The goal of this research study is to develop a model of information that will enable media conglomerates and other companies, with theme park investments, to make informed and effective decisions based on scholarly and empirical evidences. In order to do this, the following research study uses historic, scholarly, journalistic, and focus group evidences to consolidate the information necessary to create a model to support concepts and designs. The paper begins with establishing why it is important for media conglomerates, with theme park investments, to integrate cinema into the park’s design. Then it looks back through the history of cinema and theme parks, identifying the similarities and differences. Furthermore, it analyzes the development of Universal Studios Hollywood and Disneyland. The study uses the history of Hollywood from its beginning to the decentralization to parallel the development of the movie-based theme park, and how the decentralization of Hollywood and the rise of the movie-based theme park support one another. As the idea of the convergence of one media with another is not a new concept, information on media convergence is used as part of the scholarly research in this area. Because movies and movie-based attractions are each forms of storytelling, the study includes prolific information on media, film, literary, and psychological theories as supporting evidence. The empirical research method utilized in the research, specific to this study, includes four focus groups in Florida, New York City, Cincinnati, and Los Angeles and one interview with a theme park president. Throughout the study, concepts of narrative, spectacle, pleasure, character, and setting are addressed in terms of how these elements work in movies and movie-based theme park attractions.

This study explores how Chinese digital journalism transformation in the context of media convergence. The research asks the following questions: How is the Chinese journalism transforming according to the changes of journalism production and users’ consumption in the digital era? Is there any difference between traditional journalism and digital journalism considering the journalistic quality in China? How does digital journalism influence the work situation of Chinese journalists? The research was conducted by mix qualitative and quantitative design and it is based on 8 in-depth interviews with Chinese journalists and an online questionnaire (n=300) on consumers. By conducting these two different kinds of empirical data, it could present the reaction of digital journalism transformation from both journalists and users. Based on the theoretical framework of media convergence and journalistic quality, the analysis was carried out on three levels: A) Chinese journalism transformation during the media convergence; B) Journalistic quality within the Chinese journalism industry; C) The impact of digital journalism on journalists work situation. The main results showed that digital transformation is under the media convergence trend in China. From Chinese users’ side, the consumption of digital journalism production is accessible and traditional journalism was more trustworthy than digital journalism. From Chinese journalists’ side, the journalistic production in traditional journalism has the journalistic quality which is more accurate and authoritative. In the digital era, the journalists working life were busy and the new media workers were more stressed than journalists in traditional media organizations.

Made available in DSpace on 2016-04-26T18:12:51Z (GMT). No. of bitstreams: 1 Patricia Cordeiro de Abreu Alessandri.pdf: 14376836 bytes, checksum: c3083b57ff44125b5bf2054bf2c97cbe (MD5) Previous issue date: 2012-12-20 / This thesis aims at analysing the importance and impact of the photographic language changes over time and its aftermath. The artists Miguel Rio Branco s and Rochelle Costi s works were selected, analyzed and presented, as references of artist works which transits in relations between-languages. Diálogos com Amaú, Out of Nowhere, Entre os Olhos o Deserto, Pratos Típicos, Quartos e Objeto Encontrado are artistic productions that feature expanded photography, which breaks with the inaugural role of photography as a record of reality and develops embracing different languages and medias. For theoretical considerations were rescued study authors as Raymound Bellour (Entre-Imagens), Gene Youngblood (Expanded Cinema), Henry Jenkins (Cultura da Convergência), J. David Bolter and Richard Grusin (Remediation Understanding New Media), Néstor Canclini (Culturas Híbridas), which address a theoretical point of view The work, A questão do hibridismo na produção fotográfica contemporânea brasileira, shows the importance of the changes occurring in the field of communications and media languages, especially the photographic, and in the arts and communication and its impact on socio-cultural aspect of contemporary culture / Este trabalho de tese tem por objetivo a análise e considerações acerca da importância e repercussão das modificações da linguagem fotográfica ao longo do tempo e seus desdobramentos. Foram selecionadas, apresentadas e analisadas obras dos artistas Miguel Rio Branco e Rochelle Costi, que transitam nas relações entre-linguagens. Diálogos com Amaú, Out of Nowhere, Entre os Olhos o Deserto, Pratos Típicos, Quartos e Objeto Encontrado são produções artísticas que têm como característica a chamada fotografia expandida, que rompe com o papel inaugural da fotografia como registro do real e se desenvolve abarcando diferentes linguagens e meios. Para embasamento teórico, foram resgatadas considerações a respeito das relações intermidiáticas por meio do estudo de autores como Raymound Bellour (Entre-Imagens), Gene Youngblood (Expanded Cinema), Henry Jenkins (Cultura da Convergência), J. David Bolter e Richard Grusin (Remediation Understanding New Media), Néstor Canclini (Culturas Híbridas), que as abordam de um ponto de vista teórico O trabalho, A questão do hibridismo na produção fotográfica contemporânea brasileira, evidencia a importância das modificações ocorridas no campo das comunicações e das linguagens, em especial da fotográfica, e sua repercussão no âmbito das artes e no aspecto sócio cultural da contemporaneidade

Este trabalho tem como objetivo, no contexto da implantação da TV Digital no Brasil, promover uma reflexão sobre o conceito de interatividade na sociedade contemporânea e, considerando as possibilidades dos novos suportes tecnológicos, contribuir para o desenvolvimento de novos formatos e conteúdos de produtos audiovisuais que, de fato, contribuam para a democratização da comunicação. Para tanto, realiza uma revisão bibliográfica que busca não só um embasamento teórico, mas também referendar a argumentação de que o conceito de interatividade sofre um processo de banalização e necessita ser depurado. A partir disso é apresentado um quadro sobre o conceito que ressalta a existência de uma diversidade de terminologias e definições. O projeto, em particular, faz a opção pelas caracterizações como reativa e mútua para interação mediada por computador e as usa num estudo de caso de programas interativos para televisão digital brasileira. Além disso, descreve vários outros aspectos técnicos que envolvem a estruturação de documentos hipermídia com o intuito de enveredar pelos caminhos da informática e suas concepções, já que isso passa a interferir sobremaneira nos processos produtivos audiovisuais. O resultado dessa trajetória não é conclusivo, assim como não parecem ser quaisquer estudos relacionados aos impactos do paradigma digital sobre os meios de comunicação, mas, de certo, explora as intersecções existentes entre TV e Interatividade, questões-chave que refletem as inquietações desta dissertação. / This work aims to, in the context of the implementation of the digital TV in Brazil, promote reflexion on the concept of interactivity in current society, and, by considering the possibilities created by new technological supports, to contribute to the development of new formats and contents of hypermedia documents that truly contribute to the democratization of communication. In order to do that it carries out bibligraphic review which pursues not only theoretical support but also validation of the argument that the concept of interactivity goes through a process of banalization and needs depurating. Upon this is built a picture of the concept that stresses an existing diversity of terminology and definitions. The project itself opts for the characterizations of computer mediated interaction as reactive and mutual and use them in a case study of interactive programs for Brazilian digital television In addition to this it describes many other technical aspects involving the structuring of hypermedia documents, aiming to move through the paths of informatics and its concepts since this interferes meaningfully in the audiovisual productive processes. This journey leads to no-conclusive results, just as other studies related to the impacts of digital paradigm to the means of communication do not either, but it certainly explores the intersections that exist between TV and interactivity key questions that reflect the questioning of this dissertation.

<p>Purpose/Aim: The aim is to study the critics own views upon their profession and upon the development of criticism, and to thereafter set this in relation to contemporary theory and debates.</p><p>Material/Method: A qualitative study pursued through personal interviews. The results are categorized and split into different themes.</p><p>Main Results: Through media convergence and a changed media culture the conditions for criticism have also been altered. But in spite of various negative prophecies, these changes cause no serious threat to criticism. New forums and new forms of criticism actually increase the importance of the traditional ditto as the authoritative voice that holds the field together. Still, there are questions and fears about a future seemingly less and less predictable. The pace of these changes and the increased influence of the market can pose a threat unless the leadership doesn’t actively choose to uphold and protect traditional criticism.</p>

In this thesis, media convergence strategies and added value of digital news services are investigated, focusing on the newspaper industry and it’s audience. Convergence implies that previously unalike areas come together, approaching a common goal. A subordinate concept of convergence, i.e., media convergence, is a concept that has become common when denoting a range of processes within the production of media content, its distribution and consumption. Newspapers are one of many so-called publishing channels that provide information and entertainment. They have traditionally been printed on paper, but today’s digital technology makes it possible to provide newspapers through a number of different channels. The current strategy used by newspaper companies involves a process of convergence mainly regarding multiple publishing. A newspaper company interested in publishing content through multiple channels has to adapt its production workflow to produce content not only for the traditional printed edition, but also for the other channels. In this thesis, a generalized value chain involving four main stages illustrates the production workflow at a newspaper company in relation to the convergence processes. The four stages are creation, packaging, distribution and consumption of content. One of the aims of this thesis is to assess how the views and strategies of newspaper companies concerning media convergence correspond with the opinions and views concerning convergence of their audience. In order to discuss this, seven types of media convergence are suggested. Furthermore, the thesis explores how the newspaper industry is relating to the processes of convergence, using two examples: newspaper companies’ ventures into the use of moving images, and the newspaper companies’ strategies for a future epaper edition. Among the findings of this thesis are that digital news services can add value to a newspaper company, however that the digital news services investigated, in their current form, are not sophisticated enough to give added value as perceived by the audience. The findings of the thesis are based on studies of the newspaper industry in Sweden and reflect specific newspaper companies, their strategies, production workflow and ventures from 2002 to 2007. The methods used have mainly been case studies and surveys. / QC 20100622

Purpose/Aim: The aim is to study the critics own views upon their profession and upon the development of criticism, and to thereafter set this in relation to contemporary theory and debates. Material/Method: A qualitative study pursued through personal interviews. The results are categorized and split into different themes. Main Results: Through media convergence and a changed media culture the conditions for criticism have also been altered. But in spite of various negative prophecies, these changes cause no serious threat to criticism. New forums and new forms of criticism actually increase the importance of the traditional ditto as the authoritative voice that holds the field together. Still, there are questions and fears about a future seemingly less and less predictable. The pace of these changes and the increased influence of the market can pose a threat unless the leadership doesn’t actively choose to uphold and protect traditional criticism.

This thesis explores ways evangelical Christian communicators remediate traditional ministry functions and community formation onto new media platforms. This exploration is framed by a discussion of literacy and digital composing reflecting Stuart Selber’s multiliteracy approach to teaching digital composition. The author positions evangelical churches’ approaches to texts, community, education, and communication as components of a distinct literacy that is often at odds with values, controls, and cultures found on the Internet and in new media. Discovering how church communicators use new media, how their education prepares them for effective digital communication, and how external sources, such as expert authors, aid the transition from print to new media helps us understand the gap between Selber’s ideal multiliteracy and the reality of new media literacy for this group. This also expands our understanding of digital composition, and the role it plays in both the classroom and in all students’ greater lives.

The traditional news media is being reshaped by the phenomenon known as media convergence. This thesis, which is presented as a journalistic, multimedia website (see http://www.artsweb.aut.ac.nz/mediaconvergence), explores media convergence in New Zealand. Its primary objective is to gauge the impact of convergence on the extent to which journalism fulfils its public interest duties. To this end, the defining elements of convergence are examined, along with its driving factors and impact on day-to-day newsroom practices. The research project is based on in-depth interviews with news media experts and practitioners and the results of an industry survey. The research findings indicate that convergence poses significant risks to public interest journalism. At present, however, there is more evidence of benefits than detriments.

The traditional news media is being reshaped by the phenomenon known as media convergence. This thesis, which is presented as a journalistic, multimedia website (see http://www.artsweb.aut.ac.nz/mediaconvergence), explores media convergence in New Zealand. Its primary objective is to gauge the impact of convergence on the extent to which journalism fulfils its public interest duties. To this end, the defining elements of convergence are examined, along with its driving factors and impact on day-to-day newsroom practices. The research project is based on in-depth interviews with news media experts and practitioners and the results of an industry survey. The research findings indicate that convergence poses significant risks to public interest journalism. At present, however, there is more evidence of benefits than detriments.