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This Master in Communication for Development thesis is based on the experience of "Amina's looking for a job", a Forum Theatre play created in 2007 - whith the help of her sons and an NGO- by a Moroccan woman who is discriminated by different institutions in her will to find a decent job in Catalonia, Spain. Through this case study, the essay explores the contributions of participatory approaches to Education-Entertainment field from a communication for social change perspective.

Konceptet "smarta hem" blir mer och mer en del av vår vardag. På grund av den hastigautvecklingen och med tanke på att trådlös kommunikation har blivit normen, har säkerhetoch integritet blivit mer av ett bekymmer. Syftet med detta arbete är att undersöka vilkentyp av information som kan utvinnas ur ett underhållning-baserat smart hem med inriktning på en off -the-shelf spel-konsol, Playstation 4, ansluten till Internet. Detta scenario har undersökts med ett experiment som fokuserar på avlyssning av nätverkstrafik som inträffar vid användning av en sådan enhet i det dagliga livet. Resultatet av studien visar att känslig data såsom bilder är i själva verket möjligt att utvinna från nätverkskommunikationen. / The concept of smart home technology becomes more and more a part of our everydaylife. Because of the hasty evolution and considering that wireless communication has become the norm, the security and privacy problems have become more of a concern. The purpose of this work is to examine what kind of information can be extracted from anentertainment-based smart home involving an o -the-shelf game-console, Playstation 4,connected to the Internet. This scenario has been investigated with experiments focusingon the interception of networking tra c occurring when using such a device under everyday operations. The results of the study shows that sensitive data such as images is in fact possible to extract contrary to popular belief.

The essential issue of this project is the relationship between the American people and their president. As technology changes, people adapt to new methods of communication which simultaneously allow them to connect with others and the wider world more easily and yet also separate themselves from others and the wider world more easily. The need for presidential candidates and sitting presidents to connect with citizens has led to the adoption of diverse media strategies that include traditional news initiatives with established journalists, face to face interaction with small groups of supporters, and visits to traditionally non-political entertainment-based venues. This dissertation research examines that last element of presidential-level communication: an embrace of entertainment forums for political purposes. This project is a necessary contribution to the field because there has not been a thorough and exclusive examination of the embrace of the entertainment-based venue by presidential campaigns guided by the thoughts of veterans of presidential campaigns themselves. Some scholars and journalists have partially analyzed this phenomenon as part of a larger examination of presidential communication strategy, but this specific element has largely been uninspected and has become especially relevant in the context of the presidency of Barack Obama, a trailblazer in the use of entertainment-based venues for political purposes, and in the context of presidential campaigns and administrations going forward. The 2016 presidential primaries have only made the purpose of this project more urgent because of the rise of Donald Trump, perhaps the ultimate example of the fusing of politics and entertainment. To understand the phenomena driving presidential campaigns to embrace entertainment-based venues, I conducted interviews with twenty-two veterans of presidential campaigns dating back to the 1980 election. Between them, these twenty-two political strategists have worked for five administrations – Ronald Reagan, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama – and a number of major campaigns in every election cycle since 1980, including the 2016 campaign. I also conducted two interviews with veterans of the most viewed entertainment platforms of the 1990s and 2000s: The Tonight Show with Jay Leno and The Late Show with David Letterman. These twenty-four interviews, including with one individual who worked for both a presidential campaign and a late night entertainment talk show, were conducted between March 2015 and February 2016 and included targeted questions and an oral history component. Presidential candidates have increasingly needed to stress the lighter sides of their personalities to appeal to a voting public fascinated by the horserace media coverage of presidential politics but largely uninterested in the minutiae of day-to-day policymaking. Slowly, sitting presidents have attempted to do the same but have had to balance revelation with the responsibilities of holding the highest office in the land. This project evaluates the implications of the moves that presidential campaigns and presidential administrations have made to become more accessible and connected with the citizenry in a constantly changing media environment. Based on the data collected through the interview process, his project offers a new theoretical underpinning for this media strategy based on a synthesis of role theory, the postmodern presidency theory, and technological determinism that allows for the significant influence of individual personality in the decision-making process and predicts how future campaigns will operate in this regard as media technology and American political culture evolve. / Media & Communication

No / Surprisingly, the field of leisure economics is not, thus far, a particularly integrated or coherent one. In this Handbook a wide ranging body of international scholars get to grips with the core issues, taking in the traditional income/leisure choice model of textbook microeconomics and Becker’s allocation of time model along the way. They expertly apply economics to some usually neglected topics, such as boredom and sleeping, work–life balance, dating, tourism, health and fitness, sport, video games, social networking, music festivals and sex. Contributions from further afield by Veblen, Sctivosky and Bourdieu also feature prominently.

Yes / Prior research ignores the specific role of acculturation attitudes in predicting acculturation behaviors and consumption choices across public and private life domains. The study uses self-administered questionnaires to collect data from 530 Turkish-Dutch respondents. The findings underscore the overall significance of investigating domain-specific (public vs. private) acculturation attitudes and subsequent acculturation behaviors. Enculturation (acculturation) behaviors function as a mediating variable in the relationship between acculturation attitudes and consumption of food and entertainment products from the heritage (host) culture. The study is one of the first to investigate the simultaneous effects of acculturation attitudes and acculturation behaviors on the choice to consumer foods and entertainment products from both heritage and host cultures. The article provides managerial implications and future research directions.

Airplane travel has become more easily available and affordable for the general public. This shift has, together with rapid digitalization, led to the widespread adoption of in-flight entertainment (IFE) systems which are screens attached to the back of airplane seats that allow passengers to watch movies, listen to music, and play games. They are now commonly found onboard flights to keep passengers entertained during their travels. Ensuring effective communication between pilots, cabin crew, and passengers is essential during flights and is typically achieved through public announcements (PA). Despite their importance, there is a lack of international regulations ensuring all passengers, particularly those with disabilities, can access this information.  This study aims to investigate how the accessibility of PAs given through an IFE system can be improved, emphasizing its impact on passenger safety and comfort. This is achieved by identifying possible accessibility problems, implementing solutions to create a more accessible interface, and evaluating the outcome of the alterations made.  The evaluations consist of completing barrier walkthroughs and accessibility heuristic evaluations along with user tests. Accessibility scores are measured for all three types of PA: video, audio, and text. A prototype was created, in which accessibility issues are solved and evaluated with the same measurements to be compared with previous results. Additional testing with persons with disabilities was performed to evaluate their opinions of the alterations made.  Results show that the created prototype improves the accessibility scores for all types of PA. The data indicate that the largest contributors to the increase in accessibility are the added functionality of transcribing audio, ensuring that video has captions and that the text messages only disappear once the passenger actively dismisses it.  In conclusion, the study shows that the accessibility of PA can be evaluated, and problems can be identified and improved following IFE-specific guidelines. It is possible to achieve a satisfactory level of accessibility for persons with disabilities to feel that they can receive all given information and not feel confused or stressed while receiving it.

(in English): Vladimír Dvořák (14 May, 1925 - 28 December, 1999) is mainly known to the public as the presenter of Televarieté, a TV entertainment programme, and older generations may also remember him as a music programme presenter and an author of lyrics to pop-music songs of the 1960s. However, this limited perception calls for a correction, as Vladimír Dvořáka was, without exaggeration, a universally talented man. As this text aims to show, Dvořák was strong in fine art and literary disciplines (wrote a number of librettos), as well as on the script-editing, programme presenting and acting sides, and all these artistic talents were sheltered with and maybe even shadowed by his organisational skills (completely unknown to the public) combined with enormous proactivity and high ambitions. During his presence at ČST Vladimír Dvořák created a TV entertainment development strategy that he worked on until his death. He was diplomatic and creative at the same time, and he introduced a number of very successful TV formats to feature many big names, at least those tolerated by the totalitarian regime. Vladimír Dvořák knew how to manoeuvre his way through the clearly demarcated world of communist TV broadcasting without having to make dirty compromises with the regime's officials. Moreover, although he...

Chan King Ming. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report." / Chapter 1. --- Topic defined / Chapter 2. --- Programs defined / Chapter 3. --- Research / Precedent Study / Case Study / Technical Study / Chapter 4. --- Sketches / Water Sport Transformation / Combinations / Chapter 5. --- Site Selection / Chapter 6. --- 1st Proposal of Combination / Chapter 7. --- Logic of Combination / Chapter 8. --- Revised Proposal of Combination / Chapter 9. --- Design Refine / Chapter 10. --- Final Design

Cas à part dans le cinéma britannique contemporain, depuis 30 ans la société de production Working Title Films connaît un succès régulier sur la scène internationale. Son box-office cumulé se compte en milliards de dollars pour une centaine de longs métrages, qui lui ont valu des dizaines d'Oscars et de BAFTA, ainsi que quelques distinctions à Cannes, Berlin ou Venise. Ce succès attire pourtant les critiques de certains commentateurs, qui lui reprochent de se laisser submerger par les conventions du cinéma hollywoodien et de manquer d'ambitions culturelles, notamment à cause de son contrat avec la major Universal et de ses stratégies de distribution. Ils déplorent les représentations stéréotypées de la « britannicité » de certains de ses films, à l'instar des comédies de Richard Curtis ou de Rowan Atkinson. En effet, si Working Title a débuté avec un film audacieux, My Beautiful Laundrette (Stephen Frears, 1985), son premier grand succès commercial est Four Weddings and a Funeral (Mike Newell, 1994). Néanmoins, malgré leurs ambitions commerciales mondiales, Tim Bevan et Eric Fellner, les directeurs de Working Title, revendiquent leur britannicité et une « sensibilité européenne ». Celle-ci est concrétisée par un partenariat avec PolyGram Filmed Entertainment puis avec StudioCanal. Cette dimension transnationale – plutôt que transatlantique – n'est pas sans influence sur les films eux-mêmes, et concourt également à leur succès international. Plusieurs intrigues mettent même en scène des relations interculturelles. Les films affichent des stratégies de compromis entre spécificité culturelle et universalité, avec des équilibres changeants. En effet, on ne peut nier la diversité déconcertante de la filmographie, tant du point de vue des contenus culturels que du degré de créativité. Working Title collabore avec des réalisateurs britanniques d'horizons variés, comme Richard Curtis, Stephen Frears, Edgar Wright ou Joe Wright. De plus, elle franchit souvent les frontières nationales, essentiellement outre-Atlantique, en particulier grâce à son partenariat avec les frères Coen, mais aussi en Australie, en Afrique du Sud ou dans d'autres pays européens. Tout cela place donc Working Title au cœur des débats sur les enjeux du cinéma britannique actuel, concernant son identité (cinéma national / post-national), l'équilibre entre les aspects économiques et artistiques, les relations avec Hollywood, ou encore le rôle des politiques culturelles. Ainsi, cette thèse tâche de comprendre l'évolution et le succès de cette société phare du cinéma britannique, en s'attachant autant à l'étude de son fonctionnement (partenariats, développement, production, distribution) qu'à l'analyse textuelle de ses films. / A unique entity in today's British film industry, production company Working Title Films has been responsible for many international hits since its creation in 1984. Its films have earned billions of dollars, and they have won many film awards, including dozens of Academy Awards and BAFTA Awards, but also accolades in Cannes, Berlin or Venice. Yet, some commentators criticize Working Title for being excessively influenced by Hollywood, hence lacking cultural ambitions. They blame the company's partnership with Universal and underline that some of its films broadcast a stereotypical view of Britishness, especially successful comedies by Richard Curtis, or the ones starring Rowan Atkinson. Indeed, the company's first film was My Beautiful Laundrette (Stephen Frears, 1985), a creative, committed film, but its more recent films tend to be more mainstream and its first international hit was Four Weddings and A Funeral (Mike Newell, 1994). However, Working Title seems to draw some of its strength from its British identity. Tim Bevan and Eric Fellner, the two producers behind Working Title, also defend its “European sensibility”. The latter is reinforced by a partnership with PolyGram Filmed Entertainment in the nineties, and then with StudioCanal. So it is a transnational rather than a transatlantic company. Its films are transnational too, and some plots even include intercultural relationships. They use various strategies to broaden their audience, such as crossover and polysemy, and they try to balance cultural specificity with universality. However, most importantly, one cannot deny the incredible diversity of the films – regarding both their national identity and their level of creativity. Therefore, Working Title offers a fascinating case study to learn more about the issues of British cinema, about its identity (national / post-national cinema), the balance between art and industry, its relationship with Hollywood, and the role of cultural policies. In other words, this dissertation will study the evolution of Working Title Films, focusing on its methods, its strategies and also on the textual analysis of its diverse films, as a way to investigate contemporary British cinema and its issues.