Advertisers use music in as much as 90% of television commercials. Classical and opera music play a special role in this medium, as classical music carries with it any number of already established inferences and meanings that may then be altered by the images in the commercial, or imparted upon the images and product in the commercial. This thesis looks at three television commercials from 2006 that use the music of Giuseppe Verdi, and how this music is used. I revisit the current understanding of how television advertising uses classical music as a musical indicator of high culture and social status. I challenge the idea that this is the only way in which advertising uses classical and opera music, and I propose three new possible ways that television uses classical music in commercials. / Musicology

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I set out to determine how the contemporary Western female traveler is constructed in popular travel media, and how resonant such images were with female travel consumers themselves. Two periods of ads were compared - 2003-2004, with 1989-1990 - from three widely circulated travel magazines, to gauge any differences discernible over the course of fifteen years with respect to how female tourists are being depicted. Methods included quantitative tabulated comparisons of the gender of travel ad subjects, content analyses of ads featuring female tourists, and participant input from questionnaires and focus groups. The female travel consumers who participated in this study were demographically compatible with the readership of the magazines in which these ads are shown. An intensive interview with one executive at a creative agency responsible for several of the ads was also conducted. <br /><br /> Results indicated that, while representations of female travelers have significantly increased both numerically and relatively to those depicting other sorts of tourists in recent years, this trend does not broadly include more progressive representations of women's increased socio-economic independence and status. <br /><br /> Female travelers are predominantly portrayed in ads as: <ul> <li>Young and attractive</li> <li>Sexualized</li> <li>Passive</li> <li>Sleeping or reclining, seemingly more interested in lying around (decoratively) in a trance-like state and being "pampered" than in actively engaging with their environment. </li></ul> These portrayals were incompatible overall with what female travelers themselves reported they enjoyed doing when they travel, and in terms of what they reported they find resonant in travel advertising. Overall, participants found the travel ads featuring females to be unappealing. <br /><br /> However, there were indications that the ways female travelers are portrayed in ads are slowly evolving to better reflect wider spread female economic independence and autonomy. In particular, a new phenomenon shown in more contemporary ads was the emergence of a "female gaze". This finding coincides with the simultaneous sexualization of female travel ad subjects ? perhaps in reflection of a current post-feminist emphasis on sexual freedom for females. Also noted was an increasing de-emphasis on specific destinations in ads, in favour of a more idealized generic "placelessness. " Female participants in this study did not generally like this trend. There appeared to be some lag in the industry in recognizing that "regular" (i. e. older, average-looking) women are an important source of revenue, in terms of making a larger proportion of travel decisions. Several possible explanations were offered to address this apparent gap between how females in travel ads are being depicted, and the stated likes and preferences of actual female travel consumers who participated in this study. <br /><br /> Female traveler-participants in this study indicated they would very much prefer to see actively engaged, older and realistic-looking female subjects in travel ads, in specific destinations. They noted that travel is a particularly personal form of consumerism, often closely interwoven with one's own sense of personal identity. That result may in part explain the strong negative reactions of many participants to some portrayals in these ads. Tourism-related marketing industries could also do far better in terms of better cultivating the goodwill of female travel consumers, and more successfully attracting their favorable attention.

I set out to determine how the contemporary Western female traveler is constructed in popular travel media, and how resonant such images were with female travel consumers themselves. Two periods of ads were compared - 2003-2004, with 1989-1990 - from three widely circulated travel magazines, to gauge any differences discernible over the course of fifteen years with respect to how female tourists are being depicted. Methods included quantitative tabulated comparisons of the gender of travel ad subjects, content analyses of ads featuring female tourists, and participant input from questionnaires and focus groups. The female travel consumers who participated in this study were demographically compatible with the readership of the magazines in which these ads are shown. An intensive interview with one executive at a creative agency responsible for several of the ads was also conducted. <br /><br /> Results indicated that, while representations of female travelers have significantly increased both numerically and relatively to those depicting other sorts of tourists in recent years, this trend does not broadly include more progressive representations of women's increased socio-economic independence and status. <br /><br /> Female travelers are predominantly portrayed in ads as: <ul> <li>Young and attractive</li> <li>Sexualized</li> <li>Passive</li> <li>Sleeping or reclining, seemingly more interested in lying around (decoratively) in a trance-like state and being "pampered" than in actively engaging with their environment. </li></ul> These portrayals were incompatible overall with what female travelers themselves reported they enjoyed doing when they travel, and in terms of what they reported they find resonant in travel advertising. Overall, participants found the travel ads featuring females to be unappealing. <br /><br /> However, there were indications that the ways female travelers are portrayed in ads are slowly evolving to better reflect wider spread female economic independence and autonomy. In particular, a new phenomenon shown in more contemporary ads was the emergence of a "female gaze". This finding coincides with the simultaneous sexualization of female travel ad subjects ? perhaps in reflection of a current post-feminist emphasis on sexual freedom for females. Also noted was an increasing de-emphasis on specific destinations in ads, in favour of a more idealized generic "placelessness. " Female participants in this study did not generally like this trend. There appeared to be some lag in the industry in recognizing that "regular" (i. e. older, average-looking) women are an important source of revenue, in terms of making a larger proportion of travel decisions. Several possible explanations were offered to address this apparent gap between how females in travel ads are being depicted, and the stated likes and preferences of actual female travel consumers who participated in this study. <br /><br /> Female traveler-participants in this study indicated they would very much prefer to see actively engaged, older and realistic-looking female subjects in travel ads, in specific destinations. They noted that travel is a particularly personal form of consumerism, often closely interwoven with one's own sense of personal identity. That result may in part explain the strong negative reactions of many participants to some portrayals in these ads. Tourism-related marketing industries could also do far better in terms of better cultivating the goodwill of female travel consumers, and more successfully attracting their favorable attention.

Background: Advertisements create metaphors in the consumers’ mind, which are interpretedby using their advertising knowledge, including expectations of positive messages and theawareness of different advertising formats. Advertising affects how and what consumers thinkabout a company. For online advertising, Facebook is a widely used tool by marketers toestablish and enhance the brand image, use the network for market research, target theiradvertising and create Facebook groups or pages for the company. Purpose: The purpose of this research is to explore what happens when the sender’s intendedmessage of online advertisements is interpreted by the consumers. Research Question: How do senders and receivers interpret a particular message in an onlineadvertisement context? Conclusion: The researchers have in this research found that not having a visible trademarkthroughout the whole communication process may result in losing part of the message when itis received by consumers. On Facebook, the initial sender can no longer control who receivetheir message and whom it will reach and hence, the brand can be lost. Consumers interpret amessage differently because of where it is sent from on Facebook, if the message is coming from the company or friends it will affect their perceptions of the advertisement’s message.

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In today’s globalized world there are not many limitations in the communication between people, and companies from different parts of the world. There are several methods companies can use to reach out to people, and one method is through magazines. When reading a magazine it is nearly impossible to not notice advertisements. The purpose of this thesis was to explore how the English language is used in Swedish magazines. Also, how do Swedish companies versus foreign companies use English in their advertisements in Sweden? This is a qualitative study in which four different magazines, and two issues from each were observed. Several studies have been completed on advertising and language, and those studies are introduced and discussed in this study. However, few studies have been done on the language in advertisements in Swedish magazines. The method consisted of documenting and saving all the advertisements in the magazines, and their language choices were then analyzed. This study reveals that English is used in Swedish advertisements to a notable extent. Nevertheless, there were some interesting differences between foreign companies and Swedish companies. For instance, in some cases Swedish companies used English to a greater extent than the foreign companies.