The aim of this thesis is to assess using selected marketing tools how Czech consumers perceive different formats of television advertisement used by Vodafone. To this end, Vodafone TV spots aired in the Czech Republic between 2005 and 2016 were analysed focusing mainly on TV spots aired in the past few years. An integral part of this thesis is the qualitative Focus Group research method and probe questionnaires distributed among Czech consumers. The results of this research are subsequently compared with the Multicriterial research MML TGI Median Company and also with the research results of the Nielsen Company.

L’oeuvre de William Klein est reconnue pour ses stratégies formelles innovatrices et avant-gardistes qui attireront l'attention des artistes et des professionnels de sa génération non sans provoquer au passage quelques scandales ni sans subir les contrecoups de la censure. La trentaine de courts, moyens et longs métrages réalisés par Klein, forme un corpus hétérogène qui affiche à première vue des incohérences sociologiques, politiques, économiques et culturelles potentiellement discutables. Dans ces conditions, la position critique de Klein paraît ambiguë, inconséquente voire, contradictoire, parce que les films diffèrent également par leur thème, leur cible, leur mode de production et leur genre. Nous croyons cependant que l’engagement politique de Klein est le fil d'Ariane qui unit son oeuvre cinématographique et dissipe toute idée de rupture que ses contemporains pourraient lui reprocher. Au cours de cette période cruciale qui s'étend de 1965 et 1970, alors que le libéralisme en tant qu’idéologie officielle du système capitaliste cherche à vaincre le communisme pour s'imposer à l'échelle mondiale, Klein pose son regard sur les célébrités en tant que figures médiatiques et identitaires comme autant de moyens des pouvoirs politiques, économiques et religieux. À l'ère de la guerre froide, de la guerre du Vietnam et des combats pour la décolonisation, il prend le parti des mouvements de droits civils et de libération et se range du côté des révolutionnaires qui les défendent. Il brosse notamment le portrait de personnalités associées à la contre-culture américaine; il remet en question les modèles qui s'étaient jusque- là imposés dans la culture de masse et les idéologies dont ils étaient investis et va jusqu'à critiquer le concept même de célébrité. En procédant notamment à une démystification des moyens de la représentation de l'American Dream et de l’American way of life, William Klein s'en prend aux faux-semblants issus de ces industries (du divertissement) et de ce champ (politique) qui mettent en place des systèmes de production et d’exploitation de la célébrité en tant que symbole, destinée à orienter les goûts esthétique, les comportements commerciaux et/ou les opinions politiques des individus. Il dénonce ainsi les injustices raciales, les inégalités sociales, les abus de pouvoir et8les débordements des gouvernements attribuables à l’impérialisme occidental qui est à l'époque sous l'influence des États-Unis. Le corpus qui nous permettra de développer notre argumentation comprend quatre films, soit deux films de fiction et deux films documentaires. Qui êtes-vous, Polly Maggoo? (1966) et Mister Freedom (1968) sont les deux films de fiction que nous avons qualifiés de « parodies satiriques ». En ces termes, le film Polly Maggoo parodie les contes de fées pour faire la satire de l’industrie de la mode, tandis que le film Mister Freedom parodie les super-héros de bande dessinée et autres justiciers des films hollywoodiens, pour faire la satire de la politique étrangère américaine. Les documentaires politiquement engagés sont à notre avis expressionnistes, comme le propose le critique américain Jonathan Rosenbaum. Muhammad Ali, The Greatest (1964-1974) ; Eldridge Cleaver Black Panther (1970) mettent en scène ceux que William Klein appelle les « Super Noirs américains » et par des moyens réflexifs, ils démontrent de l’inter-subjectivité entre le cinéaste et ses sujets. / The films of William Klein are still little known. His filmography includes thirty titles which appear at first sight heterogeneous, while their sociological, political, economic, and cultural discrepancies seem questionable. As such, and because the themes of his films themes,targets, production modes and genres are constantly moving, Klein’s critical position seem ambiguous, inconsistent if not contradictory. Yet, we believe that the political commitment of William Klein is at the core of all of his films and dissipates all discrepancies.Between 1965 and 1970, while liberalism as the official ideology of the capitalist system is fighting against communism to expand its power around the world, Klein is looking at celebrities as vectors of the political, the economical and the religious powers. While the Cold War, the Vietnam War and the anti-colonial armed struggles are shaking the world, he associates with the counter-culture and youth culture and questions the role models advertised in the mass media, and the ideologies they represent. Portraying the modes of representation that shapes the American Dream and the American Way of Life, William Klein criticises the makes-believes found in the entertainment industry and the political field that aim at shaping our identities, our commercial behaviours and our political opinions. He condemns racism, social inequalities and abuses of power associated with Western imperialism. We propose to analyse two fiction films and two documentaries in the course of our argumentation. Qui êtes-vous, Polly Maggoo? (1966) and Mister Freedom (1968) are what we have called after Daniel Sangsue, satirical parodies. Accordingly, Polly Maggoo parodies fairy tales to satirize the fashion industry, while Mister Freedom parodies the superheros of the comic books to satirize American foreign policies.Based on Jonathan Rosenbaum thesis, we consider Muhammad Ali, The Greatest (1964-1974) and Eldridge Cleaver Black Panther (1970) as expressionist documentaries. The reflexive strategies found in these films is symptomatic of an inter-subjectivity between the filmmakerand his subjects

This diploma thesis deals with the media representation of celebrities, as it is designed within the framework of the adopted American television format of the late-night talk show. In the first part of the thesis, attention is focused on problems of understanding of the phenomenon of celebrities by various authors, as well as on the development of the late-night talk show itself and its characteristic features. The theoretical starting point is the theory of representation (Hall), three levels of representation (Trampota) and social construction of reality (Berger, Luckmann). The method of critical discourse analysis is chosen for the research and the four principles for the analysis are described: commoditization, infotainment, personalization, congeniality. The practical part presents an analysis of the typical representation of celebrities due to the principles mentioned above in selected talk shows which were broadcast in English and Czech languages in 2015-2016, namely American The Tonight Show Starring Jimmy Fallon and Czech Jan Kraus Show. Keywords: Celebrity, Late-night Talk Show, Media Representation, Personalization, Congeniality, Infotainment, Commoditization

Frankrike är det första landet i världen att ta ställning till barns exponering i marknadsföring. I april år 2021 tillträdde den världsunika lagen som ska skydda barn från att utnyttjas av andra parter i marknadsföringssammanhang. Det är brist på tidigare forskning som undersöker barn som exponeras i marknadsföring av influencers på sociala medier och i relation till etiska och moraliska ställningstaganden. Syftet med denna studie är att bidra till forskningen genom att undersöka föräldrars ställningstaganden till barn som exponeras i marknadsföring av influencers på sociala medier och vilka etiska och moraliska dilemman som det bidrar till. Studien grundas i en deduktiv forskningsansats och en kvalitativ datainsamling där empiriska data samlas in från urvalet föräldrar och därigenom en fokusgrupp och sju enskilda intervjuer. Resultatet visar att innebörden av etik och moral skiljer sig mellan individer, att barns intresse i marknadsföring inte är prioriterat och att barn i marknadsföring på Instagram leder till mer uppmärksamhet åt influencers och företag. De etiska och moraliska dilemman som framkallas av att barn exponeras i marknadsföring på Instagram är individbaserat och baseras på den enskilda individen. Föräldrarna tar ställning till att barn som exponeras av influencers på sociala medier är oetiskt och omoraliskt, men när de själva delar bilder och filmer på sina egna barn är det etiskt och moraliskt korrekt. Därmed kommer det att fortsätta vara dilemman tills det finns tydliga riktlinjer samt forskning inom marknadsföring med barn. / The first country in the world to take a stand on children’s exposure in marketing is France. The world-unique law was adopted in April 2021 to protect children from being exploited by other parties in marketing contexts. There is a lack of previous research that examines children’s exposure by influencers and in relation to ethical and moral positions. The purpose of this study is to contribute to the research by examining parents' attitudes towards children who are exposed in marketing by influencers on social media and what ethical and moral dilemmas it contributes to. The study is based on a deductive research approach and a qualitative data collection where empirical data is collected from the sample of parents and thereby a focus group and seven individual interviews. The results show that the meaning of ethics and morals is different between individuals, that children’s interest in marketing is not a priority and that children in marketing on Instagram lead to more attention to influencers and companies. The ethical and moral dilemmas caused by children's participation in marketing on Instagram are individual-based. The parents take a stand that children exposed by influencers on social media are unethical and immoral, but when they share photos and videos on their own children it is ethical and moral correct. This will continue to be dilemmas until there are clear guidelines and research in marketing with children.

The aim of this thesis is to clarify the principles of shaping the identity and image in the modern consumer society and explain the role of media in this process as well. In this thesis is used analytical comparative method. The whole work is divided into the theoretical and analytical part. The central theme of the first charter is the description of the characteristics of a modern consumer society. The second main thopic is the relationship of identity and image. In the third theoretical chapter is discussed the issue of media construction of reality. These problems are projected in the three approaches of opinion - Gilles Lipovetsky, the represenatatives of the Frakfurts School and Jean Baudrillard and finally opinion of Pierre Bourdieu. The analytical part of the thesis is concentrated on the application of the theoretical knowledge. As a specific example was selected advertising campaign Think You Can Text and Drive?, which was developed under the auspices of Oprah Winfrey, celebrity with the global reach. In the analytical part were received some essential arguments, which are summarized in the final chapter.

Världen står idag inför en hållbarhetskris och medlemsländerna i Förenta nationerna, FN, har accepterat Agenda 2030 och de Globala målen. Det innebär ett hållbarhetsarbete på många olika plan, där målet bland annat är att klimatkrisen ska vara löst senast år 2030. Ett varumärke som ständigt har arbetet för hållbar utveckling är Pantamera. Syftet med den här studien är att undersöka hur Pantamera använder retoriska verktyg för att kommunicera återvinning i reklamkampanjen där artister ”återvinner” Pantamera-låten. Analysen har genomförts med hjälp av en kvalitativ innehållsanalys och en retorisk analys. Studien utgår ifrån teorier om retorik och bildretorik samt ekologisk hållbarhet. Resultatet visar att alla reklamfilmer sprider budskapet om att återvinna pant för miljöns skull. I varje reklamfilm går det även att identifiera andra budskap. Ethos, logos och pathos används i samtliga reklamfilmer med hjälp av exempelvis artisterna, människorna och låttexterna. Majoriteten av de bildretoriska begreppen förekommer i reklamfilmerna. Det sker i form av ljussättning, kameravinklar, jämförelser, belysning av närheten mellan att panta och hållbarhet samt att panta (delen) står för hållbarhet (helheten). Omvänd synekdokebild används endast i Rolandz reklamfilm och metaforisk bild förekommer inte i Kaliffas reklamfilm. Ekologisk hållbarhet inkluderas med hjälp av exempelvis djur, artisternas agerande, låttexter och omgivningar. / Today, the world is facing a sustainability crisis and the member states of the United Nations, UN, have accepted Agenda 2030 and the Global Goals. This means sustainability work on many different levels, where, among other things, the goal is for the climate crisis to be resolved by 2030. A brand that has constantly worked for sustainable development is Pantamera. The purpose of this study is to examine Pantamera's use of rhetorical tools for communicating recycling in the advertising campaign where artists "recycle" the Pantamera song. The analysis has been implemented by using a qualitative content analysis and a rhetorical analysis. The study is based on theories of rhetoric and image rhetoric as well as ecological sustainability. The results show that all advertising films spread the message of recycling for the sake of the environment. In each advertising film it is also possible to identify other messages. Ethos, logos and pathos are used in all advertising films with the help of, for example, the artists, the people and the lyrics. The majority of the image rhetorical concepts appear in the advertising films. It occurs in the form of lighting, camera angles, comparisons, illustrating the connection between depositing and sustainability but also to deposit (the part) stands for sustainability (the whole). Reverse synecdoche image is used only in Rolandz's advertising film and metaphorical image does not appear in Kaliffa's advertising film. Ecological sustainability includes with the help of, for example, animals, artists' action, lyrics and surroundings.

Bakgrund: Influencer- och kändismarknadsföring är idag vanligt förekommande. Många företag använder sig av denna marknadsföringsstrategi för att skapa ett större förtroende för företaget och dess varumärken. En kändis eller en influencer kan såväl stärka en varumärkesimage som försämra det. En kändis eller influencers egna rykte och kontroverser kan påverka varumärkets rykte. På samma sätt kan en varumärkesskandal påverka de kändisar och influencer som marknadsför varumärket i negativ riktning genom ett försämrat rykte. Idag kan konsumenter, kändisar och influencers med mindre ansträngning se till att varumärken bojkottas. Konsekvenserna av en bojkott kan vara både temporära i form av offentliga tillrättavisningar och skamning online. Medan en mer permanent och långvarig konsekvens kan vara förlust av intäkter, skada varumärkespositioneringen, leda till annullerade kontrakt och en försämrad varumärkesimage. Syfte: Syftet med denna studie är att undersöka hur en varumärkesimage påverkas av en så kallad varumärkesskandal. Studien ämnar främst att undersöka hur en sådan skandal uttrycks och tas emot på sociala medier av influencers, av kändisar och av allmänheten, att undersöka vilka mekanismer som uppträder, samt studera hur företags varumärken kan komma att påverkas. Metod: Studien tillämpar en kvalitativ forskningsmetod med en deduktiv ansats för att kunna besvara forskningsfrågorna. Undersökningen genomförs med hjälp av en textanalys av inlägg och kommentarer på sociala-medieplattformar som Twitter och Instagram. Detta görs för att kunna fånga upp de uppfattningar och åsikter om de valda varumärkesskandalerna. Empiri: I denna del presenteras insamlingen av den data som studien kommer att utgå ifrån. Författarna sammanställer resultaten utifrån olika teman som genererats med hjälp av analysen. Därefter görs en djupdykning i dessa teman vilka styrks med ett antal citat. Slutsats: Eftersom bojkott har visat sig vara en stor del av de kommentarer som uttrycks för varumärkesskandaler kan ett liknande mönster skönjas gällande konsekvenser och cancelfenomenet av varumärkesskandaler. Eftersom alla människor uppfattar saker på olika sätt så betyder detta att det alltid kommer att finnas olika åsikter om ett ämne. Detta gäller även för uppfattningar om varumärkesskandaler. Ämnet rasism uppfattas som ett mer normaliserat ämne än sexualisering av barn som uppfattas mer tabu. Majoriteten av individerna ansåg företagens reklamkampanj som en skandal och uttryckte ilska och besvikelse gentemot företagen. I sin helhet uttryckte individerna en negativ varumärkesattityd och refererade ofta till bojkott. Flera av de kommentarer som uttrycker moralisk upprördhet hade en förväntan om att fler kändisar och influencers borde yttra sig offentligt om skandalen och använda sitt sociala inflytande för att sprida medvetenhet. Med hjälp av analysen gick det att fastställa fastän det fanns kändisar och influencers som yttrade sig så var det inte många.Varumärkets image påverkas av negativa kommentarer vilket blir en riktlinje för allmänheten i valet att bojkotta varumärket eller inte. Negativ publicitet av kändisar som jobbar med eller gör reklam för ett specifikt varumärke kan påverka själva varumärkets image och i sin tur även påverka konsumenternas köpintentioner i negativ riktning. Negativ WOM påverkar ett varumärkes image och leder till lägre försäljning. Bra storytelling kan leda till en bra helhetssyn av varumärkets image och vidare till en effektiv försäljning och tvärtom.

The Writers’ Union of Canada was founded in November of 1973 “to unite Canadian writers for the advancement of their common interests.” Drawing on extensive archival collections – from both the Writers’ Union and its member authors – this dissertation offers the first critical history of the organization and its work, from pre-founding to the early 1990s, arguing that the Writers’ Union has fundamentally influenced Canadian literature, as an industry, as a community, and as a field of study. I begin by tracing the contextual history of the organization’s founding, interrogating how union organizing, celebrity, and friendship underpin the organization’s work. Chapter One discusses the Writers’ Union’s programs, reforms, and interventions aimed at ‘fostering’ writing in Canada as I argue that the Union was instrumental in building a fiscal-cultural futurity for CanLit. In Chapter Two, I consider the role that women played in this important work, as I highlight the labour of female Union members and the all-female administrative staff, who maintained and supported the organization’s work through its first twenty years. In Chapter Three I draw attention to the stories of, perspectives of, and experiences of BIPOC authors in relation to the Writers’ Union. While the Writers’ Union’s involvement in race relations is often positioned as having ‘begun’ with the Writing Thru Race conference in 1994, this chapter uses the archives to reveal a much longer trajectory of racialized conflict within and around the organization, providing important context for the very controversial and public battles about appropriation and race that would explode in the late 1980s and early 1990s. Throughout this work, I look to see how institutional narratives are deployed and upheld, and to what ends; how successful advocacy work is often effaced and forgotten; how institutional structures function; and how their boundaries and intentions are challenged and developed over time. / Dissertation / Doctor of Philosophy (PhD) / The Writers’ Union of Canada was founded in November of 1973 “to unite Canadian writers for the advancement of their common interests.” Drawing on extensive archival collections – from both the Writers’ Union and its member authors – this dissertation offers the first critical history of the organization and its work, from pre-founding to the early 1990s. I argue that the Writers’ Union has fundamentally influenced Canadian literature – as an industry, as a community, and as a field of study – as I consider how unionism, literary celebrity, and friendship underpinned the organization’s work. This dissertation recuperates and comments on the important volunteer labour of Writers’ Union members in the service of literary labour, gender equity, and racial equity over the organization’s first twenty years.

While it is very common for supermodels to make the occasional foray into cinematic performance, and some of them manage to turn these forays into full-time careers in acting, it is very rare that supermodel-actors are afforded any academic attention. This thesis seeks to change this through a case study of two supermodel-actors: Devon Aoki and Abbey Lee. Using a methodology that combines extratextual contextualization with close analysis of image and film materials, and grounded in a perspective that centers the body, it analyzes Aoki and Lee’s careers as they cross over from one form of stardom to another. The focus of the analysis lies in the way that the bodily capital which is the basis of their modelling work also informs their acting personas as they are shaped through their on-screen work, publicity and reception. Furthermore, the thesis applies the concept of niche stardom, adapted from Diane Negra, to illustrate how Aoki and Lee inhabit a stardom which is specific to certain audiences with specific values and tastes. The analysis finds that there is a significant overlap between Aoki and Lee’s modelling and acting personas, and that this overlap is channeled through the representations of their bodies which, are the sites of heterogeneous discourses of gender, sexuality and race.

This study has examined how the celebrities Paolo Roberto and Margaux Dietz were portrayed in the Swedish newspapers Aftonbladet and Expressen in connection with their scandals in 2020 and 2022. The purpose of the study is to investigate whether there are gender stereotypes in the way Roberto and Dietz are portrayed in newspapers, and to see what similarities and differences can be observed in the representation of the celebrities in text and image. The theoretical framework of the study is based on framing, theories of gender, theories about scandals and media logic. The method used in the study is a quantitative content analysis. The results show that Dietz was portrayed in a more negative way than Roberto, who was portrayed more neutral. The results also showed that Roberto was primarily discussed from a professional perspective, while Dietz was more often discussed from a private perspective. When the celebrities were represented in images, the results showed that Dietz was more frequently shown smiling and looking into the camera. Based on the results, we can conclude that Roberto and Dietz are portrayed differently in the reporting of their scandals in newspapers, both in text and image. We see that these gender stereotypes that have emerged in previous research largely agree with this study. Through a gender perspective, many of the differences can be linked to the gender stereotypes and structures of masculinity and femininity that have long existed in our society.