I detta kandidatarbete svarar vi på frågan ?Hur använder man postproduktion som ett retoriskt verktyg för att förstärka en dokumentärfilms budskap??. Retorik står i konflikt med dokumentärfilm. Vi anser att retoriken vill påverka medan en dokumentär vill undervisa. Med hjälp av Aristoteles tre grundlagar för retorik, ethos, logos och pathos, försöker vi påverka tittarens tycke om en dokumentärfilms budskap via postproduktion.

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.

This essay investigates how teacher sees and uses mainstream movies as a teaching method. The main question approached is: How does teachers use feature films as a teaching method? Which movies are used and how does their working methods surrounding the movies look like? The purpose of the essay is to make the reader reflect over what influence mainstream media has over the historic knowledge of the students and how teachers use that for educational purposes. The business around historical film has grown over the years and is now a million dollar industry. The conclusion is that teachers mostly use feature films to provoke emotional reactions from the students.

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.

The aim of the research project ?The menacing immigration and ideal Swedishness:A semiotic analysis of the Sweden Democrats campaign films? was to highlight how ethnicities are portrayed in five different campaign films produced by the Swedish party the Sweden Democrats (Sverigedemokraterna). The applied theories are stereotypes, binary oppositions as well as the theory of whiteness and blackness. The method used to analyse the campaign films are semiotics, and the tools denotation, connotation, anchoring, relay, metonymy and myths. The results show that a person?s skin colour is of minor importance.

This essay investigates how teacher sees and uses mainstream movies as a teaching method. The main question approached is: How does teachers use feature films as a teaching method? Which movies are used and how does their working methods surrounding the movies look like? The purpose of the essay is to make the reader reflect over what influence mainstream media has over the historic knowledge of the students and how teachers use that for educational purposes. The business around historical film has grown over the years and is now a million dollar industry. The conclusion is that teachers mostly use feature films to provoke emotional reactions from the students.

In our attempts to understand the world, wildlife films play a significant role. Wildlife films help us to see new places and learn about animals in remote locations, that we otherwise wouldn?t be able to do. Yet wildlife films have throughout history been criticized, mainly for the ambivalent relationship between science and storytelling. While the films give us a scientific impression and say something about the ?reality?, they clearly have the intension to amuse, capture and entertain their audience.

The main purpose of this thesis is to examine the process of selecting films at Bibliotekstjänst and at Swedish public libraries. The tools that have been used for analysing and interpreting the results from the interviews and the questionnaire are theory-based models describing the selection process concerning film and Carl Gustav Johannsen?s quality definitions. The result of the investigation shows that Bibliotekstjänst doesn?t really work with any quality definitions in their selection process.

The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected ? his use of music. Music always played a huge part in Bergman?s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments.

My intention with this essay has been to examine how men?s tears are portrayed in three chosen films and what their crying does to their masculinity. In my analysis I have used the concept of hegemonic masculinity. I have worked from the assumption that in our culture men?s crying is problematic in some sense.

För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorerna för en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar dess effekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bilds genre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namn Said Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Dels gjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera saker som intresserar mig i Japan som blev en del av min medieproduktion. Vad undersökningen resulterade, med hjälp av intervjun och diskussionerna om varandras bilder, var att en bilds genre avgörs inte av innehållet i en bild, det är i kontextsammanhanget bilden befinner sig inom..

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..

This essay analyzes the production process in connection with the original play Utopia 2012, which premiered at Backa Theatre, Gothenburg, Sweden on 27 October 2012.The aim of the essay is to seek a deeper understanding of this particular production process. No universal process plan was employed when creating Utopia 2012. Therefore, taking into account artistic, technical and administrative aspects of the work, a chronological process map has also been constructed in connection with this essay, in order to clarify each step of the theatrical working process.The theoretical approach is hermeneutic, and the material is based on interviews with key individuals with different professions and functions within the working process in order to gain multifaceted perspectives and results. The interviews took place at Backa Theatre with the exception of those held by telephone with the project?s two producers, both of whom by that time no longer worked at Backa Theatre.The findings of the essay mostly indicate that, with the significant exception of director Mattias Andersson?s artistic vision, no fixed process map nor explicitly articulated common goals were employed in this particular theatre production.

AbstractThis essay consists of an analytical study of three present-day Swedish films depiction of teenage life. From these films we like to see how youths are described, what attributes they are given, in shape of attire and different symbolic items, such as language and body expressions. The essay emphasizes which values that dominates among the illustrated teenage groups and compares it to the values and expectations that we can derive from an adult society. Here we let the school?s main determining base documents, Lpo 94 and Lpf 94, represent the dominating values of the society.Our hypothesis is that media, and also these films, creates images that affects the societies comprehension of teenagers and also how teens see themselves.

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.