This paper uses event study methodology to present evidence that acquirer announcement effects for mergers and acquisitions (M&A) in the American Media and Entertainment (M&E) industry are insignificant. In order to reach this conclusion, this paper both examines existing literature on the topic and manipulates available data on public companies in the M&E industry. It also uses this data to investigate the extent to which different factors influence the acquirer announcement effects. These factors include: the type of financing used for the deal, recent mega-merger failures in the M&E industry, M&A strategy (expansion vs. diversification), as well as target size, country, and sub- industry. The results show that none of these factors have a significant impact on announcement effects.

A number of programmes have been implemented in the field of development communication, with the specific aim of promoting social change among communities, and a series of studies have illustrated the positive effects of entertainment-education (EE) interventions on individuals’ behavioural change. These programmes can be applied in a variety of fields, including health, agriculture and sustainable development, and make use of a different range of media such as radio, television and theatre. In line with the theory and conceptual framework of the Integrated Model of Communication for Social Change (IMCSC), this research is intended to explore, empirically, how development communication programmes can foster collective action amongst community members. The research is based on a case study of Sesotho Media & Development (SM&D), a nongovernmental organisation that has been operating in Lesotho, using media to promote social transformation and individual change. For the past 10 years, SM&D has been working in Lesotho using a methodology based on facilitated documentary screening with a specific focus on HIV/Aids-related issues, combined with capacity building programmes aimed at training facilitators among support groups, youth groups and prison inmates around the country. Both quantitative and qualitative research methods of enquiry were employed throughout the research. Common research tools used include questionnaires, semi-structured interviews, focus group discussions and observation. In addition, a variety of secondary sources of information, including evaluation reports, funding proposals and journal articles were reviewed. The results of the study reveal that development communication initiatives are able to foster collective forms of action by increasing the level of efficacy amongst the audience. Conclusions highlight that participatory development communication with an educational aim allows people to identify problems and to strategise and mobilise resources for collective action. / Magister Artium (Development Studies) - MA(DVS)

As media and entertainment products flood across porous national borders around Southeast Asia, wary local elites have been able to sustain their legitimacy, despite rumblings to the contrary. Global industry trends like conglomeration, commodification and celebrification, mean few real challenges to the existing political and economic status quo. Whilst modernization theory assumes that the globalizing communication media would spread liberal, open societies, as this thesis will show, this is not the case in Southeast Asia. Despite the fact that the Asian Financial Crisis undermined the developmental state championed by many of the Region’s illiberal governments, it did not give rise to a liberal alternative, but to something more hybrid and complex which this thesis will reveal. The development of the communication media has had important implications for the nature of politics and political process in the region. However, rather than inspiring democratic ideals in an informed and educated public, it is commercial concerns which have come to dominate its agenda since the Asian Financial Crisis. This results in a churn of generic, even pasteurized media offerings, as media owners seek to woo concerned governments, and further their own business interests. The local media is not immune to these general trends, and tends to be locked in its own battle of competing interests, only very occasionally reflecting the political aspirations of its audience and their somewhat muted call for political change, rarely laying the seed. As a result, although there are interesting local responses to the growth of the media and entertainment industry and the changes being wrought by the Internet and other new technologies, the mass media has developed an ambiguous relationship with the political process. More significantly, local elites have proved resilient in the face of the challenge of the globalized media and, acting against the background of the “war on terror”, have been able to accelerate illiberal media options, maintaining their control strategies albeit, at times, around newly formed coalitions of support. In fact, this thesis demonstrates that the traditional elites have regrouped since the Asian Financial Crisis of 1997, and are restoring their control over the media, where possible by ownership or legal means or, alternatively, where that has proved difficult, they have increasingly taken the sophisticated approach of using the techniques espoused by the perception industries and by public relations consultants to ensure they communicate effectively in an increasingly complex media environment.

<p>Our study shows if and how Swedish public service television has changed its content from the time when SVT had monopoly until this day when the competition is greater than ever. We got an insight in what has been presented to the audience by studying TV schedules from 1975 to 2009. The study examines four weeks during the years when the two main channels SVT1 and SVT2 have been broadcasting. One week each of these following years have been examined: 1975, 1985, 1995 and 2009. These years have been chosen to get an insight in what content the TV schedules presented before and after SVT got competition in the Swedish TV market. A total of 28 days and 56 TV schedules have been examined. This was done with a quantitative analysis and with an own model of ten categories that has helped us to sort the TV shows based on their content.</p><p>Even though it was not a great difference, the result shows that the percentage of news has decreased since 1975. But it was not possible to see if the TV shows that replaced the news in the TV schedule was of an entertaining kind. The study also shows that a new kind of TV shows have taken a large spot in the schedules. Nowadays it is common that a TV show mix different kind of categories during its broadcasting time. One example is Gomorron Sverige. Furthermore we have seen that live debates take a large place in the TV schedules in 2009, especially during the day time. Besides that, the sizes of the categories have been pretty even during the 34 years. SVT has not made any significant changes since the monopoly was broken and the competition became a reality.</p><p>We have also noticed that the broadcasting time has increased a lot since 1975. It is particularly obvious in the day time where there many years ago were no broadcasting at all. Our main purpose with the study was to examine if there is less news today in favour of TV shows of a more entertaining kind.</p>

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The target of this research is to help the thinking about contemporary art through a new approach from the Idea of play to gaming. We try to comprehend the overthrow and entertainment concepts in the games developed and in the art and gaming field. This observation doesn‟t lay down just on the games created in this research, but also include a few aspects of art and technology in contemporary art. Between practice and theory the methodology was built, and together they tangled the proposed thought. To elucidade the thought tha we came with in this study we start with the approach of the play concept, that raises on philosophy and is adopted by the visual arts. From philosophycal play to eletronic game, and when it is found on a artistic context, it can be called as art and gamimg. In trying to understand and define what exactly art and gaming are about I show my own artistic games. This master thesis ends with a view of the contemporary art scenery and how the overthrow and entertainment concepts can integrate the contemporary art today. / O objetivo desta pesquisa, em poéticas visuais, é de contribuir para pensar a arte contemporânea atual através de uma nova abordagem que parte da ideia de jogo na arte para chegar ao game. Verificam-se os conceitos de subversão e diversão na minha produção pessoal na área da gamearte. Esta reflexão não se restringe somente sobre minha produção, mas também abrange alguns aspectos da arte e tecnologia na arte contemporânea. A metodologia utilizada na pesquisa desenvolve-se no ir e vir entre a prática artística e a teoria que, unidas, tecem o pensamento proposto. Para elucidar a proposição apresentada neste estudo, inicia-se com a abordagem do conceito de jogo, que se origina na filosofia e é adotado pela arte. Do jogo filosófico segue-se para o jogo eletrônico, chamado de game, e quando inserido em um contexto artístico assume-se como gamearte. Ao tentar compreender e delimitar, quando possível, o que seria esta produção em gamearte, exponho a minha experiência pessoal na produção de jogos artísticos. Para fechar esta dissertação apresentam-se outras produções contemporâneas em gamearte, a fim de evidenciar como a diversão e o entretenimento podem integrar a arte contemporânea recente.

The study investigated whether a relationship existed between using technology for recreation, and attachment style with important individuals in the lives of respondents. The main results showed that (4) a decrease in friend anxiety contributes towards an increase in the positive attitude towards using the HES for explicit content; (5) An increase in romantic partner anxiety contributed towards an increase in the positive attitude towards using the HES for social replacement. (6) Decreased father avoidance and increased father anxiety lead to an increasingly positive attitude towards using the PC for social, romantic and sexual improvement; (7) an increase in mother avoidance and anxiety, partner anxiety and friend anxiety contributed towards an increase in the positive attitude towards using the cell phone for explicit content and relationship related activities. / Psychology / (M.A. (Psychology))

I takt med att streaming, eller "strömning" som det heter på svenska, av filmer, serier och musik ökar i popularitet runt om i världen så är användbarhet en aspekt som får allt större betydelse vid utformning och design av olika tjänster. Det räcker inte med att enbart erbjuda åtråvärda tjänster och funktioner, de måste också presenteras som lättförståeliga och vara lättanvända. Spotify och Netflix är två auditiva och visuella digitala underhållningstjänster som borde vara anpassade för alla människor, oberoende från tidigare erfarenheter och förutsättningar. Men är de verkligen det?  Denna studie syftar till att undersöka användbarhet hos digitala underhållningstjänster för synskadade. De nyckelmetoder som använts i studien består av intervjuer och testdrivna experiment. En serie intervjuer genomfördes med ett selektivt urval av synskadade personer i Sverige. Ett testdrivet experiment utformades och genomfördes sedan där ett selektivt urval av synskadade personer agerade som testare i ett användarbaserat test. Resultatet påvisar att ett antal faktorer påverkar användbarheten när synskadade interagerar med de utvalda tjänsternas gränssnitt. Viktiga faktorer inkluderar; typ av plattform tjänsten används på, grad av synnedsättning, uppdateringar för tjänsten, otillgänglig design och användarens erfarenhet av tjänsten. Studien har även identifierat att användbarheten hos de undersökta digitala underhållningstjänster för synskadade är olika för olika enheter, där gränssnitten på smartphones är mer användbara än gränssnitten på P.C. Dessa resultat leder till slutsatsen att synskadade användare inte kan nyttja de undersökta digitala underhållningstjänsterna på ett självständigt och tillfredställande sätt. / As streaming of movies, television series and music is gaining popularity around the world, usability is an aspect that is becoming increasingly important in the design of various services. It is not enough to offer only desirable services and features, they must also be presented as easily understood and easy to use. Spotify and Netflix are two auditory and visual digital entertainment services that should be adapted to all people, independent of earlier experiences and conditions. But are they really? This study aims at investigating usability of digital entertainment services for the visually impaired. The key methods employed in the study consists of interviews and test driven experiments. A series of interviews were conducted with a selected sample of visually impaired individuals in Sweden. A test-driven experiment was then designed and conducted where a selected sample of visually impaired acted the role of user-based testers. Results suggest that that a number of factors affect the usability when visually impaired persons interact with the selected services user-interfaces. Important factors includes; type of platform the services is used on, degree of visual impairment, service updates, inaccessible design and the users previous experience with said service. The study has also identified that the usability of the investigated digital entertainment services for visually impaired people differs on different devices, where the Smartphone interfaces are more usable than the user interface of P.C. These results lead us to conclude that visually impaired cannot use the entertainment services independently and satisfactorily.

Made available in DSpace on 2016-08-03T12:29:49Z (GMT). No. of bitstreams: 1 RogerioSilva.pdf: 1371773 bytes, checksum: a117365b1dfe27d576dfb609d809eed1 (MD5) Previous issue date: 2013-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation discusses the Humor in the media and their interaction with culture and social imaginary, it is a study of the program Custe o que Custar (CQC), broadcasted by Bandeirantes television network. Describes the evolution of humor in Western history, its relations with the cultures and their foray in the media, in the nineteenth century. Maps the humor present in the Brazilian media in XX and XXI centuries and presents a categorization of television comedy. About television program studied rescued up your history, from its origins in Brazil until today. It has been shown through literature, the process of mediatization of society and the creation of individual and social identities, guided by the production of consumer goods. There was integration among symbolic values of culture, media and social imaginary. We conclude by analyzing the program that humor is an important discursive element in the spread of ideas and values and can be both a transforming element when in accordance with the prevailing social structures. Also, the CQC is one element among many media products, which act as social agents to act in the construction of symbolic values and the social imaginary. In the case studied, the information is confused with entertainment, resulting in a hybrid characteristic of contemporary mediated culture. / Esta dissertação aborda o humor na mídia e sua interação com a cultura e o imaginário social, a partir de um estudo do programa Custe o que Custar (CQC), da rede Bandeirante de televisão. Inicialmente descreve a evolução do humor na história ocidental, suas relações com as culturas e sua incursão na mídia, a partir do século XIX. Num segundo momento mapeia o humor presente na mídia brasileira nos séculos XX e XXI e apresenta uma categorização de programas humorísticos televisivos. Em relação ao programa televisivo estudado, resgatou-se o seu histórico, desde a sua origem no Brasil até o início do ano de 2013. Demonstrou-se por meio de levantamento bibliográfico o processo de midiatização da sociedade e a criação de identidades individuais e sociais, pautadas pela produção de bens de consumo. Por meio de uma análise descritiva, pode-se verificar a integração entre valores simbólicos da cultura, mídia e imaginário social. Concluiu-se, pela análise do programa, que o humor é elemento discursivo importante na propagação de ideias e valores, e pode ser elemento tanto de transformação quando de conformidade com as estruturas sociais dominantes. Também, que o CQC é mais um elemento dentre diversos produtos midiáticos, que funcionam como agentes sociais a atuar na construção de valores simbólicos e no imaginário social. Ainda, que no caso estudado, a informação se confunde com o entretenimento, resultando em um produto híbrido característico da cultura midiatizada contemporânea.

Esta pesquisa, de cunho bibliográfico, apoiada em entrevistas semi-estruturadas, busca em seu conjunto analisar a trajetória histórica da educação pública no surgimento da modernidade e sua organização no Brasil, em meio a processos conflitivos de liberalismo e democracia que produziram um movimento econômico desigual e combinado, portanto concentrador de riqueza para os de cima contra os de baixo. Tal modelo de sociedade fez predominar entre nós uma escola marcada pela dualidade plena de recursos para os ricos e precarizada para os empobrecidos economicamente. No entanto, o esforço de superação desta mazela educacional apareceria em dois momentos: na consecução da Escola Parque de Anísio Teixeira, nos anos 1950 e na materialidade dos Centros Integrados de Educação Pública (CIEPs), implantados por Darcy Ribeiro em 1983. Prática construída a partir da ideia anisiana de inclusão das massas populares como um direito republicano, até então fragilizado. Ambos os projetos, por interesses contrários de uma elite conservadora, seriam politicamente abandonados. Com vistas a não permitir o apagamento histórico destas conquistas, reforçando-as como ação permanente a favor das classes populares priorizamos, no recorte do objeto de estudo, o programa de Animação Cultural instituído na escola pública fluminense dos anos 1980. Proposta inovadora na educação brasileira, visando reconhecer as experiências culturais das populações que residiam próximas aos CIEPS no estado do Rio de Janeiro como expressões éticas, estéticas e sociais emancipatórias. Tal proposição teve como mérito permitir que os saberes populares passassem a conviver com o conhecimento produzido na escola e vice-versa. Assim, Darcy Ribeiro através do Programa Especial de Educação (I PEE), criaria juntamente com Cecília Fernandez Conde, a figura do Animador Cultural artistas populares, na qualidade de trovadores, poetas, músicos, artistas plásticos etc, moradores das próprias localidades onde estavam instalados os CIEPs, tendo como função a mestria da cultura popular no ambiente escolar. Buscava-se, nesse intento, uma escola que mediasse saber formal e arte criativa como possibilidades de formar alunos e alunas para a totalidade humana, cuja práxis artística e crítica, amalgamassem pensar e fazer, sem qualquer hierarquização entre um e outro. / This biographically-oriented research, based on semi-structured interviews, has the general purpose of analyzing the history of public education in modern times and its organization in Brazil, amidst conflicting liberal and democratic processes which produced an unequal and combined economic movement in the country, concentrating richness in the upper classes as opposed to the lower ones. Such model of society led to a school system in Brazil usually characterized by dualitywith plenty of resources for the rich, but precarious for the economically impoverished. Efforts to overcome this educational situation were successful in two moments: when Anísio Teixeiras Escola Parque (Park School) was attained in the 1950s, and when the Centros Integrados de Educação Pública (CIEPs, Public Education Integrated Centers) were implemented by Darcy Ribeiro in 1983. They were based on Anísio Teixeiras idea that the inclusion of the popular classes was a republican right, which thus far had been fragile. Due to the opposing interests of a conservative elite, both projects eventually were politically abandoned. Aiming at not allowing these achievements to be erased from history and highlighting them as a permanent action in favor of the popular classes, our object of study prioritizes the Cultural Entertainment program, introduced in the public school system in the state of Rio de Janeiro in the 1980s. This was an innovative proposal in Brazilian education, which sought to acknowledge the cultural experiences of the populations living near the CIEPs as ethical, aesthetic, and social emancipatory expressions. One of the values of this proposal was to integrate popular knowledge to the knowledge produced in school, and vice versa. In this regard, through the first Special Education Program, Darcy Ribeiro and Cecília Fernandez Conde devised the role of Cultural Entertainer. It was performed by popular artists working as bards, poets, musicians, visual artists, etc. who lived in the same areas where the CIEPs were located and who taught popular culture in the schools. The goal was to create a school that offered both formal knowledge and creative arts as means to prepare students for the whole human dimension, and where the artistic and critical praxis combined thinking and doing without any hierarchy.