Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

On tend souvent à envisager la communication comme intervenant au-delà de la cognition. Par exemple, lorsque nous évoquons la personnalité d’un ami, nous nous contenterions d’exprimer des représentations déjà stockées en mémoire. Contrairement à cette idée reçue, ma thèse part du postulat que la communication à propos d’objets sociaux, loin de simplement exprimer des croyances déjà formées a priori, participe à la construction de ces représentations mentales. Pour soutenir cela, nous avons d’abord tracé l’histoire de l’évolution dans la façon de concevoir le rapport entre le langage et la pensée (voir Klein, Marchal, Van der Linden, Pierucci & Waroquier, 2011). Nous sommes partis du modèle du code (Shannon & Weaver, 1949) pour ensuite considérer des approches théoriques alternatives mettant l’accent sur comment les facteurs contextuels (par ex. la présence d’une audience donnée) influencent le processus de communication. Nous avons ainsi considéré comment le fait même de communiquer à propos d’un individu influence notre perception de cet individu. En cela, mon travail est largement influencé par le concept d’Audience tuning (Higgins 1992, 1999). Plus précisément, l’effet du « dire c’est croire » (Saying-is-Believing: Higgins & Rholes, 1978) se réfère à l’influence de l’audience sur la mémoire du locuteur même :les locuteurs, lorsqu’ils communiquent à une audience possédant une attitude connue vis-à-vis d’un certain sujet, adaptent leur messages en le rendant plus conforme à l’attitude de l’audience mais surtout, leur mémoire et leur impression tendent à s’accorder à la teneur du message transmis à l’audience. Cette influence de l’énonciation sur la cognition ayant déjà été mise en évidence à travers des nombreuses recherches (pour une revue, voir Echterhoff, Higgins, Kopietz & Groll, 2008), les processus responsables de cet effet restent incertains. L’explication la plus exhaustive de l’effet du « dire c’est croire » fait appel au besoin du locuteur de partager une réalité avec l’interlocuteur. C’est uniquement dans le cas où la communication serait motivée par des buts de « réalité partagée » qu’elle aurait un impact sur la mémoire du locuteur même (Echterhoff, Higgins & Levine, 2009). Le besoin de créer une réalité partagée avec l’audience remplirait des fonctions épistémiques (i.e. en communiquant à propos d’autrui, je parviens à mieux cerner sa personnalité que je ne le ferais si je me contentais d’une activité mentale « privée ») et relationnelles (i.e. en communiquant à propos d’autrui, je crée et développe une relation avec mon interlocuteur). Dans mon travail, j’explore les rôles respectifs de ces deux types de motivations sur l’effet du « dire c’est croire » et, de façon plus générale, dans le processus de construction d’une réalité partagée. <p>Dans ma démarche expérimentale, j’ai privilégié des études permettant d’explorer des situations concrètes dans lesquelles l’effet du « dire c’est croire » était susceptible d’apparaître. <p>\ / Doctorat en Sciences Psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

In the past decades a lot of research has been dedicated to widening the understanding of different media audiences, as well as to determining the motivations behind both, creation of user-generated content (UGC) as well as audience behavior. This thesis seeks to broaden this knowledge by studying vloggers and their interaction with their audiences. Instead of asking the audience members: In what ways are the vloggers an influence on you, this thesis asks: “Can the audience be a source of inspiration and influence for vloggers? The thesis aims also at recognizing typicality’s in vloggers audio-visual content as well as strategical approaches for audience engagement. Approach in order to find answers to the set questions is critical yet humanistic. Empirical research is divided in two parts, of which the first is done by qualitative content analysis and the second part by semi-structured interviews. The aim of this multimethod approach is to get a broad yet deep view on this commercial, and contemporary storytelling form. Appadurai’s five scape- theory is used as the theoretical framework, and the research findings as well as conclusions are also viewed through other recent studies from media and communications field.

À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie. / With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular.

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The diploma thesis focuses on the role of the media in the lives of parents on maternity and parental leave and how they satisfy their needs through use of media. The thesis is based on the uses and gratification theory and especially on the typology of media-personal interactions defined by Denis McQuail. The aim of the thesis is to find out, through twenty interviews with mothers and fathers living in the household with a child or children, for what purpose the media are used by this specific group. The thesis includes a theoretical anchoring of the approach of uses and gratification theory concerning its historical development during the 20th century, but it also focuses on its concept at present after the spread of new media. The theoretical part of the thesis also deals with the characteristics of maternity and parental leave and it tries to identify everyday activities associated with this period and its positive and negative aspects. The methodological part describes the area of qualitative research and related procedures, including the choice of data collection method, which is a semi-structured interview, and the characteristics of the research sample. The analytical part interprets the findings resulting from the data obtained through interviews with respondents. The discussion and conclusion of...

This report explores the influence of influencer posts featuring paid collaborations for cosmetic surgeries on social media followers. Building upon the investigative SVT documentary "Priset vi betalar" by journalist Frida Söderlund, the documentary delves into the world of influencers and the dynamics behind their accounts. While the documentary primarily focuses on the influence of paid collaborations on the influencers themselves, this research shifts the focus towards the reception and impact of these messages and posts on the audience. The previously mentioned documentary predominantly examined sponsored posts for cosmetic surgeries from the perspective of influencers, neglecting a qualitative exploration of how individuals who view these posts perceive and are affected by them. The study aims to address this gap by investigating the experiences and responses of 18-25-year-old students at Linnaeus University in Kalmar, Sweden, who are exposed to influencer content featuring paid collaborations for cosmetic surgeries. Drawing from theories such as Giddens' theory of structuration, uses and gratifications, and parasocial relationships, the research aims to deepen our understanding of the perceived authority of influencers in relation to cosmetic surgeries and its impact on audience trust. A semi-structured interview methodology was employed, involving eight participants. The interviews were structured around three themes: media habits, the relationship with influencers, and perceptions of cosmetic surgeries. Through these interviews, the study explores how followers receive and interpret influencer messages related to paid collaborations for cosmetic surgeries. The findings indicate that followers are negatively affected by the presence of paid collaborations for cosmetic surgeries on social media, primarily in terms of their critical stance towards the marketing practices employed by clinics and influencers. However, the research also highlights a broader influence of cosmetic surgeries on the participants, beyond the context of paid collaborations. Participants expressed being influenced by influencers who showcase their own appearance on social media, suggesting that exposure to such content impacts individuals in various ways. This study contributes to the existing literature by examining the impact of paid collaborations for cosmetic surgeries from the perspective of social media followers. The findings provide insights into the reception of influencer content and its effects on audience attitudes and behaviors. The research underscores the need for critical evaluation of marketing practices surrounding cosmetic surgeries and emphasizes the role of influencers in shaping audience perceptions and trust.

This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of adaptations, remakes, spin-offs, and sequels in the entertainment industry, cross-media adaptation represents one of the most common and prominent forms of intersemiotic translation. Therefore, the various fields of inquiry related to current phenomena of intersemiotic translation, including adaptation studies, film studies, fan studies, and media studies in general, offer relevant and informative models for expanding our understanding of success in intersemiotic translation. The methodology employed involves an interdisciplinary descriptive approach, using examples of cross-media adaptation found in the works of one successful intersemiotic translator, Joss Whedon. Acknowledging the contextually contingent nature of any such case study, the findings of this thesis identify all three participants in cultural production—form, producer, and audience—as active contributors in the successful production and perpetuation of intersemiotic translations. In particular, this thesis explores possible causes of success in relation to specific cross-media adaptations, proposes attributes of the successful intersemiotic translator, and examines how the reiterative behaviors of active audiences, such as rereading, reinterpretation, and rewriting, help to extend a work’s success. The capacity to inspire a continuing tradition of translation is itself a key contributing factor to the success of an intersemiotic translation and is most often performed with the collaboration of a community of interpreters. Achieving success is therefore a collective endeavor and a continual process of sustaining a work’s presence in the collective consciousness by renewing its value across temporal, cultural, and semiotic systems. Based on these findings, notions of form, production, and reception in intersemiotic translation are understood by proposing a model of convergent translation, the notion of the auteur-translator, and a collaborative understanding of the construction of a text and its significance through the afterlife of translation.

Background: There has been a noticeable growth in the use of sponsorships and corporate social responsibility in the world of professional sports, especially in football. This phenomenon is not particularly surprising given that modern companies are forced to compete for the attention of more socially conscious audiences. The socially responsible reputation of a firm may be significantly strengthened by incorporating CSR and CRM efforts. Audiences have shown to have a more positive opinion of these initiatives when they are implemented in the sports industry, often differentiating them from direct corporate marketing due to their perceived authenticity and compassion. Hummel's decision to tone down the Danish national team's kit for The 2022 FIFA World Cup in Qatar serves as a compelling example of cause-related marketing within the football industry.   Purpose: The development of an in-depth understanding of how online communities perceive the cause-related campaign executed by Hummel at The 2022 FIFA World Cup in Qatar. Method: Qualitative Research; Interpretivism; Methodology – Exploratory Case Study; Inductive Approach; Data Collection – Systematic; Sampling – Deliberate/Nonprobability Sampling; Data Analysis – Content Analysis (creation of tree-diagrams based on quotes, generic categories and main categories)  Conclusion: The authors have undertaken a comprehensive analysis of the findings derived from content analysis, establishing meaningful connections between these findings and relevant theories regarding cause-related marketing (CRM) and corporate social responsibility (CSR). As a result, this study makes a contribution to the scholarly understanding of the potential responses exhibited by online communities towards cause-related marketing campaigns. The findings of this study shed light on the diverse range of reactions that can be anticipated when a company chooses to engage in such sponsorship endeavors.