This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film?s Genre. The theoretical base includes both Genre theory and Michel Chion?s theory on film sound.

Den här rapporten ämnar undersöka vilket det huvudsakliga särdraget hos musikalisk Genre är.En avgränsning har gjorts till hypotesen att enbart melodi är tillräckligt för att klassificera Genre alltså tt melodi är det huvudsakliga särdraget hos musikalisk Genre. En kvantitativ metod har använts i form av en internetbaserad tjänst där användare har fått klassificera Genre på musikstycken i sin helhet, samma musikstycken med extraherad sång samt samma musikstycken representerade i syntetiserade versioner vilket representerar melodierna för musikstyckena. Statistiska metoder har sedan använts för att presentera den insamlade datan,för att efter analys komma fram till att melodi ej är tillräckligt för att klassificera Genre och alltsåatt melodi ej är det huvudsakliga särdraget hos musikalisk Genre..

With this paper the aim is to find out whether there are any differences in how five students from the north part of Africa structures their tales in comparison with the Nordic tale "The emperor?s new clothes". The purpose is to look at how the Genre pedagogy can be said to relate to these differences. What happens to the "deviant" structures?Based on literature and research on the subject, I have concluded that there are certain patterns of how a tale "should" be structured based on Western standards.

This addresses the problems when a film doesn?t easily fit in to one specific Genre. Using No Country for Old Men as an example the study analyses the film from a Western perspective. Is it possible to say that it is a western? To determine that, I compare a number of acknowledged westerns, on the basis to list a number of generic conventions.

Under vårterminen 2013 hade jag tre konserter i tre olika Genrer där jag försökte jämföra mitt sångsätt i de olika Genrerna för att lära mig att bli bred i Genre. Jag valde att fokusera på tre saker att jämföra. Rytmik/frasering (timing), teknik och instudering.I arbetet går jag igenom varje låt och analyserar hur jag sjunger gällande rytm, frasering och teknik. Jag går också igenom hur olika instuderingen kan se ut beroende på vad det är för Genre.I slutet av arbetet skrev jag i mina avslutande diskussioner om hur jag tyckte att resultatet av arbetet blev. Jag jämför likheter och skillnader och kommer fram till att inom varje Genre finns likheter till en annan Genre och i varje Genre finns också skillnader till en annan Genre.

This study is a research on how dystopian features are expressed within different Genres. The purpose is to discuss films that contain dystopian features in relation to Genre and to examine if there are shared conventions in the films that can make dystopia a film Genre on its own. The theoretical base includes Genre theory and Rick Altman?s semantic/syntactic approach to film Genre. Five films from different Genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to Genre and then discussed in relation to dystopia and prior research.

This study is a research on how dystopian features are expressed within different Genres. The purpose is to discuss films that contain dystopian features in relation to Genre and to examine if there are shared conventions in the films that can make dystopia a film Genre on its own. The theoretical base includes Genre theory and Rick Altman?s semantic/syntactic approach to film Genre. Five films from different Genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to Genre and then discussed in relation to dystopia and prior research.

The purpose with my essay was to investigate how Genre pedagogy works in a practical manor? I wanted to reach a deeper understanding for the Genre pedagogy and to find out if it fits all students. To investigate this issue I have asked following questions:What is Genre pedagogy?How do teachers work with different Genres in the Genre pedagogy?For whom is the Genre pedagogy?Is the critic right that Frøydis Hertzberg is proposing about the Genre pedagogy formalism? I have been using qualitative methods, to gather my empirical data. I have been using two unstructured interviews and one unsystematically observation, in a third grade class in a school south of Stockholm, with 30% second language students.

This is a qualitative analysis that, based on systemic functional linguistics, or SFL, and Genre theory, has aimed to study the Genre pedagogical implications on written language as they occur in narrative stories and expositions whilst the model is introduced. Systemic functional linguistics is a linguistic theory that views the organisation of language as functional options for meaning; language is a set of resources to channel meaning through realisation. Genre theory elucidates the pragmatic and educational uses of SFL in the categorizing of language in configurations of meanings as they are set and understood in different cultures.  The purpose of the survey is to do so with focus on successful and less successful writers by attempting to answer two primal issues:How is development of written language in reference to the introduction of the Genre pedagogical model visible in the studied texts?How does Genre pedagogical teaching influence successful and less successful writers as visible in their writing with a certain purpose?To answer these issues the survey is based on narratives and expositions written by high school students who have been divided into two groups according to the purpose of the survey. One text in each Genre has been written by the students before and after lessons based on the Genre pedagogical learning wheel explaining the relevant Genres.

The purpose of this thesis is to analyze DVD covers for the Genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the Genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, Genre, and visual rhetoric.  These theories will help answer the main question and help with the analysis.The objects for observation are ten DVD covers from the Genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands for how many tickets were sold and how much money a film has earned.

Syftet med uppsatsen är att undersöka hur begreppen Genre och texttyp används i gymnasieskolans nationella samt lokala styrdokument för kurserna svenska A och svenska B och att undersöka hur fem gymnasielärare i svenska tolkar begreppen och ser på begreppens roll i undervisning. Detta undersöks genom kvalitativa intervjuer med fem verksamma gymnasielärare i svenska samt genom textanalys av styrdokumenten: svenskämnets beskrivning, nationella kursplaner för svenska A och svenska B samt lokala arbetsplaner för samma kurser. Resultatet visar att lärarnas förståelse av begreppen Genre och texttyp samt deras innebörd varierar vilket speglar forskningsläget. Lärarna har även en skiftande syn på huruvida begreppen är relevanta i undervisningen. En anledning till att Genrekunskap anses väsentlig är att elever bör kunna förstå att olika texter har olika funktion.

This master's thesis in Library and Information Science examines how the Genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the Genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the Genre to help librarians and borrowers. The great popularity of the Genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on Genre theory which shows how a Genre is defined, how it can be divided and what conventions there are for the horror fiction in particular.

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.

Today almost every artist has a music video. With today?s technology it has become a lot easier for smaller companies or amateur filmers to produce and distribute their work. But how important is an artist?s music video and where do people find their music these days? Other questions we wanted to answer were if there is a typical way a music video looks like based on its Genre.

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.