[report] Taiteiden ja suunnittelun korkeakoulu / ARTS

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    THE ONLY WAY OUT IS IN - INTERPLAY OF CULTURES 2023
    (Aalto University, 2023) Hollmen, Saija; Koskinen, Anna; Lehtovuori, Panu; Niskanen, Taru; Sandman, Helena; Arkkitehtuurin laitos; Department of Architecture; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Since 1993, the Interplay of Cultures Studio course at the Aalto University’s Department of Architecture, has exposed architectural students to cultural contexts outside Europe, with the intention to learn about our cultural differences and similarities and enhance our understanding of indigenous cultures’ living environments and conditions. For most years, except for the pandemic years, while we did research on the Sámi cultures, this has meant travelling to countries such as Senegal, Benin, Cambodia, Philippines, Tanzania and Rwanda. The course focuses on sustainable design solutions and culturally sensitive architecture. A field trip has always been an integral part of the course setting. No distance or online teaching experience compares to the sensory exposure of reality, of “participating in the world”, influencing and being under the influence of other humans, of places with distinct identities, of smells, sounds and visual fireworks of life formerly unknown to us. Getting a cultural shock is part of the deal. In 2023, the course travelled to the Ashanti city of Kumasi in Ghana, to collaborate with the Kwame Nkrumah University of Science and Technology (KNUST), and the Ghanaian Building and Road Research Institute (BRRI) for three weeks. As always, the course included studies on local building traditions and materials and the local culture’s social, economic and climatic characteristics. Apart from developing the students’ value system and sense of responsibility, the aim is to provide the students with a wider perspective and understanding of the processes of architectural practice. The studio setting was composed to merge the 12 Aalto students with over 100 KNUST students, who were processing an urban survey in a designated central area of Kumasi City. Organising the collaboration during our field trip proved to be challenging to start with, due to the unequal size of the groups and different alignments in their assignments. Also, the background of the students played a role: Ghanaian students were operating on familiar ground, whereas the Aalto students did not have the same understanding of cultural concepts, and quickly started to fall behind the pace of collecting quantitative data with the larger group. Instead, the Aalto students directed their attention to understanding the city environment with all their senses in a qualitative manner. After the inspiring field trip, the studio work has given fruits in diverse projects crafted by the students in small groups, pairs, and individually. The students were granted the freedom to envision and design their projects, resulting in a collection that offers a captivating glimpse into life in Kumasi. Each project, in its own unique way, proposes sustainable architectural solutions that honour the city’s rich cultural heritage with utmost sensitivity.
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    Monitoiminnallinnen, vehreä Matinkylä: Alueellisen viherkerroinlaskennan tulokset
    (Aalto University, 2023) Piirainen, Paula; Lähde, Elisa; Hautamäki, Ranja; Arkkitehtuurin laitos; Department of Architecture; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    How data can enhance circular economy of textiles. From knowledge and system understanding to actions
    (Aalto University, 2023) Niinimäki, K.; Cura, K.; Heikkilä, P.; Järvinen, S.; Mäkelä, S.-M.; Orko, I.; Tuovila, H.; Muotoilun laitos; Department of Design; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Circular Ecosystem's Blueprint: launch white paper (pocket version)
    (Aalto University, 2022) Moreira, Natalia; Niinimäki, Kirsi; Muotoilun laitos; Department of Design; Fashion/Textile Futures; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Part of the third white paper of the series, this short booklet is part of the NEW COTTON PROJECT knowledge exchange series which aims to expose the reader to the project, its milestones, and the overall experience of implementing a circular ecosystem within the reality of the European textile industry. Brief in nature, this is a gateway into the project for those interested in learning more about the process behind our collections. For more information you can read the first two publications:Circular Economy and Fashion: a NEW COTTON PROJECT white paperCircular business models in the textile industry: the second NEW COTTON PROJECT white paper
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    INTERACTIVE ECOSYSTEM FOR CIRCULAR TEXTILES: The New Cotton Project case
    (Aalto University, 2023) Moreira, Natalia; Niinimäki, Kirsi; Muotoilun laitos; Department of Design; Fashion/Textile Futures; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Focused on the industrial aspects of the New Cotton Project, this white paper is also the syllabus for the ‘Interactive ecosystem for circular textiles’ course1. Here we present the results and discoveries of the first 24 months of the project, using the examples as platforms for transforming the industry and enabling an easier transition towards circularity.Through a series of diagrams, we introduce the reader to the experience of expanding to a commercial scale the development of a new technique to create cotton-like fibres from used and discarded garments and textiles (post-consumer textile waste).This fourth white paper also presents the industrial collaboration and partnership embraced by the consortium partners in the project as well as in the development of the Interactive map course, which is composed of three flows:1. Material: illustrates the material journey within the New Cotton Project.2. Knowledge: visually assists the student with visual cues to the steps within the ecosystem.3. Ecosystemic: provides conclusive explanations of the interactions between the consortium members.
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    Repeämän kuvat: Dokumentaarinen elokuva ja hyvinvointivaltion murtumia
    (Aalto University, 2023) Helke, Susanna; Viitanen, Essi; (eds.); Elokuvataiteen ja lavastustaiteen laitos; Department of Film, Television and Scenography; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Tuntematon lähiömaisema: Leena Iisakkilan Matinmetsä
    (Aalto University, 2022) Taipale, Aada; Hautamäki, Ranja; Arkkitehtuurin laitos; Department of Architecture; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Transparency and traceability in the textile value chain
    (Aalto University, 2022) Cura, Kirsti; Sheenam, Jain; Niinimäki, Kirsi; Muotoilun laitos; Department of Design; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    A textile and apparel value chain is one of the most important customer commodity industries with long linear supply chains. They are considered to be among the most polluting industries globally (Niinimäki et al., 2020; Virta and Räisänen, 2021). The textiles sector contributes to 8–10% of global climate change (Quantis, 2018; UNFCCC, 2018). For example, garment manufacturing requires large amounts of water and energy in fibres and textile production. Pollution and vast land use are additional problems. Without proper treatment before discharge, wet processing wastewater contains harmful chemicals that can contaminate exhaust air, wastewater, and the fabric itself, causing severe ecological damage. Moreover, the overproduction and overconsumption of apparel products haveled to a massive load on landfills. All these reasons and more make it critical to understand,evaluate, and reform the functioning of this value chain with the help of new technologies and digitalisation.
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    Circular Business Models in the Textile Industry: the second New Cotton Project white paper
    (Aalto University, 2022) Moreira, Natalia; Niinimäki, Kirsi; Muotoilun laitos; Department of Design; Fashion/Textile Futures; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Whilst researching the main circular business models available in the literature, the authors came across several approaches and categorisations of businesses, canvases, etc. This white paper was written with the intent of concisely explaining the main business models and canvases in a direct, thorough manner, providing our interpretations and, of course, practical examples for further understanding of their particularities. This white paper then divides the main business models into four categories: product and use-oriented, service and data-oriented, production-oriented, and result-oriented. It also presents three canvases: flourishing, circulab, and the circular business model tool. By doing so, we are assisting readers who might be interested in embracing circularity but are missing the know-how. The textile industry is at the core of our work and the examples presented here also include a re-collection of the first white paper in the series (Circular Economy in the Textile Industry). The examples can be found in more detail in the first publication, but they are contextualised here according to the corresponding business model. Finally, with the intention of promoting growth and the means to innovate, this white paper concludes by discussing the process of transitioning to circularity and analysing business from a value creation perspective. This is then followed by business models innovations: a review of the literature and guideline for measuring success.
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    Circular Economy and Fashion: a New Cotton Project white paper
    (Aalto University, 2022) Moreira, Natalia; Niinimäki, Kirsi; Muotoilun laitos; Department of Design; Fashion/Textile Futures; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Circular Economy as a concept is a recent addition to the production-consumption system currently at place. This white paper was written as the first of a series of working publications focused on the proposal, implementation and acquired knowledge gathered during the development of the New Cotton Project: an European Union funded project which is part of the Horizon 2020 programme to incentivise circular solutions throughout the industry. This first publication highlights the main strategies, stakeholders, and difficulties in the creation of a circular ecosystem proposed around an innovative technology which produces new cellulosic fibres from textile waste, disrupting the textile industry’s unsustainable linear economy. This white paper will introduce the reader to the theory on circular economy, provide examples and peculiarities of circular textile practices and finally present the New Cotton Project and its collaboration to the body of knowledge within this field.
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    Monimuotoista integroitua asumista muistisairaille - Loppuraportti
    (Aalto University, 2022) Verma, Ira (toim.); Arpiainen, Laura; Vladykina, Natalia; Arkkitehtuurin laitos; Department of Architecture; Sosiaali- ja terveydenhuollon rakentamisen tutkimusyksikkö SOTERA; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Monimuotoista integroitua asumista muistisairaille -projekti, MonIA, on tutkimus- ja kehityshanke, jonka tavoitteena on ollut etsiä integroivia, monimuotoisia ja yhteisöllisiä asumisratkaisuja muistisairaille.  Aalto-yliopiston vetämän hankekonsortion yhteisenä tavoitteena on ollut monipuolistaa asumispalveluiden tarjontaa ja tukea muistisairaiden osallisuutta yhteiskunnassa. Keskeisiä ovat ratkaisut, jotka lisäävät omaehtoisen asumisen mahdollisuuksia, vähentävät tarvetta laitosasumiseen ja asukkaan muuttamista pois tutusta asuinympäristöstä toimintakyvyn heiketessä. Raportti esittelee hankeen tuloksena syntyneitä suunnittelu- ja ratkaisuehdotuksia kuntien, palvelutarjoajien, yritysten ja yksityisten ihmisten tarpeeseen.
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    Resurssiviisaaksi ihmislähtöisin keinoin -hankkeen sisällöllinen loppuraportti
    (Aalto University, 2022) Lotta Harjula, Pekka Heikkinen, Johanna Hyrkäs, Tanja Pöyhönen
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    Arvioinnin äärellä - Lukion kuvataiteen arviointia ja lukiodiplomia kehittämässä KAARO-hankkeessa
    (Aalto University, 2022) Henrika Ylirisku, Elina Härkönen & Jani Vepsä (toim.); Taiteen ja median laitos; Department of Art and Media; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Nomadic Science Fiction: Experiencing Diversity and Alterity Through Urbanising Mongolia
    (Aalto University, 2022) Wilenius, Annu; Median laitos; Department of Media; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Nomadic Science Fiction: Experiencing Diversity and Alterity through Urbanising Mongolia is my dissertation submitted as partial fulfilment of a doctoral degree for Aalto University, the doctoral work also including a production part. The dissertation has been conducted at Aalto University, Department of Art (Visual Culture) with the starting point in mind to experiment art and curating as research practices and travelling and narrative writing as ways of collecting and conveying ‘experience’. Nomadic Science Fiction is a project I have based on exhibition exchanges, travels, residencies and publications realised by visual artists, architects and curators between Western countries and Mongolia from 2005 to 2014. The main exhibitions were Mongolia: Perception and Utopia, 2008 (curated by Saara Hacklin, Pirkko Siitari and Annu Wilenius), Bare house. Pori-Rotterdam-Ulaanbaatar, 2010 (curated by Annu Wilenius) and Bare house. Ulaanbaatar, 2011 (curated by Annu Wilenius). In context with the exhibitions there were publications: Mongolia: Perception and Utopia, (edited by Saara Hacklin and Annu Wilenius), 2008, Bare house. Pori-Rotterdam Ulaanbaatar, (edited by Annu Wilenius), 2011, Bare house. Ulaanbaatar – At the Building Site (edited by Annu Wilenius), 2014. The exhibitions and publications are the production part of this doctoral work.There have been a number of articles – both within and about – this project. Some of the texts in this dissertation have been published before. The essays in the exhibition publications are separately indicated. Also the essay Nomadic Urbanism and Other Oxymorons to Learn from was published in a Viennese Libertine Magazine, 2010, and the article Neighbours and Gardens: Social and Environmental Change in the Ulaanbaatar Ger District of Bayanzurkh, written in collaboration with Melitta Kuglitsch was published in the conference publication The Great Wall – Architecture and Identity in China and Mongolia (Vienna Technical University, 2010). I call this research project nomadic science fiction because it has been travelling in space, time and intensity. I see it as science fiction because I believe science fiction to be trying to reach out to what seems impossible and then acting as if it were possible. The impossible may be the utmost adventure. This dissertation and the productions are my proposal for Aalto University for the Degree of Doctor of Art.
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    Interplay of Cultures Studio: Sámi. Contemplating Northern Indigenous Cultures in Present Global Challenges
    (Aalto University, 2021) Larsson, Nathanael (ed.); Dalheimer, Franziska; del Marmol, Gaspard; Diémé, Kathleen; Excell, Astria; Hollmén, Saija; Hwang, Jinook; Jänkälä, Matti; Kaarlamo, Valtteri; Krohn, Akileia; Grayston, Maria Luice; Lecerf, Louise; Li, Xinyan; Lähdesmäki, Ida; Minkkinen, Petra; Mäkinen, Raisa; Nieminen, Sirena; Niskanen, Taru; Olaortua, Patricia; Pitkänen, Meeri; Romero, Katherine; Savela, Emma; Suomi, Maiju; Schineis, Moritz; Uusi-Kilponen, Iiris; Arkkitehtuurin laitos; Department of Architecture; WiTLAB; WiTLAB; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    The land of the Sámi, called the Sápmi, spreads over the northern areas of Norway, Sweden, Finland and Russia. As the only indigenous people in Europe, the Sámi have lived a nomadic life pursuing their traditional livelihoods. These continuous traditions have allowed them to develop a balance with nature unlike any other contemporary people in Europe. When the Aalto WiTLAB Interplay of Cultures Studio embarked on an exploration of the Sámi culture in spring 2021, we were humbled to realize how little we knew of the people that had inhabited the northern areas of Finnish Lapland for over 3000 years, and how much there was to learn. The studio instructions allowed multiple approaches, scales and perspectives, which is manifested in the variety of the completed projects. They grew into a rich and complex multitude, reflecting the challenging condition of being a designer, an architect and a human being in face of a new cultural setting. This publication presents the projects of 22 students, reflecting questions such as “How would I even start designing something from my privileged position, or use cultural inspirations without being guilty of cultural appropriation? How much have I thought of knowing something, that I don’t actually know? Or that I’m not even aware of not knowing? And how do I deal with the painful notion that knowing is not understanding?”
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    Workplace Dynamics
    (Aalto University, 2020) Kokkonen, Ville (editor); Holste, Markus (editor); Arkkitehtuurin laitos; Department of Architecture; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
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    Action! -hanke Kyselyraportti täydennyskoulutustarpeista ja tasa-arvon toteutumisesta av-alalla
    (Aalto University, 2020) Maskulin, Nina; Reinola, Kirsi; Elokuvataiteen ja lavastustaiteen laitos; Department of Film, Television and Scenography; Action! Equality and Employment in the Audiovisual Sector; Action! Audiovisuaalisen alan tasa-arvon ja työllistymisen hanke; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    The report summarises experiences of equality in the work-life in the Finnish audiovisual sector and maps the professionals' needs for further training. The objectives of the report firstly ascertain the experiences of equality and discrimination at work and map the ways to promote equality in employment and in public funding. Secondly, it takes alook at the need for further training among professionals in the audiovisual sector in Finland. The background to the study is in the EU-funded project Action! (2019-2022). It aims to promote female professionals' employment, to develop measures to remove obstacles, and to support employment in the audiovisual sector. The data was collected with an electric inquiry on Dec 2019-Jan 2020. Among the 80 respondents,four out of five were women. The data consists of background information and of open-ended,written answers to which the content was analyzed. The results show persistent experiences of discrimination in pay, gender, and age. The dominantwork culture in the audiovisual sector was described as segregating, which was accounted for poorskills in management and opacity in public funding. Together with the inequalities in pay, age, and gender, the patronizing network was mentionedas a determining factor in finding employment or funding. The respondents would solve theproblem by commitments to the openness in the recruitment and funding processes which promoteequality. They were affirmative in their profession, and improving skills. However, short periods of workcumulated in the answers when they evaluated their job satisfaction or career change as a resultof the attitudes against women professionals, overwork without pay, and discrimination in general.The gender pay gap has a societal, cultural, and economic impact. Moreover, inequality slows downthe development and international competitiveness in the national audiovisual sector. The lack ofconsistent data on the wages among men and women is a concern when assessing public fundingand its impacts on the matter. The commitments to equality policies and programs with follow-upand assessment of the outcomes are dependent on the decision-makers in the audiovisual sector. In return, it is reasonable to assume that the commitment to national legislation and internationalconventions on gender equality may improve the diversity of the professionals which strengthensthe Finnish audiovisual sector at large to meet the national and international challenges in the nearfuture.
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    Pieni aihe – naistekijät elokuvan rahoitusneuvotteluissa
    (Aalto University, 2020) Talvio, Raija; Elokuvataiteen ja lavastustaiteen laitos; Department of Film, Television and Scenography; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    The study examines the experiences of female filmmakers in film and television development processes and financing negotiations. "Pieni aihe" (Insignificant topic), an informal working group of eight female film professional collected interviews, questionnaire responses and other descriptions from 40 professionals in the field in 2019. The aim of the working group was to study women's experiences of gender-based evaluation in the financing negotiations and development work of film and television projects, and how attitudes related to gender roles are reflected in the work culture of the industry. Female filmmakers described discussions with funders, commissioners and other parties involved in the development of film and television projects. Both the women themselves and their works had been repeatedly subjected to explicit gender-specific evaluations. These focused mainly on three areas: the topic of the film suggested by the filmmaker, the characteristics of the protagonist or other characters in the plan, and the filmmaker's own personality and gender. The assessment situations had repeatedly included offensive and derogatory speech about femininity, traits perceived as feminine and the female perspective. The filmmaker's projects were fiction films, documentaries and animated films. The study describes the long-standing and, in part still prevailing discriminatory attitudes in the work culture of the film and television industry in Finland. Unconscious bias would not be a right term to describe the presence of these attitudes, since the bias can be openly articulated in everyday speech and action repeatedly. For female professionals, this has meant extra tensions and mental stress in work and negotiation situations. Insignificant Topic work group: Inka Achté, Saara Cantell, Piia Hirvensalo, Hanna Lekander, Lotta Lindroos, Jaana Puhakka, Iiris Saaren-Seppälä ja Raija Talvio.
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    ASANTE ZANZIBAR: Interplay of Cultures Studio 2019, Master's level course in Architecture
    (Aalto University, 2020) Schütze, Korbinian; Arkkitehtuurin laitos; Department of Architecture; Aalto WiT (World in Transition) LAB; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    The Interplay of Cultures Studio has been part of the curriculum at Aalto University’s Department of Architecture since 1993. The focus of the course is on community empowerment through participation, sustainable design solutions and culturally knowledgeable architecture. The course includes studies on local building traditions and materials, as well as social, economic and climatic characteristics of the local culture. In 2019, the Interplay of Cultures Studio course returned with five Aalto students for three weeks to Zanzibar, to learn about the features of a foreign culture, and to work with disadvantaged local communities, NGO’s and city authorities, tackling real life cases in the context of the Unguja Island. The design tasks were outlined in close collaboration with the City Planning Office of Zanzibar, scales varying from areal planning to building design. The publication displays several methods of the empathic design approaches used by the students and their studio work resulting in four architectural design projects. The students of this course describe themselves as the "learners" in this intercultural study experience. The “learning from the Global South” was for them an unbelievably important part, complementing their usual ways of gaining knowledge and education. As becoming architects, they want to react to their environment in all aspects. There are possibilities of using architectural principles and typologies universally, but this publication promotes the idea of an essential adaptation to a context. The student’s work resulted in a need of adapting to, for instance, social, political, cultural, technical, or environmental demands of a certain local context, which eventually becomes promising and beneficial for the approval of the design proposals by the local partners and communities.
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    Emootio fiktion päätöksentekoprosessissa - tutkimusaineistona naisiin kohdistuvat väkivaltakohtaukset fiktiossa
    (Aalto University, 2020) Reinola, Kirsi; Elokuvataiteen ja lavastustaiteen laitos; Department of Film, Television and Scenography; Taiteiden ja suunnittelun korkeakoulu; School of Arts, Design and Architecture
    Elokuva on tunteen kuljetuksen väline. Kysymys tunteen merkityksestä audiovisuaalisen fiktion päätöksentekoprosessissa on tärkeä tuotannon joka vaiheessa, mutta erityisesti silloin, kun fiktiota vasta suunnitellaan. Tekijät ja rahoittajat kiinnostuvat joistakin aiheista, toisista taas eivät. Fiktiossa väkivallan merkitykset uusintavat ympäröivän yhteiskunnan väkivaltaa vähätteleviä tai sallivia ajatusmalleja. Naisiin kohdistuva väkivalta fiktiossa on lisääntynyt erityisesti ns. nordic noir -genren myötä. Tutkimuksessa selvitetään sitä, minkälaisen päätöksentekoprosessin tuloksena nämä väkivaltakohtaukset fiktioon päätyvät. Onko päätös rationaalinen vai emootioon perustuva, ja ovatko eri päätöksentekotavat erotettavissa toisistaan?Tutkimuksen kahdenlainen aineisto koostui elokuvan tai tv-sarjan valmiista kohtauksista fiktiossa sekä näiden kohtausten tekijöiden haastatteluista ja tekijöille lähetettyjen kyselyiden vastauksista. Kohtausaineistossa esitettiin tapahtuvaa tai tapahtunutta naiseen kohdistuvaa väkivaltaa. Vastausaineistokokonaisuus kerättiin kyselyillä ja teemahaastatteluilla. Tutkimushaastattelu- ja kyselykutsuun saatiin vain vähän vastauksia. Monen kieltäytymisen taustalla oli muistamattomuus, sillä aineiston fiktio on saattanut olla vuosia sitten toteutettu. Toisaalta emootiota koskevilla kysymyksillä saatiin myös laajoja vastauksia ja paljon tärkeää informaatiota siitä, mistä ei puhuta. Kieltäytymiset voitiin tulkita myös vaikenemiseksi, peloksi tai kenties vastaaja koki tutkimuksen turhanpäiväiseksi.Fiktion käsikirjoitusta luettiin ensimmäisen kerran teknisesti, koska tärkeää oli saada käsikirjoituksesta aikatauluihin ja kustannuksiin liittyvät ongelmat ulos. Toiset vastaajat taas käyttivät ensisijaisesti tunnetta työvälineenään arvioidessaan käsikirjoituksen laatua. Ohjaajan tunne syntyi vuorovaikutuksessa näyttelijän kanssa. Toisaalta ohjaaja kannatteli työryhmän tunteita, yrittäen saada tunnelman säilytettyä siirtymän yli toiseen lokaatioon tai toiseen ajankohtaan. Joskus taas kuvien rakentaminen oli täysin teknistä työtä, jolloin fiktiivisen väkivallan uhrin kuvien tekeminen ei herättänyt juuri mitään tunteita. Väkivaltakohtauksen tekeminen oli koko ryhmän mielestä ahdistava tilanne, ja kohtauksen kuvaukset ovat saattaneet herättää ahdistusta myös jälkikäteen. Vastausaineiston perusteella ei naiseen kohdistunutta tai kohdistuvaa väkivaltaa sisältävälle kohtaukselle pohdittu lainkaan vaihtoehtoja. Lähes aina elokuvantekijän valintoja määritti jokin aiemmin asetettu reunaehto. Showrunner tai konseptoiva ohjaaja oli esimerkiksi luonut konseptin, jolle muut päätöksentekijät olivat alisteisia. Myös muun muassa fiktion raakuusaste oli määritelty etukäteen. Kuoleman feminiiniset representaatiot ovat yleistyneet 1800-luvulta alkaen saduista kaikkialla kulttuurissa. Tutkimuksen johtopäätöksissä on keskusteltu ”kuolleen naisen troopista”, käsitteestä, joka on kytköksissä patriarkaaliseen kulttuuriin ja maskuliiniseen subjektipositioon. Suhde on ongelmallinen, sillä se perustuu naisen seksualisointiin ja objektifikaatioon. Väkivaltakohtauksia normalisoidaan katsojalle niin, ettei niihin kiinnitetä kriittistä huomiota. Vasta muutaman viimeisen vuoden aikana, kun naisiin fiktiossa tai sen tekoprosessissa kohdistuva väkivalta on nostettu julkiseen keskusteluun, ovat monen vastaajan silmät auenneet. Kaikissa aineiston kohtauksissa on kyse tapahtuvasta tai tapahtuneesta poikkeuksellisen raa’asta väkivallasta naista kohtaan. Kuitenkin huomattavan usein ei fiktiontekijä muista, mitä on tuntenut tai ajatellut kohtausta tehdessään. Johtopäätöksissä pohditaan, miten kohtauksen tekemistä on mahdollista olla muistamatta. Voiko olla niin, että fiktion kuvaukset, joissa nainen tai tyttö raiskataan, pahoinpidellään tai surmataan, eivät ole jääneet mieleen, sillä siellä ei ole tapahtunut mitään ihmeellistä? Monet tutkimuksen vastaukset kiertyvät samaistumisen tematiikan ympärille. Mikäli samaistumista ei synny, voi fiktiivisen väkivallan uhrille tehdä mitä tahansa. Erityisesti ulkomaiset rahoittajatahot saattavat toivoa tuotantoyhtiöiltä fiktioihin yhä raaempaa väkivaltaa. Kansainvälisessä kilpailutilanteessa, jossa kotimaisilla tuotannoilla ei ole resursseja toimintaan perustuvaan fiktioon, on pelko yhä raaistuvasta fiktioväkivallasta todellinen.