This essay studies stylistic differences as well as homage?s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation.

The purpose of this essay is to study the film culture in South Africa in a national Cinema-context, focusing on the relationship between anti-apartheid film from 1974-1994 and the film in South Africa today. By pitching the South Africa-specific works of Lucia Saks and Jacqueline Maingard against the over-arching debate on national Cinema as formulated by, amongst others, Stephen Crofts and Andrew Higson, this study aims to find whether or not a specific South African national Cinema have existed, and exists today, or not. The study finds that an underground culture of documentaries and short films made by and for the black population has been in place since the apartheid, and the distribution method on video and television is still being used to reach the black population today. By re-examining the concepts of both the national, and of national Cinema to also include film on video and television, the study shows that South Africa has indeed a film culture that can be called a national Cinema..

The focus of Broken Conventions is experimental Cinema, that big body of film existing outside the limiting boundaries of the mainstream Cinema industries. The goal is to provide a broad view of this abstract and hard-to-define area of film studies, by searching for an answer to the question; what is experimental Cinema and can it be viewed as a genre of its own? In doing so, I will explore the theoretical discourse surrounding the topic, as well as provide case studies of several experimental films. I will also suggest a genre theory, as a way of determining whether or not experimental Cinema can be seen as a genre, but more importantly to use it as a way of further examining the individual films and to deepen the understanding of this type of film. The topic at hand is however extremely subjective and there is no generally accepted definition, or term for that matter, concerning what experimental Cinema really is.

This thesis is an attempt to study if the school Cinema project in Kungsbacka is an establishedactivity. Qualitative interviews have been performed with the Cinema owner, the projectleader and a politician of the municipality, about their views on the project. Teachers andpupils have also been interviewed. In the case of an established activity, the thesis also attemptsto answer what causes have contributed to such an establishment.The study shows that the school Cinema project is an established activity in Kungsbacka andthat all parties involved are satisfied with it. The project has guaranteed the Cinema's existence.According to the thesis, the reasons for the establishment are that govemment funds enabiedthe project to initiate.

The purpose of this essay is to study the film culture in South Africa in a national Cinema-context, focusing on the relationship between anti-apartheid film from 1974-1994 and the film in South Africa today. By pitching the South Africa-specific works of Lucia Saks and Jacqueline Maingard against the over-arching debate on national Cinema as formulated by, amongst others, Stephen Crofts and Andrew Higson, this study aims to find whether or not a specific South African national Cinema have existed, and exists today, or not. The study finds that an underground culture of documentaries and short films made by and for the black population has been in place since the apartheid, and the distribution method on video and television is still being used to reach the black population today. By re-examining the concepts of both the national, and of national Cinema to also include film on video and television, the study shows that South Africa has indeed a film culture that can be called a national Cinema..

There are many researching studies to be found that describes how media relates to men and women differently. Even if it?s a newspaper research or a magazine research they all display the same information. That there are differences in the way that women and men are described or portrayed in articles and pictures. Most of these gender studies are made on a basis of magazines that are mainly intended to men or to women.

In May 2005 the Swedish Cinema chain Astoria Cinemas is founded and in July two years later the company goes bankrupt. In this thesis Astoria Cinemas is used as an example to illustrate the conditions for a culture-producing company in a commercial market. The purpose of the thesis is to discuss the strategies for cultural production that has been used by the actors involved in the Swedish Cinema market, and also to discuss the structural environment on that market. It is a qualitative study based on interviews and documentation. A few conclusions are possible to draw from the empirical material, one is that Astoria Cinemas? management did not agree on the company?s business strategy and therefore might have acted strategically inconsistent.

In the end of the 20th century, there was an increased interest in creating customer experiences, especially in the service sector. At the same time, the number of visits to the Swedish Cinemas is decreasing due to new distribution channels on the market. This study aims to deepen the knowledge of customer reactions towards offerings with an experience approach, by studying similar reactions in Cinema visitors. Furthermore, the study examines the contagiousness of the emotions elicited by the experience. The study approaches the problem by using a quantitative method by conducting a survey of Cinema visitors.

Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i det klassiska- respektive konstfilmsberättandet och jämför vidare de typiska elementen från de två berättarmodellerna med formatet slow Cinema. I definitionen av slow Cinema utgår jag ifrån filmvetaren Matthew Flanagans utredning av vad formatet innebär samt de tre byggstenarna han anser vara mest väsentliga. Dessa är långa tagningar, en ickeberättande struktur och skildringar av realistiska, vardagliga skeenden. Med en utgångspunkt i detta utför jag en närläsning av Alfonso Cuaróns film Gravity (2013).

Uppsatsens syfte är att undersöka om manliga och kvinnliga filmrecensenter skriver om film på olika vis. Vi har undersökt totalt 120 filmrecensioner mellan 2 mars och 4 november 2011 i Svenska Dagbladet, Nöjesguiden och Cinema. Undersökningen genomfördes med hjälp av både kvantitativ och kvalitativ metod.Den kvantitativa metoden i vår undersökning visar att männen i vårt material skriver längre texter än kvinnorna. Kvinnorna recenserar oftare genrerna familj och romantik, medan männen har ett övertag inom action och komedi. Männen använder sig av fler referenser än kvinnorna.Den kvalitativa metoden i vår undersökning visar att männen i vårt material sällan förklarar sina referenser medan kvinnorna är mer beskrivande och förklarar referenserna i sina filmrecensioner.

The subject of my thesis is what I have chosen to call the ?action babe Cinema? of the 21st century, essentially action-movies featuring a female heroine in the lead role. Inspired by the theories of Vladímir Propp, author of Morphology of the Folktale, I have tried to reveal the underlying structure of these films. I have chosen eleven films which form my material, and from these extracted a number of functions (which means the actions of a character), that reoccur frequently. The heroines? transformation can be seen as a central theme of the action babe Cinema, and I have divided the films into two groups depending on the course of the transformation, either from soft to hard or the other way around.

Berlinmurens ras var en symbolisk markering på slutet av kallakriget. Kulturella värderingar och den politiska världskartan ändrades. Massflykt och transnationalism i det globala tillståndet blir ett faktum. Diaspora och exil skapar ny kulturidentitet. Filmen som ett starkt uttrycksmedel, skapar en plattform för de människor som lever under exil och diaspora- förhållandet för att hävda sig.

The aim of this paper is to investigate what part film music plays in the creation of stereo-types in the production of Swedish Cinema, in the 1990s and early 2000s. This period of Swedish Cinema was largely defined through the visualization of life in the smaller provinces of the country. The results were reached through the analyzing of four important works of this era, representing different provinces and genres. The examined movies have shown frequent use of extreme characters and a somewhat hostile environment in search of an interesting story. The music is used in ways of describing class differences amongst the inhabitants and to set the gen-eral mood of the concerned provinces: an agent often working in the unconscious of the viewer in order to affect the final results..

The thesis examines ?intermediality? in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ?reality?. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film.

Why is the e-revolution of the Swedish film distribution lingering? In attempting to answer that question, this qualitative study depicts the distribution market of Swedish film and its actors. Thirteen interviews with representatives of the industry have been conducted in search of an understanding of the current situation. Two important conclusions are made. One is that the strong interdependency between the actors of film distribution is inhibiting the acting space of those who seek change.