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 paper examines difficulties that heirs to swedified sami persons experience when learning about how colonialism forced a lot of people to hide or dim their sami identity. The purpose is to examine what genealogy can mean for these people and how it differs from the ?regular? genealogy; what makes these heirs willing or not willing to call themselves sami and how the cultural traumas and family wounds can be understood as dark cultural heritage and how these can be resolved. With cultural heritage and history usage theories, Hall?s theories of hybrid identities, and Aarelaid-Tart?s trauma model, I have analysed material from six interviewees and some of my autoetnography to conclude that sami genealogy is an important factor in shaping a more complete and decolonized view of history and one?s identity, that descendants of samis won?t call themselves sami because of a lack of sami ?capital? but want to as a way of not letting colonialism win, and that cultural traumas and family wounds heal through talking about them ? not hiding from them. The dark heritage is a necessary part of the sami identity build. I have also concluded that sami identity have always been nuanced, there isn?t one correct way to be sami..

Den här C-uppsatsen syftar till att öka förståelsen för vilka lärandemöjligheter som finns i ett call-centerföretag. Fokus ligger på utvecklingsinriktat lärande och tre faktorer som ingår i utvecklingsinriktat lärande. Dessa tre faktorer är delaktighet, variation samt kommunikation och variationen påverkar delaktigheten genom att man blir insatt i andra arbetsuppgifter och områden i företaget. Studien genomfördes med hjälp av halvstrukturerade intervjuer, observationer och en handledare med anknytning till ämnet pedagogik. Resultatet visar att möjligheterna till lärande i det undersökta företaget utgörs av god kommunikation mellan kolleger och det goda arbetsklimatet.

Bachelor thesis in Interaction Design by Håkan Carlsson, spring term 2007, Malmö University, School of Arts & Communication. The climate for video sharing online is somewhere in the border of becoming a place for only the big companies to distribute material with general interest, or small communities with genre-specific interest to attract a larger audience. In this article I will look at the travelindustry to see what possibilities can be implemented into communities with interest in planning and travelling. I will argue that the importance of collaboration with different media can create a bigger picture so that more people can use and discover each other?s travel videos and experiences. I have also taken a closer look at social interaction at online communities such as MySpace and YouTube.

I denna rapport ställs frågor beträffande hur Viaplays streamingtjänst kan se ut i framtiden gällande TVOD och SVOD genom nya designlösningar. För att göra detta har en människo-centrerad designprocess använts för att undersöka attityder och beteenden kring TVOD. I undersökningen utreddes det hur konsumenter ser på TVOD och kombinationen med SVOD. Vad vill användarna ha, hur ser deras vanor och beteenden ut gällande hyrfilm i sin helhet?Examensarbetet har gjorts på plats hos Viaplay och med hjälp av Viaplays designteam.

The aim of this qualitative study of service work in the private sector is to examine how the service worker experiences his/her work. There are three dimensions of the service workers experience in focus, and they are the base of my formulation of questions. The first dimension refers to how the service worker experiences the emotional labor demands from the employer. The second dimension concerns the relation between service worker and customer, from the view of the service worker. The third dimension problematizes how service workers experience efficiency.I have interviewed three call center customer workers and two hotel receptionists, using semi-structured interview technique.

The aim of this study was to evaluate parents and course leaders'perceptions of ComHome, a course in communication for parents. Thecourse aims to change the interaction between the parent and the child in aselected play activity based on a defined goal and agreed methodology. Thedata consisted of four group interviews and an individual interview with atotal of 12 parents and course leaders. The interviews were transcribed andcontent analyzed. The study showed that parents and course leadersconsidered goal attainment scaling as a rewarding approach.

The aim of this study was to determine the basic movements of the riders? pelvis and upper body when riding in trot seated. The study was preformed at a treadmill with seven high level dressage horses and their riders. The movements of the horse and rider were captured with a motion analysis system (ProReflex®) and also recorded on video. The horses were ridden in collected trot, 3.0 m/s.

This master thesis examines commercial video games and their relation to the concept of immersion and realism. Games as a communicative medium is quite a new area of interest within rhetorical research in Sweden. Most of the research conducted has, however, been focused on gaming and formation on opinion ? games that explicitly tries to persuade the player, unlike commercial games that focus on entertainment, that is. But that does not mean that commercial games cannot influence us.

To dress in used clothes is no longer considered as unfashionable. The acceptance of thesecond hand market has increased over the years. Vintage clothing has becomefashionable because you get the opportunity to create your own individual style. Vintagehas been given status. It has become a trend.

This paper intends to show how micro- and small businesses in the tourism and experience industry makes use of social media as a marketing tool. The study also shows the possibilities for businesses to market themselves to customers through social media. Small businesses usually don?t have the same conditions or the same marketing resources that larger companies have. For small businesses that lack marketing resources, social media is a great addition to marketing since the technology around social media is relatively simple.

Detta examensarbete vill påvisa en möjlig väg till kompetensutveckling på call centers: personalens deltagande i ett praktiskt utvecklingsprojekt. Studien har skett i samarbete med ett väletablerat call center i Norrbotten, Kalix Tele24. Projektet genomfördes under åtta månader på Kalix Tele24, med stöd och kunskap från en student/handledare från Luleå tekniska universitet, densamma som författaren till examensarbetet. Projektet gick under namnet Projekt Helhetssyn och fokuserade på att hitta förbättringar för samarbete och kommunikation inom företaget samt att skapa rutiner för informationsspridning. Allt arbete inom projektet utfördes av en projektgrupp, bestående av personal från olika delar av Kalix Tele24.

This study examined how users interact with a smartphone while in a learning situation based on videos via smartphones as a learning tool, and how this interaction and phenomena is experienced. The five test subject were separately given the same task that they were to solve using video instructions that were picked out and given to them. After finishing the task the subjects were observed while they demonstrated how they completed the task. After the observation the subject were interviewed using semi-structured interviews. The results show that the user experience of this phenomena is based on more pragmatic values than we could find in earlier studies, i.e.

This paper considers the roles of critics, newspapers and magazines, in the process ofdescribing computer games and video games as either technical objects or products intendedfor entertainment.The making and ?using? of computer games and videogames originates in small groups ofpeople possessing a lot of knowledge in computers, during a time when these kinds of deviceswere very expensive. But now, the gaming culture has grown and almost anyone in oursociety can own and play a video game. For that reason, one could ask the questions ?are thegames and the people who plays them still parts of a ?technical culture??? and ?do we needsome kind of prior knowledge to fully understand the videogame critics??The critics represent ?the official idea? of what a videogame is, how it works and if it is worthplaying.

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..