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This research is designed to explore the ever-building international image of Taiwan by reviewing the news reports about Taiwan affairs from the American elitist publications. With the unprecedented advancement of communications and media developments, many people in the world has realized foreign affairs through media broadcasting. In the meantime, the perspectives about national images held by average people are greatly influenced by media reports, especially international news. The forming of Taiwan¡¦s image is no exception. Any piece of news about Taiwan has affected the projected image on the world stage one way or another. This study applies the methodology of content analysis to the news reports, letters, editorials and column reviews about Taiwan in the American elitist newspapers of The New York Times and The Washington Post, ranging from 1986 to 2005. The research acquires the samples form LEXIS-NEXIS database and analyzes the theme, main covered area, US-related content, independence-related content, leadership-related content, direction (strength) category and statement category from every sample. The researcher tries to investigate the distribution, important issues of different news themes, strength of content reports and the ever-constructing Taiwan international image. This research reveals: 1. In terms of themes and main covered area, nation-wide reports are the major. 2. In terms of US-related content, it is stressed on themes about foreign affairs, economy and trade, cross-strait relations and national defense technology. It shows these news themes are the very issues about Taiwan the US is most focused on. 3. In terms of Taiwanese leadership-related content, politics and cross-strait relations reports take up the most proportion. This shows political and cross-strait relations reports were what Taiwanese leaders were most involved during the two decades. 4. Among the themes of the news, neutral reporting is the major, positive reporting the second, negative the least. However, Constitution Reform in the politics category, Foreign Policies and Relations in the foreign affairs category, Literature, Art and Recreations in the education, science and culture categories mostly appear positive reporting. Only foreign spot news, society and laws, accidents and disasters are the few with more negative reporting than positive. Besides, in light of the quantitative ratio of news report samples, among all the news themes the most three categories are cross-strait relations, national defense and domestic politics. If we combine the small items broken down from the big categories, the category of cross-strait relations makes up the most proportion, followed by politics, foreign affairs, national defense and economy. The category of cross-strait relations totally takes up 38.09% and becomes the spotlighted issue of news reporting outstandingly. Finally, based on the sample statistics gathered from The New York Times and The Washington Post, the top five accumulated amounts of Taiwan news reports are 2000 (72 items), 2001 (45 items), 1996 (43 items), 1999 (41 items) and 2004 (35 items). 2000 tops the list of reporting on Taiwanese affairs; it¡¦s mainly because the second general election in Taiwan occurred on 2000. Chen Sui Bian and Liu Xiou Lien were elected as president and vice president. It was the first regime change ever in Taiwan¡¦s history and the DPP took the reins. On the other hand, the KMT was voted out of office for the first time and became the opposition, which attracted the international media and led to a significant increase on reporting. In addition, owing to the first regime change, the DPP that was generally perceived as pro-independence came into power and made China highly concerned, which contribute to the increase on news about cross-strait relations and policies, national defense and independence-related issues in this year.

Since its inception in 1956, the EurovisionSong Contest has been a stage for national representation and an opportunityfor countries to brand themselves. The 2012 Eurovision Song Contest in Baku,Azerbaijan is a prime example of nation branding, both for the host country aswell as the participating countries. Hosting the event gives a country the opportunity to present a specific nation brand, but there are other opportunities for those countries which only have a three-minute time-frame for their performance in presenting a national image. These performances are themain subject of this thesis, which main question is: How do nation-states use the Eurovision Song Contest as a means of nation branding?            To answer this question, I use three sub-questions. First, I focus on the concept of identity: how does musical performance represent national and European identity in the context of the Eurovision Song Contest? Secondly, I study the translation of national identity into an image that should appeal to all of Europe, by creating a specific nation brand: how do nations use nation branding through culture as a tool to build an appealing image within the context of Eurovision? Lastly, I study the performance of these nation brands in specific cases during the 2012 Eurovision Song Contest: how is a nation-branded image performed in the Eurovision Song Contest?             The first two chapters of my thesis consist of an analysis of literature on identity and nation branding in combination with national representation in Eurovision. My third and last chapter consists of performance analyses of 2012 participants, focusing on performances from Romania, Russia, Ukraine and Montenegro, which in 2012 were some of the richest performances in terms of symbolism concerningnational representation.

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This study investigates how the international media framed Sweden's response to the COVID-19 pandemic and its image during this time. By utilizing framing theory as an analytical framework, 42 articles from The Guardian and The Washington Post were analyzed. Hence, based on the existing framing research, by Semeteko and Valkenberg (2000), the coverage is classified into five frames: conflict, human interest, economic consequence, morality, and responsibility. The findings highlight how the media coverage of a nation during crises can shape its national image. Moreover, the study underscores the significance of comprehending how media can influence future global crisis reporting. This thesis contributes to the existing body of literature pertaining to the media framing of crises by analyzing the portrayal of Sweden's exceptionalism and image by the international media in the context of the COVID-19 pandemic. Through an examination of news coverage from prominent outlets, the study identifies the dominant frames used to portray Sweden's response and shape its image. The findings reveal a diverse range of frames employed, including conflict, human interest, economic consequence, morality, and responsibility, reflecting the complexities surrounding Sweden's approach. This research emphasizes the importance of comprehending media framing in shaping national image during global crises and advocates for holistic approaches to address societal, economic, and public health impacts. Finally, the study’s findings indicated that Sweden's national image in the context of its response to the COVID-19 pandemic is multifaceted and complex, based on the analysis of the various frames used in the articles. The dominant frames shape Sweden's perception of itself as a nation characterized by opposing opinions, controversies, ongoing debates, personal experiences, moral considerations, and a delicate balance between economic and social concerns. Sweden is framed as a nation that values individual liberty, individual responsibility, and a distinctive approach to crisis management.  Overall, Sweden's national image reflects a dynamic and complex perspective, illuminating the complexities and diverse perspectives surrounding its response to the COVID-19 crisis.

電影作為跨文化傳播的重要媒介，反映當下他國與該國權力結構的認知，對一國的國家形象塑造有著重大作用。國家形象就是他國人民對一個國家的概念性印象，在傳統好萊塢的商業大片上，中國的形象多半遭受「東方主義」的臆測，中國政府亟於透過文化宣傳的方式來改善中國的國家形象，其中中美合拍電影傳達出的中國意象扮演重要角色。觀察近年來的中美合拍片，相較於過去的好萊塢電影，中美合拍電影的中國形象似乎獲得大幅提升，但仍存在東方主義對「他者」的視角。 中美合拍片有將「中國國家形象」與「中國人形象」與之區分，分別對應「專制的中國政府」與「順從無主見」的人民，最終只能希冀西方的拯救者來救贖之現象。就連東方的導演都「自我東方化」，電影傳達的中國形象，其實是透過中國導演觀察與西方的差異，自我建構出的「東方形象」。 雖然中美合拍片裡中國形象仍是西方對東方的「再現」，但中國政府透過合拍的攝製法規與審查制度，「一手拿棍棒，一手拿紅蘿蔔」。一方面獎勵遵守中國規則的劇組，提供資源協助，一方面針對不符合中國期望的電影情節，在審查過程中要求刪除甚至擱置。 中美合拍片不但存在國際社會的文化爭霸，更有一國之內政治社會與市民社會的交互作用，在國際社會上，中美合拍電影的中西方文化元素交相呼應，同樣的符號在個別電影中有不同的詮釋。在政治社會與市民社會的面向上，中國政府以電影審查制度控制電影內容，來維護既有的意識型態；但電影劇組仍可以透過導演或主演的個人聲望、隱晦的針砭手法，迫使官方妥協，重構出新的意識型態。中國政府與合拍片商在彼此爭霸中，互有消長與妥協，故中美合拍片中的中國形象，呈現正負面兼有之的特徵。 / Film as an important medium for intercultural communication, it becomes one of the effective ways to promote a nation’s image. The national image is the conceptual impression of the people from other countries. In traditional Hollywood commercial movies, the image of China suffered “Orientalism” speculation. By co-producing films with American, government of China has tried to get rid of the stereotype of China’s national images. In recent year, compared to the previous Hollywood movies, the images of China in Sino-U.S. co-production films seem to get significantly improved. However, some of them still implicate Orientalism speculation. Sino-U.S. co-production films distinguish “the national image of China” from “the image of the Chinese people”, describing a society that an autocratic government and a crowd of lackey, hoping a savior from the west would liberate them. Even Chinese directors have “self-orientalization” issues, the image of China that they described in the movie is just a reflection compared with the west. Although the image of China in Sino-U.S. co-production film is the “representation”, the government of China still could use “carrot and stick” to receive the hegemony. On the one hand, they encourage and reward the producer for obeying the regulations; on the other hand they use censorship as a punishment. Sino-U.S. co-production film not only consists of the cultural hegemony of the international community, but also includes the interaction between political society and civil society in the domestic system. In the international community, the same symbols of Western/Eastern cultural elements has different interpretations of individual Sino-US co-production films, and in the political society and civil society, the Chinese government regulates movie contents building the movie censorship system to secure the existing ideology; But the director or big shots still can use their expand their personal Influence, or metaphor in the script, to force the authority to compromise and reconstructs a new ideology.

近年來，全球化的高度發展促使國際格局逐漸產生改變，中國作為一新興國家，已相當明白當前國際間的競合關係應以良性發展為導向，致力於改變過去給予國際社會過度擴張剛性權力的既定印象，方能提供其綜合國力穩定發展的平台。透過觀察中國一連串有計畫的國家文化行銷活動，可見中國過去數千年的溫和、中庸的文化印象遺產成了柔性權力發展的最佳載具，其中又以中國官辦官營的孔子學院在全球長期性、有組織且有計畫的設點最受到關注。 　　國家如同商品，需要量身打造最適的計畫及管道來定位及行銷，本文透過結合學者Kotler及Olins的行銷理論，使用文獻分析法、歷史比較研究法以及內容分析法，配合國內外主要報業對於孔子學院之報導及評論作次級資料分析，（資料蒐集區段自2004年孔子學院成立以至2010年7月）探討國家形象建構之重要性及中國選擇孔子學院為扭轉其國家形象之途徑因素及成效。 / In recent year, blooming of globalization catalyzed the change of international situation. As an up-and-coming country, China realized the competition and cooperation among the globe should have the common goal of working toward a healthier development. China also recognized that the need of transform its stereotype image of being the over expanded hard power would be the solution to create platform for steady growth of national power. As soft power becoming the trend of today, how to create a positive national image is one of top priority policies for China. By studying China’s stream of well-planned marketing events for its national culture, we could see how the mild and mean culture of China in the past thousand years materialized. Out of all the events, the government managed Confucius Institutes organized expansion globally is the most followed event. A nation is very similar to a product, which need customized plan and channel for marketing. By combining Kotler and Olins’s marketing theory, this research paper discuss about the importance of constructing a national image. This research also discusses in detail about the process and the result of China using Confucius Institutes to modify its national image.

Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo. / This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.

The Swedish Institute is a public agency promoting Swedish interest, national image and confidence around the world. This work attempts to investigate how communication and a process over time influences and effects public diplomacy. The analytic discussion is based on a single case study research of this Institute representing ideas in the international science field of public diplomacy. The theoretical ideas of public diplomacy are placed in a theoretical perspective of social constructivism. The method is qualitative, with excerpts taken from interviews, literature, newspapers, articles, state public reports and social media. The work adopts a discourse analytic approach, aiming to uncover the structure of public diplomacy by using three analytic tools: soft power, nation branding and cultural diplomacy. The presented analysis and examples suggest a close collaboration between researchers and practitioners can lead to a coherent theory of public diplomacy. The result identifies promising directions as well as weakness and gaps in existing knowledge. The work promotes an analytic tool “korstryck” for theorize and conceptualize the discussion of public diplomacy. A strategy of today requires three fundamental components: power, diplomacy and communication. The challenge in public diplomacy is the balance between public opinion, public foreign policy and global networks of communication. The paper aims to open doors for further scientific works are needed in the searching for a theory of public diplomacy.