Dissertations / Theses: 'Entertainment and media law'

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Wikstrand, Greger. "Improving user comprehension and entertainment in wireless streaming media : introducing cognitive quality of service." Licentiate thesis, Umeå University, Computing Science, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-916.

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In future mobile networks service quality might be poor. A new measure is needed to be able to assess services in terms of their effectiveness and usefulness despite their lacking visual appeal. Cognitive Quality of Service is a way to measure the effectiveness in use of a networked service.

This thesis introduces Cognitive Quality of Service and puts it in relation to other ways to measure quality in streaming media. Through four studies the concept is used to improve multicast performance in a WLAN, to assess the effectiveness of simple animations compared to video, to build an application that fuses video and animations and to assess the differences between various levels of streaming video quality.

Guidelines on how to measure Cognitive Quality of Service are introduced based on a review of available literature and later analyzed in light of the studies presented in the thesis. It turns out that the guidelines are sound and should be used as a basis for assessing Cognitive Quality of Service.

Finally, the usefullness of Cognitive Quality of Service is analyzed. It turns out that it is especially useful when comparing different media, e.g. animations and video. In the video only case even bit-rate might be a useful predictor of subjective quality.

I framtiden kommer användare att titta på videosekvenser i trådlösa apparater, exempelvis mobiltelefoner. På grund av tekniska faktorer som störningar och på grund av kostnaden för det kommer den kvalitet som de erhåller inte att vara jämförbar med till exempel den kvalitet som kan erhållas när man tittar på tv. Trots det kan man anta att sådan video kan vara intressant och upplysande.

I avhandlingen introduceras och används begreppet Cognitive Quality of Service (CQoS) - kognitiv servicekvalitet. Begreppet definieras av att den överföring som ger den bästa förståelsen och känslomässiga reaktionen också har bäst CQoS. För att mäta CQoS bör man följa vissa riktlinjer, särskilt som det är svårt att mäta förståelse i samband med att man tittar på video.

Författaren har tillsammans med medarbetare tittat på hur man kan förbättra förhållandena för själva radioöverföringen (studie I). Genom en algoritm som ger multicast-paket bättre skydd mot kollisioner visas att man kan erhålla förbättrad överföringskapacitet för strömmande video i ett trådlöst nätverk.

Animeringar är ett alternativ till video som kräver låg bandbredd. I ett experiment har man undersökt hur väl animeringar står sig mot video av olika kvalitet när det gäller att upplysa användaren och ge en bra upplevelse (studie II). Det visade sig att animeringar var bättre för förståelsen medan video gav en bättre känslomässig upplevelse. Vanare åskådare föredrog videon medan ovanare åskådare föredrog animeringarna.

Frågan som ställdes var då hur man kunde kombinera respektive mediums fördelar för att få en så bra blandning som möjligt. Å ena sidan var animeringarna billiga och lätta att förstå medan videon var dyrare och mer intressant. Ett prototypgränssnitt skapades. Där kunde användaren själv välja vilken mix mellan de två alternativen som skulle visas (studie III). Det visade sig att försökspanelen föredrog video och dessutom ville ha mer information om spelare och match.

Trots animationernas förträfflighet kan man anta att det ändå är video som kommer att dominera i framtiden. En sista studie genomfördes för att se om man kunde finna liknande resultat vid olika kvalitetsgrader i video som man tidigare hade funnit mellan video och animeringar (studie IV). Det visade sig att så länge man höll sig till ett format var sambanden enklare. Mer var helt enkelt bättre upp till en viss gräns där det inte tillförde mer att öka överföringsresurserna för videon.

Sammanfattningsvis visar studierna att CQoS kan ge värdefull designkunskap. I synnerhet när man jämför olika presentationsformer som i det här fallet animeringar och video. Nästa steg blir att gå vidare med att applicera CQoS i tvåvägskommunikation, särskilt i Conversational Multimedia (CMM) ungefär bildtelefoni där det är särskilt goda möjligheter att sammanställa en för omständigheterna anpassad mediamix.

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Reisfield, Alexander. "The De Havilland Law - How One Woman stood up to the Hollywood System." Scholarship @ Claremont, 2018. https://scholarship.claremont.edu/cmc_theses/2088.

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Olivia de Havilland’s legal victory over Warner Brothers in 1943 set a new precedent for labor relations in Hollywood. Not an isolated piece of litigation, the resulting law now is referred to by her name. It was the culmination of long struggle for actors in the studio system for representation and fair treatment under the law. Much of the work during Hollywood’s studio era was undertaken by women. They used their positions on screen both to appeal to their individual audiences. More than any other, the female star defined the pictures they performed in and the brand of the studios that employed them. Hollywood’s studio system bound stars like de Havilland contractually for a period of up to seven years, which was the legal limit at the time. This did not stop studios from abusing those legal limits through loopholes like the suspension clause. In 1943, the suspension clause was what Warner Brothers used to keep Olivia de Havilland beyond the seven calendar years she had worked for the studio. Actors rejoiced when the powerful suspension clause was declared unlawful by de Havilland’s suite. With the De Havilland Law, actors were entitled to independence that had previously be reserved for the lucky few.

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Wright, Kelly E. "The Reflection and Reification of Racialized Language in Popular Media." UKnowledge, 2017. http://uknowledge.uky.edu/ltt_etds/18.

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This work highlights specific lexical items that have become racialized in specific contextual applications and tests how these words are cognitively processed. This work presents the results of a visual world (Huettig et al 2011) eye-tracking study designed to determine the perception and application of racialized (Coates 2011) adjectives. To objectively select the racialized adjectives used, I developed a corpus comprised of popular media sources, designed specifically to suit my research question. I collected publications from digital media sources such as Sports Illustrated, USA Today, and Fortune by scraping articles featuring specific search terms from their websites. This experiment seeks to aid in the demarcation of socially salient groups whose application of racialized adjectives to racialized images is near instantaneous, or at least less questioned. As we view growing social movements which revolve around the significant marks unconscious assumptions leave on American society, revealing how and where these lexical assignments arise and thrive allows us to interrogate the forces which build and reify such biases. Future research should attempt to address the harmful semiotics these lexical choices sustain.

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Austin, Alexander Chance. "Expectations across entertainment media." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39157.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 131-132).
An audience's satisfaction with an entertainment product is dependent on how well their expectations are fulfilled. This study delves into the implicit contract that is formed between the purveyor of an entertainment property and their audience, as well as the consequences of frustrating audience expectations. Building on this model of the implicit contract, the creation of expectations through marketing, character and world development, and the invocation of genre discourses are examined through the lens of the television shows House M.D. and Veronica Mars. The issues surrounding the dynamic equilibrium between novelty and stability in serial entertainment and entertainment franchises brought up by these initial case studies are examined in further detail through the collectible card game Magic: the Gathering, and the complexity of the interactions between different types of expectations are demonstrated via a study of the superhero comics serials 52 and Civil War.
by Alexander Chance Austin.
S.M.

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Vollans, Edwin. "Cross media promotion : entertainment industries and the trailer." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/53382/.

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The turn of the millennium bore witness to a phenomenon: the use of promotion trailers for a variety of products. Both stage theatre and the publishing industries came under the media spotlight for using trailers to promote their wares throwing into sharp contrast the normativity of film trailers. Despite increased academic study of the film trailer, few have considered the trailer outside the industrial context of the film industry. Coupled with this trend in focus, is the tendency within the literature to suggest that the trailer exists as a unique form because they exist in the same medium as the product that promote. Added to this is the tendency to rely on an a priori definition that is not explored fully. By way of intervention with these key issues, this thesis considers the aesthetics and emergence of the trailer in entertainment industries other than film and serves as a counterpoint to the cinema centric imbalance within the study of the trailer. Using a corpus of audiovisual texts identified as trailers through UK press websites, this thesis draws from the popular understanding of the trailer in order to explore the historical and industrial trajectory of these other forms of trailer. Taking the form of case studies organised by the industry in which the trailer's product operates this thesis explores the historical context in which the trailer emerged and the aesthetic trends at work in the current trailer therein. In exploring both the history and the aesthetic representation of the trailer in the industry this thesis moves the study of trailers away from repetitive debates surrounding the film industry and opens up the possibility of trailers as a cultural phenomenon and simultaneous marketing trend. Through providing a grounded understanding of the trailer's use within contemporary entertainment industries, the thesis argues that the term 'trailer' has moved beyond advertising for films. It suggests the trailer has come to typify promotion for any product that is at its core, is an experience. In doing so thesis presents a much needed counterpoint and challenge to cinema-centric analysis of the trailer.

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Barbrook, R. "Entertainment as accumulation : A political economy of the mass media." Thesis, University of Kent, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380585.

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Rütt, Benjamin. "Location and size distribution of entertainment and arts establishments." Thesis, Jönköping University, JIBS, Economics, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12016.

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This thesis analyzes the location and size distribution of arts and entertainment industries in Sweden as well as the size distribution of Swedish labor market regions. Several sectors of the arts and entertainment industry are investigated empirically by comparing their location and overall capacity to the size of their respective markets and testing their conformity with the rank-size rule. The analyzed establishments are opera houses, football stadiums, concert performances and movie theaters. The results are brought in context with transportation cost, market size, subsidies and optimal firm size. In conclusion, most arts and entertainment industries tend to locate close to urban agglomerations, their distributions in general follow the distribution of the population as determined by the labor market regions. Exceptions occur when the identified market differs significantly from the general population or when large amounts of subsidies distort the natural distribution

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Novozhylova, Olga. "Media entertainment and adolescent boys' attitudes about aggression, an exploratory study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62558.pdf.

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Fröjdh, Eira, and Saad Elhachimi. "Lush authenticity : The construction of authenticity in branded entertainment." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44282.

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This thesis examines how authenticity is articulated and communicated in contemporary forms of branded entertainment. In a digital media landscape, participatory culture and co-creation has become of primary importance, leading to ‘authentic’ and ‘amateurist’ characteristics being strategically implemented in advertisements and professional media content production. At the same time, research on brand communication and authenticity have overlooked the many ways in which brands extend and mediate authenticity, especially in relation to symbolism and visual semiotics. In this thesis, we explore the way symbolic meaning is constructed in We the Bathers, a documentary produced in 2019 by director Phoebe Arnstein in collaboration with Lush, a cosmetic brand known for their vegan-friendly and cruelty-free products. The study was conducted using visual analysis which allows us to approach the study object in a qualitative and exploratory way. We then apply the theoretical frameworks of cultural myths and digital storytelling to analyze the effects and strategies employed in We the Bathers to communicate authenticity through the filmic medium. By extending Bell & Leonard’s framework for evaluating organizational storytelling, which highlights the role of the communicative codes of affinity, authenticity andamateurism, we argue that the overall notion of authenticity in video content produced for digital environments can be determined through either of these lenses. By examining the intention of the sender in terms of genuineness (authenticity), relatability (affinity), and techniques which lends the story a sense of ‘realness’ (amateurism), our findings indicate that authenticity can be viewed as a tool for producing certain media effects as opposed to arising from the mediation of inherent personality traits.

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Magee, Sara C. "That's Television Entertainment: The History, Development, and Impact of the First Five Seasons of "Entertainment Tonight," 1981-86." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217427973.

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Kwok, Oi-yan, and 郭靄恩. "Media reporting on psychosis : a study of entertainment television in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206599.

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Background Mental illness is one of the most stigmatized conditions in our society. Since 1990, Yankelovich [1] revealed that the mass media, including television and broadcast news, are the primary source of information about mental illness. The media are believed to play a major role in contributing to mental illness stigma via the images they portray of characters with mental illness as well as the misinformation communicated, inaccurate use of psychiatric terms, and unfavorable stereotypes of people with mental illness according to Wahl’s study [2]. However, little is known about the influence of Hong Kong media especially the TV broadcast. Therefore, this study is going to investigate Cantonese TV dramas which related on psychosis, which strongly influence the public recognition of the illness. Objective The objective of this study is to1)analyze the selected terms ‘ 痴線’ , ‘精神病’ ‘思覺失調’ and ‘精神分裂’ which were related to mental illness that present in the target dramas; 2) to investigate negative images of mental illness in the Cantonese TV dramas; 3)to investigate the relationship between the characters and the terms. Method This study investigated the domestic free television program service licensees TVB about the drama series they provide within 2001 to 2012 which broadcasted during 8pm to 10:30pm. The dramas in year 2001, 2002, 2006, 2007, 2011 and 2012 would be chosen. The terms‘ 痴線’ , ‘精神病’ ‘思覺失調’ and ‘精神分裂were selected to be analyzed. All episodes were classified by category and analyzed quantitatively. Results the term of痴線still remained the highest than other terms within the same period of these six selected year. In year 2007, the term of ‘思覺失調’ started being used 0.7% but still in a low frequency comparatively to 痴線13.3% and 精神病1.9Similar results were found in the year of 2011 and 2012. There was a decreased in using 痴線, from approximately 30 % to 10% from 2001 to 2012. There was also an obvious decrease in using the term of ‘精神病’ from 10% to 1% from 2001 to 2012. In general, many of the references to mental illness were about a character's actions in a situation rather than a character's nature or mental state. Characters who received these terms were depicted negatively in the majority of occurrences. Conclusion The stigma of psychiatric illness is a negative factor in its presentation, detection and treatment. The mass media’s power to impact public perception and the degree to which people are exposed to media representations makes the mass media one of the most significant influences in developed societies. Many studies including this study showed that the media tends to skew reality. People with mental illness were depicted in negative ways and it damaged their self-esteem as a result, they would not going to seek treatment.
published_or_final_version
Psychological Medicine
Master
Master of Psychological Medicine

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Ball, Martyn Norman. "Noise law in England and Wales : a comparative study of the current common law and legislative control of noise pollution." Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366447.

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Pearce, Matthew. "That's entertainment! This is war! : the state and the media in volatile times /." Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arp359.pdf.

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El, Mkaouar L. "Power, Arab media Moguldum & gender rights as entertainment in the Middle East." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9x245/power-arab-media-moguldum-gender-rights-as-entertainment-in-the-middle-east.

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Discourse is a giant field of research and gender related rights are still a disputed area of thinking. Thus, when Arab transnational satellite televisions produce dialogues, images, stories and narratives about the disputed “universal” gender rights in the Middle East, the big questions remain how and why. According to De Beauvoir (1949), one becomes woman and to Butler (1990) one is not born a gender at all but is “done” and “undone” to become one via discourse. Islamic feminism speaks of a cultural/religious specificity in defending women rights and even gender diversity based on new Quranic interpretations. The gender, “Al-Naw’u”, remains synonym to sex “Al Jins” as gender and queer theories never developed in Arabic in tandem with the European institutions or the theories of the19th century– especially those ideas emerging from studies of the mental asylum. This research tries to understand gender related “rights” and “wrongs” as manifest in the discursive institutions owned by media mogul Prince Al Waleed Ben Talal Al Saud. The trouble of such a study is lexical, ideological and institutional at the same time. Since we lack a critique of the discourses and narratives addressed in the pan-Arab satellite channels, in general it is difficult to understand their significance and influence in everyday life practices. What language is used to speak of gender rights or wrongs? Which ideology is favoured in this practice of legitimisation and/or policing? Using case studies, CDA of social and religious talk shows, narrative analysis of Arabic cinemas, this research adapted triangulation to show the complexity of conversing and narrating gender related content at the micro and macro levels within an institution of power. Using semi-structured interviews from fieldwork in Egypt (2009) and Lebanon (2011), archive research and online ethnography, the research exposes the power structure under which gender discourses evolve. It emerges that gender content is abundant on the Pan Arab satellite space, “manufactured” on talk shows and plotted tactfully in the cinematic “creative-act”. The result is a complex discourse of gender content that scratches the surface calling for interpretation. So how and why do gender rights and wrongs find place on Prince Al Waleed’s Media Empire?

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Jain, Parul. "Entertainment Media Narratives and Attitude Accessibility: Implications for Person Perception and Health Communication." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306380075.

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Moriarty, Jaclyn Elisabeth. "The interaction between media law and the child, child law and the media." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624191.

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Tallyn, Ella. "Applying narrative theory to the design of digital interactive narratives with the aim of understanding and enhancing participant engagement." Thesis, University of the West of England, Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327430.

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Franklin, Adam C. "Headshot!: An Exploration of the Phenomenon of Violent Video Games." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182264608.

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DeLauder, Rachel Cathleen. "Unburdened by Objectivity: Political Entertainment News in the 2008 Presidential Campaign." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/32827.

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This study analyzes 2008 presidential election coverage on The Daily Show with Jon Stewart and The Colbert Report to determine how they confront the tension between the genres of news and entertainment. To this point, much of the scholarly work on political entertainment news has focused on examining its effects on viewersâ political attitudes and knowledge. A rhetorical analysis reveals the actual messages they convey and the strategies they employ to discuss contemporary American politics. Through comedic devices such as satire and parody, The Daily Show and The Colbert Report offer a venue for social commentary and criticisms of power at a time when traditional venues are dissipating, and these shows provide a place for serious political discourse that encourages dialogue that promotes civic engagement.
Master of Arts

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Lei, Ming. "Entertainment education and gender how do they contribute to the prevention of teen and unplanned pregnancy? /." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Summer2008/m_lei_072108.pdf.

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Pieterse, Petrus Jacobus. "A historical examination of disruptive innovation management in the global media & entertainment industry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/19979.

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Thesis (MScEng)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: "The goal of university research is the creation, dissemination, and preservation of knowledge." – Steven E. Hyman, Provost of Harvard University 2001–2011 The Department of Trade and Industry recently identified the media and entertainment industry as a strategic sector in South Africa because of its growing contribution to economic development through both local and foreign investments, export opportunities and job creation potential, as well as the significant spill-over possibilities in industries like tourism and retail usually associated with emergent industries. However, deficient research and development has been identified as one of the notable constraints to ensuring sustainability and competitiveness of local cultural industries, in which annual expenditure currently amounts to R100 billion. This emergent nature of South Africa’s cultural industries, their strategic importance as part of South Africa’s growth path as dictated by the government and the current dearth of academic literature concerning entertainment technology innovations instigated a three-tiered research objective: First, to determine whether this industry is a legitimate subject for engineering management study by examining its technology-foundation; second, to examine the impact which technological change has historically had on the industry, building on theories by Meza (2007) and Burgelman and Grove (2007); and thirdly, to provide an analysis of the global trend of contention and convergence between content creators and technology companies. Integrating these objectives into one deliverable, the ultimate aim of this study is to establish a synthesised knowledge base on the media and entertainment industry for the Department of Industrial Engineering with specific emphasis on the intersection between technological innovation and business model innovation. A hybrid multiple-case study research approach is utilised to answer eight research questions which contribute to this research goal. Four notable insights gained from answering these are (1) entertainment companies have historically reacted to technological change in a very particular manner, reducible to a four-phase process: invention, ascension, contention and sensation – referring to the observation that incumbent organisations’ response to disruptive innovations is usually one of trepidation, a reaction which leads to legal battles and subsequent contention between technology and media content companies yet simultaneously providing opportunity for inter- and intra-industry convergence and for new business models to be developed; (2) cross-boundary disruptors are those organisations which have the capability of influencing not only inter-industry organisations but also how business is conducted in entirely-different industries; (3) industry effects account for more than 60% of profit variance in the Entertainment and Lodging economic sector, justifying a study of entertainment companies from an industry perspective; and (4) because of digitalisation, the Internet, exponentially increasing computing power and the proliferation of networking capabilities, the media and entertainment industry is transitioning from a business model which is based on media-directed “push” relationships, fragmented audiences and the provision of passive consumption to one which provides ubiquitous immersive experiences, multi-device operability and value-based content which may be customised to consumer requirements. As Porter (2008b) suggests, a historical analysis may prove to be not only informative but also instructive. The synthesised knowledge base and deductions made from this historical examination of disruptive innovation management in the media and entertainment industry may consequently be used as a basis for future research, for which a few possibilities are offered.
AFRIKAANSE OPSOMMING: "Ons sal nie ophou verken nie, en die einde van al ons verkenning sal wees om te arriveer waar ons begin het maar om dan die plek vir die eerste keer te verstaan." — T. S. Eliot Die media- en vermaaklikheidsbedryf is onlangs deur die Departement van Handel en Nywerheid geïdentifiseer as 'n strategiese sektor in Suid-Afrika as gevolg van die groeiende bydrae wat hierdie industrie lewer tot ekonomiese ontwikkeling deur middle van plaaslike en buitelandse beleggings, uitvoergeleenthede en werkskeppingpotensiaal. Hierdie industrie beskik ook oor beduidende oorloopmoontlikhede in bedrywe soos toerisme en kleinhandel. Gebrekkige navorsing en ontwikkeling is egter geïdentifiseer as een van die vernaamste beperkings tot volhoubaarheid en mededingendheid van plaaslike kulturele industrieë, `n bedryf waarin jaarlikse besteding reeds R100 biljoen beloop. Die kombinasie van hierdie ontluikende aard van Suid-Afrika se kulturele industrieë, hul strategiese belangrikheid as deel van Suid-Afrika se Industriele Aksieplan en die gebrekkige akademiese literatuur met betrekking tot vermaaklikheidstegnologië het gelei tot 'n drie-ledige navorsingsdoelwit: Eerstens, om vas te stel of hierdie bedryf 'n legitieme akademiese onderwerp vir die ingenieursbestuur-dissipline is deur die aard en tegnologie-fondasie van die industrie te bestudeer; tweedens, om die impak wat tegnologiese verandering histories op die bedryf gehad het te ondersoek, met Meza (2007) en Burgelman en Grove (2007) se teorieë as fondasietekste; en derdens, om 'n analise te verskaf omtrent die wêreldwye mededinging en konvergensie tussen inhoudverskaffers en tegnologie-maatskappye. Geïntegreerd in een aflewerbare is die uiteindelike doel van hierdie studie om ‘n saamgestelde kennisbasis aangaande die media- en die vermaaklikheidsbedryf vir die Departement Bedryfsingenieurswese te lewer, met spesifieke klem op die ontmoetingspunt tussen tegnologiese innovasie en die innovasie van besigheidsmodelle. 'n Hibriede meervoudige-gevallestudie navorsingsbenadering is aangewend om uiteindelik agt navorsingsvrae te beantwoord. Hierdie vrae het gedien as riglyne om die doel van die tesis te bereik. Vier noemenswaardige insigte wat uit die beantwoording van hierdie vrae gekom het is (1) die vermaaklikheidsbedryf het histories op `n besondere wyse gereageer op 'n tegnologiese verandering, een wat gereduseer kan word tot 'n vier-fase proses: uitvinding, aanvaarding, mededinging en sensasie. Hierdie proses verwys na die waarneming dat bestaande organisasies aanvanklik met angs reageer tot ontwrigtende innovasies, 'n reaksie wat lei tot wetlike gevegte en daaropvolgende twis tussen tegnologie maatskappye en inhoudverskaffers, maar tegelykertyd geleentheid bied vir inter- en intra-industrie konvergensie sowel as vir die ontwikkeling van nuwe sake-modelle; (2) ontwrigtende innovasies bied geleentheid vir kruis-grens ontwrigters om die manier te beïnvloed wat ander organisasies, insluitende diegene in geheel-verskillende industrieë, besigheid doen (3) bedryfsfaktore is verantwoordelik vir meer as 60% van winsvariansie in die vermaaklikheidsbedryf, `n waarneming wat 'n studie van vermaaklikheidsbedryf vanuit 'n industrie-perspektief regverdig, en (4) digitalisering, die Internet, eksponensieel-groeiende berekeningspoed en die vermenigvuldiging van netwerke het veroorsaak dat die media- en vermaaklikheidsbedryf `n besigheidsmodelaanpassing moes ondergaan vanaf een wat gebaseer is op media-gerigte "stoot" verhoudings, gefragmenteerde gehore en die verskaffing van passiewe verbruik na een waar aanpasbare, waarde-gebaseerde inhoud alomteenwoordig beskikbaar is en verbruik kan word op veelvuldige toestelle volgens verbruikers se behoeftes. Porter (2008b) noem dat 'n maatskappy se geskiedenis nie slegs informatief is nie, maar selfs ook voorskriftelik. Gevolglik kan die afleidings wat gemaak is uit hierdie historiese ondersoek aangaande ontwrigtende innovasies in die media- en vermaaklikheidsindustrie gebruik word as `n fondasie vir toekomstige navorsing –`n paar aanbevelings hiervoor word in die gevolgtrekking van hierdie dokument gelys.

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Skinner, Katharine Virginia. "The Castle/Nikki Heat Phenomenon: A Detailed Examination of Female Representation in Entertainment Media." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955124/.

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As entertainment reflects a culture's ideology, it is important for researchers to study its messages and subsequently its potential meanings. Entertainment has the power to inform and persuade, creating models for behavior with which the public interacts. The entertainment texts for the purpose of this study are the Castle television series and the Nikki Heat novels. Together, they create a unique multi-layer fictional world. By using postmodern, feminist, communication, and entertainment theories, the results of this study provide a tightly focused lens which views a narrow aspect of entertainment media. Each text was thoroughly examined using textual analysis, Feminist Poststructuralist Discourse Analysis, and conversation analysis. Contrary to expectations, the results indicated that the Castle and Nikki Heat texts support hegemonic ideology, particularly through the use of exaggerated stereotypes, strict gender roles, imagery, and narrative choices that help perpetuate rape culture. The discussion outlines how these results can be interpreted through the dominant messages presented in the texts. This research is intended to serve as a foundation for future research regarding entertainment media.

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Keenan, Bernard. "Interception : law, media, and techniques." Thesis, London School of Economics and Political Science (University of London), 2017. http://etheses.lse.ac.uk/3640/.

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In 2013, Edward Snowden provided journalists with copies of classified documents detailing the operations of the National Security Agency of the United States and its allies; in particular, the UK’s Government Communications Headquarters. Snowden explained that he hoped to set the conditions for a new technical literacy that would alter understandings of the relationship between digital communications and law. This thesis asks whether or not law is capable of repaying Snowden’s faith. To that end, it offers a media-theoretical genealogy of the interception of communication in the UK. Interception is presented as an effect of different sets of technical operations, mediated and processed by communication devices and networks. The thesis traces interception techniques: from their beginnings in the General Post Office; in their evolution through the operations of technical media; to their reappearance in the operations of digital media that constitute the internet. The authorisation of interception, meanwhile, has always depended upon legal techniques mediated by interception warrants. A genealogy of the interception warrant is presented through an archival study of the distinctly different practices of document production that manufactured and programmed warrants in different media epochs; from the medieval Chancery and paper bureaucracies of state institutions to the graphical user interface, which mediates between interception techniques and law today. Finally, the thesis addresses the function of legislation as it in turn addresses warrants and interception techniques. Law and legislation, it is argued, are incapable of constraining technical operations of interception because, like interception, law is already an effect of media-technical operations. The law operates not by controlling interception, but by processing it, assigning meaning to it, and protecting the secrecy of ongoing interception operations.

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Paton, Elizabeth Katrine. "Privacy law and the media." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28826.

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This thesis explores the issue of how to reconcile the value of individual privacy with that of freedom of speech. It argues that there ought to be legal protection against invasion of privacy by the media, and that such protection should be seen as complementary to a system of free expression rather than opposed to such a system. A definition of privacy is outlined which, it is contended, meets the criteria for a coherent, neutral definition. Various reasons for valuing privacy and in favour of protecting the individual's reasonable expectations of privacy are identified. It is argued that lack of precision in the normative realm, in defining with certainty when privacy is invaded, should not be an excuse for leaving the individual without legal protection. There follows an examination of the protection of privacy against media incursions in English, New Zealand, Australian and Canadian law, other than the coincidental protection afforded by certain common law actions. There has been significant judicial and legislative recognition of the need to safeguard privacy interests, and many interesting developments in recent years are discussed. However, none of the countries considered has yet developed effective recourse for victims of unwarranted and invasive publications. It is argued that the relationship between privacy and free speech has been wrongly conceptualised, and that in fact both interests serve the same underlying set of values. Problems arise when privacy and free speech interests are balanced in the abstract rather than in context, and when a simplistic view of press freedom is adopted in disregard of the realities of the modern mass media. Invasive publications generally do not significantly advance free speech interests unless they help to provide the information needed for public decision-making. Furthermore, this information can in many cases be conveyed without detriment by withholding details which disclose identity. A three-step test is proposed to determine whether privacy and free speech interests can be reconciled without compromise to either of them, or whether it is necessary to balance these interests in the context of the case. It will also be maintained that a contextual approach is preferable to the adoption of categories such as "public figures" and "public places". These concepts tend to be misleading, and should be eschewed as analytical tools, since they confuse important questions which require separate analysis.
Law, Peter A. Allard School of
Graduate

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Stitt, Carmen R. "Differences in Theoretical Constructs of Processing Health Information in Narrative Entertainment Television Messages." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194854.

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Stories can play a crucial role in conveying health information to audiences. Several theories have been used to describe cognitive processing of narratives and subsequent belief change; yet there have been no comparative studies to date examining these theories.A primary objective was to compare transportation, flow, and AIME. A secondary objective of this study was to examine previous experience with a health issue as a possible moderator between exposure to entertainment television narratives and subsequent belief change. This is important to examine because previous experience may predispose audience members to have more durable attitudes.A pre-test/post-test experimental design was used to test theories of cognitive processing of narrative entertainment television programs with three different health topics: binge drinking, problem-eating behavior, and unprotected sexual intercourse. Stimuli were drawn from one-hour, broadcast television programming. Measures of the theories, health related beliefs, and previous experience with the three health issues were assessed.Findings revealed that different constructs represented in the three theories were significant predictors of belief change. Results showed that while most individual constructs of theories predicted belief change, the theories were not interchangeable. An analysis of the extent to which participants reported cognitive processing according to each theory revealed more flow and AIME experienced in comparison to transportation. Reports of flow and AIME were equal in a third condition. More globally, all three theories accounted for a significant portion of belief change, but no differentiation was evidenced between the theories in their ability to predict belief change.In analyses of the effects of exposure to television narratives, belief change was significant in all three treatment conditions. Previous experience with a health issue did not impede belief change following exposure to television narratives. This lends support to theorizing about cognitive processing of narratives in that previous experience with an issue may enhance story-consistent beliefs.Overall, findings demonstrate that a more fruitful endeavor in future research on the persuasive impact of narratives is to devote attention to the underlying constructs of theories, rather than assuming cognitive processes are the same among theories.

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Chen, Yi-Chun. "The role of media literacy and pro-health entertainment programs in changing adolescents' perceptions of alcohol and alcohol advertising." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Dissertations/Summer2008/y_chen_072208.pdf.

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Segal, Noa H. "Dancing on the Dead: Death, Entertainment, and Respectability in Victorian London." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625527076086207.

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Fast, Karin. "More than Meets the Eye : Transmedial entertainment as a site of pleasure, resistance and exploitation." Doctoral thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-15428.

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Today’s converging entertainment industry creates ‘transmedial’ brand worlds in which consumers are expected to become immersed. Integrated marketing campaigns connected to these worlds encourage various kinds of consumer productivity and invite consumers to partake in brand-building processes. Consumers, thus, are increasingly counted on to act as co-producers of contemporary entertainment. While such an altered consumer identity has been taken as evidence of enhanced consumer agency, it has also been recognized as a source of consumer exploitation. This thesis aims to further our understanding of the increasingly ambivalent power-relationship that exists between agents in the entertainment industry and their most dedicated customers – the fans. The study employs a multiperspectival theoretical framework, in that cultural studies theory is enriched with perspectives from political economy. This integrated approach to the object of study yields a better understanding of the values of consumer activity, and fan productivity in particular, to industry and consumers respectively. The study applies existing theory on transmedial textuality, branding, and fandom to one particular franchise, Hasbro’s Transformers. This brand world, home of both industrial and fan-based creativity, is studied through analyses of official and unofficial contents, and through interviews with professionals and fans. The focus is on the brand environment established around the first live action film ever made within the franchise. Special attention is given to the all-encompassing film marketing campaign that contributed to forming this environment and to fan productivity taking place in relation to it. The case study shows that companies and fans contribute to the building and promotion of the Transformers brand world – in collaboration and in conflict. While fan productivity occasionally takes place without direct encouragement from the companies involved, it is also largely anticipated and desired by marketing campaigns. The findings suggest that consumer enjoyment potentially translates into industrial benefits, including free brand promotion. Ultimately, the thesis acknowledges transmedial worlds of entertainment as concurrent sites of pleasure, resistance, and exploitation.

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Burdette, Catherine Bowers. "Big Hair and Big Egos: Texan Stereotypes in American Entertainment Media as Formed Through Television Viewing." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5386/.

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This thesis explores the stereotypes of Texans portrayed in American entertainment media, and attempts to identify the reasons for both the existence, and persistence of these images. The study includes a brief history of Texas, and background information on the formulation of stereotypes. Cultivation theory is used to explain the process of stereotypes formed through television viewing. Content analysis of the responses from an on line survey involving 52 participants revealed that people outside the state of Texas have strong perceptions about Texans that are consistent with media representations. As the level of television viewership increased, so did the indelibility of the impressions. Those who watch more television were more likely to perceive the image of Texans as negative, and less likely to change their opinions of Texans after visiting the state.

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Williams, Daron. "Fun With Frames: Exploring Metacommunication and Real Media Frames in South Park's Fake News." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/32826.

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The popular cable show South Park has steadily entertained audiences since its debut in 1997. Much of the showâ s humor and entertainment value comes from its satirical treatment of public figures, institutions, and timely trends. One of the institutions often lampooned on the show is that of television news broadcasting. This thesis project seeks to shed light on entertainment media portrayals of television news journalists and television news journalism as a whole by examining the issues covered, how those issues are framed, and how the journalist is used as a figure on the border of entertainment and information in one show. A content analysis was performed on all news broadcasts contained within all 181 episodes of South Park through its twelfth season. Results indicate that Semetko and Valkenburgâ s (2000) five generic frames penetrate well into the entertainment realm; a broadcastâ s â relationship to realityâ is framed significantly differently when Conflict and Speculation frames are employed; news broadcasters are not portrayed as exemplars of the mediaâ s â liberal bias;â and that South Park has used significantly more reality-based storylines in recent years than in its early years.
Master of Arts

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Soh, Choi Yin Art College of Fine Arts UNSW. "Cultural typologies and design meanings: a case study of Chinese media and entertainment websites from Singapore." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/41561.

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The Internet offers new ways of imaging and 'imagining' national belonging and cultural identities in contemporary Chinese societies such as Singapore. The Chinese society is also a key representative in Tu Wei-Ming's first symbolic universe - including China, Hong Kong and Taiwan - under a 'Cultural China' (Tu 1994). Various cultural discourses indicate that this nation-state is capable of managing culture to maintain national competitiveness within global capitalism (Wee 2000, Chua 1995). This 'local national cultural ism' is significantly manifested in Chinese media and entertainment websites from Singapore. Within the Asia Pacific region, the notion of an emerging 'pan-Chinese' cultural identity for commercial exchange and interaction with regional and global markers has been an appealing economic construct (Nyiri 1999). In Singapore the Chinese media and entertainment websites employ design strategies to attract foreign investors and cater for local 'heartlanders' with success. The Singapore media sire is carefully scrutinized, presented and aligned with its economic policies and agendas in presenting the country as a young and vibrant society. Although media and entertainment form a key aspect of popular culture in contemporary Singapore, the visual communication and content of the websites also provide an 'institutional memory' and design strategies which emphasize the distinctiveness of cultural identity. This is research interrogates the perception of 'Chinese' identity by Singaporean youth in a pilot study which analyses user responses to a prototype for interface design in web-based communication. In addition, a comparative analysis of three design components - colour, icon/symbol and visual metaphor ??? is examined with reference to the social construction of local, 'glocal' and cultural meanings in the media and entertainment websites-from Hong Kong, Shanghai and Singapore. The research concurs with current literature that cultural identity is mediated by design and communicative strategies to resonate with the target audience. Although the design strategies for representing a 'pan -Chinese' identity have yet to be explored, 'Cultural China' plays a major role in regional/global economic development.

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Cuevas, Anthony Christopher. "Developing a business plan for Media Benefits Corporation: First Entertainment Credit Union's credit union service organization." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2984.

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This project develops and analyzes a business plan for Media Benefits Corporation, a subsidiary of First Entertainment Credit Union. The business plan will address the recent trend to move certain services back to the credit union and make recommendations as to how Media Benefits Corporation should continue to exist. Issues concerning liability will also be addressed in the plan.

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Thally, Ryan. "Automation in Entertainment: Concept, Design, and Application." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/401.

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The focus of this thesis is to explore the automation technology used in the modern entertainment industry. Upon completion of my thesis, I will deliver a working prototype of the chosen technology and present its capabilities in a choreographed show.

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Simon, Samantha Mea. "Technological Disruption in Entertainment: Navigating the Film Industry's Dynamic Relationship to the Consumer." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1028.

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The following thesis acts as a critical cultural progression report surrounding the current technological disruption in the entertainment industry and its impact on consumers. This begins with a study of the history starting in 1910 and covers the urbanization of America during the Industrial Revolution, the developing fan experience, a history of consumer demands in relation to oligopolistic principles and the blockbuster method, the invention and influence of the television, and the current effect of technological advancement in the entertainment industry. Following this historical overview, four chapters will study different methods of analysis covering the intricacies of the current technological disruption using four theories: population ecology, media systems dependency, the mainstream cult, and convergence and participatory culture. The culmination of this work will consist of drawing together the history, the theories, and the contemporary examples into a conclusion about the fate of the media oligopoly in which this researcher points to the importance of seamless integration between the media industry and the consumer by way of three possible outcomes.

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Andersson, Victoria, and Louise Jandér. "Social Media, Insta-Culture and The Reinvention of Fashion Week." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10147.

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Background: It is clear that the fashion industry is experiencing a change as a result of the explosion of social media. Today the four key social media platforms for fashion houses are Instagram, Facebook, Twitter and Snapchat. The society has created a culture around these media platforms, which is referred to as insta-culture. Why read Vogue magazine to find out the latest trends, when social media is covering the runways in real time? A debate about what direction the fashion industry is heading towards is a hot topic of discussion. The fashion industry has gone through changes before but now consumers have become more demanding regarding quick accessibility of fashion. Consumer behavior and the way we consume fashion has changed. An obvious sign of the change within the industry is how fashion weeks around the world have become the most coveted”it” event for celebrities and fashionistas worldwide. Fashion week is a fashion industry event that lasts around one week. The goal is for the fashion industry to network and for fashion houses to share their next season collections. Fashion weeks have traditionally been a closed, trade only-event which highlights promotional and glamorous entertainment events. However, now it is the most important shows that everyone wants to be seen at. What will become of fashion weeks is truly unknown. One thing that is for sure is that the development of social media definitely plays a vital role in the change of the industry. Aims of the research: The broader aim of this research is to analyze through the lens of fashion week, what is happening in fashion week and the driver of change within the fashion industry, social media, and to unravel why we see a change in fashion week now. The second aim is also to investigate in what way the change is affecting the way fashion is displayed at fashion weeks. Methods: This thesis was completed by gathering observations and analyzing interviews, blogs, press, journal articles, social media and observations that focused on the phenomenon of fashion week especially in the New York and Stockholm context. This qualitative method is referring to as Netnography using primarily data gathering from the internet and data from the existing interviews with people from the industry. Results: Social media has affected the fashion weeks in many ways. Today fashion brands have to include social media in their marketing strategy in order to survive in the insta-culture that reflects on the society. The insta-culture has as well resulted in that fashion week has been reinvented to an entertainment event open for everyone. The democratization of the fashion week has in turn resulted in that designers have to change how and when they deliver fashion. Instead of waiting six months for the collections to hit the stores, designers now have adopted a see now buy now model. Contributions: The result of this thesis brings awareness to people within the fashion industry and fashion theories when it comes to what is happening to the industry and how to better support fashion management strategies. Social media has created an insta-culture in the society that also affects the fashion industry. This thesis also highlights the great impact that the society has on fashion even today. This study therefore further develops the sociological theory when it comes to the impact from the society and how it affects fashion.

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Seppelt, Rosalie. "Media and Armed Conflict: Protection of Journalists and Media Facilities under Human Rights Law and International Humanitarian Law." Master's thesis, Faculty of Law, 2019. http://hdl.handle.net/11427/31234.

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This master thesis gives a comprehensive overview of the protection of journalists and media facilities in times of armed conflict. First, the thesis analyses, which legal regimes are applicable: international humanitarian or human rights law. In conclusion, it suggests a parallel application of both regimes while international humanitarian law is to be regarded as lex specialis in the event of an armed conflict. In the case of a discrepancy between norms of the two regulatory complexes, the lex specialis maxim solves the inconsistency as an interpretation rule. Thus, the human rights provision is interpreted in the light of the more specific humanitarian law provision. Secondly, the thesis examines the concrete norms under both legal regimes that protect journalists and media facilities. It finds that only human rights norms protect the work of journalists while international humanitarian law protects journalists as civilians and media facilities as civilian objects. In the event, that a (fatal) military attack on journalists or media facilities is justifiable under international humanitarian law, there exists a controversy with the right to life guaranteed in human rights law which is solved by means of the lex specialis principle. Finally, the extent of the de facto protection of journalists and media facilities in comparison to the assured de jure protection is tested. For this purpose, the effective protection of journalists and media facilities in general during the current South Sudan crisis is analysed as well as the protection of female journalists against gender-based rights violations in times of armed conflict. A huge discrepancy between the de jure granted protection and the actual protection is found in both cases. Therefore, this thesis stresses the need to adopt new binding international regulations specifically tailored to afford all journalists and media facilities the highest protection possible – especially in times of conflict.

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Peifer, Jason Todd. "Perceived News Media Importance: News Parody, Valuations of the News Media, and Their Influence on Perceptions of Journalism." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431071432.

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Dibbs, Martin G. R. "Shaping popular culture : radio broadcasting, mass entertainment and the work of the BBC Variety Department, 1933-1967." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3165.

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This thesis examines the extent to which the BBC was able to shape the output of popular culture on radio in Britain, according to its own system of beliefs, between the years 1933 and 1967. This research will show that from the outset, the BBC was an institution with a mission to inform, educate and entertain the nation. While it was not opposed to entertainment, its focus was didactic and supported a mission to improve its audience both culturally and intellectually. This policy was not always welcomed by the audience but, with the exception of the war years, persisted into mid 1950s. The Variety Department was formed in 1933 to produce all forms of light entertainment and this research will examine how its policies shaped the production of popular culture over the period concerned. This study looks not only at the workings of the Variety Department but also the topics of Americanisation and vulgarity, the two areas in which the BBC had particular sensitivities. It analyses the BBC's strategies to counteract the American effect on popular music and spoken-word programmes and how it provided its own particularly British form of entertainment in order to produce programmes it considered suitable for British audiences. It also investigates programme censorship imposed by the BBC to mitigate vulgarity in programmes, so as to produce those it considered suitable for its audiences. This thesis will contend that for over 40 years the BBC Variety Department produced popular entertainment programmes on radio which became an integral part of people's daily lives until, within a few years radio was superseded by television as the nation's principal provider of domestic entertainment. There has been no discrete study of the BBC Variety Department and it is intended that this research will add to the existing scholarship in BBC history and contribute to the analysis of radio's place in domestic popular culture in the period examined.

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Strickon, Joshua Andrew 1976. "Smoke and mirrors to modern computers : rethinking the design and implementation of interactive, location-based entertainment experiences." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/88355.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 2003.
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Includes bibliographical references (p. 237-243).
We have yet to create the ultimate interactive experience. Why is that so, and how can that change? How can we increase our chances of getting it right? Interactive, location-based experiences are a new genre and need a new way of thinking about designing them. We also need a better way of dealing with the sophistication of modem technology, enabling us to get to the heart of designing these new interactions. This thesis makes progress in this area by creating a classification system for the space of interactive location-based entertainment experiences. It begins to develop a theory of interactivity as it can be applied to this genre. The theory also guides the birth of a library of interactive design techniques and the development of a design approach as a series of steps and questions that must be answered to complete an experience. It is proposed that across a variety of experience types (games, rides, theater shows and museum installations), the design approach will be similar. It is also hypothesized that given one distinct hardware system, a range of different interactions can be explored. Furthermore, this thesis looks at how technology can be used to aid in the development process by designing a rapid development environment for prototyping new interactions. By establishing a new way of looking at the problem I hope to be able to reach the goal of creating compelling experiences. Through the construction of a new set of tools, this thesis details the fundamental elements of a location-based, interactive attraction and exposes all of the technical, practical and artistic issues that must be resolved to successfully complete and deploy them.
by Joshua Andrew Strickon.
Ph.D.

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LaMarre, Heather L. "Political Entertainment Media and the Elaboration Likelihood Model: A Focus on the Roles of Motivation and Ability." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247862649.

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Bengtsson, Alexander. "Filmers visualisering av stereotyper : Islam ur ett västerländskt perspektiv." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32758.

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This essay examines on what kind of Muslim stereotypes exist in entertainment movies which are being produced in the West and particularly the United States. First, the focus will be on explaining the concept of stereotypes and Islamophobia and what role the media has in the movies' production of its contents. The incident at the World Trade Center will also be discussed briefly. By using semiotic and narrative analyses the essay investigates if a stereotyped image is being used about Muslims and how Muslim main characters that have the role of being protagonists, are visualized in entertainment movies. The material that is included in the empirical analysis consists of three selected movies. The purpose of this essay is to create a broader understanding on how stereotypes of Islam and Muslims are being used within the entertainment industry with particular focus on movies that are produced in the West. The results in this paper show that stereotypes of Islam and Muslims lives on in the 21st century movies and that Muslims who are characterized as protagonists are illustrated with traits and appearance that reminiscent of the West. However, Islam and Muslims is not a frequent content in movies produced in USA.

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Ruett, Benjamin. "Location and rank-size distribution of Arts and Entertainment : A study of US Metropolitan Regions." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Nationalekonomi, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14826.

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This thesis describes and analyzes the location and size distribution of artand entertainment establishments and metropolitan regions in the UnitedStates. The included sectors are sound recording, motion picture and video,book and newspaper publishing as well as the live performing arts. Their sizeis analyzed by total employment and brought in context to their respectivemarkets and the rank-size rule. The results are interpreted within the economictraits specific to the art and entertainment industry.The results show that most analyzed sectors are over proportionally concentratedin one location, making it the center for these activities. In addition, thesize distribution in all sectors except sound recording follows Zipfs law to agreat extend. Explanations for this can be found in lock-in mechanisms overtime and classic agglomeration advantages.

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Nelson, Jackie M. "Sexually Objectifying Microaggressions in Film: Using Entertainment for Clinical and Educational Purposes." Antioch University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1564418191011389.

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Fingalsson, Linn, Katalina Palma, and Sindi Sheri. "Attitude is everything : towards social media mobile advertising." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44828.

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Purpose: To explore what are the consumers’ attitudes towards mobile advertising in a social media context. Research questions: What are the consumers’ attitudes towards entertainment, credibility, irritation and informativeness in mobile advertising? What are the consumers’ attitudes towards permission-based advertising and incentivebased advertising in mobile advertising in social media context? Theoretical framework: This study was based on theories that helped to understand what are the consumers’ attitudes towards mobile advertising, what are the attitudes towards the dimensions of mobile advertising and the types of mobile advertising. A model was presented in order to have a clear picture of the existing theories in this field. Methodology: The authors used a qualitative research and the method chosen for data collection was semi-structured interviews and a case study, Snapchat (mobile application). Conclusions: After this process the authors could conclude that consumers’ attitudes towards mobile advertising in social media were negative. The strongest feeling among consumers that would influence their attitudes was irritation. The consumers’ negative attitudes can be related to control. When giving them control their attitudes can be positive. Rewards can positively influence consumers’ attitudes as well. According to the findings in this study high rewards should be given to consumers in high engagement situations.

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Joyce, Daniel Anthony Walter. "International law and the media : a multifaceted relationship." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611103.

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Finnerty, Keli Lynn. "Risky Sexual Intercourse on Entertainment Television: Comparing Audience Responses to Different Types of Negative Consequence Portrayals." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195789.

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This study employed an experimental design to test the effects of exposure to televised portrayals of differing types of negative consequences of casual sex on emerging adults' sexual beliefs, attitudes, and behavioral intentions. Male and female undergraduates were randomly assigned to one of three viewing conditions. Participants either viewed a program that portrayed negative emotional/social consequences of casual sex (i.e., guilt, regret, embarrassment, disapproval of family and friends), a negative physical consequence of casual sex (i.e., an unplanned/unwanted pregnancy), or a program without any sexual content. Outcomes were assessed immediately after exposure. Five outcome variables were examined: negative outcome expectancies of risky sex, attitudes toward casual sex, attitudes toward condoms, behavioral intentions to avoid casual sex, and behavioral intentions to use condoms. Driven by social cognitive theory, hypotheses address expected differences among the three conditions on these five outcome variables.Hypotheses about the expected effects of portrayals of negative consequences of casual sex were not confirmed. Results indicate that exposure to negative consequences of casual sex on television does not uniformly influence emerging adults' sexual beliefs, attitudes, and behavioral intentions. Rather, the relationship between exposure and subsequent effects was found to be moderated by their sexual risk experience. Emerging adults with different amounts of sexual risk experience responded differently to the experimental stimuli. Participants who had extensive sexual risk experience were not influenced by the stimuli. However, effects of exposure to the negative consequence conditions were identified among participants who had little to moderate amounts of sexual risk experience. Both the negative physical and emotional/social consequence conditions led these participants to report safer sex outcomes. Findings imply that portrayals of both negative emotional/social and negative physical consequences of casual sex on television have the potential to positively influence the sexual attitudes and behavioral intentions of young people who do not already have substantial sexual risk experience.

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Strutt, Christina Magdelena. "Property and valuation methods in new media: an examination of existing theories and practices and their applicability to new media ventures." Thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11570.

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New media has become a major part of our daily routine and influences both our social interactions and the ways in which we conduct business. Not only does it provide new business tools to existing business models, it has also created a platform from which new forms of commerce and exchange can emerge. These novel enterprises are largely unrestrained by the capital and regulatory requirements of traditional forms of business and have other peculiar characteristics that may challenge our current views on ‘property’ and ‘ownership’. The potential of new media to compete with, and potentially displace, players in the ‘real economy’ requires a further examination of the valuation methods currently applied to business ventures, in particular those in which intellectual property and intangible assets are a major component. It is beyond the scope of this dissertation to propose alternative methods of valuing intellectual property in the new media environment. It does, however, aim to consider various theories on property and traditional valuation methods in light of this new phenomena.

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Bouclin, Suzanne. "Street law's sites, sights, and media." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103449.

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In this dissertation, I deploy film studies' lexicon and concepts to imagine law cinematically and I advance a critical legal pluralist hypothesis to imagine film as law. The central element of this study is the rule-governed interactions between street-involved people and their interlocutors; these interactions I consider as one instantiation of a plurality of rule-governed interactions that constitute 'street law'. I organize my research around three themes. First, the sites of street law (where governance of and by street-involved people is constituted). Second, the sights of street law (how it is we perceive the multiple normative matrices that govern interactions on the street). Third, the media of street law (some of the modes through which such governance is constituted). I suggest that cinema provides a conceptual apparatus for grappling with street law's sites (spaces), sights (perspectives) and media (modes) which are currently not apprehended through orthodox and dominant symbolizations of street law. I endeavour to provide such conceptual apparatuses in three ways: I use concepts from cinema to think about the street law in a metaphorical register; I interpret specific film sequences as jurisgenerative; and I produce a non-linear, collaborative and explicitly interactive film to apprehend street law. Each of these attempts serves to further my broader project: cinematically symbolizing interactions between street-involved people and their interlocutors as governed by rules.
Dans cette thèse j'exploite le discours et les théories des Études cinématographiques pour repenser le droit en termes cinématographiques et proposer une hypothèse de pluralisme juridique critique en vue d'imaginer le cinéma en tant que droit. La composante principale de cette étude est constituée d'interactions réglementées entre des personnes vivant en situation d'itinérance et leurs interlocuteurs-trices; je considère ces interactions comme étant une instanciation d'une pluralité d'interactions réglementées qui constituent le 'droit de la rue'. Ma recherche s'articule autour de trois axes: d'abord, les lieux du droit de la rue (où se constituent les gouvernances à laquelle sont assujetties les personnes vivant en situation d'itinérance et dont elles sont les créatrices); ensuite, les visualisations du droit de la rue (comment nous percevons les multiples matrices normatives qui régissent les interactions dans la rue); enfin, la médiation de ce droit (certaines modalités par lesquelles ces multiples gouvernances sont constituées). Je propose que le cinéma fournit un appareil conceptuel pour étudier les lieux (espaces), les visualisations (perspectives) et la médiation (modalités) qui ne sont pas couramment saisis par le biais des symbolisations orthodoxes et dominantes du droit de la rue. Je tente de fournir de tels appareils conceptuels de trois façons: j'utilisedes concepts empruntés à la cinématographie pour repenser le droit de la rue en termes métaphoriques, j'interprète certaines séquences cinématographiques comme étant génératrices de normes et je réalise un film documentaire non-linéaire, collaboratif et explicitement interactif dans le but de symboliser le droit de la rue. Chacune de ces tentatives sert à faire avancer un projet plus vaste, celui de symboliser par le truchement du cinéma, les interactions entre les personnes vivant en situation d'itinérance et leurs interlocuteurs-trices telles qu'elles sont gouvernées par des règlements.

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Schulz, Sandra, and Cornelia Schade. "Entwicklung und Evaluation digitaler Lernspiele: Wissenschaftliche Befunde jenseits des Entertainment." TUDpress, 2020. https://tud.qucosa.de/id/qucosa%3A73917.

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Ziel des Beitrages ist es, eigene wissenschaftliche Befunde aus vier Jahren Forschung zur Konzeption, Entwicklung und Evaluation digitaler Lernspiele1 für die betriebliche Aus- und Weiterbildung im sozialen Dienstleistungssektor vorzustellen. Die Darstellung der Ergebnisse erfolgt anhand von zwei aktuellen Projekten am Medienzentrum der Technischen Universität Dresden. In beiden Projekten wurden bzw. werden Serious Games für Führungskräfte im sozialen Dienstleistungssektor entwickelt, in welchen der Ansatz des spielerischen Lernens (vgl. Mangold, 2004) zur Vermittlung gesundheitsbezogener Themen herangezogen wird. Methodisch werden die Befunde entlang der Prozessschritte des Learning Experience Design (LXD) (vgl. Ahn, 2018) präsentiert.

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Sun, Wanning, of Western Sydney Nepean University, and Faculty of Humanities and Social Sciences. "Reading the other: narrative constructions of Japan in the Australian and Chinese press." THESIS_FHSS_XXX_Sun_W.xml, 1996. http://handle.uws.edu.au:8081/1959.7/115.

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This study is concerned with the way in which discourses of the Other are deployed in the media's narrative constructions of national imaginary. Operating on the assumption that news provides techniques and devices which enable the nation and its Other to be narrated and imagined, the analysis focuses on the structures and processes by which Japan is constructed in the news stories in some Australian and Chinese printed media. The analysis finds that othering is a dynamic and complex process engaged in by both the East and the West, for purposes of both cultural domination and cultural negotiation, and to serve both external and domestic political ends. The study shows that what seems to be an essential distinction between the Orient, or the East, and the Occident, or the West, in the discourses of the Other is constantly shifting, fluid and context-specific. The investigation points to the need of forsaking a framework of understanding media and identity which is based on a truth vs propaganda, or information vs entertainment dichotomy, and adopting an approach that takes into account the particularities of the cultural practices of each media system
Doctor of Philosophy (PhD) (Media and Cultural Studies)

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Dissertations / Theses on the topic 'Entertainment and media law'

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