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Literary semiotics --- Comparative literature --- Film

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This thesis contains an analysis of the superhero character in the television series 'Heroes' and 'Misfits', which both revolve around a central character group of ordinary people who suddenly receive superpowers. After an introduction on the superhero comic book history and the link between the two series and this genre, I establish a theoretical frame which proposes a structuralist approach to both the televisual character as the superhero character. Attention is also given to different types of character change. The most prominent theorists this framework is based on are Roberta Pearson, Jason Mittell, Kevin Williams and Peter Coogan. After this, I use these concepts in an analysis of the protagonists of the two series. The characters are analyzed as televisual characters by Pearson's six character traits (psychological traits/habitual behavior, social interactions, physical appearance, speech patterns, environment and biography), after which different types of character change are identified. The second part of the analysis focuses on the characters as superheroes and is divided in accordance with the superhero's defining aspects: superpowers, secret identity and mission. Lastly, the paper concludes by joining these different analyses, making a final comparison of the series and placing them in the broader perspective of the superhero television genre and the superhero genre in general. The main conclusion to be drawn is that 'Heroes' strongly confirms and continues the traditional superhero character, while 'Misfits' adds change and renewal to the genre. What both series have in common is a greater attention for the individual behind the superhero identity and their development.

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This thesis researches the grounds for collective marketing aimed specifically at the cultural sector in Leuven. The central question posed in this thesis is: ‘To what extent are there grounds for collective marketing aimed specifically at the cultural sector in Leuven’. The supporting questions are: ‘Is there a need for collective marketing for the cultural public in Leuven’ and ‘To what extent is there ground for collective marketing at the cultural organisations in Leuven’.To get a clear view on the situation in Leuven, interviews with six main players in the cultural field were held. After the interview data were analysed the possibilities for collective marketing in Leuven were set out against the theoretical framework of marketing. The concluding chapter discusses the recommendation for the cultural sector in Leuven.The majority of requirements needed for successful collective marketing were present in the city. The requirements that are not met at this point in Leuven are those that might change easily when a new collective marketing product is presented. The main problems that exist when starting a collective marketing product in Leuven are mainly concerned with power division between different organisations in the city and budget.The main conclusion is that there is ground for collective marketing in the cultural sector of Leuven to a large extent. Collective cultural marketing products are already being implemented in the cultural sector, with collective marketing products aimed at different target groups and representing different segments of the market, or the market as a whole. Nevertheless, there is a need for additional collective marketing, giving more clearance to the public on what certain cultural organisations do, or what certain cultural locations are specialised in. The public would also benefit from more transparency concerning the cultural offer in Leuven. A bigger role for collective marketing in Leuven could have a positive e

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This thesis researches the use of narrative functions of music in film. More specifically, the focus lies upon music in film sequels as this seems to be an oddly neglected area in film music studies. First of all, this paper will offer an overview on the theoretical debate surrounding the narrativity of music (cf. Gorbman). It will also give a broader, more recent view upon narrativity in music and transgressions between diegetic and non-diegetic music (cf. Heldt). Secondly, the thesis formulates a typology of music in sequels. Next to the distinction between genres, the following questions remain central: what are the main characteristics of music of film sequels? How is it used? What is the role of the composer? Although there are exceptions, it will become clear that music in sequels is mostly handled in a way that the original score stays recognizable, but at the same time the music grows apart from it. In other words: the music becomes more and more independent but its core is still based on the original score. However, there was a trend among composers in which they almost completely neglegted their predecessors (most notably Desplat and Doyle for their work in the Harry Potter-franchise and Zimmer's score for Man of Steel). At the end of the typology, the connection between the music in sequels and the narrative of the storylines will be made.The case study offers a practical application of the discussed narrative functions in the first chapter. Because a lot of these techniques are used at a local level, the first part of the case study focuses primarily on the films themselves. The connection with the sequel level will be made later on. Although it will become clear that the chosen movies (respectively The Whole Ten Yards (2004) and Iron Man 2 (2010)) are exceptions on the general use of music in movie sequels in Hollywood, the analysis gave an illustration of the self-conscious way in which sequels (and movies in general) use the narrative strategies th...