This thesis aims to explore the representations of musicians and soundscapes on the column of Trajan in Rome. While many different parts of the column have been explored thoroughly, the musicians are not such a part. As such, this thesis aims to explore this gap in research as well as explore how the soundscapes have been represented on the column. By sorting and grouping scenes with musicians into different groups, this thesis has been able to find patterns of representation such as musicians being represented in religious scenes more often than in military scenes and the fact that there seem to be some compositional overlap between the different groups in how the musicians are represented. Grounding the thesis in a theoretical approach that uses the presumed audience and their experiences as a guide for how to represent different scenes, it is argued that part of the reason for musicians being more present in religious scenes than in military ones is because the roman audience were more aware of the actual religious soundscapes.

In this essay I have studied how the film industry in the USA has worked with history in movies ever since the birth of film. I have also studied if Swedish teenagers are influenced by the contemporary reflections often showed in these movies. Furthermore I discussed how to work with contemporary reflections on film in a classroom.In these studies I used a group of teenager in the eight-grade. I stated of by asking the teenagers a verity of questions about movies and their interests in movies. Afterwards I showed them four different scenes from two different movies which all included reflections to today?s society.

To render outdoor scenes with lots of vegetation in real time is a big challenge. This problem has important applications in the areas of visualization and simulation. Some progress has been made the last years, but a previously unsolved difficulty has been to combine high rendering quality with abundant variation in scenes. I present a method to mathematically generate and render vegetation in real time, with implementation in the scene graph Gizmo3D. The most important quality of the method is its ability to render scenes with many unique specimens with very low aliasing.

A variety of demands have to be considered in the design of a new opera house in Galärvarvet. All possible viewpoints are important to be aware of, as is the need for the new building to be a contrast to the already existing opera house in Stockholm. The restricted site also makes a multitude of demands on the building's design.By rationalizing the layout and structure and also by making the footprint smaller, the complex building of over 30 000 square meters can be fitted and blended into the existing physical context. Unlike the existing opera house in Stockholm, the new opera house shows the rationality and the advanced technology that lies Behind the scenes and becomes the character of the entire building. Through the dynamic façade, the new opera can convey any character it so desires, just like scenes do through different settings.

Thick skin in Texas - an investigation on storytelling and pictorial language. I took my starting point in a story about the cowboy Jaquin, who goes to the Tivoli, where he gets caught up in a dramatic adventure. I extracted three scenes from this story, and I experimented with whether it was possible to make the separate scenes tell their own story, in three separate drawings. Without depending on the frame story or on any kind of text. In this project I partly wanted to explore the possibilities of the drawing.

The purpose of this thesis is to investigate the relationship between urban transformation and the occupation movement in Sweden, aiming to identify the movement's characteristics and comprehend its changes over time. By analyzing qualitative material collected from occupants active within a span from the 1980 to the present, we examine how the occupation movement has evolved. We investigate the motivations behind the movement, the lifestyle of occupants, and their potential gains to get a better understanding of the culture. We explore the prefigurative politics of the resistance where occupant activists create alternative lifestyles aligned with their desired future, bypassing the wait for broader societal changes. Finally we inquire the current possibilities of creating and defending meaningful urban spaces and social scenes..

AbstractHeadline: Young trouble and teenage love (Fjortisgrubbel och tonårskärlek)Number of pages: 37Author: Annika IlmoniTutor: Amelie HössjerCourse: Media and communication CPeriod: Autumn 2007University: Division of Media and Communication, Department of Information Science, Uppsala UniversityPurpose/aim: The purpose of the work was to produce a comparing study of two Swedish teenage films from different periods of time, 1970 and 2005. An analysis was to be made of how love between teenagers as well as the heterosexual relationship in general was depicted in each of the films and further investigate the gender construction in both films.Material/method: With the intention of narrowing down the complexity and make the evaluation more lucid 5 scenes from each film were used for comparison, these were chosen through the Anglo Saxon dramaturgy. To make the scenes more comparable 4 factors were used for analysis in each scene, these were: clothes, recreational activities, behaviour and environment. Beside the above given factors the heterosexual relationship were analysed and compared in each of the scenes through the theory of dominance in dialogue.Main results: The gender construction occurs obliviously in the older film from 1970 while taking place in a more conscious way in the film from 2005. Further on the heterosexual relationship is perpetually depicted in the 70?s film with a submissive girl and predominant boy, the same dominance is easily seen in the more recent film but with a higher rate of equality as the girl is portrayed as the dominant character in almost half of all scenes.

A variety of demands have to be considered in the design of a new opera house in Galärvarvet. All possible viewpoints are important to be aware of, as is the need for the new building to be a contrast to the already existing opera house in Stockholm. The restricted site also makes a multitude of demands on the building's design.By rationalizing the layout and structure and also by making the footprint smaller, the complex building of over 30 000 square meters can be fitted and blended into the existing physical context. Unlike the existing opera house in Stockholm, the new opera house shows the rationality and the advanced technology that lies Behind the scenes and becomes the character of the entire building. Through the dynamic façade, the new opera can convey any character it so desires, just like scenes do through different settings.

In the project, my ambition was to make a stage design for theater withteenagers as target group. I have worked with the musical theater groupTheater ACTA in Gothenburg and independently from scripts, interpretedand shaped an outline for the basis of the set design of the play?s differentelements. The play, If this was a feel-good movie, is written by Elin Frostand Anna Lundholm, two members of Theater ACTA. The story is aboutthree people in their twenties with different relationships to each other andone week that would change their lives.

This essay is a product of the author?s interest in silent films from Soviet, especially, documentary films. Before the 1920?s documentary filmmaking had mostly been limited to newsreels and short scenes. Only occasional feature-length documentaries had been made.

Abstrakt Detta kandidatarbete handlar om visuella effekter inom film och dess utveckling genom åren. Visuella effekter har öppnat en ny värld för filmskapandet då man kan skapa i princip vad som helst vilket gör att det omöjliga helt plötsligt blir möjligt, på filmduken. Kandidatarbetets syfte är att titta på utvecklingen av visuella effekter och hur man kan använda de kunskaper i en mindre filmproduktion. Vår problemformulerings frågeställning är ?Hur har utvecklingen inom visuella effekter sett ut och hur kan man implementera dessa kunskaper i en mindre filmproduktion??. I undersökningen analyserar vi hur man skapat scener i olika hollywoodfilmer som vi tagit inspiration av i vår produktion.

Abstrakt Detta kandidatarbete handlar om visuella effekter inom film och dess utveckling genom åren. Visuella effekter har öppnat en ny värld för filmskapandet då man kan skapa i princip vad som helst vilket gör att det omöjliga helt plötsligt blir möjligt, på filmduken. Kandidatarbetets syfte är att titta på utvecklingen av visuella effekter och hur man kan använda de kunskaper i en mindre filmproduktion. Vår problemformulerings frågeställning är ?Hur har utvecklingen inom visuella effekter sett ut och hur kan man implementera dessa kunskaper i en mindre filmproduktion??.

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 visual complexity in real-time applications, like computer games, is increasing with customer demands on vissual apperance. This trend is supported by even better graphics cards from the hardvare industry. This must be taken into consideration when the architecture of a new graphics engine is to be designed. The engines renderer is responsible of generating a picture of scene data. The renderer must cope with increasingly more complex scenes, and must be able to render them depending on available hardvare capasity.

This 3d navigation application is a part of a project that helps the user to learn and find the right position on a map with many exercises, the user has a compass nearby that he/she can use to find the position that requires to get the right answer on that particular exercise. Macromedia's Director is used for the creating of the program, where Lingo has a importent part as the script language for the scenes in Director. A 3D scene is build up with codes in Lingo, a few 3d models and serveral overlays are created and displayed on the screen. Different kind of textures from pict files are is representing the overlays and put on the 3D models. That give the user a more pleasant experience when going through the exercises that helpes the user when he/she is going to navigate on a boat at sea..