This paper discusses how librarians are being represented infilm. Is it through stereotypes or with a more modern andrealistic approach? This is something that is examined byreviewing a number of movies based on various stereotypesas previous research has addressed. This work describes whystereotyping of occupational roles are a problem andtherefore examining how well research on the subject isconsistent with films from various years and genres..

 AbstractThe 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.

Det undermedvetna är ett enormt ämne med många teorier. Bland dessa finns det olika uppfattningar om hur vi ska tolka dess betydelse. Uppsatsen belyser hur vi kan se på det undermedvetna. Hur vi kan laborera med det undermedvetna i film? Vad har det för syfte att i film använda det undermedvetna och upphäva de normala livsmönster som gäller? Vilken betydelse har bilden för våra minnen? Vad händer med oss när vi kommer i kontakt med våran inre värld? Uppsatsen beskriver hur våra inre bilder skapas.

Syftet med min undersökning var att studera hur gymnasieelever upplever att tala engelska, både ur allmän karaktär samt att undersöka hur de upplever att tala om detta sker med utgångspunkt i en film. Undersökningen genomfördes under två olika tillfällen med två olika gymnasieklasser: vårterminen 2004 och höstterminen 2004. Min undersökning visade att flertalet elever känner osäkerhet och bristande självtillit inför att tala engelska. Att använda film som motiverande faktor visade sig fungera väl, och utgjorde dessutom ett hjälpmedel till att kunna placera engelska termer i sitt rätta sammanhang. Dock visade resultatet att filmen i sig kan ersättas av andra läromedel.

The discussion about high culture and popular culture in our society has been going on for decades. In few places is it as loud as within culture journalism and the critics? society, where the question of what is good taste and what is dumb entertainment constantly gets brought to the surface. Film is a particularly vulnerable area, since it is such a universally appealing and rather young medium. In America and England several studies have been performed of the reviewing society and reveiwers? use of high and low art-discourse in their writing.

Hägglunds Drives in Mellansel, Sweden, manufacture radial piston hydraulic motors foremostwithin applications in the industry. These motors have several sliding contacts, one of these, isthe contact between piston ring and cylinder bore. The radial piston hydraulic motors advantageis to produce high torque in very low rotation velocity, this result in that the maximum slidingvelocity between piston ring and cylinder bore, during the whole stroke, is very low. Theconsequence of this low sliding velocity is that the contact between piston ring and cylinderbore, during the whole stroke, is bound to the boundary lubrication regime. This result in, thatthe piston ring is exposed to wear, thus affect the service life of the complete hydraulic motor.To minimize wear of piston ring, it is essential to determine the oil film thickness between thepiston ring and cylinder bore.

Denna uppsats är en studie i huruvida spelfilmer kan sägas vara en pedagogisk metod eller underhållning i religionsundervisning. Uppsatsens syfte är därför att ur både pedagogers och elevers perspektiv beskriva och besvara frågan om film gynnar lärande och undervisning i religionsämnet. För att få svar på våra frågeställningar har vi genomfört både en kvalitativ och en kvantitativ studie. Som metod har vi använt oss av intervjuer bland pedagoger och enkät bland elever. Vi har utgått ifrån följande teman: attityd, förväntan, motivation, filmens tillämpning samt filmens fördelar och nackdelar.

The essay depicts the opposite views of the director and an actor during the filming of a specific scene in a feature film. The actor feels that he is not being listened to. This leads to unforeseen consequences for the director, as the actor no longer wishes to take part in the marketing of the film prior to its opening night. Everything is seen from the director?s point of view, she is working in a film world dominated by men.Questions are being asked if the director?s instructions are clear enough or if the actor, fearing getting lost, is mixing up his own feelings with those of the character he is portraying? What happens to the collaboration and how does it affect the rest of the team and the completion of the production? The director is also the producer.

Although I myself haven?t been bullied per say during my school years. I?ve sure been teased and occasionally felt left out. On the other hand ? who hasn?t? And that as well is my point.

Filmskapare har unika hantverksmässiga kunskaper om hur man påverkar mänskliga kognitiva processer för att uppnå önskade effekter på åskådaren. Om dessa kunskaper blev systematiserade med hjälp av empirisk forskning, skulle de kunna komma till nytta även inom vetenskapliga discipliner där man intresserar sig för människans kognition.I denna uppsats kombineras analysen av två filmsekvenser med ett experiment i vilket åskådarnas ögonrörelser filmades och personerna fick svara på frågor om sina intryck av filmen. Resultaten tyder på att människor framför allt blir medvetna om sådana intryck som liknar verkligheten, t.ex. karaktärers personlighet och beteende, snarare än sådant som rör filmens form. Dessa fynd diskuteras i ett allmänt kognitivt perspektiv och ytterligare empiriska undersökningar föreslås för att studera samspelet mellan filmen och åskådaren.Summary in English:Through their craft, film artists have unique insights into methods of influencing human cognitive processes to achieve desired impact on the spectator.

Under temat Skräck och rädsla har ungdomar i år 8 läst klassiska skräckhistorier och nyare spökhistorier, skrivit egna skräckberättelser, läst, ritat och svarat på frågor om en modern spökhistoria, sett på film samt gett tips om böcker och film på detta tema. Syftet och metoden med min undersökning var att jag, genom att systematisera och studera vissa givna ämnen,  ville se vad ungdomar påverkas av och hur deras bild av skräck ser ut. Jag har även sökt efter skillnader i pojkars och flickors bok- och filmtips och tolkat bilder av ungdomars sätt att se på döden. Resultatet av undersökningen visade att ungdomar idag påverkas till stor del av innehållet i filmer och dataspel och till något mindre del av böcker. Begreppet skräck innehåller lika mycket monster, vampyrer, mörka skogar, knivar och övergivna hus nu idag som det gjorde då, när själva skräckgenren uppstod.

Movie and literary tourism is a genre that has been recognized around the world for a long time but that has only recently got a grip on Sweden. More and more famous books are being cinematized and because of the success of these movies we can now walk in the traces of Wallander as well as the Millenniummovies.The focus of this study is mainly about the tourists? motivation when it comes to this form of tourism and the purpose is to try understand what needs come in to play when a movie and literary tourism attraction is chosen. The study objects are two movie and literary walks which are based on books and movies with a fictitious storyline.The performed research was based on a multiple strategy with the qualitative method - consisting of respondent and informant interviews - in focus and the quantitative investigation - in the form of an one-page questionnaire - more as a complement.On the basis of the most fundamental theory of motivation in general (Maslow, 1970) and the tourism research?s more specific travel motivation theory (Pearce, 2005), the conditions for movie and literature as sorts of tourism have been made clear.

This project was about the creation of a shorter computer animated film. Thegoal of the project was to explore a different technique of the visual outcomethat should not rely on photorealistic rendering and how to find new interestingways to use 3d-graphic for visuals. A big part of the project was also toincorporate music to create a chosen atmosphere and impact on the viewer butalso to help the story forward and questions such as; ?How can you create anexpression for the feeling you want to transmit?? were formulated. The scenewas built up in a 3d-application consisting of a house and surrounding garden,which within an character was animated to tell the plot.

Abstract The topic of this essay is to show why I regard the non fiction novel as a problematic genre and to compare two popular and famous swedish non fiction novels; Legionärerna (1968) by Per Olov Enquist and Gömda (1995) by Maria Eriksson and Liza Marklund.I start with giving a short introduction to modern genre theory and to non fiction novels as a genre. I also discuss different definitions of non fiction novels by, for example, Rolf Yrlid and Lars-Olof Franzén. Then I discuss Enquist?s Legionärerna and the critics? reception of it. I am also doing the same with Eriksson?s and Marklund?s Gömda before I compare these two novels with each other. My conclusion is that Legionärerna and Gömda have a lot in common although there are some differences.

The essay depicts the opposite views of the director and an actor during the filming of a specific scene in a feature film. The actor feels that he is not being listened to. This leads to unforeseen consequences for the director, as the actor no longer wishes to take part in the marketing of the film prior to its opening night. Everything is seen from the director?s point of view, she is working in a film world dominated by men.Questions are being asked if the director?s instructions are clear enough or if the actor, fearing getting lost, is mixing up his own feelings with those of the character he is portraying? What happens to the collaboration and how does it affect the rest of the team and the completion of the production? The director is also the producer.