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  • 201.
    Appelgren, Ester
    Södertörns högskola, Institutionen för samhällsvetenskaper. Södertörns högskola, Institutionen för kommunikation, medier och it, Journalistik.
    Interactivity, multimedia, and animation in news storytelling: The New York Times' “Snow Fall,” Swedish SvD's “Räntekartan,” and Brazilian Aos Fatos' “Fátima”2024Inngår i: Milestones in Digital Journalism / [ed] John V. Pavlik, New York: Routledge , 2024, 1, s. 1990-2012Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Interactivity in news storytelling has introduced possibilities for the audience to be in control of the story. These complex animations come from a convergence of skills and have managed to somewhat displace the boundaries of what journalism is, how it is produced, and how it can be consumed. In this chapter, a historical account of successful and failed media-rich news features will help us understand the hybrid role of interactivity in journalism and how it affects journalistic decision-making, starting with the forgotten technology of electronic paper (e-paper), originally designed for transmission over the digital audio broadcasting network (DAB), and the early development of news apps (news applications) such as ProPublica's Dollars for Docs to the animation used in the long-read format of The New York Times' “Snow Fall” and the development of journalistic crowdsourced data visualizations based on easy-to-use tools such as Swedish SvD's Räntekartan. Furthermore, visualizations in journalism include elements that engage and educate the audience, such as the sensor data-based German WDR animal welfare project Super Cows. While interactivity can soften hard news topics and make the audience stay longer with the content, news stories are protected by traditional norms. Therefore, interactive features are still modest, sometimes surprisingly simple, and normalized to traditional journalism practices.

  • 202.
    Appelgren, Ester
    Södertörns högskola, Institutionen för samhällsvetenskaper, Journalistik.
    Journalists' Using Facebook To Claim The Territory, Brag Or Cry In Desperation For Help: A Content Analysis Of A Nordic Journalistic Resource Group On Facebook2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    On Facebook there are interest groups created by journalists, for journalists, that focus on the journalistic profession and work methods. One example is the Swedish group, "Datajournalistik" (in English, "Data Journalism") created in 2012. The group has grown to more than 1,000 Nordic members, most of whom are active data journalists working primarily at Swedish media companies. This article builds on Granovetter's theory on the strength of weak ties. A content analysis of all posts with comments has been carried out to discuss tie strength in relation to information sharing and addressivity in the group. The findings indicate that Datajournalistik forms a network where the individuals are mainly connected by weak ties. Another conclusion is that the group has a function in developing data journalistic competence, but it also functions as means for journalists to promote Nordic data journalistic work in their community giving others credit while at the same time taking some of the credit for oneself.

  • 203.
    Appelgren, Ester
    Södertörns högskola, Institutionen för samhällsvetenskaper, Journalistik.
    Remaining in Control with an Illusion of Interactivity: The Paternalistic Side of Data Journalism*2019Inngår i: Journalism Practice, ISSN 1751-2786, E-ISSN 1751-2794, nr 8, s. 956-960Artikkel i tidsskrift (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
  • 204.
    Appelgren, Ester
    et al.
    Södertörns högskola.
    Leckner, Sara
    Malmö högskola.
    Mejtoft, Thomas
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Institutionen för tillämpad fysik och elektronik.
    The media consumers' conscious and unconscious choices: a key to understanding the news media consumption of tomorrow2014Inngår i: Communication électronique, cultures et identités: actes du colloque international organisé au Havre les 11, 12 et 13 juin 2014, Editions Klog , 2014, s. 521-528Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The digital society of today is dramatically different than that of a decade ago. During the past decades computers have gone from being clearly visible and at the center of attention to becoming an integrated and omnipresent part of our everyday lives. Today, individuals are catching up on a reality where homes, workplaces and society to a large extent consist of microprocessors that collect, analyze and present information. With regards to news and information sharing, it may seem that the users, thanks to greater ability to choose content, hold the upper hand in this process. However, since these data are constantly collected and analyzed for various purposes by companies, for example in the media industry, the users’ choices may not be as unconditional as they may think they are.Using the Swedish media market as an example, this exploratory paper discusses the interdependency between people’s choices and the market-driven choices made by the media industry in relation to news, and the impact these choices may have on media consumption and the media market.

  • 205.
    Appelgren, Ester
    et al.
    Södertörns högskola, Institutionen för samhällsvetenskaper, Journalistik.
    Salaverría, Ramón
    Universidad de Navarra, Pamplona, Spain.
    Interacting, but not contributing: fruitless news crowdsourcing in Spain2019Inngår i: Estudios sobre el Mensaje Periodí­stico, ISSN 1134-1629, Vol. 25, nr 2, s. 639-655Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Trusting the audience to contribute data, a practice called crowdsourcing, is one of several procedures of contemporary data journalism. While previous research has embraced the idea of crowdsourcing as a transparent way of engaging the audience, the journalistic practice of crowdsourcing is currently still limited. The Spanish case is particularly illuminating of the gap between theoretical expectations and reality. Although online news media in Spain stands out because of its commitment to exploring interactive possibilities, and its audience is especially prone to comment on news, this qualitative study presents evidence that Spanish data journalists remain quite reluctant to embrace crowdsourcing as a research method. Based on semi-structured interviews with five Spanish data journalists, this paper explains the motivations behind this reluctance as well as the challenges of activating the audience.

    Fulltekst (pdf)
    fulltext
  • 206.
    Appelgren, Ester
    et al.
    Södertörns högskola.
    Sara, Leckner
    Malmö högskola.
    Mejtoft, Thomas
    Umeå universitet, Teknisk-naturvetenskapliga fakulteten, Institutionen för tillämpad fysik och elektronik.
    Mediekonsumentens medvetna och omedvetna val: en nyckel till morgondagens mediekonsumtion2014Inngår i: Medie-Sverige: statistik och analys. 2014 / [ed] Ulla Carlsson & Ulrika Facht, Göteborg: Nordicom, 2014, s. 29-37Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 207. Applebaum, Anne
    et al.
    Akhvlediani, Margarita
    Ayres, Sabra
    de la Brosse, Renaud
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för medier och journalistik (MJ). Reimes University, France.
    Finnin, Rory
    Marson, James
    Oates, Sarah
    Universtiy of Maryland, USA.
    Ostrovsky, Simon
    Platt, Kevin M. F.
    University of Pennsylvania, USA.
    Pommerantsev, Peter
    Rulyova, Natalia
    University of Birmingham, UK.
    Weiss, Michael
    Yakovlyev, Maksym
    National University of Kyiv-Mohyla Academy, Ukraine.
    Zvereva, Vera
    Ukraine and the Global Information War: Panel Discussion and Forum2015Inngår i: The Russian media and the war in Ukraine / [ed] Julie Fedor ; Andreas Umland ; Andriy Portnov, Stuttgart: Ibidem-Verlag, 2015, Vol. 1, nr 1, s. 251-300Kapittel i bok, del av antologi (Fagfellevurdert)
  • 208.
    Aquilonius, Elisabeth
    et al.
    Malmö högskola, Bibliotek och IT (BIT).
    Gullberg, Maria
    Malmö högskola, Bibliotek och IT (BIT).
    Krook, Staffan
    Malmö högskola, Bibliotek och IT (BIT).
    Lindholm, Jessica
    Malmö högskola, Bibliotek och IT (BIT).
    Tapia Lagunas, Pablo
    Malmö högskola, Bibliotek och IT (BIT).
    Forskarservice - en utredning om Bibliotek och ITs verksamhet riktad mot högskolans forskning2008Rapport (Annet vitenskapelig)
    Abstract [sv]

    Syftet med utredningen är att skapa förutsättningar för att bättre kunna möta forskningens behov och bidra till att effektivisera forskarnas arbete genom stöd till informationsförsörjning och IT. Den organisationsövergripande dialogen, kartläggningen, de förslag och pilotprojekt som arbetats med inom utredningen, och som föreligger här är tänkt att kunna fungera som såväl beslutsunderlag som idébank till BITs framtida service för högskolans forskare.

    Fulltekst (pdf)
    FULLTEXT01
  • 209.
    Arifin, Anisa Aini
    et al.
    Uppsala Univ, Dept Civil & Ind Engn, Div Ind Engn & Management, Uppsala, Sweden..
    Lennerfors, Thomas Taro
    Uppsala universitet, Teknisk-naturvetenskapliga vetenskapsområdet, Tekniska sektionen, Institutionen för samhällsbyggnad och industriell teknik, Industriell teknik.
    Ethical aspects of voice assistants: a critical discourse analysis of Indonesian media texts2022Inngår i: Journal of Information, Communication and Ethics in Society, ISSN 1477-996X, E-ISSN 1758-8871, Vol. 20, nr 1, s. 18-36Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Purpose Voice assistant (VA) technology is one of the fastest-growing artificial intelligence applications at present. However, the burgeoning scholarship argues that there are ethical challenges relating to this new technology, not the least related to privacy, which affects the technology's acceptance. Given that the media impacts public opinion and acceptance of VA and that there are no studies on media coverage of VA, the study focuses on media coverage. In addition, this study aims to focus on media coverage in Indonesia, a country that has been underrepresented in earlier research. Design/methodology/approach The authors used critical discourse analysis of media texts, focusing on three levels (text, discourse practice and social practice) to study how VA technology was discussed in the Indonesian context and what power relations frame the representation. In total, 501 articles were collected from seven national media in Indonesia from 2010 to 2020 and the authors particularly focus on the 45 articles that concern ethics. Findings The ethical topics covered are gender issues, false marketing, ethical wrongdoing, ethically positive effects, misuse, privacy and security. More importantly, when they are discussed, they are presented as presenting no real critical problem. Regarding discursive practices, the media coverage is highly influenced by foreign media and most of the articles are directed to well-educated Indonesians. Finally, regarding social practices, the authors hold that the government ideology of technological advancement is related to this positive portrayal of VAs. Originality/value First, to provide the first media discourse study about ethical issues of VAs. Second, to provide insights from a non-Western context, namely, Indonesia, which is underrepresented in the research on ethics of VAs.

    Fulltekst (pdf)
    FULLTEXT01
  • 210.
    Arnberg, Klara
    et al.
    Stockholm University.
    Larsson, Mariah
    Stockholm University.
    Benefits of the in-between: Swedish men’s magazines and sex films 1965–19752014Inngår i: Sexuality & Culture, ISSN 1095-5143, E-ISSN 1936-4822, Vol. 18, nr 2, s. 310-330Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article analyzes a content-based market position that developed during the mid-1960s, situated in-between the pornographic and the accepted. By studying Swedish men’s magazines and sex films from the time period, the argument is made that these media products profited from both the advantages of pornography, i.e., more or less sexual explicit images, and the advantages of the accepted, i.e., common distribution channels, the possibility of having regular advertising and placards and being sold in ordinary kiosks (for magazines) and shown at ordinary cinemas (for films). For some years, this balancing act between the accepted and the pornographic was maintained, and the genre became enormously popular. From the mid-1970s onward, however, the division between pornography and accepted media became more clear-cut. The critique against pornography and the in-between media products intensified, and the uncertainty about pornography’s future role after the legalization in 1971 was followed by new ways of separating the pornographic from the accepted. While there were some differences between the two media formats, such as their degree of internationalization and the importance of advertising, they shared much in terms of content formulas and used the same female actors and models. It is argued that both formal regulations and the informal norms of gender and sexuality at the time and their change throughout the 1970s are key for understanding the development and the disappearance of the in-between genre.

  • 211.
    Arnberg, Klara
    et al.
    Stockholms universitet, Samhällsvetenskapliga fakulteten, Ekonomisk-historiska institutionen.
    Larsson, Mariah
    Stockholms universitet, Humanistiska fakulteten, Institutionen för mediestudier.
    Benefits of the in-between: Swedish men’s magazines and sex films 1965–19752014Inngår i: Sexuality & Culture, ISSN 1095-5143, E-ISSN 1936-4822, Vol. 18, nr 2, s. 310-330Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article analyzes a content-based market position that developed during the mid-1960s, situated in-between the pornographic and the accepted. By studying Swedish men’s magazines and sex films from the time period, the argument is made that these media products profited from both the advantages of pornography, i.e., more or less sexual explicit images, and the advantages of the accepted, i.e., common distribution channels, the possibility of having regular advertising and placards and being sold in ordinary kiosks (for magazines) and shown at ordinary cinemas (for films). For some years, this balancing act between the accepted and the pornographic was maintained, and the genre became enormously popular. From the mid-1970s onward, however, the division between pornography and accepted media became more clear-cut. The critique against pornography and the in-between media products intensified, and the uncertainty about pornography’s future role after the legalization in 1971 was followed by new ways of separating the pornographic from the accepted. While there were some differences between the two media formats, such as their degree of internationalization and the importance of advertising, they shared much in terms of content formulas and used the same female actors and models. It is argued that both formal regulations and the informal norms of gender and sexuality at the time and their change throughout the 1970s are key for understanding the development and the disappearance of the in-between genre.

  • 212.
    Arnberg, Klara
    et al.
    Stockholm University, Sweden.
    Larsson, Mariah
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).
    En playboys död: Hugh Hefner i backspegeln2018Inngår i: Ord och bild, ISSN 0030-4492, E-ISSN 1402-2508, nr 1, s. 31-40Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 213.
    Arnesson, Johanna
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    ‘Endorsing a dictatorship and getting paid for it’: Discursive struggles over intimacy and authenticity in the politicisation of influencer collaborations2024Inngår i: New Media and Society, ISSN 1461-4448, E-ISSN 1461-7315, Vol. 26, nr 3, s. 1467-1483Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Politically motivated criticism of influencer collaborations with certain brands or organisations is a recurring feature on social media today. This article is based on a case study of followers’ reactions to collaborations between two popular Swedish influencers and Visit Dubai, the governmental tourism agency of the United Arab Emirates. Drawing on critical discourse analysis, the article takes a sociocultural approach to influencer marketing and examines how and why politicisation happens in comments to sponsored posts. The analysis focuses on discursive struggles over the construction of political issues and the role of influencers, as well as expressions of perceived interconnectedness and authenticity work among followers. It offers a qualitative understanding of audience perceptions of influencers’ political power and responsibilities, and argues that this is connected to how the role of influencers is constructed – as a friend or as promotional professional.

    Fulltekst (pdf)
    fulltext
  • 214. Arnesson, Johanna
    Fashionable politics: the discursive construction of ethical consumerism in corporate communications, news media, and social media2018Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This thesis investigates the discursive construction of ethical consumerism – a notion that encompasses both ‘conscious’ consumption choices and ‘responsible’ corporate activities – in mediated discourses about fashion and clothing consumption in Sweden. Drawing on the discourse-historical approach within critical discourse analysis, the study provides an empirical examination of discursive elements in corporate communications, newspapers, and social media, which construct the market as the best solution to social injustice and climate change. The analysis focuses on how specific identities or practices are established as ethical, authentic, and legitimate, and investigates both the promises and the limits of discursive ethical consumerism in late capitalism.The thesis shows how corporate and journalistic discourses can be depoliticising, as they focus on consensus and collaboration rather than on conflicts of interest, and on individual responsibility and consumption choices rather than on political policy. However, the convergence of consumption and politics also becomes highly political when these issues are discussed by the audience. The approach places the thesis within a tradition of critical studies of branded politics and the neoliberalisation of contemporary societies, while still taking the reflexive awareness of politically motivated consumers into account.

  • 215.
    Arnesson, Johanna
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Influencers as ideological intermediaries: promotional politics and authenticity labour in influencer collaborations2023Inngår i: Media Culture and Society, ISSN 0163-4437, E-ISSN 1460-3675, Vol. 45, nr 3, s. 528-544Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Though politics and promotion have never been completely separate, the convergence between the two spheres is increasingly prominent in today's digital culture. To broaden our understanding of such promotional politics in social media, this paper examines commercial collaborations between four Swedish influencers and two private companies that offer services enabled by specific neoliberal reforms during recent decades, and how they strive to present these services in a way that attracts an affluent but socially conscious middle-class. It argues that the political potential of influencers might not always be as spokespersons for a cause or party, but rather as ‘ideological intermediaries’ who promote a lifestyle to be inspired by, and aspire to. The analysis identifies the discourses that influencers draw on to achieve the promotional and ideological outcomes of commercial collaborations, as well as the authenticity labour that they perform in the texts. Further, the paper analyses how notions of authenticity also impact audiences' interpretation and politicization of the collaborations, in the comment sections to the sponsored blogposts

    Fulltekst (pdf)
    fulltext
  • 216.
    Arnesson, Johanna
    et al.
    Department of Culture and Media Studies, Umeå University, Sweden.
    Carlsson, Eric
    Department of Culture and Media Studies, Umeå University, Sweden.
    Chapter 3. To see and be seen: Gynaeopticism and platform surveillance in influencer marketing2023Inngår i: Everyday Life in the Culture of Surveillance / [ed] L. Samuelsson, C. Cocq, S. Gelfgren, & J. Enbom, Nordicom, University of Gothenburg , 2023, s. 67-88Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The focal point of this chapter is surveillance practices in relation to social media influencers and digital marketing. The aim is to examine how the idea of surveillance can be expanded to include both social and technological aspects that work at individual, peer, and top-down levels. Drawing on examples from the Swedish influencer industry, we discuss and problematise how surveillance can be understood in such a context and how different dimensions of surveillance are manifested, exploited, and contested. The chapter concludes that participatory and gendered peer- and self-surveillance are an inherent part of influencer culture, and that the commercial success of influencers depends upon these practices. Similarly, platform surveillance and data mining connected to digital advertising can be understood as part of a contemporary commercialised surveillance culture that is closely related to both digital technology and the political economy of the influencer industry.  

    Fulltekst (pdf)
    Full text
  • 217.
    Arnesson, Johanna
    et al.
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Carlsson, Eric
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    To see and be seen: gynaeopticism and platform surveillance in influencer marketing2023Inngår i: Everyday life in the culture of surveillance / [ed] Lars Samuelsson; Coppélie Cocq; Stefan Gelfgren; Jesper Enbom, Gothenburg: Nordicom, 2023, s. 67-88Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The focal point of this chapter is surveillance practices in relation to social media influencers and digital marketing. The aim is to examine how the idea of surveillance can be expanded to include both social and technological aspects that work at individual, peer, and top-down levels. Drawing on examples from the Swedish influencer industry, we discuss and problematise how surveillance can be understood in such a context and how different dimensions of surveillance are manifested, exploited, and contested. The chapter concludes that participatory and gendered peer- and self-surveillance are an inherent part of influencer culture, and that the commercial success of influencers depends upon these practices. Similarly, platform surveillance and data mining connected to digital advertising can be understood as part of a contemporary commercialised surveillance culture that is closely related to both digital technology and the political economy of the influencer industry.

  • 218.
    Aronson, Gustav
    Högskolan i Skövde, Institutionen för kommunikation och information.
    Grafik för smartphoneskärmar: Grafisk anpassning mellan plattformar2013Independent thesis Basic level (degree of Bachelor), 20 poäng / 30 hpOppgave
    Abstract [sv]

    Syftet med det här arbetet har varit att undersöka vilken skillnad av visuell igenkänningsbarhet och perception av 3d-spelgrafik, adapterad från en datorskärm till en mobiltelefonskärm, ger det att använda relativ omskalning och förenkling av objekt i en scen jämfört med att justera färg, silhuett och ljussättning.

    Undersökningen genomfördes genom att adaptera en 3d-modellerad scen till två olika versioner. En av versionerna av scenen modifierades genom relativ omskalning och förenkling av objekt enligt tidigare forskning inom närliggande område. Den andra versionen av scenen modifierades genom att justera färg, silhuett och ljussättning baserat på teoretiska grunder. Dessa två versioner av en scen jämfördes sedan mot varandra, och mot original scenen de var adapterade ifrån, i en undersökning.  Undersökningen genomfördes med hjälp av en kvalitativ undersökning i form utav semistrukturerade intervjuer.

    Resultatet av undersökningen visar på viss skillnad i perceptionen av de olika versionerna.  De olika adaptionsversionerna får grafiken att uppfattas olika, och påverkar observationsvänligheten av grafiken. Resultatet visar även på att dessa metoder inte gör grafiken lättare att uppfatta jämfört med original scenen. 

    Fulltekst (pdf)
    fulltext
  • 219.
    Arriaza Ibarra, Karen
    et al.
    Complutense University of Madrid, Madrid, Spain.
    Nord, LarsMittuniversitetet, Fakulteten för naturvetenskap, teknik och medier, Institutionen för medie- och kommunikationsvetenskap.
    The Challenges of the Digital Society in the Nordic countries and in Spain: Democracy, Society, and Culture2022Collection/Antologi (Fagfellevurdert)
  • 220.
    Aruta, Jaycel Vi
    et al.
    Jönköping University, Högskolan för lärande och kommunikation, HLK, Medie- och kommunikationsvetenskap.
    Granberg, Amanda
    Jönköping University, Högskolan för lärande och kommunikation, HLK, Medie- och kommunikationsvetenskap.
    BeReal är verkliga livet, och det här livet är utan filter: En kvalitativ studie om unga kvinnors framställning och upplevelser på BeReal jämfört på andra sociala medier, såsom Instagram och Snapchat2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Showing a dream life on social media where everything must be nice, glamorous, and perfect has become the norm. The problem with this is that it creates pressure to show a fun and eventful life, which have shown that it can lead to comparisons. In 2020, the new app BeReal was launched whose basic idea is to break this norm. This study aims to investigate how users present themselves on BeReal and examine their experiences of the app in comparison to other social media platforms. 

     

    As it has shown that girls are affected most by comparisons, the study's sample is girls aged 18-25. The study has been carried out through ten qualitative conversational interviews which have then been analysed through a thematic analysis. The theories that have been used in this study is Goffman's two concepts, front stage and backstage, uses and gratification theory and the theory of social comparison. Additional previous research that is used to answer the purpose of the study are studies made on comparison on social media, self-presentation, how images are managed, social media structure and norms on social media.

      

    The thematic analyses have identified five main themes which are: Social media satisfies needs, Presentation differs on different social media, comparisons on social media, BeReal is more realistic and Perfect picture. The results show that the app does not show an accurate representation of the user’s life, but that the image is more accurate than the representation shown on Instagram. One conclusion that can be drawn is that BeReal's users take advantage of the features that have been designed into the new app. This is done by strategically publishing content that shows one's life as better and more eventful than it really is.

    Fulltekst (pdf)
    fulltext
  • 221.
    Arvidsson, Alf
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper.
    Barbro Klein (1938-2018)2018Inngår i: Fabula, ISSN 0014-6242, E-ISSN 1613-0464, Vol. 59, nr 3-4, s. 310-312Artikkel i tidsskrift (Fagfellevurdert)
  • 222.
    Arvidsson, Amanda
    Karlstads universitet.
    Cancel culture - amatörmässig rättvisa: En kvalitativ intervjustudie om unga vuxnas deltagande i internetfenomenet cancel culture på sociala medier2021Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    One measure that groups of people have always taken is to ostracize the individuals who violate social norms. This is still going on today, even in digital form. Cancel culture is a prevailing internet phenomenon on social media where public figures are banned from influence after saying or performing a, according to the public, wrongful act. The phenomenon is, to say the least, debated and controversial but nevertheless lacks detailed scientific work. The purpose of this study is to investigate young adults' participation in cancel culture and to shed light on possible reasons why they maintain and conduct cancel culture on social media, which was carried out with the help of the main question: 

    - How do young adults in Sweden reason about their participation in cancel culture on social media and why do they choose to participate?

    Through a qualitative interview survey, where eight respondents shared their experiences and opinions on their participation, conclusions could be drawn. The results showed that the interviewees' reasoning was positive in the sense that their participation had positive consequences for themselves and that they participate partly to show their position and thus be part of the group, and partly to command the justice that the judiciary has failed to do.

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  • 223.
    Arvidsson, Amanda
    et al.
    Karlstads universitet.
    Nyberg, Rebecka
    Karlstads universitet.
    Lidåsen, Emma
    Karlstads universitet.
    "I didn't know you were a lesbian": En kvalitativ textanalys om porträtteringen av homosexualitet i TV-serien Friends2020Independent thesis Basic level (degree of Bachelor), 5 poäng / 7,5 hpOppgave
    Abstract [en]

    The purpose of this study is to investigate how homosexuality is being represented in the popular TV-series ​Friends.​ This study consists of scenes from three different episodes in which homosexuality is the main theme. A qualitative text analysis will be the foundation of the essay where the semiotic tools denotation, connotation and anchoring are significant. The analysis applies several theories such as myths, stereotypes, masculine theory and performativity. Using these tools the scenes were examined and interpreted by the authors. The results suggests that homosexuality is abnormal and is not something that the characters strive for. Homosexuality is used to make fun of rather than for diversity purposes.

    Fulltekst (pdf)
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  • 224.
    Arvidsson, Louise
    et al.
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    Kutavicius, Ignas
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    Vänta! Vart tog alla idioter vägen?!: En kvantitativ studie av beteendemönster för politiskt åsiktsutbyte hos Facebook-, Twitter- och Reddit-användare2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Sociala medier har blivit en stor del av hur vi kommunicerar med varandra, det har även blivit en virtuell mötesplats för politiskt åsiktsutbyte. Men är kommunikationsmodellen för några av de mest populära sociala medieplattformarna som Facebook, Twitter och Reddit anpassade på så sätt att politiskt åsiktsutbyte kan ske på ett demokratiskt sätt? Eli Pariser (2011) menar att personliseringsalgoritmerna stänger in oss i en filterbubbla, men studier visar även på att användarna själva aktivt blockerar information som inte är i linje med deras egna åsikter vilket resulterar i selektiv exponering (Garrett, 2009). I denna studie har vi använt en enkätundersökning för att få insikt om Facebook, Twitter och Reddit användarnas beteende och interaktionsvanor med politiskt information och hur detta påverkar deras flöde. Resultatet visar på att majoriteten av användarna möter, delar och interagerar med politiska åsikter i linje med deras egna. De är däremot öppna för att möta, föra och diskutera politiskt åsiktsutbyte med personer vars åsikter inte går i linje med deras egna. De svarande vill se en mer balanserad åsiktsfördelning i deras flöde och diskussioner. Det fanns även en eftertraktan för en bättre utvecklad moderation för politisk diskussion på sociala medier då flera ansåg att dessa diskussioner ofta övergår till smutskastning samt en hatisk och fientlig stämning.

  • 225.
    Asai, Ryoko
    Uppsala universitet, Teknisk-naturvetenskapliga vetenskapsområdet, Matematisk-datavetenskapliga sektionen, Institutionen för informationsteknologi, Avdelningen för visuell information och interaktion. Uppsala universitet, Teknisk-naturvetenskapliga vetenskapsområdet, Matematisk-datavetenskapliga sektionen, Institutionen för informationsteknologi, Bildanalys och människa-datorinteraktion.
    Social Media Supporting Democratic Dialogue2013Inngår i: Ambiguous Technologies: Philosophical Issues, Practical Solutions, Human Nature, Lisbon: Autónoma University , 2013, s. 36-43Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The term of “social media” appears in newspapers and magazines everyday and the huge number of people use social media actively in daily life. Nowadays, in the highly Information and Communication Technology (ICT) developed country Japan, Japanese people enroll in social media and evolve a new way of communicating with others based on the “virtual” social distance between them. Among social media, Twitter has been focusing on its strong power as the tool for political change recent years. While Twitter has of-expressed problems as well as the “traditional” social media, it is characterized by the limited number of characters, strong propagation and optional reciprocity. Those characteristics stimulate people’s communication online and bring about opportunities for social interaction and democratic dialogue. On the other hand, in the deluge of information, we need to nurture skills to utilize critical and rational way of thinking through dialogue not only between others also between themselves internally. This study explores characteristics of social media and differences between “traditional” social media and Twitter, and how the difference affects people’s information behavior in Japan.

  • 226.
    Askanius, Tina
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3). Malmö universitet, Fakulteten för kultur och samhälle (KS), Rethinking Democracy (REDEM).
    On Frogs, Monkeys, and Execution Memes: Exploring the Humor-Hate Nexus at the Intersection of Neo-Nazi and Alt-Right Movements in Sweden2021Inngår i: Television and New Media, ISSN 1527-4764, E-ISSN 1552-8316, Vol. 22, nr 2, s. 147-165Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article is based on a case study of the online media practices of the militant neo-Nazi organization the Nordic Resistance Movement, currently the biggest and most active extreme-right actor in Scandinavia. I trace a recent turn to humor, irony, and ambiguity in their online communication and the increasing adaptation of stylistic strategies and visual aesthetics of the Alt-Right inspired by online communities such as 4chan, 8chan, Reddit, and Imgur. Drawing on a visual content analysis of memes (N = 634) created and circulated by the organization, the analysis explores the place of humor, irony, and ambiguity across these cultural expressions of neo-Nazism and how ideas, symbols, and layers of meaning travel back and forth between neo-Nazi and Alt-right groups within Sweden today. 

    Fulltekst (pdf)
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  • 227.
    Askanius, Tina
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3). Malmö universitet, Fakulteten för kultur och samhälle (KS), Rethinking Democracy (REDEM).
    Öresundsregionen som imaginär plats och utopiskt gränsland: Den dansk-svenska publikens upplevelse av TV-serien Bron2020Inngår i: Checkpoint 2020: Människor, gränser och visioner i Öresundsbrons tid / [ed] Markus Idvall, Anna Palmehag och Johan Wessman, Göteborg och Stockholm: Makadam Förlag, 2020Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 228.
    Askanius, Tina
    et al.
    Malmö universitet, Fakulteten för kultur och samhälle (KS), Institutionen för konst, kultur och kommunikation (K3). Institute for Futures Studies.
    Bjork-James, Sophie
    Reporting on white supremacy: Challenges of amplification, legitimization and mainstreaming for political journalism2021Inngår i: The Routledge Companion to Political Journalism / [ed] James Morrison; Jen Birks; Mike Berry, Routledge, 2021, s. 279-290Kapittel i bok, del av antologi (Fagfellevurdert)
  • 229.
    Asp, Johanna
    et al.
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    Jensen, Caroline
    Högskolan Väst, Institutionen för ekonomi och it, Avd för medier och design.
    Facebookgrupper och delade dokument: En kvalitativ studie om hur studenter använder sociala medier i sitt skolarbete2014Independent thesis Basic level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [en]

    The purpose of this study is to identify what different types of social media students use and how they actually use these different social medias in their school work.

    Social media is nowdays a natural part of our lives and our society. We interact and communicate with people close to us as well as people on the other side of the world. We use social media to seek information, receive news, share our thoughts, our lives and our opinions. Social media has gained a prominent place in our society and beginning to be used more and more in schools and education. The qualities of social media has been said to stimulate learning and in some cases improve efficiency and facilitate school work.

    We have chosen to look at how students in higher education are using social media in their studies. The selection group we focused on is the first-year students who take the program Digitala Medie at University West. We selected these students based on our own experience of the program, and we know that these students have a fundamental interest in social media and the use of these.

    The results show that Facebook is the social media most used by students, both in their individual work and group work. It is primarily the Facebook function "groups" that is used, where students created two groups for the whole class as well as small groups for each team project. Combined with Facebook groups students use Google docs as a place to collaboratively write texts and presentations. In the individual schoolwork Facebook is primarily used as a communication channel, both with teachers, classmates and team members. The students use the joint groups to contact the teacher by "tagging" them, to get help with problems and answers to questions, to get the support and motivation from classmates and to share essential information.

    In group projects, then current Facebook group works as an extension of the project, this is where most communication, decision-making and cooperation takes place. Even though the students indicate flaws and minor problems with both Google drive and Facebook in context with their school work, none of the participants search for new alternatives. The results of our study may be of interest for other students and teachers as it can inspire to new ways to apply social media in education.

    In our study, we present a variety of tools and services that students use in their schoolwork. We also present distinct examples of how students use different services and platforms. For teachers, this may be interesting to take note of when it can help them to understand students' needs regarding learning tool. It also provides an insight into how students communicate and interact outside the classroom

  • 230.
    Asplund, Therese
    Linköpings universitet, Institutionen för tema, Tema Miljöförändring. Linköpings universitet, Filosofiska fakulteten. Linköpings universitet, Centrum för klimatpolitisk forskning, CSPR.
    Communicating Climate Science: A Matter of Credibility: Swedish Farmers' Perceptions of Climate-Change Information2018Inngår i: The International Journal of Climate Change, ISSN 1835-7156, Vol. 10, nr 1, s. 23-28Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In the climate change communication literature, the concept of framing is increasingly used to discuss various understandings of climate change. This paper addresses the under-researched question of how specific audiences perceive the adequacy of various climate change frames, by exploring how Swedish farmers make sense of climate change information. Based on focus group discussions with farmers, the paper explores what communicators, or frame articulators, Swedish farmers perceive as central and how farmers judge the credibility of potential frame articulators in climate change communication. The paper discusses 1) the credibility of frame articulators as a matter of perceived independence and impartiality, 2) empirical credibility—whether farmers were able to verify the claims underlying climate change frames—as a matter of practical experience versus analytical reasoning, and 3) frame consistency, i.e. whether climate change frames correspond to audience beliefs and claims.

    Fulltekst (pdf)
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  • 231.
    Asplund, Therese
    Linköpings universitet, Institutionen för tema, Centrum för klimatpolitisk forskning. Linköpings universitet, Institutionen för tema, Tema vatten i natur och samhälle. Linköpings universitet, Filosofiska fakulteten.
    “Do you believe in climate change?” Swedish farmers’ joint construction of climate perceptions2014Manuskript (preprint) (Annet vitenskapelig)
    Abstract [en]

    Climate change has shifted from being regarded as an exclusively physical phenomenon to being a social phenomenon as well, entailing many interpretations and multidimensional frames. This shift calls for an understanding of how various audiences and segments of the public understand climate change. This paper analyses how Swedish farmers perceive climate change and how they jointly shape and construct their understandings. The agricultural sector is of special interest because it both contributes to and is directly affected by climate change impact. Through focus group discussions with Swedish farmers, this study finds that: 1) farmers relate to and understand climate change through their own experience, and 2) climate change is understood either as a natural process subject to little or no human influence or as anthropogenic. The article ends by discussing frame resonance and frame clash in public understandings of climate change, and by comparing potential similarities and differences in how various segments of the public make sense of climate change.

  • 232.
    Asplund, Therese
    et al.
    Linköpings universitet, Institutionen för tema, Centrum för klimatpolitisk forskning. Linköpings universitet, Institutionen för tema, Tema vatten i natur och samhälle. Linköpings universitet, Filosofiska fakulteten.
    Hjerpe, Mattias
    Linköpings universitet, Institutionen för tema, Centrum för klimatpolitisk forskning. Linköpings universitet, Institutionen för tema, Tema vatten i natur och samhälle. Linköpings universitet, Filosofiska fakulteten.
    Wibeck, Victoria
    Linköpings universitet, Institutionen för tema, Centrum för klimatpolitisk forskning. Linköpings universitet, Institutionen för tema, Tema vatten i natur och samhälle. Linköpings universitet, Filosofiska fakulteten.
    Framings and coverage of climate change in Swedish specialized farming magazines2013Inngår i: Climatic Change, ISSN 0165-0009, E-ISSN 1573-1480, Vol. 117, nr 1-2, s. 197-209Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Climate change is a fundamental challenge for which agriculture is sensitive and   vulnerable. The Intergovernmental Panel on Climate Change has identified relevant information as key to enabling appropriate climate adaptation and mitigation action. Information specifically directed to farmers can be found, for example, in specialized farming magazines.

    While recent studies examine how national news media frame climate change, less —if any —studies have addressed climate framings and coverage in specialized media. Media framings are storylines that provide meaning by communicating how and why an issue should be seen as a problem, how it should be handled, and who is responsible for it. This paper analyses the framings and coverage of climate change in two Swedish specialized farming magazines from 2000 to 2009. It examines the extent of the climate change coverage, the content of the media items, and the dominant framings underlying their climate change coverage. The study identifies: increased coverage of climate change starting in 2007; frequent coverage of agriculture 's contribution to climate change, climate change impacts on agriculture, and consequences of climate politics for agriculture; and four prominent frames: conflict, scientific certainty, economic burden, and action. The paper concludes that climate change communicators addressing farmers and agricultural extension officers should pay attention to how these frames may be interpreted by different target audiences. Research is needed on how specialized media reports on climate-related issues and how science-based climate information is understood  by different groups of farmers and which other factors influence farmers’ engagement in climate mitigation and adaptation.

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  • 233.
    Atanasova, Desislava
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för speldesign.
    Svensson, Oliver
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för speldesign.
    The Social Contract of Live Streaming: A Case Study of Four Streams on Twitch.tv2022Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    This thesis asks how unique and different communities are formed and facilitated on the live-streaming platform Twitch.tv. Twitch was chosen for its relevance to gaming culture as well as its higher number of users comparatively to its contemporaries. This was done by applying the Social Contract Theory, a philosophy based on the individual’s relationship with a governing state and why a person would choose to give up their freedom for safety. The philosophers Thomas Hobbes, John Locke and Jean Rousseau form the theoretical background, as well as influence the end results. The application of The Social Contract as an ideology by David Gauthier was also used as a tool to categorize and understand the complex relationships at play. For the study, a nethnographical approach was chosen, where we as researchers took a passive, observatory role by viewing four different variety gaming communities on Twitch, those being the streams of users xQcOW, CohhCarnage, 39daph and Forsen. While doing so we did not engage in chat, nor did we let our participants know of their participation in the study. An ethical evaluation was made around this fact and it was deemed ethical through a netnographic framework, produced by Robert V Kozinets. We immersed ourselves in the listed streams for two hours each during the month of May, while taking notes of the different interactions between the streamer and their community. This was done to give us the necessary data to determine the stream's explicit and implicit rules and how they are enforced, so that in the end we could categorize each community's unique Social Contract. This method was deemed a success after an analysis of the recorded data made it possible for us to define the Social Contracts at play in each of the communities, by viewing them through the philosophers’ different lenses as well as comparing them to one another. By doing so, it could be seen that all four of our streamers could be connected to Lockian theory, with their varying focus on cooperation and protection of property. Each community would also have differing relationships with their explicit and implicit rules, like CohhCarnage’s Hobbesian perspective on authority being valued highly comparatively to Forsen’s disregard for it. We believe that this method of research can be easily replicated by others, and that this research can support future endeavors in the fields of netnography, live-streaming communities and Social Contract Theory on Social Media platforms.

    Fulltekst (pdf)
    The Social Contract of Live Streaming: A Case Study of Four Streams on Twitch.tv by Desislava Atanasova & Oliver Svensson
  • 234.
    Attar, Klara
    et al.
    Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle.
    Montes, Louise
    Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle.
    Pandemi; Sveriges nya demokratiska problem?: En kritisk diskursanalys som undersöker Aftonbladets krisrapportering i relation till covid-19 och svininfluensan2020Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Syftet med uppsatsen är att synliggöra på vilket sätt Aftonbladet förhåller sig till mediernas roll som en granskande och informerande institution i relation till krisrapporteringen om pandemier. För att vidare offentliggöra vilka verktyg som tillämpas för att gestalta diskursen kommer studien att exemplifiera rapporteringen om svininfluensan A (H1N1) och covid-19 (SARSCoV-2).

    Studien utgår från följande frågeställningar:

    • Hur gestaltade Aftonbladet “coronapandemin” under 11 - 24 mars 2020?

    • Vilka likheter och skillnader kan man urskilja i aftonbladets rapportering om Svininfluensan? På vilket sätt kan dessa likheter och skillnader förstås utifrån tidigare forskning och begreppet krisrapportering?

    Metod och material: En kritisk diskursanalys som grundas på van Dijks riktning. Tillämpas med hjälp av ett frågeschema som förtydligas under rubriken; bilaga 1.

    Huvudresultat: Studiens huvudresultat belyser att det finns en pågående konflikt i medias roll som en granskande och informerande institution vid en samhällskris. Konflikten bidrar till att Aftonbladet inte gestaltar svininfluensan och covid-19 på ett balanserat sätt i relation till mediernas roll i samhället. Konflikten kan i förlängningen utgöra ett demokratiskt problem.

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  • 235. Attemark-Gillgren, Jenny
    et al.
    Snickars, PelleUmeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper. Umeå universitet, Humanistiska fakulteten, Humlab.
    Digitala modeller: teknikhistoria och digitaliseringens specificitet2019Collection/Antologi (Fagfellevurdert)
    Abstract [sv]

    Modeller är vanliga både på museer och inom universitet. På ett museum är en modell ofta en förminskad version av ett objekt, och inom vetenskapen representerar en modell en uppsättning entiteter med vissa egenskaper. Modeller skapar översikt; de balanserar mellan enkelhet och komplexitet där avvägningar mellan förklarande och förutsägande modeller är av vikt. I den här boken används modellbegreppet i flera betydelser: som fram- ställningssätt, som avbildning, som förenkling och som vetenskaplig metod. Boken utgår från ett forskningsprojekt som på olika sätt digitaliserat tre teknikhistoriska samlingar på Tekniska museet i syfte att undersöka digitaliseringens möjligheter och effekter. Carl Sahlins bergshistoriska samling är museets största enskilda arkiv, årsboken Daedalus var under många år museets främsta publicistiska organ, och Polhems trämodeller i det mekaniska alfabetet är ett av museets äldsta och mest omhuldade objekt. Boken visar att digitalisering av kulturarv inte är någon entydig verksamhet. Genom traditionell digitalisering (Sahlin), massdigitalisering (Daedalus), och 3D-digitalisering (Polhem) kan den digitala teknikens möjligheter användas för att generera ny kunskap om teknik- och industrihistoria.

    Fulltekst (pdf)
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  • 236. Attemark-Gillgren, Jenny
    et al.
    Snickars, Pelle
    Umeå universitet, Humanistiska fakulteten, Institutionen för kultur- och medievetenskaper. Umeå universitet, Humanistiska fakulteten, Humlab.
    Teknikhistoria och digitaliseringens specificitet: en inledning2019Inngår i: Digitala modeller: teknikhistoria och digitaliseringens specificitet / [ed] Jenny Attemark-Gillgren & Pelle Snickars, Lund: Mediehistoria, Lunds universitet , 2019, s. 11-41Kapittel i bok, del av antologi (Fagfellevurdert)
    Fulltekst (pdf)
    fulltext
  • 237.
    Audissino, Emilio
    University of Southampton, UK.
    2 Broke Girls: Flattening Kat Dennings into Max Black: Screenwriting and Character Complexity in the Sitcom Format2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The CBS sit-com 2 Broke Girls – aired for six seasons from 2011 to 2017 – represented a watershed in Kat Dennings’ career. Up to that moment she had been consolidating a resume as ‘indie rising star’ with a gallery of rebellious and emotionally-complex leading characters – for example, Nick and Nora’s Infinite Playlist (2008) or Daydream Nation (2010) – interspersed with comedic supporting roles in mainstream films – for example, The House Bunny (2008). And when she landed the principal role of Max Black in the CBS show she had two very different films in the pipeline: on the one hand To Write Love on Her Arms (2012), an indie drama about addiction and depression; on the other hand, the supporting comic-relief role in the Marvel kolossal Thor (2011). Dennings brought to 2 Broke Girl this dual screen-persona that she had been honing: talented dramatic actress plus witty comedian. The mix soon proved too complex to handle for a sit-com, particularly for a conservative/traditional one like 2 Broke Girls that neither sought the formal experimentations of Arrested Development nor would manage to give its characters the depth and development arc as The Big Bang Theory managed to. 

    Throughout the six seasons, the Max Black character made a journey from complexity to simplicity. In Season One Max is a young woman with a traumatic childhood, working two minimum-wage jobs and still struggling to make the ends meet, hiding her desperation behind a facade of cynicism and sarcasm. In Season Six Max has turned into a hollower stand-up-comedian-like type, a stereotypical street-smart slacker dispensing one-liners about booze, sex, and her own breasts. The writers kept the facade and dropped the inner anguish that was originally hidden behind it. Dennings gradually had to flatten out her original multifaceted persona into a more mono-dimensional type. The paper surveys this transformation process across the show, tracing how this ‘involution’ and ‘flattening’ may have been determined by the constraints of the traditional live-audience multi-camera sit-com format, as well as by some overly-formulaic writing and short-sighted decisions in both the planning of the multi-season development and in the design of the character arc – which might have had some weight in the eventual cancellation of the show.

  • 238.
    Audissino, Emilio
    University of Southampton, UK.
    A Gestalt Approach to the Analysis of Music in Films2017Inngår i: Musicology Research, Vol. 2, nr 1, s. 69-88Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In the field of Film-Music Studies, Cognitive Psychology remains perhaps the stronger approach as an alternative to Post-Structuralism and Cultural Studies. Yet, Gestalt Psychology has recently seen a revival of interest. Gestalt can offer enlightening concepts not only to theorise how music and visuals combine in an audiovisual whole, but also productive tools to analyse concrete instances in films. While Cognitivism tends to be concerned with single mechanisms of how the brain processes the perceptual data and gives much salience to the higher cognitive operations, Gestalt is concerned with the holistic nature of our experience and attributes more importance to the lower perceptual operations. As Donnelly points out, the combination of sound and visuals into an audiovisual whole has not so much to do with cognitive elaborations as with that hard-wired orientation of our mind towards completeness and stableness that is studied by Gestalt.

    Employing the Gestalt concepts of Isomorphism, Prägnanz and Dynamic Self-Distribution, I propose an approach to the analysis of music in films based on the similarity/difference between the configuration (gestalt) of the music and that of the other cinematic components (cinematography, editing, acting, lighting, colour palette...). A stabilised experience of the audiovisual whole – the basis for both a formalistic analysis and a critical interpretation – is reached when their encounter makes the gestalts of the cinematic components reciprocally reconfigure and fuse to produce a wider all-including gestalt: the macro-configuration of the audiovisual experience. This Gestalt approach – being based on the fusion of the aural and visual factors into a whole that is 'different from the sum of its parts' – is also helpful to supersede the long-standing visual bias that influences Film Studies, which leads to think of music as something that is externally added to either reinforce or subvert what is already there in the visuals.

    Fulltekst (pdf)
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  • 239. Audissino, Emilio
    Bringing The Nanny to the Italian Audience: Dubbing as Adaptation and Assimilation2017Inngår i: First conference of the Journal for Italian Cinema and Media Studies, American University of Rome, Italy, 9-10 June 2017, 2017Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    As widely known in Translation Studies, no translation comes without adaptation: translating means converting a source-language text into a target-language text bearing in mind that the cultural context of the target language is likely to be different. Adaptation is typically at work with those puns, proverbs or idiomatic expressions that are not translatable verbatim and thus require some semantic adaptation that should convey the same meaning under a different form – e.g. the meaning of the English “Touch wood!” is rendered in Italian by “Tocca ferro! [Touch iron]”

    Dubbing is a popular method of audio-visual translation – or better, of audio-visual adaptation – and the preferred one in such non-English-speaking countries as France, Germany and Italy. The major problem with dubbing is that, unlike subtitling, it replaces part of the film: the dialogue track. An audio-visual product can thus undergo radical and even utterly arbitrary adaptation operations without the audience in the target country noticing it, given the unavailability of the original dialogue track for comparison. Dubbing, more than subtitling, often imposes on the audio-visual product a more or less marked process of socio-cultural “assimilation” – in its original meaning of “making similar.” Through significant changes in the dialogue, the audio-visual work is adapted to make it more relatable to the target audience. In some cases, this assimilation leads to a radical modification of the original socio-cultural context of the work, an extreme “assimilating” adaptation that is often unnecessary semantically – a more faithful translation of the dialogue could have been perfectly understandable even without such drastic changes. In these cases the rationale is market-oriented: the audience may enjoy the audio-visual work better if they recognise in the story familiar elements and a world that is “similar” to theirs.

    The case study presented is the Italian version of the American TV series The Nanny (1993-1999) in which the Jewish characters were turned into Italian characters. This created incongruous formal consequences – e.g. mismatches between the new dialogue track and the original visual track – but assured a wide success on the Italian television.

  • 240.
    Audissino, Emilio
    University of Southampton, UK.
    "Commutation Tricks” and “Forced Marriages”: The Manipulation of the Soundtrack as a Tool for Film/Music Analysis.2018Inngår i: Cinergie, ISSN 2280-9481, Vol. 7, nr 13, s. 37-46Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The audiovisual object is like a product of visuals and sound, not a summation. Film analysis should track back to the separate factors and show how they multiply each other when combined. Music, in particular, can be an elusive element, especially for non specialists. But music can crucially perform a variety of functions in films, and its agency should therefore be taken in proper consideration during film analysis. After a preliminary discussion of some recent theory of how visuals and sound fuse into an audiovisual whole, the article presents the manipulations made possible by the videographic approach as a helpful analytical tool to draw attention to the music. Videographic manipulation can help analyse the factors separately to better understand how they combine. One effective way to make one notice the agency of music in a scene/sequence is to remove it or replace it with a musical piece of completely different mood. This latter operation is now made rather easy by the increased availability and user-friendliness of DVD ripping software and editing programmes. I discuss three examples of videographic manipulation of increasing sophistication. The first is the shower scene from Psycho which, in the 50th anniversary DVD, is also presented for comparison without the music track. The second example is a ‘mashup’ in which the door axing sequence from The Shining is turned into a silent-film-like chase gag. As a close, I provide my own videographic manipulation and discuss it: staying in the territory of The Shining I present an audiovisual clips of the opening sequence of the Kubrick with my annotations, and then one clip with the original music replaced with John Williams’s ‘Main Theme’ from Jurassic Park.

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  • 241. Audissino, Emilio
    Dubbing as a Formal Interference: Reflections and Examples2014Inngår i: Media and Translation: An Interdisciplinary Approach / [ed] Dror Abend-David, New York: Bloomsbury Academic, 2014, s. 97-118Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    Dubbing is widely used in European countries such as Germany, France, the ex-Soviet countries and Italy. Being a film scholar with a specialization in Hollywood cinema, I am used to watching Hollywood films in their original versions. Being a native Italian speaker, I cannot help but noticing the differences between the original films and the Italian dubbed versions. Inaccurate translations and bad dubbing can severely harm the film's original meaning on the one hand, and lead to aesthetics changes on the other– e.g., an actor's persona or a character's characterization can be modified if dubbed with a voice that is radically different from the original.

    In this chapter I discuss the theoretical issues and the aesthetic consequences of dubbing, both in general – when the translation is faithful and the dubbing is a good one – and in peculiarly bad cases – when either the translation or the dubbing, or both, are inaccurate.

  • 242. Audissino, Emilio
    Episodes and Real Rob: Celebrities at Their Worst.2018Inngår i: 4th International Celebrity Studies Conference ‘Desecrating Celebrities’, Università La Sapienza, Rome, Italy, 27-29 June 2018, 2018Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The paper examines two TV series based on self-desecration. In Episodes (2011–2017, five seasons) Matt LeBlanc plays a version of himself reminiscent of Friends’s Joey Tribbiani. The fictional LeBlanc is as dense and, in his acting profession, as inept as Joey was. Unlike Joey, fictional LeBlanc is (undeservedly?) successful and wealthy and, quite unlike Joey, he is not amiable but selfish, on the verge of being a sexual predator, prima donna-like capricious and vain, and totally unreliable. The series tracks the vicissitudes of two British screenwriters trying to adapt their critically-acclaimed BBC show into a product for the American market, suffering much damage to their artistic integrity, most of which caused by LeBlanc, imposed as the series’ star by the Head of the network. In Real Rob (2015–ongoing, two seasons) Rob Schneider – famous for his raunchy roles in such comedies as Deuce Bigalow: Male Gigolo (1999) – teams up with his real-life wife Patricia to produce a series in-between the reality and the sit-com. The show follows the daily life of the Schneider family – including the three-year-old daughter Miranda. Rob is depicted as pathologically egotistical, at times a squander at times a close-fisted, gasping for a relaunch of his waning career, envious of his wife’s increasing success, and cruelly bossy to his slave-like personal assistant.

    Both fictional LeBlanc and fictional Schneider mix traits from both their public and screen personae but deliberately and mercilessly push the tone towards the negative extremes – LeBlanc ends up in bed with his barely legal-age female stalker; Schneider forces his personal assistant to get a vasectomy in his stance. They come to embody the worst stereotypes associated with celebrities. In Episodes and Real Rob LeBlanc and Schneider have opted for a renewed visibility built on desecration. In the complex dynamics of stardom and fandom, fans have loved ‘heroes’ as well as ‘villains’; they have been mesmerised by grand gestures as well as by sordid scandals. What Episodes and Real Rob seems to point to is the fact that, no matter how desecrated, celebrities will still be followed and admired precisely because they are celebrities.

  • 243. Audissino, Emilio
    Film Music and Multimedia: An Immersive Experience and a Throwback to the Past2014Inngår i: Jahrbuch immersiver medien 2014 / [ed] Patrick Rupert-Kruse, Marburg: Schüren Verlag, 2014, s. 46-56Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Multimedia events are part of contemporary society. Music, theatre, and visual arts have been increasingly collaborating with each other to offer aesthetic experiences that are as immersive and multisensorial as possible. Film music has also entered the multimedia arena. Indeed, a very successful type of concert presentation of the film-music repertoire is the multimedia form: a live orchestra plays to projected film clips. This multimedia presentations of film music should be of interest not only to music scholars – film music has undeniably become a favourite repertoire to fuel concert programmes, and multimedia presentations are the most fitting form to present film music. Multimedia presentations should also be of interest to film scholars, as multimedia presentations are a revival of past film-viewing experiences that can be traced back to the silent era. The case study here is John Williams's conductorship of the Boston Pops Orchestra, which has been seminal not only because it brought more film music into concert programmes, but also highly influential for its experiments with the multimedia presentations.

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  • 244.
    Audissino, Emilio
    University of Southampton, UK.
    Innovation and Tensions: Italian Cinema and Media in a Global World, First International Conference, Journal of Italian Cinema and Media Studies2018Inngår i: Journal of Italian Cinema and Media Studies, ISSN 2047-7368, Vol. 6, nr 1, s. 123-127Artikkel, forskningsoversikt (Annet vitenskapelig)
  • 245.
    Audissino, Emilio
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för medier och journalistik (MJ).
    Police Squad!: The Zucker-Abrahams-Zucker Style VS the Substance of Traditional Television2022Inngår i: Substance/Style: Moments in Television / [ed] Sarah Cardwell, Lucy Donaldson, and Jonathan Bignell, Manchester, UK: Manchester University Press, 2022, 1, s. 178-201Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The David Zucker, Jim Abrahams, and Jerry Zucker trio – known as ‘ZAZ’ – gained wide attention with their disaster-movie parody Airplane! (1980), in which their trademark absurdist humour, cartoonish sight gags, non-sequitur dialogue lines, and deadpan comic reactions was on full display. Their next project was for ABC, a TV series that, similarly, spoofed the police-detective shows like M Squad (1957-1960) or Dragnet (1967-1970). The series had a very short life, getting cancelled after only six episodes. The reason for this decision was, reportedly, that it was a show that viewers had to watch in order to appreciate it. This seemingly paradoxical explanation is actually very accurate. TV in the early1980s was still considered more like a house-hold appliance than a source of art products – the ‘Golden Age of Television’ was still to come. And it was more akin to radio than to cinema: a voice-led medium. Viewers would actually listen to TV shows rather than closely watching them – the laugh track (which ZAZ refused to adopt for Police Squad!) was a key device not only to trigger laughter but also to alert the viewer (‘Look at the screen, now! Something hilarious is happening now!’). And ZAZ’s wordplays and absurdist dialogue demanded too much attention and elaboration compared to the TV shows of the time. Moreover, ZAZ’s layers of background sight gags and deep-staged comical details were too demanding to follow on the small size of an early 1980s TV screen. The same idea, brought to theatres as feature films – the Naked Gun trilogy – proved successful. The short-lived show, however, had a second life in the following decades. TV had been transformed in the meantime, with shows like The Simpsons (1989, ongoing, which in terms of sight gags and stylistic parody owes much to the ZAZ cinema) and Hill Street Blues (1981-1987) educating TV viewers that television could require the same attention as cinema did. The chapter examines this landmark TV show in terms of the clash between the ‘audiovisual disjunction’ style of ZAZ and the expectations of early 1980s TV. 

  • 246.
    Audissino, Emilio
    University of Southampton, UK.
    Review of Angela Ida De Benedictis’s La musica alla radio 1924-1954. Storia, effetti, contesti in prospettiva europea2018Inngår i: Journal of Italian Cinema and Media Studies, ISSN 2047-7368, Vol. 6, nr 3, s. 432-433Artikkel, omtale (Annet vitenskapelig)
  • 247.
    Audissino, Emilio
    University of Southampton, UK.
    Sound-logos, Olympics, Presidents, and Other Celebrations: When John Williams Scores for the Mass Media2019Inngår i: Sounds of Mass Media: Music in Journalism and Propaganda: Program with abstracts, 2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    John Williams is universally renowned and celebrated as the Maestro of the Movies, one of the most successful and accomplished composers for the screen, a reputation built on and consolidated with an impressive string of collaborations with top directors, seminal contributions to some of the most famous cinematic hits of all times, and countless awards and accolades. Yet, there are many more sides to Williams’s artistry. He has also a considerable background and training as a jazz-man; he is also a respectable and prolific composer of concert pieces that are entering the standard repertoire; he has been the Principal Conductor and Music Director of the Boston Pops Orchestra – ‘America’s Orchestra’ – establishing himself as a proficient and sensitive conductor in both the ‘classical’ and popular arena. This talk presents and explores another facet of his career, that of America’s unofficial ‘Laureate Composer’.

    On many occasions, Williams has been the one to call when some landmark in the nation’s history had to be musically celebrated. He has been a visible composer for the Mass Media too, first of all with the signature sound-logo he composed for NBC News, which has been opening the newscasts of one of America’s top networks for more than thirty years. His role as leader of the Boston Pops has caused him to be involved – in both capacities, as conductor and composer – in some of the country’s most momentous events, like the orchestra’s own centennial in 1985 (with a nation-wide televised concert at the Lincoln Memorial in Washington D.C.), the re-dedication of the Statue of Liberty in 1986 (with President Reagan in attendance), the centennial edition of the Olympic Games held in Atlanta, GA, in 1996, the 2000 New Year’s Eve celebration in Washington D.C. with President Clinton, and the inauguration of President Obama’s first term in 2008, plus other appearances, including more Olympics, presidential campaigns, and musical contributions to state visits. 

    This vast exposure has made him a star composer and a revered figure, but also – for a long time – a maligned and suspicious one. His association with both the ‘imperialistic’ and ‘hollow’ Hollywood films – in particular with some of the key oeuvres of the ‘Reaganite cinema’ – and some of the mass-media events in Reagan’s era might have had a major part in this. He was often rancorously dismissed as a phoney artist in some quarters – notably by high-brow music critics – or identified by some from the culturalist circles as an agent of reactionary ideology, a skilled composer but also a more-or-less complicit endorser of the conservative agenda of those years. The talk surveys Williams’s main contributions and achievements in the field of mass-media and public-event music, and also discusses and problematises the potential/alleged propaganda implications of his music. 

  • 248. Audissino, Emilio
    The Aesthetic Cost of Marketing: The Economical Motivation of Pop Songs in Films2013Inngår i: Pratiques et esthétiques: Le coût et la gratuité. Tome 3 / [ed] Catherine Naugrette, Paris: L'Harmattan, 2013, s. 41-46Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    David Bordwell and Kristin Thompson – in Narration in the Fiction Film and Breaking the Glass Armor – list four types of motivation to explain the presence of a given device – e.g., camera movement, lightning pattern, chromatic contrast, etc... – in the film form: compositional motivation, artistic motivation, realistic motivation and transtextual motivation. This set of heuristic tools explains how the film works and how it has been constructed from an aesthetic, ars-gratia-artis point of view, that is, how an artwork is formally and narratively understood by the active spectator. However, cinema – and Hollywood cinema in particular – is indeed an Art, but also an Industry. Bordwell and Thompson's set of motivations is good to understand the film as an Art object. Though, in order to understand it as an industrial commodity, a fifth type seems to be required: economic motivation. Most technical and formal changes in film history can be properly explained by means of an economical approach – see Douglas Gomery's use of the economic “Theory of Technological change” for his account on the coming of sound – rather than by means of a purely aesthetic one. Such a case is the relationship between cinema and songs, particularly in the Sixties and Seventies, when pop scores and compilations  replaced the classical symphonic scoring. The paper focusses on the economic motivation of this pop music craze in the American cinema of that decade, trying to point out how the use of songs was mostly a marketing strategy: to advertise the song via the film, to advertise the film via the song – by its presence on the radio or in the music stores –, to maximise the profit by having the film industry owing also the music industry and thus – by a synergistic cross-promotion – getting money from both markets. In most cases, this market-oriented approach had quite big an aesthetic cost: that of stopping the narration in order to let the song play, which – in the worst instances – has nothing to do with the narrative. A brief history of the relationship between songs and films are traced – mostly with references to Rick Altman's Silent Film Sound, Jeff Smith's The Sound of Commerce, and James Wierzbicki's Film Music. A History –, with the aim of showing that the explicitly visible instances of the Sixties and Seventies are only the “tip of the iceberg”, the peak moment of a longer story: the massive aesthetic change of the period can be explained by the economic and industrial revolution that Hollywood had to face after the dismantlement of the Studio System in the Fifties. The main difference between the use of songs in classical cinema and their use in the Sixties is that, while in the former system songs were diegetically placed and carefully and coherently integrated in the narrative, in the latter case songs were also used non-diegetically, without much concern about their consistency, which resulted in the baring of the sole economic motivation.

  • 249. Audissino, Emilio
    The Function of Mickey-Mousing: A Re-assessment2020Inngår i: Sound and Image: Audiovisual Aesthetics and Practices / [ed] Andrew Knight-Hill, New York: Taylor & Francis Group, 2020, s. 145-160Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [en]

    Film Studies have long been characterised by a visual bias (“image first, sound later”) and a “content-oriented” approach (“What is the message?”) that, when dealing with music, have favoured “interpretation” (what music communicates) over “analysis” (the consideration of the full gamut of music’s functions). When interpretation is favoured, attention is primarily given to music that passes some meaning (“commentary”, “counterpoint”, “asynchronism”…). Conversely, music that simply “accompanies” and is “synchronous” is characteristically deemed to be of lesser interest. This chapter offers a re-assessment of the formal agency of the often maligned “Mickey-Mousing”, the most extreme type of parallel and synchronous accompaniment. Mostly dismissed as a hollow and banally-subservient musical mirroring of the visual action, Mickey-Mousing can, on the contrary, contribute to the audiovisual “whole” in a number of more or less subtler ways and levels. Its agency is especially important in the orientation and connection of the viewers with the filmic space, in both visual and tactile terms.

  • 250.
    Augustsson, Sofia
    Södertörns högskola, Institutionen för kultur och lärande.
    Verklighetsflykt genom paradiset: En kvalitativ receptionsstudie av Paradise Hotel2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
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