This Master in Communication for Development thesis is based on the experience of "Amina's looking for a job", a Forum Theatre play created in 2007 - whith the help of her sons and an NGO- by a Moroccan woman who is discriminated by different institutions in her will to find a decent job in Catalonia, Spain. Through this case study, the essay explores the contributions of participatory approaches to Education-Entertainment field from a communication for social change perspective.

Social learning is a key element in the methodology used in the Mexican telenovela Ultimo año, and suggest that people can adopt behaviour from watching television. An important aspect of social learning are role models to identify with and/or learn their behaviour, hopefully changing their behaviour. Entertainment Education is a tool to educate through entertainment like TV shows, and are often used to teach about health issues. Mexico legalized same sex marriages in the first state only five years ago. The culture is characterized by the “macho” machisimo culture. Therefore the study aims to treat homosexual youth in Mexico. The study investigates the Mexican gay’s youth reception on the show “Ultimo año”. This show aims to reach behaviour changes concerning issues such as reproductive health, gender based violence, violence and other health related issues. The study finds that the respondents are unable to identify with the characters and events to a large extent in Ultimo año. However, they can recognize some events in the show, as well as some characteristics that are portrayed. Our study shows that homosexuality is poorly represented in the show and the characters are too wealthy to appeal to our respondents. According to our respondents the show does not reflect Mexican youth in the correct way. Respondents thought that homosexuality was portrayed in a negative way, which did not support being gay or “coming out”. The lack of identifying negative feelings of the heteronormative narrative, along with the representation of homosexuality, therefore affecting the respondents in a way the effect would be no participation in social learning. Therefor unable to achieve the behaviour change that the show is aiming towards. The study is based on one focus group and three personal interviews. The theoretical background for this study contains Stuart Halls encoding/decoding model, Albert Banduras theory about social learning, Miguel Sabido´s Methodology and previous research on reception studies by Martina Ladenorf, Thomas Tufte and Sonia Livingstone.

Although efforts have been made by the Afghan government and its international partners to promote the tents of gender equality in Afghan society, biases against women and other marginalized groups persist in the society and media sector, particularly. The current study is a timely research because feminist media studies are an under-researched field in the context of Afghanistan. My research aims to be a contribution to this field and open a path for Afghan feminist media studies. The current study explores the representations of gender relations in transnational television soap operas broadcast on Afghan television stations, audiences’ decoding of the representations, and the role of the media in promoting social change. The selected soap operas for the study are Paiman and Qesay Maa, Turkish television soap operas dubbed in the Dari language. The current study is based on feminist theory and feminist methodology, providing a balance of content and reception analysis. Drawing on feminist media studies and focusing on media representations, the content analysis of transnational soap operas echoed previous studies on representations of gender relations and indicated that gender relations are often portrayed in stereotypical and traditional manners. The content analysis further demonstrated that women are objectified in different ways and are often represented as domestic, passive, selfless beings in men’s service. Moreover, relationships between women are often based on rivalry, hatred, and shaming and often without any particular reason. The study also found that contrary to women, men are often represented at outdoor and professional settings. Additionally, grounded on encoding/decoding model through a feminist lens, the thematic analysis of focus group discussions demonstrated that audiences constantly interact with media text and actively make meaning. Interestingly, FGD findings further indicated that as active viewers, both female and male participants, derive multiple and often diverse meanings from the media text. Although both female and male participants problematize the content of transnational soap operas, their interpretations of representations of gender relations and gender equality are dissimilar. The study concludes that transnational soap operas, and the media in general, can play an important role in promoting social change in Afghanistan, particularly gender parity through the Entertainment-Education strategy. However, an intersectional framework is essential in designing EE programmes for promoting gender equality in a diverse society like Afghanistan.

This study aims to examine the production of HIV/AIDS lessons on Tsha Tsha Entertainment-Education and their reception by HIV-positive men in Soweto, and to find out whether this response impacts on their perception of their roles and responsibilities in HIV/AIDS. The rationale behind this study is that gender and HIV/AIDS has been critical in interventions aimed at combating the disease. Studies in South Africa on gender have revealed that versions of masculinity can be implicated in the increasing infection rates of HIV/AIDS making efforts to combat the disease problematic. A qualitative methodology is used. This method included interviews and focus group discussions. Five interviews were done with programme producers and researchers of Tsha Tsha to find out the major considerations in production. An average of seven HIV-positive men were exposed to 12 episodes of Tsha Tsha to find out their responses in six focus group discussions, and whether these indicated a changed perceptions in their roles and responsibilities in HIV/AIDS. Their responses were then examined under Bandura’s (1971) social learning theory and Hall’s (1977) encoding-decoding theory .This theories explain the considerations in the production of lessons in Tsha Tsha and how audiences respond to those lessons respectively. The findings reveal that audiences (HIV-positive) men identify with lessons around HIV-testing, disclosure, support and those that challenge stigma and masculinity in HIV/AIDS. Disclosure emerges as a major theme and is compared with sub themes of testing, stigma, masculinity and social support to form categories that are presented as the findings. While HIV-disclosure is seen as challenging HIV/AIDS stigma and masculinity, where men accept their condition, and take responsibility to continue occupying their space as men, E-E production can reinforce lessons around disclosure and other coping strategies to combat HIV/AIDS.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis sought to attain a greater understanding of persuasion through narrative. First, a rhetorical analysis was conducted. The rhetorical analysis identified fantasy themes represented in two original music video artifacts. These themes formed what the author calls Symbolic Convergence Cycle of Intimate Partner Violence (IPV). Next, an experiment was conducted to provide further evidence that realistic narrative presentations have a greater ability to shape perceptions than more abstract presentations. Findings included that women were more likely to identify subtle abusive behaviors as abusive then men. However, after exposure to conditions containing the visual portion of the music video “Love the Way You Lie”, both female and male participants were less likely to identify subtle abusive behavior as abusive. This revealed that even though two messages can contain the same themes about the subject of IPV, the way that these messages were presented effected the way in which viewers interpreted the messages.

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Ethics and compliance training of sales managers in the U.S. pharmaceutical industry showed little evidence that eLearning interventions developed to address employees' (a) awareness of unethical sales practices, (b) ability to judge a selling practice as unethical, and (c) intentions to speak up about unethical sales practices have had the desired effects. The purpose of this study was to compare the effectiveness of an entertainment-education video to an eLearning course, to improve ethical issue awareness, ethical judgment, and speaking-up behaviors in the pharmaceutical sales profession. Social cognitive theory and the extended elaboration likelihood model provided a theoretical framework for studying the effects of entertainment-education. The primary research question was, if entertainment-education programs can be used as an effective methodology to improve ethical decision-making and increase intentions to speak up, compared to a narrative-style eLearning course. In this quantitative study, 64 sales professionals from a U.S.-based pharmaceutical company were randomly assigned to either an entertainment-education video or an eLearning group to compare the effects of intervention format on ethical issue awareness, ethical judgment, and intentions to speak up, measured using two ethical scenarios and surveys. Although both treatments had a significant effect on behavioral intentions to speak up, there was only a moderate difference between the two groups t(62) = 2.20, p = .032 when participants observed a patient safety issue. Results from this study may impact social change by providing compliance managers with evidence to evaluate the use of entertainment-education strategies to increase sales representatives' intentions to speak-up when they observe behaviors that may put patient safety at risk.

The objective of this thesis is to examine the meaning of the language used in an Entertainment-Education (E-E) radio serial drama RockPoint 256 (RP256) and its representation of People Living with HIV/AIDS (PLHA) and HIV/AIDS. The theoretical framework that is used to guide this study is the Cultural Studies perspective. Using Cultural Studies is instrumental to a study such as this that looks to find the source of meaning in RP256’s discourse (Hall, 1993, 105). The methodological research design used is discourse analysis that examines the oral and written data of RP256. Discourse analysis “focuses on the way language is used, what it is used for, and the social context in which it is used” (Punch, 1998, 226). There were two types of discourse analyses used. Gee’s (1999) discourse analysis is used to analyse the linguistic nature of the texts at a micro level while, Fairclough’s (1989) discourse analysis is used to observe the overarching meaning of the discourse found in RP256 at the macro level. The analysis of the data indicates that the representation of PLHA is a product of the societal and cultural markers that are a result of ideological labels given to HIV/AIDS and PLHA. The study concludes that PLHA are ostracised, stigmatized, live in poverty and are mostly women. The societal and cultural markers indicate that HIV/AIDS is still viewed as a plague and as a result PLHA are often silenced, marginalized, and discriminated against in Uganda.

The objective of this thesis is to examine the meaning of the language used in an Entertainment-Education (E-E) radio serial drama RockPoint 256 (RP256) and its representation of People Living with HIV/AIDS (PLHA) and HIV/AIDS. The theoretical framework that is used to guide this study is the Cultural Studies perspective. Using Cultural Studies is instrumental to a study such as this that looks to find the source of meaning in RP256’s discourse (Hall, 1993, 105). The methodological research design used is discourse analysis that examines the oral and written data of RP256. Discourse analysis “focuses on the way language is used, what it is used for, and the social context in which it is used” (Punch, 1998, 226). There were two types of discourse analyses used. Gee’s (1999) discourse analysis is used to analyse the linguistic nature of the texts at a micro level while, Fairclough’s (1989) discourse analysis is used to observe the overarching meaning of the discourse found in RP256 at the macro level. The analysis of the data indicates that the representation of PLHA is a product of the societal and cultural markers that are a result of ideological labels given to HIV/AIDS and PLHA. The study concludes that PLHA are ostracised, stigmatized, live in poverty and are mostly women. The societal and cultural markers indicate that HIV/AIDS is still viewed as a plague and as a result PLHA are often silenced, marginalized, and discriminated against in Uganda.

The objective of this thesis is to examine the meaning of the language used in an Entertainment-Education (E-E) radio serial drama RockPoint 256 (RP256) and its representation of People Living with HIV/AIDS (PLHA) and HIV/AIDS. The theoretical framework that is used to guide this study is the Cultural Studies perspective. Using Cultural Studies is instrumental to a study such as this that looks to find the source of meaning in RP256’s discourse (Hall, 1993, 105). The methodological research design used is discourse analysis that examines the oral and written data of RP256. Discourse analysis “focuses on the way language is used, what it is used for, and the social context in which it is used” (Punch, 1998, 226). There were two types of discourse analyses used. Gee’s (1999) discourse analysis is used to analyse the linguistic nature of the texts at a micro level while, Fairclough’s (1989) discourse analysis is used to observe the overarching meaning of the discourse found in RP256 at the macro level. The analysis of the data indicates that the representation of PLHA is a product of the societal and cultural markers that are a result of ideological labels given to HIV/AIDS and PLHA. The study concludes that PLHA are ostracised, stigmatized, live in poverty and are mostly women. The societal and cultural markers indicate that HIV/AIDS is still viewed as a plague and as a result PLHA are often silenced, marginalized, and discriminated against in Uganda.