The study aims to contribute to the deeper understanding of young Facebook users’ news consumption routines within the platform and to find out how they experience the growing presence of news publishers there. The research is based on 10 semi­structured interviews with international students ­ Swedish Institute scholarship holders from seven different countries. The qualitative data is analysed with the help of the theoretical approach, based on the combination of two modern concepts, that consider user perspective on news consumption: the concept of “perceived worthwhileness” by Kim Christian Schroeder and “spatial turn” by Chris Peters. The research has shown that young users often use Facebook as their primary source of news and, therefore, adopt new routines on this social platform in terms of news consumption. Among them are scanning through personal news feeds, monitoring friends interests, using “likes” for information dissemination and self­expression, chain reading news and “playing” with algorithms. At the same time, the communicational component of Facebook is not ignored and the platform as a whole is experienced rather as a space than a specific medium. In general, young users experience news consumption on Facebook in a positive way and appreciate the opportunity to see their peers’ perspectives on particular issues, show their identity to significant others, be exposed to a diverse range of news without wasting time on searching and choosing, and keep track of their activities and interests. At the same time, the author identified a negative attitude towards the chaotic structure of news feeds and the complexity of the settings.

Adolescence is often seen as a stage where risk taking and experimentation are common. The need to feel a part of one’s peer group, to be valued as an individual and to overcome physical and emotional changes are all part of this developmental stage. This research examines the link between Elkind’s theory of Egocentrism and risk taking in female adolescents. Risk taking and its links to the Personal Fable and the Imaginary Audience were the main focus of the research. This study used a qualitative research design to obtain an in-depth understanding of risk taking among a sample group of ten female adolescents. A focus group from a different school was used to help analyse and discuss the data obtained. The results of this study show that Elkind’s theory of adolescent Egocentrism (both the Personal Fable and the Imaginary Audience) are, indeed, influencing factors in female adolescent risk taking.

Thesis advisor: William Stanwood / This analysis examined the effects of reality television on its audiences. The purpose of the research was twofold: to uncover the effects that reality television has upon its audiences, and to determine whether or not these effects indicate that reality TV acts as an agent of societal change. The genre was divided into two distinct programming types: documentary as diversion and lifestyle programs. The findings suggested that reality TV has many audience effects. Discussion centered around the investigation of the second research question. It was concluded that lifestyle programs are agents of societal change, while documentary as diversion programs are not. Limitations and suggestions for further research were put forth. / Thesis (BA) — Boston College, 2012. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communication.

The film marketing is becoming increasingly important due to the fierce competition of film industry in China. With the drive of technology innovations, the creation of interaction among audiences has gradually become the spotlight of film marketing and many social media platforms are employed as marketing tools to encourage or foster audience engagement. Through the case study of Us and Them, the thesis studies how audience engagement is realized through film marketing strategies made by marketers, so as to identify the specific marketing strategies or techniques used for enhancing the audience engagement and promoting the film. As different marketing techniques will lead to different level of audience engagement, that are normally reflected by the preferences of audiences, their behaviors on social media and the way of involving into film contents, it is necessary to explore and understand the effectiveness and efficiency of these techniques, so that the film marketing can be improved while practical marketing progressing.

La thèse s’intéresse aux pratiques de lecture et d’écriture initiées par le développement des journaux littéraires au XVIIIe siècle. Elle s’appuie sur cinq périodiques représentatifs : « le Nouvelliste du Parnasse » de Desfontaines et Granet, « le Pour et Contre » de Prévost, « le Mercure de France », « l’Année littéraire » de Fréron, et « le Journal des Dames ». Ces périodiques se caractérisent par la place accordée aux lecteurs, par la variété des sujets qu’ils diffusent, et enfin par leur vocation critique.Il s’agira tout d’abord d’envisager le périodique littéraire comme un nouveau moyen d’information et de communication, qui redéfinit les pratiques auctoriales des rédacteurs et qui dessine les contours d’une société de lecteurs. La seconde partie de la thèse déplace l’intérêt du rédacteur au lecteur. Celui-ci est initié à la pratique du commentaire des textes. Cette formation du lecteur contribue à la mise en place d’un espace de dialogue au sein du journal littéraire. L’ensemble des lecteurs se soude en une communauté, aux caractéristiques bien spécifiques, qui fera l’objet de la troisième et dernière partie. Les périodiques recréent un espace de sociabilité, virtuel, qui s’organise dans un mode nouveau de rapport au monde et de rapport à soi, préfigurant le rôle d’internet aujourd’hui.Les lecteurs se sont appropriés un nouvel objet, dont les potentialités sont encore à inventer. Les journaux littéraires se présentent à la fois comme des outils de diffusion d’une culture et comme des manifestations d’une évolution culturelle à dimension sociale. Ils se constituent en un espace médiatique qui témoigne de la rencontre entre un dispositif technique et des usages culturels. / The doctoral thesis is interested in the practices of reading and writing introduced in the literary newspapers of the XVIIIth century. It leans on five representative periodicals : « the Nouvelliste du Parnasse » de Desfontaines and Granet, « the Pour et Contre » de Prévost, « the Mercure de France », « the Année littéraire » of Fréron, and « the Journal des Dames ». Three characteristics distinguish them from the other newspapers of that time : the place granted to the readers, the variety of the subjects treated in this newspapers, and finally their critical vocation.In the first part we will consider the literary periodical as a new means of information and communication, which redefines the auctoriales practices of the editors and which draws the outlines of a reader society. The second part of the thesis shifts the interest of the editor to the reader. He is introduced to the critical practice of texts. This training of the reader contributes to the implementation of a space of dialogue within the literary journal. All the readers bind together and become a community, which has very specific characteristics, that will be the object of the third and last part. Periodicals recreate a virtual space of sociability which gets organized in a new mode of relation to the world and of relation to oneself, prefiguring the role of internet today.The readers appropriated a new object, the potentialities of which are yet to be invented. The literary periodical appears as a tool of broadcasting a culture and as a demonstration of a cultural evolution with social dimension. They are established in a media space which testifies of the meeting between a technical device and cultural uses.

[pt] Esta dissertação traça o perfil sócio-econômico das crianças que participaram da pesquisa O que penso da tevê? realizada pelo Grupo de Pesquisa em Educação e Mídia, e analisa, descritivamente, o consumo cultural dessas crianças, o tempo dedicado por elas à tevê, modos de interação com o veículo e níveis e formas de atuação da escola e da família como fatores intervenientes dessa relação. Os dados que sustentam o estudo foram construídos a partir de um questionário auto-administrável, respondido por 718 crianças, com idades entre 8 e 12 anos, estudantes de oito escolas públicas e três particulares dos estados do Rio de Janeiro e de Minas Gerais e foram feitas análises de fatores e análises bivariadas. As variáveis que foram objeto destas análises são: impacto da televisão na vida das crianças - correlacionada ao tempo dedicado à prática de ver tevê e às atividades que as crianças deixam de fazer em função disso; padrão de consumo cultural das crianças; diálogo familiar; expertise ou telefilia, relacionada ao conhecimento que as crianças têm sobre a televisão; relação escola/televisão e família/televisão; nível econômico delas. Como referências teórico- metodológicas foram utilizadas pesquisas de audiência infantil realizadas na Inglaterra por Livingstone; na Espanha, por Bailén e Aguaded; em Portugal, por Matos; os estudos de Ortigão e Aguiar sobre os conceitos de Coleman de capital econômico e social orientaram a análise e a descrição do perfil econômico das crianças, de seu consumo cultural e de seu diálogo familiar; a Teoria das Multimediações, desenvolvida por Guillermo Orozco-Gomez, orientou a análise dos dados relativos à atuação da família e da escola na relação das crianças com a tevê. Os resultados indicam que: 1) essas crianças têm um consumo de televisão muito intenso no que diz respeito ao tempo - mais de três horas diárias, todos os dias da semana - e ao conhecimento adquirido acerca do veículo e de sua linguagem - são experts no assunto; 2) têm clara preferência por narrativas de ficção (telenovelas, filmes e seriados) e sentem imenso prazer em se relacionar com elas; 3) vêem seus programas prediletos quase sempre acompanhadas por adultos, o que sugere presença da família como importante fonte de mediação; 4) a escola tem participação significativa na relação das crianças com o conteúdo televisivo. / [en] This dissertation defines the socio-economic profile of the children who participated in the poll What do I think about TV? carried out by the Education and Media Research Group (Grupo de Pesquisa em Educação e Mídia) and analyses on a descriptive manner, the cultural consumption of these children, the time they dedicate to watching TV, the ways they interact with the vehicle and levels and ways schools and families act as intervening factors. The data supporting this research were built based on factorial and bivariate analysis of the responses 718 children with ages varying between 8 as 12, students of eight public schools and three private schools in the states of Rio de Janeiro and Minas Gerais, gave answering a self administered questionnaire. The variables which were analyzed are the following: impact of TV in the children´s lives - related to the time they dedicate to watching TV and the activities they end up not doing as a result of that; the children´s standard of cultural consumption; their family dialogue; their knowledge about TV; the school/television and family/television relationships; and their economic standards. As theoretical methodological references, infantile audience researches carries out in the UK by Livingstone; in Spain by Bailén and Aguaded and in Portugal by Matos were used. The studies of Ortigão and Aguiar about Coleman´s concepts of economic and social capital oriented the analysis and description of the children´s economic profile, cultural consumption and family dialogue. The Theory of Multimediations developed by Guillermo Orozco-Gómez, oriented the analysis of data related to the roles of family and school in the children´s relationship with TV. The results indicate that: 1) these children have very intense television consumption time wise - more than three hours per day every day of the week - and with respect to the knowledge about TV and its languages - they are experts in the area; 2) they have a clear preference for fictional programs (soap operas, movies and series) and have immense pleasure in watching these programs;; 3) they almost always watch their preferred TV shows with adults, what suggests that the presence of the family is an important mediation source; 4) the school has an significant role in the children´s relationship with television.

Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009. / This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009.

(In)audíveis é um uma plataforma teórico-prático, que pensa mecanismos de reflexividade e de produção de uma audiência crítica, nos projetos de arte contemporânea com que se relaciona - como trabalho de minha própria localização diante do estado atual da Arte. Esta tese alinha-se às práticas artísticas de cunho estético-político e a questão documental. A produção teórico-prático desta pesquisa pautase primeiramente nas experiências artísticas dos anos de 1960 e 1970, por estar identificada com a forma de produção e pensamento auto-reflexivo e críticos de seu contexto. A pesquisa aqui apresentada, no entanto, tratará de identificar estes aspectos políticos como documentais hoje, pelo paradigma das práticas discursivas- o problema da espacialização dos discursos na forma fílmica e instalativa (Vídeo-Instalação e Cinema de Exposição). / (In)audibles is a theoretical-practical platform for thinking the mechanisms of reflexivity and of production of a critical audience in the contemporary art projects with which it relates to - as work of my own localization before the present state of Art. This thesis is related to artistic practices of an aesthetic-political bias and to the issue of documentation. The theoretical-practical production of this thesis is grounded first on the artistic experiments of the 1960\'s and 1970\'s, because they are identified with the kind of production and selfreflexive and critical thought of such context. The research here presented, however, will seek to identify such political aspects as documental aspects of the present day, by means of the paradigm of discursive practices- the problem of discourse spatialization in the filmic and installation forms (Video Installation and Exhibition Cinema).

Tout en se présentant comme la relecture d’un fait divers de l’histoire italienne récente, Romanzo Criminale est un récit qui se déploie par le biais de différents médias : un livre, un film, une série télévisée, ainsi qu’un certain nombre de produits dérivés. On trouve également, dans les espaces en ligne Internet, des déclinaisons de ces produits générées par les utilisateurs eux-mêmes. Les pratiques de transformation ou de remix mises en œuvre par ces derniers, les hommages et autres parodies dilatent l’univers de départ en proposant des lectures alternatives au sein de communautés différentes. La présente étude explore les modalités qui s’offrent au chercheur pour une analyse de ce phénomène : si, dans un premier temps, la notion d’intertextualité peut être employée comme outil heuristique, la présence de véritables usages requiert le dépassement de la perspective narratologique et la construction d’une méthodologie de recherche adaptée au contexte contemporain. Afin de rendre compte de la multitude des pratiques existantes une enquête ethnographique dans les espaces en ligne (blogs, sites de partage de vidéos, réseaux sociaux) s’impose, assortie d’une approche critique de la notion de transmédialité. Enfin, l’une des caractéristiques les plus typiquement contemporaines du phénomène observé, celle qui consiste à faire advenir un univers fictionnel dilatable à souhait par les spectateurs, sera comparée à la mise en œuvre d’un "travail épique". / Presented as a new interpretation of a momentous event in recent Italian history, Romanzo Criminale is a story spread through different types of media; it is a book, a film, a TV series, as well as a number of extra materials. Spin-offs of these products created by users can be found on the Internet as well. Users pay homage to or parody the original media by transforming or remixing its content, thus expanding the story’s universe by putting forward alternative interpretations throughout various communities both on and offline. In this study, we explore the methods available to researchers for analyzing this phenomenon. If, in the first section of the study, the notion of intertextuality can be used as a heuristic tool, in the second, the presence of actual uses requires the researcher to go beyond the narratological perspective and construct a methodology that is adapted to the contemporary context of convergence. In order to understand the multitude of existing practices, it is imperative to carry out an ethnographic investigation of online spaces (blogs, video sharing sites, social networks), and accompany it with a critical examination of the notion of transmediality. In the last section, we examine one of the most typical contemporary features of the studied phenomenon, the one which produces an everexpanding fictional universe created by spectators that will be compared to an "epic work".

A pesquisa exploratória e metodológica debruça-se sobre as relações estabelecidas entre museus e idosos e procura entender como, na prática, a museografia aborda o público idoso, como resultado da expansão de públicos, com embasamento nas políticas de inclusão sócio cultural, diretrizes e regulamentações museológicas e políticas socioculturais desenvolvidas com aumento do número de cidadãos com 60 anos e mais como grupo etário no Brasil e dentro da tendência de envelhecimento da população mundial. A museologia explora a função social por meio da comunicação e salvaguarda no processo curatorial. O processo de envelhecimento e a musealização podem ser bem-sucedidos estabelecendo relações de comunicação e interação sociocultural, proporcionando aprendizagens ao longo da vida e diálogo intercultural contemplando as necessidades de atividades da vida diária e de lazer, contemplando necessidades, vivências, interesses e motivações, como forma adaptativa para a vida destes indivíduos, agregando conhecimentos interdisciplinares de estudos sobre envelhecimento, a partir da gerontologia. O grupo designado de \"idoso\" remete para uma diversidade de categorizações culturais de indivíduos, que pode ser um trunfo ou freio, mas certamente um desafio para o relacionamento com a museografia. A pesquisa de recepção como metodologia possibilita observar uma proposição conceitual, destacando a necessidade de se conhecer os idosos como público potencial de museus (visitantes e não visitantes), explorando o contexto das instituições museológicas e apontando diversas escolhas museográficas possíveis que condicionam as propostas de relacionamento com o público, com vista ao impacto positivo nos idosos e nos museus. / The exploratory and methodological research focuses on the relations between museums and elderly, and seeks to understand how, in practice, museography covers elderly population since a result of expansion of public, with grounding in the social and cultural inclusion policies, guidelines and museological regulations and socio-cultural policies developed from the increase number of citizens aged 60 and over in Brazil, within the aging population trend. The museological communication and safeguarding can explore the social function in the curatorial process seeing that the process of aging and musealization can be successful establishing relationships and socio-cultural interaction and intercultural dialogue providing lifelong learning considering the needs of the elderly audiences, the daily life activities and leisure times,experiences, interests or motivations taking into account adaptations to the aging process and adding interdisciplinary knowledge of studies on aging from gerontology. The elderly group refers to a diversity of cultural categorizations of individuals who can be an asset or a brake to the relationship with museums in practice. Reception research is a methodology that has developed a conceptual proposal that enables understanding elderly as potential audience (visitors and non-visitors), exploring the institutional context as approaches and partnerships, and analysing museographic choices, because these are condition of practices \"in\" museums, reviewing challenges and / or opportunities enabling a museographic relationship with a view to impact on the life of both, elderly and museums.