Drawing on the fieldwork in a village community in Eastern Thailand, Ban Noen PutsaPluak Ked, this thesis explores the complex relationships between processes of globaIisation, representations in the mainstream media and activist media; and villagers' responses to change. The research, summarised here has three interrelated objectives: First, to examine how globalisation and industrialisation are represented in the mainstream and activist media. Second, to investigate the role played by the activist media in promoting counter visions of possible futures. Thirdly, to investigate the practices and ideas that local people have developed to resist or accept globalisation. The research employs a multi-method approach combining ethnographic methods, a questionnaire survey; textual analysis; and focus groups. The findings point to a complex relationship between mediated representations and visions of modernity. They also demonstrate that villagers' responses are strongly stratified by age, length of residence, and relation to the pivot of the new industriaIisation- a major chemical plant and that they remain strongly influenced by the crucial nexus of traditional Thai society, the patron client system. Additionally, content analysis and critical discourse analysis suggest that Thai news television programmes reproduced both the ideology of globalism and the celebration of consumerism. Moreover, the voices of marginalized groups and local people are also absent from the activist media.

In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewers’ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and Sperber’s (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewers’ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen character’s face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.

The aim of this thesis is to investigate whether there is a trust between social media influencers and their followers, and if so, to what extent. The methodological approach consists of an analysis of interview material, expert interviews and selected comment boxes on social media. By conducting qualitative analysis, this thesis examines audience reception to promotional content produced by social media influencers in collaboration with the Swedish interior design brand Royal Design. Based on the theories of parasocial interaction, two-step flow and opinion leadership, and modes of reception, concepts such as audience advertising response, relationship to influencers and the level of trust are investigated and concluded in order to find common patterns around audience reception to influencer marketing. The analysis shows that there is indeed a certain amount of trust towards social media influencers among the sample group especially if they recognise the influencer, however, the trust is not full and unconditional. The audience reception of influencer marketing content both in the interviews and comment boxes was mostly positive, and some respondents seemed to have developed sympathy towards social media personas featured in the advertisements, praising them for being personal and authentic. The results of the study imply that while the credibility and motives of influencer content are questioned by some, it is generally perceived as a more enjoyable alternative to traditional advertising formats.

The purpose of this study is to clarify university students’, between the ages of 18 and 25 years, awareness of and attitudes towards greenwashing in advertising as well as understand a potential connection between their awareness and attitudes and their perceived environmental engagement. One quantitative method and one qualitative method were used to collect data; an online survey with 148 respondents was conducted, and three separate focus group interviews were held and later transcribed and analyzed through a qualitative text analysis. Two theoretical frameworks were used: Stuart Hall’s encoding/decoding model to process audience reception and Corporate Social Responsibility (CSR) to process the topic of greenwashing. The results of the study showed that the students’ awareness of greenwashing was high and that their attitudes were almost exclusively negative towards it. The students’ awareness of greenwashing was shown to possibly affect their decoding of advertisements, as they tended to have more positive attitudes towards advertisements in which they judged greenwashing to not be very prominent. The students’ perceived environmental engagement could be linked to their awareness of greenwashing but no clear connection between their perceived environmental engagement and their attitudes towards greenwashing could be found. Our conclusion states that greenwashing may become an increasingly ineffective advertising strategy in the future, as current students, who have the ability to see through and not be deceived by greenwashing, will be in decision-making positions within a couple of decades and may demand stricter regulations.

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The purpose of this study is to approach the understanding of viewing of reality television with the intention to explore emotional responses in the reception since emotions are crucial part in the emotionalized television genre of reality television. The German adaption of the format The Farmer Wants a Wife was chosen for this case study to examine tendencies of portraying contestants in unpleasant situations. Humiliation, embarrassment or discrediting the contestants creates a balancing act between fun and ridicule. The protagonists are located between the status of (temporary) cult figures and/or figures of fun. The thesis’ main aim is to find out which emotions are perceived and addressed in the watching experience of the format being named in the context of ‘fremdschämen’. The winged German word for vicarious or empathic embarrassment was thereby addressed beyond its descriptive metaphor for current programs. Emotional responses in connection with shame and embarrassment were previously predominantly neglected in research on reality television. Its relevance and occurrence in media is insofar important, as the concept of ‘fremdschämen’ found the way into German mainstream language use. The thesis delivers qualitative approaches to capture the mediation of emotions in reality TV: In a narrative analysis, the question on how emotions actually are staged was approached. Subsequently, four focus group discussions with overall 18 German-speaking discussants were conducted to understand individual and social watching preferences, emotional involvement, attachment styles and positioning in the reception. The study’s findings suggest that the contestants’ ordinariness is challenged by mainly focusing on extraordinarity in the docusoap. Thereby, new opportunities of audience positioning, identification and anti-identification and constructions of appealing figures are encouraged. Gentle mockery in the style of presentation contains furthermore self-criticism of the genre and expresses a critical stance of viewing. Emotions are performed on different levels to increase entertaining values in the program. Especially embarrassment can be connected to its function of ridicule and the maintenance of social order.

This study offers insight into international audience reception of Corporate Social Responsibility (CSR) communication. Swedish companies are currently reaching international audiences through a variety of social media channels and this study analyzes how audiences in Sweden and the U.S. respond to specific messages.   Qualitative interviews with professionals offer background information on how CSR is currently communicated while audience responses to CSR communication are gathered through a web-based survey and focus groups consisting of American and Swedish citizens.   Results indicate that the two countries have more similarities than differences. Americans have a slightly more positive outlook on the communication and they are more likely to look up information about CSR initiatives after hearing a corporate message. This might indicate a more profound interest. Cultural and social differences are given as a possible explanation for the key differences.

This thesis explores the utilisation of satire within the television series It's Always Sunny in Philadelphia. Employing Stuart Hall's encoding/decoding model as a theoretical framework, this study delves into the complexities of how satire is constructed, received, and interpreted by viewers. Hall’s model will be paired with a genre studies and audience receptions studies. The research employs two methods; a text analysis of a specific episode (“A Woman’s Right to Chop”); and interviews. The issues displayed in the episode are: gender roles, women’s rights, abortion and adoption. These issues are portrayed in a satirical manner by the use of humour, exaggeration, irony, critique, stereotypes and symbolism. The majority of the interviewees were found to understand and engage with the satire. Parts of the interviewees understood some of the underlying meanings. Few of the interviewees did not understand or misunderstood the material completely. Apart from satire, the additional interpretations stemmed from viewers fixating on minor details, misconstruing the portrayed messages, taking a literal approach, and harbouring dismissive sentiments towards the episode's content.

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This master thesis deals with the phenomenon of Westernization of pop culture in mainland China on the example of the Chinese adapted version of the Talent Show China's Got Talent. (CHGT) In its theoretical part it outlines the overall globalizing and Westernizing tendencies and sets a theoretical framework of the main terminology of media studies. The research goal of the thesis was to analyze the audience reception of CHGT in China and their ideas and views on pop culture The research goal is included in the broader context of cultural imperialism theories and the specifics of talent and reality shows are elaborated. Furthermore a historical overview of the evolution of pop culture in mainland China is provided. In the practical part, the applied methodological approaches and their potential strengths and weaknesses are described. A basic thematic analysis of certain selected social media like Weibo, QQ and Baidu was conducted. The two versions of the adapted Got Talent format were compared as far as the formal features are concerned, the British version of Britain's Got Talent and the Chinese adaptation China's Got Talent. Moreover qualitative in-depth interviews with Chinese respondents in the PRC and the UK were performed. The group in the UK served as a control group for comparison and the...