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Smart home is a topic that emerged in the 90s to improve the quality of human life. The evolutions of ambient intelligence, recent technology advancements, internet, and smart devices have had a large impact in smart home environment. In the traditional smart home environment, devices are connected physically in the environment and there are interoperability issues between the devices, because the environment is heterogeneous and the devices do not allow to communicate with the outside world such as the internet.In this master thesis we propose a conceptual design of a platform for better home entertainment experience. Smart phone, smart TV and a personal computer are the most important devices in this platform design. The platform provides a high degree of interaction and integration among devices within the environment. The proposed platform model helps software architects and engineers to have an early involvement in the design process. We proposed the platform to be implemented with the help of hybrid cloud computing model. Our suggested platform design is able to overcome the deficiencies of the previous models and approaches in this domain. We conducted direct interviews with seven computer science teachers at Malmö University for the evaluation of our platform design. The results show that the platform design can be physically implemented with the specified devices, the clouds are better than the traditional approaches and hybrid cloud model is more acceptable in terms of security and economy. We encourage software architects, developers and project supervisors to adopt this proposed platform model in physical smart home environment.

Background: The objective of this study is to determine the difference in customer attitudes towards CGI advertisements pictured in real-life scenes and traditional digital advertising. Furthermore, this study aims to discover how customer attitudes towards CGI advertisements pictured in real-life scenes influence brand experience. Method: The study developed 6 hypotheses examining customer attitudes towards advertisements. These hypotheses focused on 5 factors: credibility, irritation, entertainment, creativity, and informativeness. How customers perceive these factors and their attitudes towards CGI advertisements pictured in real-life scenes compared to traditional digital advertisements were examined. One of the hypotheses further addressed the question of whether attitudes towards CGI advertisements pictured in real-life scenes influence customers' brand experience. A questionnaire was used to test the hypotheses and answered by 139 respondents. Findings: The result of the study showed that customers perceive the factors of credibility andinformativeness more positively in traditional digital advertisements. In contrast, factors such as creativity, entertainment, and lack of irritation were evaluated more favorably for CGI advertisements pictured in real-life scenes. The study also discovered that positive attitudes toward CGI advertisements pictured in real-life scenes lead to more positive brand experiences. Conclusion: Age groups between 18 and 55 prefer advertising that is entertaining, creative, and innovative. CGI advertising in real scenes should not stand on its own but rather serve to capture the attention of the customer. This can help companies to become more visible and engage the target audience, which can then lead to a positive brand experience. This is due to its attractiveness and perception as an engaging, attention-grabbing, and more brand-recalling advertisement compared to traditional digital advertising. However, it is important to note that CGI advertising should not serve as themainsource of information about a product or service, but rather as a tool to grab attention.

This paper aims to explore the limits of play using Goffman's frame theory when creating a humoristic card game set in a hospital. Multiple playtests were conducted with students at the University of Skövde and Hospital personnel. The results show that the game did not break the boundaries on the limits of play in the sense of being too insensitive, éven when sensitive subjectmatter was touched upon in the game's objectives. The game instead seemed to entertain the participants. Further research would need to be conducted on larger target groups for a more concrete conclusion.

This dissertation examines and writes the early history of distribution and exhibition of moving images in Southeast Asia by observing the intersection of transnational itinerant entertainment and colonialism. It is a cultural history of turn-of-the-century Southeast Asia, and focuses on the movement of films, people, and amusements across oceans and national borders. The starting point is two simultaneous and interrelated processes in the late 1800s, to which cinema contributed. One process, colonialism and imperialism, separated people into different classes of people, ruler and ruled, white and non-white, thereby creating and widening a colonial binary. The other process was bringing the world closer, through technology, trade, and migration, and compressing the notions of time and space. The study assesses the development of cinema in a colonial setting and how its development disrupted notions of racial hierarchies. The first decade of cinema in Southeast Asia, particularly in Singapore, is used as a point of reference from where issues such as imperialism, colonial discourse, nation-building, ethnicity, gender, and race is discussed. The development of film exhibition and distribution in Southeast Asia is tracked from travelling film exhibitors and agents to the opening of a regional Pathé Frères office and permanent film venues. By having a transnational perspective the interconnectedness of Southeast Asia is demonstrated, as well as its constructed national borders. Cinematic venues throughout Southeast Asia negotiated segregated, colonial racial politics by creating a common social space where people from different ethnic and social backgrounds gathered. Furthermore, this study analyses what kind of worldview the exhibited pictures had and how audiences reproduced their meanings.

Scenic construction requires a strong understanding of a range of principles related to construction including: materials strength properties, mechanical components, electrical motor systems, fluid power systems, and finishing techniques. A manager of scenic construction, or a Technical Director (TD), is required to take artistic designs and ideas and create magical elements on stage that are safe for performers, installers, operators, and audiences. In order to create these onstage spectacles, a great deal of planning, engineering, and careful fabrication must take place. There are several ways for a Technical Director to gain the knowledge required to effectively work at any level of entertainment production. This mixed-methods research study asks: what are the ethical standards that guide how a TD’s work is completed? The thesis begins with a review of the job of the Technical Director in Live Entertainment and data from a survey conducted of professionals in scenic technology. Results from the survey were analyzed to provide both quantitative data, in the form of statistics, and qualitative response data. Additional discussion addresses a sample of the resources for structural design support available currently to the field, as well as challenges that some professionals confront in their typical practice. The thesis concludes a review of literature around engineering ethics and liability in engineering practice and recommendations for the incorporation of new ethical standards in live entertainment scenic production. / text

The Master's thesis "The Role and Importance of Humorous Television Programs in Czechoslovakia in The Years of Normalization. The Phenomenon of a Comic Pair Lasica and Satinský,"discusses the importance of humorous shows within the program structure of the Czechoslovak Television in 1969-1989. The work deals with the issues of television entertainment and the developments that affect a number of criteria. The work points to the former television entertainment context, the possibility of posting humorous programs, and their position in the television program. The work will identify the type and frequency of various entertainment programs and their presenters as well as discuss their contribution to television entertainment. The paper seeks to deepen its analysis of television entertainment, namely in the humorous sessions of Milan Lasica and Julius Satinský. Their artistic activity compared to television based on criteria such as: frequency, form of humor, specific pairs etc., with other comics CST sessions will be analysed. An important part of the analysis will be means of expression used by comedians in broadcasts.

In my dissertation I survey the historic progress of the reality TV and the reality show, focussing on the specific genre of the talent shows, which stands for the current phenomenon of the entertainment industry in TV broadcasting. Using the method of the oral history I'll explain in detail the principals of running these shows on chosen formats and point out how different or same strategies can appear in shows all over the world. Further I'll focus on the structure and the level of a production, main features of the audience personality and behaviour, for example forming the relationship between the viewer and the participants on the basing on personal stories or praising and idealising the competitors. The next step of my analysis will be a depiction of the economic thesis and rules, which run the talent shows, which give them a direction and drive them on the TV market. I'll give an insight into the terms as the affective economics, building lovemarks or an inspiring fan, which are characteristic for the era of the convergence of media, which are considerably covered by talent shows. In the end my work depicts also the role of the jury and their specific trail, which are necessary for the viewer ratings and potential success of the certain show. Further my work will point out the typical marks...

The historical era between 1850 and 1950 is known to be a turbulent period reflected not only in adult literature but also in the texts written for children. This unusually rich period in terms of political, social and ideological development certainly influenced most parts of the world. However, it was particularly important for England mainly for the transition of the Victorian era and Edwardian period to the modern history initiated by the WW I. Throughout this period many new ideologies arose and scientific discoveries were more numerous than ever. In 1859, for instance, Darwin's On the Origin of Species by Means of Natural Selection was published and initiated the still on-going war period between Christianity and science. At the same time, the concept of childhood started to be understood in a different way and books written for children became a common commodity converting the end of 18th century in the Golden Age of children's literature. However, according to Peter Hunt's publication Understanding Children's Literature, 'all texts are inevitably infused by ideologies'. Therefore, the aim of this thesis is firstly, to study the way in which ideologies are incorporated in the texts for children (overt or covert) and secondly, the extent to which the texts for children become a vehicle of...