The focus of this essay is the american director Wes Anderson and the use of colour in his films. I also put some focus on colour as a neglected element in film studies, and what has caused this neglect. In my own research, I have analysed three of Anderson's films: Bottle Rocket (1996), The Royal Tenenbaums (2001) and The Darjeeling Limited (2007). To get a broad sense of a films use of colour, I have investigated the colour scheme, the colours of the costumes, as well as colour patterns. I have also interpreted the symbolism related to certain colours and then used the results of the analyses to answer the question; "how does Wes Anderson use colour, and in which film is this most apparent?" A very generalizing answer to this question, is that Anderson use colour as a means of signifying the characters' feelings and ambitions, and also their relations to the themes of the films. He does this by connecting symbolic values to certain colours and makes these colours stand out in certain scenes and in the characters' clothes. The film that best shows this use of colour is The Royal Tenenbaums. In short, this essay will hopefully bring some understanding of how colours are used in the films of Wes Anderson, but also open up the eyes of the readers to the importance of the neglected element itself; colour.

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

More than 50 percent of the land area of the Nordic countries Finland, Norway, and Sweden are covered by dense forests and they are among the most important producers of forest products in the world. Forestry in these countries is based on sustainable management principles – reforestation follows harvesting. Furthermore, increasing demands for more gentle techniques and technologies with less negative impact on the environment ask for development and implementation of new processes and new machine solutions. The increasing interest in developing forest management approaches that are based on gentleness to the environment requires better understanding of the interaction between the forestry machines and the terrain in the harvesting process. / <p>QC 20150827</p> / Gentle Forest Machines

My family is a collection of characters and big personalities, often with very strange, but brilliant characteristics and interests. When looking for a model that would be consistent with the look and concept I envisioned – witty, comedic, populated with eccentric characters, with carefully and specifically detailed visuals – the films of Wes Anderson, particularly The Royal Tenenbaums (2001), Moonrise Kingdom (2012), and The Grand Budapest Hotel (2014), came to mind immediately. Each of his stories is very deliberately structured with a playful sense of chaotic charm, which is the tone I hope to capture in my storytelling. And, not coincidentally, I noticed that when people talk about my extended family, they refer to us as ‘the real-life Tenenbaums,’ meaning that each person is unapologetically who they are with larger-than-life personalities. Growing up hearing wild tales of life with my grandparents in their New York apartment from my mother and extended family, I was inspired to create my own film version of these stories. In choosing to emulate this director’s style within my film, I intend to capture the light-hearted spirit of my family in a manner that is easily recognizable and which is in keeping with its character.

This thesis examines the influence of Romanticism on a selection of seven films from four contemporary American filmmakers: Sofia Coppola, Wes Anderson, Charlie Kaufman, and Spike Jonze. The research questions are as follows: How do particular Romantic ideas, either canonical ones or those located on the more critical fringes of Romanticism, relate to the work of the filmmakers I consider? What Romantic features do these films regularly exhibit, both aesthetically and in terms of narrative? How do these features inform their overall point of view? Finally, how do such Romantic ideas and aesthetics relate to the current cultural milieu in which the films were created? There are many familiar and more obscure Romantic strains running through the films. These include a preoccupation with personal history and memory; an undercurrent of deeply felt emotion and reliance upon mood and tone to convey it; a foregrounding of the creative process and the imagination; and an ambivalent relationship to both the natural world and civilised society. In terms of aesthetics, the films in question depend on qualities of the beautiful, picturesque, and sublime to represent the complex emotional states of their characters and to elicit emotional responses in their audiences. Above all, these films represent a preoccupation with subjectivity and self-consciousness: specifically, the coming to personal self-consciousness that creates a rift between the individual subject and a greater sense of society. By utilising the work of eighteenth- and nineteenth-century Romantic authors and philosophers such as Friedrich Schlegel, William Wordsworth, Henry David Thoreau, John Keats and others, combined with twentieth- and twenty-first century readings of these works via literary and cultural theorists and critics such as Harold Bloom, M.H. Abrams, Leo Marx and Anne Mellor, I emphasise the historical trajectory of general Romantic concepts. Taking established cinematic theories (“quirky” cinema, “smart” film, the “new sincerity”) as a point of entry, I explore the underlying stylistic and narrative connections between the films I discuss. I argue these films share a fundamentally Romantic form and vision specific to their own historical and cultural environment.

The complement system is a part of the innate immunity. Its function is to eliminate pathogens, by proteins interacting directly with pathogen surfaces and promoting a pro-inflammatory and anti-microbial environment. Related to the lectin pathway of the complement system are ten known proteins, with component properties and disease association still unclear. The aim of this study was to evaluate the instrument WES for the detection of seven proteins associated to the lectin pathway. The novel instrument introduces an automated technique based on capillary electrophoresis and immunoblotting. Trials were performed on donor plasma using instrument associated kits. For the evaluation, these kits were combined with assorted primary and secondary antibodies from several species, as well as antibodies in biotinylated form. The high protein content of plasma caused many artefacts, affecting separation and displaying unspecific binding of both primary and secondary antibodies. Biotinylated antibodies coupled with the kit streptavidin-horseradish peroxidase showed the best results for further trials. Several issues remain to be solved in the optimization, including determining the unspecificity of biotinylated primary antibodies, best antibody concentrations and optimal sample preparation and dilution.

This PhD thesis deals with analysis of the forest machines traction device and the ma-chine operation to the soil environment. Within the thesis are solved problems covering transmission of drive force in the traction device, where the traction characteristic for most used types of transmission is developed. Within the scope of machine action on the soil there is elaborated problem of the soil contact pressure determination and the rut depth determination by the first and multiple passage of the machine. Particular attention is paid to dynamic load calculation where the vehicle speed is used as input para-meter. An important part of this work is the verification of the calculation relationships for determination of several parameters (tire contact area, soil contact pressure, rolling resistance, rut depth) with the measured data. The last part of this thesis compares ma-chine mobility calculations according to the WES and MMP method, together with the mobility estimation according to the rolling resistance coefficient and the pulling force. The result of traction analysis is the creation of a computing application in MS Excel which provides basic data on machine mobility in the field.

8 Summary The thesis "The elucidation of the causes of neurogenetic diseases by the MPS data analysis using advanced algorithms" is focused on processing the massively parallel sequencing (MPS) data from a gene panel, whole-exome sequencing (WES) and whole-genome sequencing (WGS). The aim of the study was to develop a suitable pipeline to evaluate at least 250 MPS gene panel data, 150 WES data and 20 WGS data in order to improve molecular genetic testing of rare neurogenetic disorders. Associated data management and database implementation is also described. Targeted gene panel sequencing A custom-designed gene panel consisting of ge- nes previously associated with the disease was used. In the Epileptic Encephalopathy (EE) panel, two prerequisites need to be met for inclusion into the panel: the gene has to have been published in at least two independent publications OR at least in one publication but in multiple independent families. In the case of the EE panel, 112 genes were included. The targeted gene panel sequencing was then performed on 257 patients with EE. Pathogenic or likely pathogenic (according to ACMG criteria) variants have been found in 28% of patients (72 out of 257). Further analysis of the pathogenic or likely pathogenic variants was performed (76 in total); the variants were grouped by...

The aim of this study is to examine how psychedelic posters from the 1960’s relate to postersfrom the late 19th century Art Nouveau, and how their similarities and differences are expressed in imagery and experience. The method applied is Peter Gillgrens theory about performativity, which is how we interpret art based on its experience, and Margaretha Rossholm Lagerlöf's theory about how to interpret imagery. This applies to a selected number of posters from the 1960’s and from the Art Nouveau period that bears great similarity, after having gone through the historic background of the different eras and what connects them.The results show that there is a difference between Art Nouveau and 1960's poster art, despite their similarity, that is expressed through the imagery and experience. The posters from the 1960’s shows independence from Art Nouveau by expressing an original type of art thatcaptures the counter culture of the 1960’s, and therefore uses Art Nouveau as a way of appropriation.