InledningThe horror of the zombie movie comes from recognizing the human in the monster; the terror of the zombie movie comes from knowing there is nothing to do about it but destroy what is left; the fun comes from watching the genre continue to develop. Although zombies are technically dead, their cinematic genre is a living, breathing entity that continues to grow and evolve.Citatet taget ur Kyle Bishops artikel ?Raising the dead? öppnar upp för en intressant diskussion angående utvecklingen av zombiefilm. De flesta i en skräckfilmspublik kan på ett fåtal sekunder med säkerhet peka ut en zombie på vita duken. Även filmad i long shots och i extreme long shots kan till och med den åskådare som är relativt ny för genren känna igen zombien.

Denna  undersökning  har  studerat  kameraperspektiv  i  spel,  med  fokus  på  survial horror-genren.  Studien har  undersökt  hur  förväntningar  om  ett tänkt  spel  förändras beroende  på  om  spelet  ses  ur  ett  förstapersonsperspektiv  eller  ett tredjepersonsperspektiv.  Studien  har  riktats  till  stor  del  mot  förväntningar  kring  ett spels fokus på action eller mer ickevåldslösningar.För  att  undersöka  detta  har  totalt  sex  bilder  skapats  med  skiftande  miljö  och kameraperspektiv.  Dessa  bilder  har  sedan  presenterats  för  totalt  åtta  respondenter som intervjuats. Undersökningen har fokuserat på respondenter med tidigare spelvana men  inkluderade  även  två  respondenter  utan  spelvana.  Detta  för  att  studera  hur saknaden av spelvana påverkade deras tankar kring kameraperspektiv i spel. Av  de  slutsatser  som  gick  att  dra  av  undersökningen  var  det  tydligt  att  båda perspektiven har  olika för och nackdelar.  Många tyckte att förstapersonsperspektivet var bättre för inlevelsen. Medans andra ansåg att förmågan att se hela sin karaktär ur tredjepersonsperspektiv bidrog mer till spelet..

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 paper investigates the autobiography of Damien Echols. The autobiographical subject, Echols, depicts his life as a marginalized youth during the nineteen seventies and nineteen eighties in Arkansas, USA. It also explores the years that Echols spent on Death Row after having been arrested along with two other youths for the murder of three eight-year-old boys; a crime all three of the accused denied having committed. In 2011, after eighteen years of incarceration, the three now grown up men were released from prison. The author of this paper discusses biography and especially autobiography as a genre and explores to what extent memories represent the actual life the autobiographical subject, Echols, has lived and if memories are or can be truthful.

The aim of this study is to describe how reviews of literature in Bonniers litterära magasin and Expressen changed during the period 1964-2004. The investigation is based on 20 reviews of novels and short stories, which are analysed with a method described in Hellspong and Ledin (1997) and inspired by Halliday. The theoretical frame of the investigation is founded on critical discourse analysis (Fairclough 1992 & 2001) and Habermas´social theory of the public sphere.The investigation shows, among other things, that the reviews became shorter and easier to read in both paper during the period. The investigation also shows that the genre´s style, composition and contents are relatively stable, and that current ideologies in society have a tendency to be reflected in the reviewers´evaluation of the books. To generalize, the reviews thus developed from a poetic genre in 1964, to become political in the 1970s, academic in the 1980s, feminist in the 1990s and finally an intermedial genre in 2004..

This thesis examines what automatic indexing and genre classification may bring to fiction. The thesis studies five theorists of the subject to find out what the biggest problems are concerning fiction indexing. The thesis also investigates which automatic text analysis methods that can be effective for automatic indexing and genre classifying fiction. To show that it is possible according to philosophy of language to index fiction, in particular to automatically index it. Wittgenstein?s, Barthes? and Ricoeur?s language and fiction theories are presented and used to problemize the subject.

The aim of this paper is to investigate the implementation of genres, pertaining to non-fiction, in four different universal classification schemes BC2, UDC, DDC, SAB. It is not the aim of this paper to answer the question why certain genres are more implemented than others, or vice versa. Instead it is intended to be an investigation into the concept of non-fiction genres with the aim of attracting attention to the many interesting aspects of this concept for library- and information science research. An analysis of the schemes general auxiliary tables is performed by comparison with a specific genre-system devised by Ottar Grepstad. This genre-system is organised by dividing different genres into groups according to linguistic criteria.

Title: How do music students with different genre backgrounds perceive the same music? In this paper I report a study about how music students with different genre background perceive the same music. I let twentyone classical music upper secondary school pupils and twentyone rock music upper secondary school pupils listen to ten short music pieces of different character and styles. While listening, they were asked to answer four questions about which instruments they could perceive, what they could tell about pulse, rhythm and beat in the music, which component they thought was the most important in the piece and what word they thought best described the feeling of the piece. All four questions had to be answered for each piece of music to facilitate analysis of differences connected to genre background in those answers.

Fantasy literature has a rather strong position in countries with an English-speaking population but not in Sweden. The supply of fantasy in Sweden is much smaller than that in for example United Kingdom. Does this affect the Swedish readers of this genre? If it does, how does it affect them? The aim of this thesis is to find out how a few fantasy-reading students at the Swedish School of Library and Information Science get hold of the fiction they want to read and who and/or what influence their decision of which book to read. In order to avoid confusion we are also going to try to find out how they define fantasy since it varies from person to person what is included in the genre.

This essay examines the epideictic genre by using qualitative method to analyze acceptance speeches from the Swedish Grammy awards. These speeches and their speakers are often described as rhetorically mediocre and there seems to be a notion within the music community that an acceptance speech is personal and without deeper meaning. From a functionalistic perspective on genre, these speeches can be seen as working together with other genres that carry information about the winners. Why would skilled performers who know how to entertain an audience choose to repeat rhetorical mistakes? This essay uses different perspectives on rhetorical situation and genre as well as multimodal analysis of verbal- and nonverbal communication, to argue that these particular speeches in this particular situation come with their own set of expectations and values that the speakers have to acknowledge if they are to meet the epideictic purpose: To unite the audience around common values and create an enjoyable collective memory.

The aim of this study is to describe how reviews of literature in Bonniers litterära magasin and Expressen changed during the period 1964-2004. The investigation is based on 20 reviews of novels and short stories, which are analysed with a method described in Hellspong and Ledin (1997) and inspired by Halliday. The theoretical frame of the investigation is founded on critical discourse analysis (Fairclough 1992 & 2001) and Habermas´social theory of the public sphere.The investigation shows, among other things, that the reviews became shorter and easier to read in both paper during the period. The investigation also shows that the genre´s style, composition and contents are relatively stable, and that current ideologies in society have a tendency to be reflected in the reviewers´evaluation of the books. To generalize, the reviews thus developed from a poetic genre in 1964, to become political in the 1970s, academic in the 1980s, feminist in the 1990s and finally an intermedial genre in 2004..

The aim of this essay is to examine the attitudes towards publication of short stories, carried by the employees of Bokförlaget Forum, a randomly chosen Swedish publishing house. The study seeks to investigate the causes behind and consequences of the attitudes, as well as their generality. Through qualitative interviews, carried out with five of the company?s employees, the short story is defined as a problematic genre, mainly due to its low commercial success. The conclusions drawn from the interviews are put into a historical perspective, where the developments of the short story-genre, as well as that of the modern Swedish book market, are discussed.

AbstractSwedish tuition for immigrants (SFI) is a public adult education program in Sweden that was created in order to provide the immigrants with basic skills in Swedish. People with different backgrounds speaking different languages learn together how they should communicate in Swedish, both orally and in writing. For those who teach SFI it is important to know which factors have positive effects on the Swedish language acquisition. One of the questions to be asked is if the learning materials´ genre has any effect on the SFI students´ proficiency, in particular, oral proficiency. Scientists as von Franz, Vygotskiy and Bettelheim argued that fairy tales, as a genre consciously or subconsciously recognizable by all the people, present texts that are easy to acqiure.

Even though the American author H.P. Lovecraft (1890-1937) has been praised as one of the most influential writers of horror literature in the 20th century, his style of writing has occasionally been criticized. Lovecraft was using a writing style based on strict scientific language, where the human condition and existence are irrelevant in the narrative. This includes less focus on character development and more on the importance of atmosphere and environments. I am presenting narratological analyzes of what is often considered to be three of Lovecraft?s ?greatest works?: ?The Call of Cthulhu?, At the Mountains of Madness, and ?The Shadow over Innsmouth.? These analyzes are used to highlight Lovecraft?s science-oriented language and narratological techniques, with the focus of studying what methods Lovecraft was using to give his works and his readers a sense of dread, hopelessness, and an alien atmosphere.

This paper investigates the relations between the fantasy genre and the phenomena of escapism. It also delves into the factors which motivates consumption of various fantasy mediums. This is done through interviews with six different fantasy-consumers, along with two observations; of which one is performed at a science fiction convention and the other at a table-top role playing game. The study resulted in a basic understanding of escapism ? it is not limited to the fantasy genre, and fantasy consumers do not deny that fantasy is a form of escapism.