Networks consisting of contacts between people can be found everywhere. The purpose of a network is always the same; to facilitate the availability of resources to the various parties. This also applies when it comes to entrepreneurship, in this case with digital media in focus, where the network is the entrepreneurs tool to expand their business interests, complete productions to the customer and grow in the industry. The objective of this study is to examine the role of entrepreneurs and corporate networks, how they are formed and maintained and about their properties. We also examine how companies in the production of media that are positioned in relatively remote areas establish themselves on the global market. How much impact does the environment in which it is located have on the company? To carry out this study we have held semistructured interviews and chosen qualitative methods and theories from already existing research material. In conclusion we arrived at three guidelines for entrepreneurs in the creative industry in northern Sweden regarding network and geographic location.

<p><em> </em></p><p><em><p>This report examines the relationship between usability and subjective judgments</p><p>about aesthetic and emotional aspects of users of a web production. Through the</p><p>development of two prototypes that reflects different aspects of usability and subjective</p><p>assessments examined the consequences of a differentiation of the concepts and</p><p>Usability and Likeability. Thereafter, an evaluation of the two prototypes are made</p><p>through user testing. Finally, the results of the evaluation is presented and are related</p><p>to the concepts of usability and likeability.</p></em></p><p> </p>

Med stöd av teorier om barn och kommunikation, mediepåverkan liksom synen på barn som publik ville vi i denna uppsats ta reda på hur barn i mellanstadiet i Halmstad läser filmen "Dylans historia”, en egenproducerad programserie om Halmstads historia. Frågeställningen var: Hur ser det narrativa mötet ut mellan producenternas intentioner, så som de uttrycks i produktionens/filmens narrativa element, och barnen. Det vill säga, hur uppfattar barnen filmen? Utifrån Stuart Halls teorier om ”encoding - decoding” jämförde vi producenternas intentioner med texten (filmen) med den tolkning som publiken (barnen) gjorde. 19 barn i åk 4 och åk 6 intervjuades. Slutsatsen vi kan dra är att barnens tolkning av de berättartekniska greppen, där redigeringen (montaget) och ljudet hade en framträdande roll, i stort överensstämmer med producenternas intentioner. Därtill visade våra intervjusvar att barnen, förutom att de tolkar det multimodala budskapet, också har en ”avslöjande läsning” av texten (filmen), något som Stuart Halls teori inte tar upp. Barn i dag är tekniskt bevandrade på ett helt annat sätt än på 1970-talet, då Halls teorier lanserades. De läser hur filmen är redigerad och deras referenser verkar, enligt våra intervjusvar, vara hämtade från mobiltelefonens kamerafunktion. Detta intresse tycker vi borde tas tillvara i undervisningen. Filmen finns på Halmstad stadsbiblioteks Hallandsavdelning.

This report examines the relationship between usability and subjective judgments about aesthetic and emotional aspects of users of a web production. Through the development of two prototypes that reflects different aspects of usability and subjective assessments examined the consequences of a differentiation of the concepts and Usability and Likeability. Thereafter, an evaluation of the two prototypes are made through user testing. Finally, the results of the evaluation is presented and are related to the concepts of usability and likeability.

This thesis aims to describe the genre of librarypodcasts that have emerged in Sweden since 2013.Through the overall design of a comparative multiplecasestudy, the two pioneering examples ofCirkelpodden and Bibliotekspodden Solen are beingdescribed and compared, in order to contribute to abetter understanding of what these radio productionsconsist of, on what reasons they have been establishedand finally what this practice based on more explicitjournalistic working methods might implicate for theprofession of the public librarian.Thirty-three programs of Cirkelpodden andBibliotekspodden Solen published during 2103–2014 andtwo semi-structured interviews with the librarians ofthe podcasts are analysed through quantitative contentanalysis and qualitative thematic analysis. Thetheoretical framework is principally based on WiebeBijker’s model of two different ways to perceivetechnology: the deterministic view as an autonomousforce, and the constructivist view as an instrumentcontrolled by man.The results show that the main reasons to adopt thisweb 2.0 media format was to improve the library’straditional ways to talk about books. Besidespresenting books and problematizing the inhold of it,the podcasts were used to enhance the job satisfactionand to promote the library. The main conclusion ofthe study is that the these library podcasts could beinterpreted as expressions of an ongoing movementfrom a traditional conveying role of the publiclibrarian, towards a more content producing role, inwhich the podcast is used as an strategic instrumentfor exposing the librarians expertise and for exertingliterary criticism.

Den här undersökningen i audiovisuella studier undersöker möjligheter att lättrörligt och resurssnålt producera reklamfilm för e-handeln. För att undersöka de möjligheterna och föreslå sätt att producera reklamfilm har en case-studie gjorts på ett svenskt glasbruk. Forskningsfrågan formulerades på följande sätt: Hur kan detaljhandelsföretag med e-handel snabbt och med begränsade resurser göra värdefull reklamfilm? De teorier undersökningen stödjer sig på är agila metoder, iterativitet, designteori samt ledarskap- och organisationsteorier. Metoden i undersökningen är Design Research Methodology, DRM, och har genomförts med fyra faser. Resultatet av undersökningen är en produktionsmodell som diskuterar möjligheter och förutsättningar för ett team att för en kund producera reklamfilm inom ramarna för en arbetsdag. Produktionsmodellen One Day Agile Production Model utvecklas i undersökningen och är ett förslag på ett supportverktyg som kan användas för lättrörlig och snabb reklamfilmproduktion

The aim of this study is to examine if a service that directly translates actors dialogue into different languages during a theatre performance could lead to inclusion of a broader audience. A secondary aim is to examine what is demanded of a service like this in order to generate a good user experience. To examine the aim of this study a qualitative method was chosen. Interviews were conducted with the two developers of the service, a tech company and a theatre institution, to gather information about the service. A prototype was then developed based upon the information gathered from the interviews. The prototype was tested on seven users. After the tests they answered questions about their experience with the service. The result of the study showed that the service is perceived as a useful aid but that the usability of the service needs further improvements to generate an even better user experience. In particular improvements related to the speech synthesis needs to be improved. The users did not like the sound of it, they felt it sounded inhuman and monotone. When it comes to the subject of inclusion the interviews with the users did not provide a clear answer. But when compared with earlier research the study showed that the service has the possibility to lead to inclusion, but further research needs to be conducted in this area.

In this paper I’ll be investigating how to implement and use virtual 3D sets using only simple 2D reference footage. There are many possible ways to achieve similar effects but I’ll be specifically targeting the lower end segment of the industry by using methods that require fewer resources. Other methods are used in large film productions in Hollywood but my goal with this paper is to make the technology more accessible for small-scale companies and productions.

I det här kandidatexamensarbetet undersöker vi vad det finns för utrymme för kameraoperatörer i svenska TV-branschen att utföra kreativa handlingar under flerkameraproduktioner. Undersökningen bygger på två observationer av två professionella flerkameraproduktioner och kommer fram till att det finns många olika faktorer som både kan gynna och missgynna kameraoperatörernas kreativa utrymme, ett exempel på detta är att trånga utrymmen begränsar kameraoperatörernas kreativitet samtidigt som det tvingar dem till att komma på kreativa lösningar. En slutsats i arbetet är att TV-branschens standardiserade arbetsrutiner innebär både begränsningar och möjligheter för den enskilda medarbetarens kreativa utrymme i en flerkameraproduktion.

Digital media producers operate in a constantly evolving digital world, that repeatedly presses for exploitation, but also creates opportunities for exploration. These two logics are fundamentally different, however could play a big role in promoting long-term sustainable growth if balanced correctly. This study aims to generate new knowledge regarding how self-employed digital media producers attempt to balance profession and hobby, while at the same time designing for a digital context. This equilibrium can give self-employed media producers an advantage in the new digital game plan - if they become aware of how they can tackle the accompanying challenges. To support the balance between exploitation and exploration, we have thus concretized and summarized strategies, tools and structures on how digital media producers can attain this balance.