Title: ?The director should be treated with silk gloves.? A discourse analysis of The film director as a leader and a case study of a short film Seminar date: 19 February 2008 Course: Master thesis in organizational studies, 20 Swedish credits Author: Johanna Ranes Advisor: Ph.D. Nanna Gillberg Key words: Film, The film director, discourse analysis, social constructionism, gender studies, creative leadership. Purpose: The purpose of this study is to illustrate and problemize the consequences of the traditional male domination in film creation for a female director by critically examining the construction of The film director. Methodology: The study is based on a qualitative case study which was conducted as a participant observation.

This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.From the director?s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ?understanding? dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you don?t want your professional role to look like.The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script. The role of director is also a role, and must be played.

The essay depicts the opposite views of the director and an actor during the filming of a specific scene in a feature film. The actor feels that he is not being listened to. This leads to unforeseen consequences for the director, as the actor no longer wishes to take part in the marketing of the film prior to its opening night. Everything is seen from the director?s point of view, she is working in a film world dominated by men.Questions are being asked if the director?s instructions are clear enough or if the actor, fearing getting lost, is mixing up his own feelings with those of the character he is portraying? What happens to the collaboration and how does it affect the rest of the team and the completion of the production? The director is also the producer.

The essay depicts the opposite views of the director and an actor during the filming of a specific scene in a feature film. The actor feels that he is not being listened to. This leads to unforeseen consequences for the director, as the actor no longer wishes to take part in the marketing of the film prior to its opening night. Everything is seen from the director?s point of view, she is working in a film world dominated by men.Questions are being asked if the director?s instructions are clear enough or if the actor, fearing getting lost, is mixing up his own feelings with those of the character he is portraying? What happens to the collaboration and how does it affect the rest of the team and the completion of the production? The director is also the producer.

This thesis is a study of documentaries about fictional feature films. The development of the DVD format has contributed strongly to their massive increase in quantity. The capacity of the format enables film companies to include more material than the feature film itself. As some people regard this type of documentary as self-righteous and presumtious, others think of it as a great educational aid giving the audience a greater understanding of the intentions of the director and others involved, thus adding more levels to the experience of watching movies. By using established theory on documentary I?m trying to find distinctive features of ?documentary on fiction?..

Detta examensarbete är utfört på Institutionen för teknik och naturvetenskap på Linköpings universitet som en avslutade del av mina studier i Medie- och Kommunikationsteknik. Målet med examensarbetet vär att utveckla ett datorspel med Macromedia Director i vilket man kan spela mot andra spelare över Internet.Examensarbetet ska också resultera i en presentation av några av de tillgängliga metoderna för att skapa nätverksapplikationer med Macromedia Director.Rapporten inleds med en teoridel som beskriver Macromedia Director och vad det kan användas till, samt en redovisning av olika metoder för att skapa nätverksapplikationer i Macromedia Director. Därefter följer en beskrivning hur spelet är uppbyggt och en genomgång av de viktigaste funktionerna. Programkoden till dessa funktioner finns i bilagorna till rapporten..

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..

The aim of this thesis is to discuss selected parts of cataloguing both from a practical and a theoretical viewpoint. It presents the basic grounds for cataloguing of printed as well as non-printed materials. The focus lies on the main entry heading and its author/title problem concerning film. The thesis theoretical part consists of an analysis of central documents dealing with the author concept from both a library- and information science perspective and a film science perspective. The practical part consists of interviews from two Swedish public libraries, which have different approaches on presenting films.

 AbstractThe focus of this essay is the american director Wes Anderson and the use of colour in his films. I also put some focus on colour as a neglected element in film studies, and what has caused this neglect. In my own research, I have analysed three of Anderson's films: Bottle Rocket (1996), The Royal Tenenbaums (2001) and The Darjeeling Limited (2007). To get a broad sense of a films use of colour, I have investigated the colour scheme, the colours of the costumes, as well as colour patterns. I have also interpreted the symbolism related to certain colours and then used the results of the analyses to answer the question; "how does Wes Anderson use colour, and in which film is this most apparent?" A very generalizing answer to this question, is that Anderson use colour as a means of signifying the characters' feelings and ambitions, and also their relations to the themes of the films.

The aim of this research is to examine the Göteborg International Film Festival Fund (GIFFF, 1998?2011) as a part of the festival's overall operations, to provide answers to questions about if/how the Fund can be understood as an expression of the festival's fundamental values, and how the Fund can be recognized within the festival's strategic development. The GIFFF is also discussed in relation to contemporary academic studies that interpret Western film funds for the developing countries ? such as Hubert Bals Fund and Fond Sud Cinéma ? as an expression of Eurocentrism.The investigation is based on the contemporary film festival research, previous academic studies on Göteborg International Film Festival, the festival?s printed material ? such as programs and press releases ? as well as interviews with the former festival director Gunnar Bergdahl, who initiated the Fund, and festival editor Ulf Sigvardson, who ran the Fund during its final years of existence.The conclusions are: The Fund's objectives ? such as to support filmmakers and film schools in the developing countries, and also to screen their films at the festival ? can be seen as a broader interpretation of the vision that was determined by the festival founders, that the festival should be a platform for independent filmmaking and also help screen the films that otherwise would not reach the Swedish audience. Also, the Fund was a significant part of the festival's expansion strategies during the 1990s.

Title: ?The director should be treated with silk gloves.? A discourse analysis of The film director as a leader and a case study of a short film Seminar date: 19 February 2008 Course: Master thesis in organizational studies, 20 Swedish credits Author: Johanna Ranes Advisor: Ph.D. Nanna Gillberg Key words: Film, The film director, discourse analysis, social constructionism, gender studies, creative leadership. Purpose: The purpose of this study is to illustrate and problemize the consequences of the traditional male domination in film creation for a female director by critically examining the construction of The film director. Methodology: The study is based on a qualitative case study which was conducted as a participant observation.

Ett Film som projekt, en film om ljud, en film om ljudet i film. En film inspelad professionellt med professionella medarbetare. Kandidatarbetet gick ut på både skapa en film inriktad på ljud och skapa ett fungerande filmteam. Arbetet tar upp både det tekniska inom filmljud men även processen i ett filmteam. I arbetet följer vi processen från dess början till dess slut.

This paper investigates strategic opportunities for film festivals in a digital film business, with emphasis on Göteborg international film festival and the Swedish film industry. Using a theoretical framework of strategy analysis, the film value chain is examined with special regards to disruptive technology, and the film festival's unique resources are linked to industry structure. It is shown that relationships between actors and across sectors are crucial features of the film industry, and hence a network perspective is added to the theoretical framework. Barriers to entry are shown to be relatively low in all sectors except the cinema market, and it is proposed that film festival's could expand into digital distribution, taking advantage of brand strength, customer loyalty and knowledge of industry. The study adds to the mounting research on film festival practice and its significance for marketing and distribution in the film industry, and highlights the emergence of strategic openings in destabilized networks..

Based on 30 years of work experience in TV and film production, I have made a phenomenological analysis of my perception of meaning in work - how it arises and how it is undermined. The story starts in my experience of early professional film making in the 1980's and describes how a change to work in TV production required the development of a new professional identity. The text also illustrates how as a female director I have managed my role in a male dominated and structured work environment. Being defined as an exception from the male norm has pushed me towards femininist reflection and the need to redefine my own work role - the generally accepted view having felt uncomfortable. An analysis of structural change in TV and film production shows how market pressures and ways of thought have increasingly invaded cultural endeavour. Professional spheres of influence are weakened, while developments in the media are characterised by a commercialism which encroaches more and more upon artistic, spiritual and moral values. This attitude, where quality is in retreat, has transformedprogramme makers from creative originators into becoming suppliers of raw material in a factory- like process geared to produce great volume at low cost.The aim of this essay is to show how changes in society and in TV and film making have affected my perception of my work.

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.