Filmmusikens betydelse : En receptionsstudie om hur musik i film bidrar till förståelse

This essay is about film music and how people react in a study where the music and picture comes from two different genres that both has unique conventions, of how the “standard” music ought to be composed. The purpose of this essay is mainly to try and get an understanding of film music’s importance in the movies dramatic structure, and how people react when the conventions of music is broken and two genres are combined into one.The questions that are to be answered in this essay are: *how could music as a tool change the character of a film? *How does the participants, of this inquire, experience the film depending on what music they hear? *And what is it that the participants think that the music brings to the movies narration?The method of this survey is based on a number of participants that have responded on questions of how they experienced the movie, both with music and without. This study has shown that when music and picture, which comes from different genres, interact with each other it tends to create comical features and a sense of that the music has an advantage in terms of the genre that people feel that the film has.

Film och mening : En receptionsstudie om spelfilm, filmpublik och existentiella frågor

In what ways and under what circumstances can a movie be a resource for individuals and their thoughts about existential matters? This central research question has been investigated using a both quantitative and qualitative approach. First, a questionnaire was distributed amongst 179 Swedish students to provide a preliminary overview of film habits. The questionnaire was also used as a tool for selecting respondents to individual interviews. Second, thirteen interviews were conducted, with viewers choosing their favourite movie of all time. In the study socio-cognitive theory and a schema-based theoretical tool is adopted to analyze how different viewers make use of movies as cultural products in an interplay between culture and cognition in three contexts; a socio-historic process, a socio-cultural interaction with the world and inner psychological processes. Summarizing the interviews some existential matters dominated. Matters of immanent orientation were in the foreground. Transcendental questions received much less attention. Summarizing the schema-based theoretical question, assessing which cognitive schema structures the narratives were processed through, the study found an emphasis on a combination of two main cognitive structures, person schema and self schema. Detailed person schematic cognitive processes about fictitious characters on the screen and their role model behaviour were combined by the respondents with dynamic cross-references to detailed self schematic introspections about their own characteristics, related to existential matters at some very specific moments in their lives. The viewers in the study seem to be inspired by movies as a mediated cultural resource, promoting the development of a personal moral framework with references to values deeply fostered by a humanistic tradition. It is argued that these findings support theories discussing individualised meaning making, developing ‘self-expression values’ and ‘altruistic individualism’ in contemporary western society.

”När man kollar på bilden tänker man så här” : en receptionsstudie av gymnasieelevers uppfattning om bilder som kunskapskällor i historieundervisningen

Images are used in history education for a variety of reasons, not least to generate interest through a better understanding of historical events and people. The aim of this study was to investigate how historical pictures, either illustrated or documentary/photographic, can be used as a resource for activating and improving pupils' historical empathy, in the way described by Stéphane Lévasque. I conducted a reception study on five different focus groups consisting of pupils from different upper secondary schools in Sweden. The pupils varied with regard to number of credits for admission to upper secondary school. A sixth group of pupils was interviewed as a contrasting control group in order to add perspective to the results. The discussions were based on the pupils' interpretations of 34 selected pictures, all of which were taken from the most common history textbooks. Each pupil was asked to choose the picture he/she felt was the most representative historical image. On the basis of the strategies used by the pupils when interpreting the pictures and discussing them, the material was analysed in accordance with Lévesque's categories: imagination, historical contextualisation and morals. The last category, morals, was further divided into three sub-categories: sense of justice, sympathy and progression. The reflections of the pupils and the degree of contextualisation varied. It appeared that the pupils were less inclined to discuss assumptions about the persons in the pictures; instead they chose to discuss the historical context in question. The pictures in this study did not seem to trigger the pupils to fabricate anachronistic reasoning about history; when they did produce lengthy reasoning, it was contextual, structural and metahistorical. In this context, the pupils who belonged to the group with the highest average of credits showed some signs of reflection on the basis of historical context and some criticism about the historical sources. On no occasion did any of the pupils choose a picture as a concrete expression of injustice. One of the questions this study aimed to explore was whether a lack of historical context affects how pictures trigger emotions and reasoning on the basis of moral aspects. Some of the pupils displayed moral standpoints, primarily the degree of morals concerning injustice. One possible interpretation could be that the feeling of being unfairly treated and subjected to insulting behaviour and social injustice was something the pupils could relate to. The group of pupils who had not yet studied history at upper secondary school, the control group, generally made reflections using this sort of reasoning when they discussed the historical aspects of the pictures.

Ekologisk skuldbeläggning? : En kvantitativ och kvalitativ receptionsstudie om Coops film Ekoeffekten

”Ekologisk skuldbeläggning?” är en receptionsstudie författad av Erica Rohlin och Josefin Dahlqvist vid Stockholms Universitet på institutionen för mediestudier vårterminen 2016. Uppsatsen ämnade undersöka hur ett urval av en yngre generation (18-30 år) i Stockholm förhåller sig till Coops film Ekoeffekten, som utformats för att få människor att köpa mer ekologisk mat. Kritik har riktats mot Coops film Ekoeffekten och det står som grund för att utföra en kritisk granskning i form av en receptionsstudie. Det teoretiska ramverket utgår ifrån propaganda, hälsokommunikation, kampanjer och CSR. Teorierna är sedermera sammankopplade med resultat från en kvantitativ surveyundersökning samt två kvalitativa fokusgruppsintervjuer. Resultatet visade att ämnet skuldbeläggning var något som framgick i fokusgruppsintervjuerna, vilket tyder på att detta var en aspekt respondenterna uppfattade mer än andra. Deltagarna ansåg att Coop genom Ekoeffekten placerar skuld på familjen Palmberg och sedermera på konsumenter som inte handlar ekologisk mat. Vidare visade en korrelationstabell på ett samband som kan styrka att Coop gör närmande mot skrämselpropaganda, då en del deltagare blev oroliga för sin hälsa baserat på Coops studie, gjord av IVL, som saknar vetenskaplig signifikans. Respondenterna från surveyundersökningen samt fokusgruppsintervjun visade att de uppfattar Ekoeffekten som en kombinerad informations- och reklamkampanj. Fokusgruppsintervjun visade respondenternas provocerande attityd gentemot detta, vilket inte gick att avläsa från surveyundersökningen. Detta eftersom Ekoeffekten troligtvis inte är provocerande vid en första anblick, utan det är vid vidare diskussioner som åsikter och attityder kom till tals.