The aim of this thesis is to examine user experience and engagements in interactive cinema.A great deal of the research that is conducted today involves creating interactive films, toexplore and examine film structures. In this study, we build on this research by comparingthree different interactive film structures. To carry out our study, we have categorized threedifferent interactive films after three different models to define their narrative structureand interface. To examine the experiences of those structures we have performed anexperiment where we have collected data from the three different sources; interviews,observations and surveys.It is difficult to draw conclusions about how an interactive film should be constructed asdifferent structures apply to different narratives. Based on our research the conclusion canbe made that the combination between the narrative structure, the narrative content, theaesthetics, the implementation of interactivity and how the film?s interface is constructed ismore important than building a specific structure for an interactive film.

The purpose of this study is to describe how, and if, discourses about self-harm in young people has been changed from the late 90-s until today. We chose to do this by studying films where the content of self-harm is a big factor. The study is built on a narrative research, we did however analyze it as a discourse method. The issues we have concentrated on are: Is there a significant quality that describes an individual who cut themselves? How can this phenomenon be seen from a gender point of view? Is there a specific group of people who is labeled as a person who cut themselves from the public? The result from this study show us that self-injury, from symptoms of a (bad) mental state, is a strong discourse where the views from the society lets it become more acceptable.

Care and solicitude about Swedish documentary heritage has varied substantially throughout the years. The main purpose of this essay has been to investigate what efforts have been made to preserve rare book collections at public libraries. These cultural policies have been studied from both a national as well as local perspective. What we have tried to explore can be condensed into three questions: What national initiatives have been taken in the past century to preserve the municipal documentary heritage?What initiatives have been taken in the past century to preserve thedocumentary heritage of what is presently the municipality of Jönköping? What value do rare book collections at public libraries represent? The results indicate few national efforts were initially made to preserve rare book collections in the timeframe we studied.

In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions.

The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications.

The aim with this archive guide is to give a guide to Karl-Anders Wollter?s film collection at Grängesberg Film archive. Karl-Anders Wollter worked between 1962?1993 for the State Department and mainly outside Sweden. The film collection consists of 67 films regarding his work, holidays and family life.

The aim of this thesis is to discuss selected parts of cataloguing both from a practical and a theoretical viewpoint. It presents the basic grounds for cataloguing of printed as well as non-printed materials. The focus lies on the main entry heading and its author/title problem concerning film. The thesis theoretical part consists of an analysis of central documents dealing with the author concept from both a library- and information science perspective and a film science perspective. The practical part consists of interviews from two Swedish public libraries, which have different approaches on presenting films.

Regarding death in youth movies,analysis of Hunger Games and I Miss You  Today, death is not as present in our everyday life as it was before when everyone knew how death both looked and smelled. This means that media today has a different role and that media can help their viewers to mourn and become aware of death in a completely different way. In this study, death is analyzed as an representation; how it affects and is experienced in two selected youth films, The Hunger Games, (Gary Ross, 2012) and Jag saknar dig/I Miss You (Anders Grönros, 2011).Previous studies mostly analysis death as a figure, and in accordance with these studies have concentrated on different physical descriptions of death; often about diseases or how death is portrayed in the news. In my opinion, these studies lack the perspective of how death is presented, but also how young people respond to these deceptions of death. This essay highlight different perspectives and show more of how death occurs, how the cinematic look is described and how young people react to what is happening on the screen.

The student union of Karlstad University is always working for the better for the students, so they can feel safe and that their time at the university is trouble free. To get the students to sign up for a membership, the organization have to inform the students about their work and the benefits that a membership brings. The problem is that the target audience is broadbecause there are all students at Karlstad University that are of different sexes, ages and nationalities, this can cause problems when the information must be adapted to each individual in order to make it interesting. The organizations various work areas have not reached the entire audience and therefore requires an information film in which all the areas can be presented in an attractive way that makes it easy for the audience to absorb the information. A strong trend in the world of information films are the so called infographics.

The aim of this study is to examine the image of Judas Iscariot in popular culture with the help of two movies, The Last Temptation of Christ and Son of God. This study is based on a film analysis where a characterization is in focus. The method has also chosen to include intertextuality. This is because it is relevant to show how writers and filmmakers used the previous materials to create their own versions. Survey theory was based on a mediatisation-theory.

Laura Mulvey was the first to suggest that women and men have different positions on the screen; men drives the plot forward, and the women are objects of masculine desire and lust.The purpose of this report was to look at and compare the two characters from the 70?s - and 80's with two characters from the 00?s - and 2010?s to gain a deeper understanding and insight into how female action heroes are presented. This will be done with the help of the questions; How is the female action heroes that are analyzed in the paper?What are the differences and similarities between the past and the present-day action heroes? Just how stereotypical are the women in their genre? The four female action heroes that were analyzed were; Princess Leia Star Wars, Sarah Connor Terminator and Lisbeth Salander Men Who Hates Women and Katniss Everdeen The Hunger Games.The four female action heroes were analyzed based on Rikke Schubarts categories (Moderarketypen, Amazon, Dotterarketypen, Ha?mnerskan and Dominatrix), the character's personal development, the character's violence and the reason for the character's.Characters from the past were more often presented as more uncertain and fragile than the modern confident characters. The female action heroes of modern times was more independent, strong, and in no need of a man in comparison with contemporary female action heroes.

Målet med denna uppsats är att visa hur den dramaturgiska kurvan påverkar publikens sätt att ta till sig dokumentärfilm, med hänsyn till upplevelse och trovärdighet. I följande uppsats kommer man att på viktiga beståndsdelar som bidrar till hur man kan arbeta fram ett dramaturgiskt bildspråk inom det dokumentära skapandet av film. Viktiga punkter som delges innefattar även hur man bygger på trovärdighet mot sin publik och binder detta samman genom en bra dramaturgi, detta i kombination med ett projekt, följt av diskussion och slutsatser. De verktyg, som tidigare forskning hänvisar till, upplevs som positiva hjälpmedel för att genomföra en trovärdig produktion. Dock bör tilläggas att min erfarenhet av detta kandidatarbete, visade på att man bör lägga större fokus på att arbeta i realtid, än att påverka materialet allt för mycket i efterbearbetning.

Målet med denna uppsats är att visa hur den dramaturgiska kurvan påverkar publikens sätt att ta till sig dokumentärfilm, med hänsyn till upplevelse och trovärdighet. I följande uppsats kommer man att på viktiga beståndsdelar som bidrar till hur man kan arbeta fram ett dramaturgiskt bildspråk inom det dokumentära skapandet av film. Viktiga punkter som delges innefattar även hur man bygger på trovärdighet mot sin publik och binder detta samman genom en bra dramaturgi, detta i kombination med ett projekt, följt av diskussion och slutsatser. De verktyg, som tidigare forskning hänvisar till, upplevs som positiva hjälpmedel för att genomföra en trovärdig produktion. Dock bör tilläggas att min erfarenhet av detta kandidatarbete, visade på att man bör lägga större fokus på att arbeta i realtid, än att påverka materialet allt för mycket i efterbearbetning.

Training of zoo animals started when the first zoo opened in 1752. The difference between then and now is that from the beginning the zookeepers did not focus so much on animal welfare. Nowadays animal welfare is the most important thing in the training. Therefore, the zookeepers are training the animals mainly for veterinary purposes and activation. The training makes the animals less stresses during handling. When the zookeepers started to train elephants they used unpleasant stimuli such as a whip when the elephant did something wrong.

This study is a qualitative content analysis which sets out to examine the representation of stereotypic masculine traits amongst the main characters in two films from The Swedish Institute of Film's (Svenska Filminstitutets) selection for ?School Cinema? (Skolbio). The study is operationalised through the use of a scheme, constructed by Lorraine Evans and Kimberly Davies for their study No sissy boys here, which maps stereotypical masculine and feminine traits and originates from Sandra Lipsitz Bems ?Sex Role Inventory?. The masculine traits in the scheme are: aggressive, competitive, argumentative, decisive, assertive, risk-taking, self-reliant and adventurous, and the feminine are: affectionate, emotionally expressive, impetuous, nurturing, panicky, passive, tender, and understanding.