This essay will focus on the people using and are involved in, and have a large interest in the horror film genre. The purpose of this essay is to find what urge these people to continuously watch Horror movies and how they believe to be acknowledge by the society in a modern sense. Our study is mainly based on two separate interviews and therefore, mainly from the users perspective. This essay is also complemented by earlier research on this topic. In context of stigma, violence debate, exclusion we found that the users truly can be found in a rare type of alternative sphere, besides the public sphere.

My problem comes out of the bigger question ?why the Catholic church is featured in horror films whenever a religious organization is in one?? I have detected in the horror films that I've seen that when a religious organization is in a horror movie it's the Catholic church that gets to act as church and religion. I have chosen the following problem: How is the Catholic church presented in the Horror movies The Exorcist and The Rite, and how can one understand these presentations from a role theoretic perspective?Since role theory has it's background in the world of the theater with it's actors and roles, it came naturally to use role theory, and specifically Goffmans dramatic model. I've used this model in a film analysis of the movies.

Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition ? a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture..

My problem comes out of the bigger question ?why the Catholic church is featured in horror films whenever a religious organization is in one?? I have detected in the horror films that I've seen that when a religious organization is in a horror movie it's the Catholic church that gets to act as church and religion. I have chosen the following problem: How is the Catholic church presented in the Horror movies The Exorcist and The Rite, and how can one understand these presentations from a role theoretic perspective?Since role theory has it's background in the world of the theater with it's actors and roles, it came naturally to use role theory, and specifically Goffmans dramatic model. I've used this model in a film analysis of the movies.

My problem comes out of the bigger question ?why the Catholic church is featured in horror films whenever a religious organization is in one?? I have detected in the horror films that I've seen that when a religious organization is in a horror movie it's the Catholic church that gets to act as church and religion. I have chosen the following problem: How is the Catholic church presented in the Horror movies The Exorcist and The Rite, and how can one understand these presentations from a role theoretic perspective?Since role theory has it's background in the world of the theater with it's actors and roles, it came naturally to use role theory, and specifically Goffmans dramatic model. I've used this model in a film analysis of the movies.

My problem comes out of the bigger question ?why the Catholic church is featured in horror films whenever a religious organization is in one?? I have detected in the horror films that I've seen that when a religious organization is in a horror movie it's the Catholic church that gets to act as church and religion. I have chosen the following problem: How is the Catholic church presented in the Horror movies The Exorcist and The Rite, and how can one understand these presentations from a role theoretic perspective?Since role theory has it's background in the world of the theater with it's actors and roles, it came naturally to use role theory, and specifically Goffmans dramatic model. I've used this model in a film analysis of the movies.

My problem comes out of the bigger question ?why the Catholic church is featured in horror films whenever a religious organization is in one?? I have detected in the horror films that I've seen that when a religious organization is in a horror movie it's the Catholic church that gets to act as church and religion. I have chosen the following problem: How is the Catholic church presented in the Horror movies The Exorcist and The Rite, and how can one understand these presentations from a role theoretic perspective?Since role theory has it's background in the world of the theater with it's actors and roles, it came naturally to use role theory, and specifically Goffmans dramatic model. I've used this model in a film analysis of the movies.

Den här uppsatsen handlar om hur pussel och skr äck kan kombineras i ett och samma digitala spel. Hur man som utvecklare kan f å en j ämn balans mellan skr äcken och pusslen som presenteras f ör spelaren i spelet. Den typ av skr äck som den h ar uppsatsen har fokus på är genren 'Survival-Horror' och anv änder sig av den typ av skr äck som i digital spel kategoriserats som 'Survival-Horror'-spel. Den här uppsatsen visar en analys av 'Survival-Horror', samlar information om pussel och skr äck f or att utforma en hypotes hur dessa kan kombineras. F ör att kontrollera om hypotesen st ämmer utf ördes en intervju innan pussel- och skr äckmomenten implementerades i ett digitalt spel. Efter implementationerna genomf ördes det speltester i tv å omg ångar f ör att analysera resultatet mellan de tv å omg ångarna..

Skräckgenren ses ofta som den mest extrema filmgenren. Det är genren som sticker många i ögonen, då man där hittar allt det en annan genre väljer bort, eller snarare undviker. Man tänjer på gränserna. Varför tittar man på skräckfilm, vad kan man tänkas få ut av det? Är skräcken enbart till för att skrämma oss eller kan det faktiskt komma något gott ur den? I detta arbete har vi forskat kring hur filmindustrin jobbar med skräck.

The essay aims to show n interpretation of Vampyr and Ordet; seen from a viewpoint Kierkegaards christian existentialism can enhance the understanding of mentioned movies. Central notions from Ks philosophy are explained and then the author points to examples of how this corresponds with the essence of the two movies.The argumentation is based on Ks thoughts on faith and human existence. Other theories concerning Dreyers movies, and to some extent his background, is also discussed.Finally the author concludes that he was right in his hypothesis: that it is possible to show an influence from Kierkegaards christian, existentialistic thoughts in the two movies.Moreover the author thinks that the chosen perspective works as a complement to other written material on the movies and that other writers on the subject have some problems summing up the contents of the movies from their different perspectives.The final conclusion is thus that an interpretation of the movies from a Kierkegaardian viewpoint increases the understanding of the same movies.

The essay aims to show n interpretation of Vampyr and Ordet; seen from a viewpoint Kierkegaards christian existentialism can enhance the understanding of mentioned movies. Central notions from Ks philosophy are explained and then the author points to examples of how this corresponds with the essence of the two movies.The argumentation is based on Ks thoughts on faith and human existence. Other theories concerning Dreyers movies, and to some extent his background, is also discussed.Finally the author concludes that he was right in his hypothesis: that it is possible to show an influence from Kierkegaards christian, existentialistic thoughts in the two movies.Moreover the author thinks that the chosen perspective works as a complement to other written material on the movies and that other writers on the subject have some problems summing up the contents of the movies from their different perspectives.The final conclusion is thus that an interpretation of the movies from a Kierkegaardian viewpoint increases the understanding of the same movies..

Skräckgenren ses ofta som den mest extrema filmgenren. Det är genren som sticker många i ögonen, då man där hittar allt det en annan genre väljer bort, eller snarare undviker. Man tänjer på gränserna. Varför tittar man på skräckfilm, vad kan man tänkas få ut av det? Är skräcken enbart till för att skrämma oss eller kan det faktiskt komma något gott ur den? I detta arbete har vi forskat kring hur filmindustrin jobbar med skräck. Hur den från dess start gått från harmlös till de idag ofta extrema filmerna som finns i hyllan, som kan röra runt i både vårt samvete och på en moralisk nivå. Vi har dessutom fokuserat på skräcken utifrån ett psykologiskt perspektiv för att utforska människans rädslor och få reda på hur filmindustrin arbetar med skräckgenren för att trycka på våra ömma knappar.

Film is a medium which is mainly used for entertainment. It is a medium that is constantly expanding, and beside from it being a relaxing activity it can also be used for educational purposes. This is an aspect of film that should be valued, since it has the possibility to engage, educate and move its viewers. This is a study which aim is to analyze how employees within the care of disabled in Umeå have perceived educational movies. The movies that the staff has watched are a part of a basic training program, which all employees are required to fulfill.

The purpose of this paper is to examine how the portrayal of the Disney princesses have changed over time, we looked at eleven movies with a total of twelve different princesses. We wanted to see if there were any stereotypical roles of women in Disney movies and we wanted to see when the most obvious change occured in the portrayal of the princesses. This paper has used the method of qualitative content analysis using a semiotic and narrative analysis with the help of the actant model. We have selected different characteristics and categories that we looked for in the movies. These features and categories include various stereotypical roles of characters and what chores the princesses perform in their homes.

The similarity between the Russian and the Indian, in a Cold War context, may be ambiguous considering the ethnic-social variables and the period in time from where the Indians relate. However, by analyzing these, as well as other, characters in the exhibition of movies, we could learn something about the ideology of the time from which the movies derive.This study examines ideology and movies in the Cold War era and concludes that the Indian, for example, may be representing the values of the common public enemy, originating from the Cold War ideology. The movies examined, regardless of influence of distinct Cold War themes or lack of such themes, carry attributes that give evidence of typical Cold War ideology. The fear of communism and common enemies connected to a Cold War context, the thought of America as the land of the free ? with the horizon in the ending of the movies as metaphoric to freedom ? and the moral rhetoric that connects to the American thought of a duty as a global savior, are all signs of the Cold War ideology.Even though the messages are somewhat clearer and more distinct in the movies with Cold War motifs, the fact that ideology is projected through other movies as well should be considered essential for the continuing study of movies as cultural artefacts..