The story of Saudi television began in 1962 when King Faisal, who was then the crown prince, pointed out that the government intended to utilize the medium of television as a tool for information, guidance, culture, and recreation (Saudi Arabia, Ministry of Information, 1985). From July 17, 1965, when the first transmission signal went out simultaneously from stations in Riyadh and Jeddah until the transfer to the new Riyadh Television Complex in 1982. Saudi television has gone through many phases of development. The most recent development was the introduction of commercial advertising in 1986. Saudi television commercials have taken the form of 10 to 20 minute blocks which are taped and then aired many times during the broadcasting hours. Because Saudi television is a governmental operation, all of the funds required to maintain its expenditures are provided by the Saudi government, and commercial advertising is a new development. Thus, there was a need for a study which told the story of commercial advertising's development in Saudi television.

The shift of media from traditional forms to new digital ones has raised the possibility of new kinds of media services, including mobile television. In today's communications market, mobile phones are of increasing importance to users and, since mobile devices are connected most of the time, they have a high degree of location independence. The availability of 3G technology and the mobile devices needed to implement mobile television are now established and available. Mobile television is expected to be an important new service that could penetrate the market place and provide new applications, as well as create a market for new players and new investments, if the appropriate price, content and philosophy for content design are found. This research explores the many potential application areas for mobile TV, with a particular focus on advertising. Various organisations that seek success in this market can utilise the potential for advertising on mobile TV. Ultimately, mobile device users are able to use mobile TV for entertainment and information sourcing. However, a number of challenging issues remain to be addressed. The features that appealed to the consumers were studied in this research. Surveys were conducted to obtain an understanding of consumers' opinions and needs regarding the mobile TV experience. Many users clearly do like to interact with video content on mobile devices. Interactive mobile TV advertising can benefit users who will be able to use an essentially 'free' mobile TV service, funded by an advertising model. This research proposes an environment for interactive advertising on mobile TV and discussion of an implementation of the proposed designs.

Šiandieninėje visuomenėje tiek komercinė, tiek socialinė reklama užima svarbią vietą. Komercinė reklama ragina pirkti, įsigyti vienokį ar kitokį daiktą. Socialinė reklama aprėpia opiausias žmonių problemas ir bando parodyti vartotojams tinkamo elgesio normas. Iki šiol bakalauro darbo tema „Liepiamosios nuosakos vartojimas komercinėje ir socialinėje reklamoje“ nėra plačiai nagrinėta. Šiame darbe pabandyta pasižiūrėti į liepiamosios nuosakos funkcijas bei paskirtį reklamose. Palyginta, kokia forma, vienaskaitos ar daugiskaitos, labiau vartojama reklamose. / In today's society, both commercial and social advertising plays an important role. Commercial advertising prompts to buy, to possess some sort of object. Social advertising covers the most acute problems of people and tries to show its consumers the proper norms of behavior. So far, the Bachelor thesis on the use of imperative mood in commercial and social advertising is not widely examined. The thesis attempted to look at the imperative mood functions and purpose in advertising. The comparison was made of what form, singular or plural, is used more in commercials.

The shift of media from traditional forms to new digital ones has raised the possibility of new kinds of media services, including mobile television. In today¿s communications market, mobile phones are of increasing importance to users and, since mobile devices are connected most of the time, they have a high degree of location independence. The availability of 3G technology and the mobile devices needed to implement mobile television are now established and available. Mobile television is expected to be an important new service that could penetrate the market place and provide new applications, as well as create a market for new players and new investments, if the appropriate price, content and philosophy for content design are found. This research explores the many potential application areas for mobile TV, with a particular focus on advertising. Various organisations that seek success in this market can utilise the potential for advertising on mobile TV. Ultimately, mobile device users are able to use mobile TV for entertainment and information sourcing. However, a number of challenging issues remain to be addressed. The features that appealed to the consumers were studied in this research. Surveys were conducted to obtain an understanding of consumers¿ opinions and needs regarding the mobile TV experience. Many users clearly do like to interact with video content on mobile devices. Interactive mobile TV advertising can benefit users who will be able to use an essentially ¿free¿ mobile TV service, funded by an advertising model. This research proposes an environment for interactive advertising on mobile TV and discussion of an implementation of the proposed designs.

The current study has explored the language of 30 non-commercial advertisements, both quantitatively and qualitatively, within the framework of pragmatics. The main incentive was to conduct an investigation into how the advertiser working with such a philanthropic genre employs attention-seeking, informing and persuading functions when she communicates with her audience. Orbiting around key notions of Relevance Theory (1986; 1995; 2012) and Tanaka’s pragmatic approach to advertising (2005), the study attempted to determine whether non-commercial advertising differs from its commercial counterpart in terms of informing and persuading intentions, and to examine the extent to which non-commercial advertising relies on internal and external contexts in its explicit and implicit language. The findings show that non-commercial advertising utilises attention-seeking, informing and persuading functions in a variable fashion since they can be incorporated into complex arrangements in which they sometimes overlap or collaborate. This fuse appears to enable the advertiser to achieve her intended meaning at the same time as she can make efficient use of space and time. The study also found that there are non-commercial advertisements that completely lack persuasion. By excluding explicit and implicit imperative speech acts, conjunctive adjuncts and pronouns that involve the audience, such advertisements appear to be solely objective and informative. In turn, these findings suggest that the informing function in non-commercial advertising is not always subordinated to the persuading function, which contrasts with the informing-persuading hierarchy in commercial advertising. Finally, since the creator of non-commercial advertising frequently exposes her audience to weak relevance, she requires them to locate and solve explicatures and implicatures with help from both internal and external contexts, which strengthens Tanaka’s (2005) claim that advertisers treat their audience as potentially creative and resourceful once attention has been attracted and sustained.

Die Arbeit präsentiert die Geschichte der modernen Wirtschaftswerbung in der ersten Hälfte des 20. Jahrhunderts und zeigt, dass Werbung trotz kultureller Barrieren die Alltagswelten der Deutschen kolonialisierte und Einfluss auf die „deutsche Kultur“ nahm. Die Arbeit zeigt, dass das Konstrukt der „deutschen Kultur“ nicht ausschließlich durch die bürgerliche Hochkultur definiert wurde, sondern zunehmend auch durch Einflüsse der Konsumkultur bestimmt war. Die Bilderwelten der Werbung prägten nationale Ikonen, schufen (bspw. durch Leuchtwerbung) modifizierte "Oberflächen" und Raumwahrnehmungen, ebenso wie die Logik der Marktdifferenzierung und des Marketing soziale Interaktionen als auch die politische Kommunikation (Hitler als Marke) zu bestimmen begann. Diese Entwicklung verlief nicht konfliktfrei. Sowohl die Debatten über Werbung als auch die direkte Konfrontation zwischen Kulturkritikern und Werbern verdeutlichen den massiven Zusammenprall zweier Mentalitäten, die den Konflikt von traditionellem zünftigem Denken, hochkultureller Repräsentation sowie einer vermeintlich authentischen Ästhetik des Inhalts auf der einen Seite und einer "Welt des Scheins" und einer Ästhetik der äußeren Form auf der anderen Seite hervortreten ließ. In dieser Debatte spielte eine Frage eine zentrale Rolle: inwieweit Kapitalismus, Marktwirtschaft, Konsum und die Ästhetik der modernen Lebenswelt mit ihrer spezifischen (werblichen) Oberflächenstruktur mit Vorstellungen "des Deutschen" zu vereinbaren waren. / This dissertation offers a history of modern commercial advertising during the first half of the twentieth century and demonstrates that despite cultural barriers, advertising colonized the everyday world of Germans and began to encroach upon “German culture”. The work shows that the construct of “German culture” was not only defined by bourgeois high culture, but rather increasingly by factors from consumer culture. The imagery of advertising shaped national icons, created modified “surfaces” (for example, through illuminated ad media) and perceptions of space. Likewise, the logic of market differentiation and marketing began to determine social interactions as well as political communication (Hitler branding). This development did not progress without conflict: Debates surrounding both advertising as well as the direct confrontation between cultural critics and advertisers make clear that there was a massive collision between two mentalities. This allowed a conflict to emerge between traditional, guild thinking, high cultural representations and a putatively authentic aesthetics of content, on the one hand, and on the other hand, a “world of appearances” and aesthetic of the exterior form. One question in particular played a central role in this debate, namely: the extent to which capitalism, the market economy, consumption and the aesthetics of the modern Lebenswelt with its specific (commercial) texture were in accord with ideas of “Germanness.”