The aim with this study was to investigate project managers` and security officers` perceptions of event safety in large event projects regarding audience behavior. Data was collected by semi-structured interviews with ten project managers and security officers of event projects in Sweden. Using inductive thematic analysis, three themes were defined: Preventive work, designing an experience, and different perceptions of event safety. For preventive work, three sub-themes were defined: Cooperation with other actors, artist and audience profile, and prerequisites for the right action. The results show that prevention planning is the greatest and most important part of an event. Cooperation with other actors is of great importance during the risk analysis, but also when identifying the needs of different target groups. The artist and audience profile contributes to the definition of security risks and what measures to consider. The flows of crowds can be controlled by using well-established analysis models, but prerequisites to respond to unexpected incidents are crucial. By designing the visitor's experience into something safe and positive, the risk of inappropriate behavior is reduced. Positive treatment of visitors is essential for well-functioning events. Moreover, the study points out differences in managers' motivation and level of knowledge regarding event safety. / Syftet med studien var att undersöka hur projektledare och säkerhetsansvariga i stora evenemangsprojekt förhåller sig till evenemangssäkerhet avseende publikens beteende.  Data samlades in genom tio semistrukturerade intervjuer med projektledare och säkerhetsansvariga för evenemangsprojekt i Sverige. Med induktiv tematisk analys definierades tre teman: Förebyggande arbete, att forma en upplevelse och skilda uppfattningar om evenemangssäkerhet. I temat förebyggande arbete definierades tre underteman: Samverkan med andra aktörer, artist- och publikprofil och förutsättningar för rätt agerande. Studien visade att planering med förebyggande arbete utgör den största och viktigaste delen av ett evenemang. Samverkan med andra aktörer är av stor vikt vid riskanalysen, men också vid identifiering av olika målgruppers behov. Artist- och publikprofilen bidrar till definitionen av säkerhetsrisker och vilka åtgärder som ska vidtas. Folkmassors flöden kan styras genom välgrundade analysmodeller, men förutsättningar för att kunna agera vid oväntade händelser är avgörande. Genom att forma besökarens upplevelse till något tryggt och positivt minskar risken för oönskade beteenden. Det goda värdskapet är grogrunden för välfungerande evenemang. Studien pekar också på skillnader i arrangörers motivation och kunskapsnivå avseende evenemangssäkerhet.

The aim of this work is to find specific preferences of Czech film consumers. By these specific preferences it is meant the type of stories, heroes or genres which does Czech film audience prefer. The analysis is made on the most popular films (i.e. with the biggest attendance) in last twenty years using the theory of Erving Goffman, especially his concept of frame analysis. By using the terms of frame analysis the content of the selected films is compared with the same amount of the most popular films in USA. This comparison is then used to find the differences or similarities among these two different areas, but in particular it is done to underline the specifics of Czech film audience. Powered by TCPDF (www.tcpdf.org)

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This thesis investigates student engagement in the Media and Communication Programme at Malmö University through the lens of audience- as well as learning theories. It has two main aims: Building a systematized theoretical framework to distinguish different nuances of audience activity in a cross-mediatic learning environment, and exploring factors influencing student engagement in our Media and Communication Master Programme (MCS). Constructivist Grounded Theory (Charmaz 2006) with a multi-method approach for data collection is applied to gather rich data and analyse it accordingly through coding processes and constant comparison. Following social constructivism, it argues that each student, actively constructing knowledge, has her own subjective learning preference. This thesis takes a non- normative stand on the subject. A matrix of audience activity, grounded in audience theories and developed through the collected data, is established. In a second step this is used to illustrate the concepts participation, engagement and collaboration and then further employed to examine factors influencing student engagement. Thereby, the matrix is tested, refined and further developed. Through this approach eight states a student might be situated in while studying as well as possible barriers for student engagement were identified. Factors influencing student engagement this study found are the personal situation of the student, the access Hyflex education allows, possibilities and challenges of physical and virtual learning spaces, the interaction between teachers and students, the structure of the programme and how students are connected with each other. By looking at student engagement in a media rich environment from an audience- as well as education-angle this thesis expands existing research. It presents influencing factors for student engagement. More importantly the theoretical model is a useful tool to investigate different kinds of student activities and to develop educational media tools. It could also be transferred to research other audiences.

Building trust in vaccines depends on understanding perceptions of socioeconomic status, historical experiences, and religious affiliations. Therefore, rhetorical audience understanding in crisis communication concerning vaccine crises is crucial to enable effective crisis management and repair confidence in vaccines. With this study, the Swedish Public Health Agency's understanding of the public, as it appears in its crisis communication in connection with Astra Zeneca's and Moderna's vaccine pause, is analysed. As trust in vaccines depends on the public's trust in the authorities communicating vaccine information, the agency's crisis communication was analysed based on William L. Benoit's Image Repair Theory to identify main crisis strategies. Additionally, the strategies were analysed with Edwin Black's theory regarding The Second Persona to determine how the public was constructed in the crisis communication. The method of this study was a close textual analysis based on Michael Leff's definition. The findings show that the authority on both occasions conducted two principal strategies: Minimization and Corrective Action. However, the strategy Provocation could only be identified in the communication regarding Astra Zeneca and the strategy Differentiation exclusively in statements concerning Moderna's vaccine pause. Furthermore, the analysis shows that the communication concerning Astra Zeneca's vaccine pause gives the impression of a calm and expectant audience. In contrast, the audience in Moderna's vaccine pause is interpreted as sceptical.

The aim of this thesis is to provide insight into how YouTube audiences perceive the professionalization of vlog production styles and what happens to the parasocial relationship between viewer and vlogger, especially in relation to authenticity, in relation to this. This is done by a thematic analysis of comments on Valeria Lipovetsky’s YouTube video “We Need To Talk”, which serves as a case study. The analysis is done in background to theories of professionalization of influencers, parasocial relationships and authenticity. The results show that there is a tension between the perceived authenticity of the vlogger and the professionalization of vlog production style that is affecting the parasocial relationship between viewer and vlogger negatively. The distinguished themes point to vlogs filmed by a camera team being perceived to resemble reality television which is making the viewers feel disconnected with the vlogger. It is revealed that the audience prefers vlogs where the vlogger is holding the camera themselves, asthat is perceived as more personal and authentic.

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Thesis (M. A. (Media Studies)) -- University of Limpopo, 2022 / Social networking became a common international trend which has spreads and reached almost every corner of the world. The use of social media platform has developed and exploded into an online platform where individuals can generate content, share it, bookmark it and network at an enormous rate. Amongst the users of social media, students and youth are the main users of social media sites. The research explored Facebook as a tool for improving marketing services at University of Limpopo. Institution of higher learning utilise Facebook for various reasons such getting more followers, maintain existing relationship between the university and its audience and also to communicate with the university audience. Social media can have a great impact on the university and its audience depending on the usage as a two-way communication platform. The main objectives of the study are to identify the manner in which institutions of higher learning use Facebook for marking purposes; examine the performance of Facebook for marketing; and establish the challenges and opportunities of using Facebook as a marking tool. The study employed Nick Couldry’s practice theory and Marketing communication mix theory which are highlighting the relationship between the media, people and organisations. The study also analysed other literature that supports the aim and objectives of the study. A qualitative method was used in the study and results obtained through the use of online observation and semi-structured interview. Content and thematic analysis was applied to analyse the data collected. The population used as a sample were marketing and communication department employees at the University of Limpopo who are working with the university social media pages. With online observation of the University of Limpopo’s Facebook page the findings show that the university’s social media portray specifically Facebook as a one-way communication which they convey messages on the platform without taking into consideration the comments, criticism and queries of the students or audience at large. The empirical findings of the study indicate that Facebook is the most used social media platform at the University of Limpopo. Moreover, participants have highlighted that the purpose of all social media platforms are used to market the institution and as platforms to convey messages to their followers, staff members and university community. v The findings expose the various opportunities and challenges in using social media. However, it is proved that the opportunities outweigh the threats. Some institutions of higher learning use more than one social media platform. However, Facebook was proven to be the most widely used social media followed by YouTube, Twitter and Instagram.

This paper describes the process of evaluating an audience engagement tool developed by a company called Stagecast. It is evaluated using the system usability scale, which is a common and simple way of measuring the usability of an application. The process starts with developing a feedback moment for the application that includes questions from the system usability scale. The application is then first tested in a laboratory setting with the feedback moment launched after an event, and second, it is tested in a real live event. The results in this paper indicate that the overall satisfaction with the Stagecast application was average, based on scoring of previous usability tests, with a score of 65.96 for the SMASK live event, though the participation in the feedback moment was limited. / Den här rapporten beskriver processen för utvärderandet av en produkt för att engagera publiken under live event som utvecklats av företaget Stagecast. Produkten är utvärderad med hjälp av system usability scale (SUS), vilket är ett vanligt och simpelt sätt att mäta användarvänlighet för applikationer. Processen börjar med att utveckla en feedback moment för applikationen som innehåller frågor från system usability scale. Applikationen är sedan testad i en studio där feedbackmoment lanseras efter eventet. Steg nummer två är att lansera feedbackmoment efter ett live event. Resultaten i den här rapporten indikerar att generella tillfredsställelsen med Stagecast applikationen var medel, baserat på en sammanställning av tidigare undersökningar med SUS. Poängen blev 65.96 för SMASK eventet, men deltagandet i feedbackmoment var begränsat.

In the current field of cooperation in Mixed Reality there is, at the timeof writing, a clear lack of research regarding the cooperation between animmersed Virtual Reality user and a non-immersed audience. Therefore, theimpact of adding audience-controlled cameras to the two parties’ cooperationwas investigated. This was done through a user study where the participantswere cooperating as a Virtual Reality user and an audience to find hiddenobjects. The study was conducted with two prototypes. In the first prototype,the audience was only able to see a mirrored view of the immersed user. Inthe second, independent smartphone-controlled cameras were added to thedisposal of the audience. The results of the user study indicate that the secondprototype was overall less practical than the first in effectiveness, efficiencyand satisfaction. However, in certain scenarios where the number of objectswithin a scene made verbal communication inefficient, the second prototypeprevailed, indicating its potential in more visually complex scenes. / I det nuvarande fältet av samarbete inom Mixed Reality finns det i skrivande stund en tydlig avsaknad av forskning angående samarbete mellan en fördjupad Virtual Reality-användare och en icke-fördjupad publik. Därför undersöktes effekten av att inkludera publikkontrollerade kameror i de två parternas samarbete. Det gjordes genom att utföra en användarstudie där de två parterna samarbetade som Virtual Reality-användare och publik för att hitta gömda objekt. Användarstudien genomfördes med två prototyper. I den första prototypen kunde publiken endast se en speglad bild av den fördjupade användarens synfält. Detta kompletterades av enskilda smartphonekontrollerade kameror avsedda för publiken i den andra prototypen. Användarstudiens resultat indikerar att den andra prototypen generellt presterade sämre än den första inom områdena effektivitet, verkan och tillfredsställelse. Dock, i vissa scenario när antalet objekt i en scen gjorde verbal kommunikation ineffektiv visade sig den andra prototypen vara bättre, vilket indikerar dess potential för mer visuellt komplexa scener.