The increasing and irregular flow of migrants in Europe had lead to an unprecedented crisis which European and International stakeholders have been struggling to manage in a challenging context of financial insecurity, political instability, fragile foreign relations and controversial steps and policies. This current context questions Europe’s image as a powerful global key-player and a civilized privileged space/entity and also shutters migrants’ dreams and illusions of a promise-land. Inevitably, the migrant crisis has emerged as top news in most old and new media around Europe and extensive coverage of the topic has been informing the audience almost on a daily basis. Of course, cartoonists have been affected and inspired by the situation, as well. In a time period of twelve months, from April 2015 to March 2016, in Greek new media alone, three hundred and seven cartoons were published on the topic. This project set out to examine the cartoons published in new media over the allocated time period in order to find out what were the main foci of the artists’ attention in relation to the migration crisis and how they related to domestic and international political affairs and further international interests by major stakeholders. It also explored the way immigrants have been depicted, the way Europe is depicted as a promise-land, how all involved stakeholders have handled the crisis and the artists’ degree of active judgment or influence. A mixed research method, combining content analysis, which falls into the realm of quantitative research methods, with elements of psychoanalysis and social semiotics, which observe matters, analyse the visual and critically interpret it was employed. Results showed that the migrant crisis was a favorable topic for Greek cartoonists publishing in Greek new media. They explored the topic from various aspects, including politics, values, everyday life, religion, war and art, shifting from mockery and heavy criticism to sympathy, guilt and a sense of worry about the fellow human depending on their personal political orientation and the aspect of the topic they were commenting on. Evidently, the migrant crisis is a strong humanitarian crisis placing a bomb to fundamental and consolidated values, policies and relations among all stakeholders.

Det papperslösa samhället har varit ett begrepp i över trettio år, men än läser vi tidskrifter och magasin i pappersform. Vi konsumerar dock dagligen allt mer information och mycket av denna är i digital form. Tidskriften är en produkt som liksom CD-skivan är möjlig att helt och hållet digitalisera. Kanske är det en anledning till att upplagorna minskar för många tidskrifter i Sverige? Denna rapport syftar till att nå en fördjupad förståelse för hur svenska tidskrifter möter den digitala utvecklingen i fyra kanaler; webbplats, Twitter, Facebook och applikation för iPad (digital utgåva). Med deduktivt angreppsätt gjordes en innehållsanalys av information som publicerats i de fyra kanalerna. Observationerna kompletterades med sekundäranalys av offentlig statistik. 20 olika tidskrifter undersöktes, 10 stycken med ökande tryckt upplaga och 10 stycken med minskande tryckt upplaga.Resultaten visar inget tydligt samband mellan hög aktivitet/närvaro i digitala medier och enminskande upplaga. Det är vanligare att tidskrifter med minskande upplaga finns på Twitter.Att ha ett Facebook-konto är lika vanligt i båda urvalsgrupperna. Att publicera en digital utgåva av en i huvudsak tryckt tidskrift är relativt ovanligt förekommande. / The paperless society has been a concept for more than 30 years now, yet we still readmagazines in printed form today. But we also consume a lot more information today than weused to, and this information is increasingly in digital form. The magazine is a physical product that just like the CD is possible to turn completely digital. Maybe this is a reason for the rapid decline of printed circulation among Swedish magazine publishers? This report aim to increase the knowledge of how Swedish publishers meet the digital development in four different channels, website, Twitter, Facebook and digital edition for iPad.A content analysis of the information in the four different channels was conducted on 20different magazines, 10 with an increasing printed circulation and 10 with a declining printedcirculation.The results show no clear indication that there is a connection between high digitalpresence/activity and declining printed circulation. It is however more common amongmagazines with a declining circulation to be present at Twitter. Publishing a digital edition of a printed magazine is still relatively uncommon among Swedish magazines.

Empirically based on a series of focus groups with college-age women, this thesis examines how the affordances of anonymity and audience specificity facilitate both intimate personal expression and political participation on the Tumblr platform. In dialogue with literature on self disclosure and privacy, I seek to broaden our understanding of the mediated contexts that provide space for women’s voices online. The privacy afforded by Tumblr’s registration policies allows users more flexibility in terms of self-presentation than sites such as Facebook, which are necessarily linked to one’s offline identity through “real name only” policies. The use of pseudonyms contributes to a larger culture of anonymity on the platform, emboldening users to express themselves more freely and with less consequence. Specifically, Tumblr norms encourage the communication of emotions other than happiness or significant “life events” – instead providing a space for girls to express culturally devalued emotions such as sadness and anger. These kinds of intimate and cathartic expressions were made to an (imagined) audience of close friends and strangers in which parents and acquaintances were importantly absent. The reduced pressure of explanation, a limited (often like-minded) audience and the lowered-stakes of anonymity, are all also key features that encouraged feminist expression online. For focus group participants, the possibility of back-and-forth Facebook debates with relatives or former classmates kept them quiet. They described these interactions as exhausting, not as true conversations but as times when they needed to give long explanatory defenses as to why their concerns were issues at all. While debate is often assumed to be as a positive, constructive element of political discourse, this research calls into question the ways in which these ideals contribute to the silencing of women online and ask us to rethink what it means to say that “the personal is political.”

As reliance on digital media and social media platforms such as YouTube increases, health organizations infuse rhetorical strategies to create memorable and impactful health-related videos to raise awareness and attract support. Nonprofit healthcare organizations use digital storytelling to communicate their impact. In this study, I conduct a rhetorical analysis of five digital storytelling videos shared on the YouTube pages of nonprofit healthcare organizations to: identify how the videos leverage rhetorical appeals, point-of-view (POV), and metadata; and discuss how such strategies might influence viewer engagement or brand objectives. My findings suggest that nonprofit healthcare organizations integrate positive and negative emotional appeals (pathos) in the videos using first- and third-person POV to capture viewer attention and trigger interactions; build trust and support with expert testimonials and data (ethos and logos); and increase visibility by timing posts around related events (kairos) to potentially increase the persuasiveness of their messages.

The way in which one perceives a temporal sense of time while listening to or interacting with music is heavily influenced by the way the composer presents their musical or visual materials. This dissertation discusses concepts and technical approaches regarding timelessness in relation to my piece, In einem Augienblick, and the ways in which I explore a displaced approach to interactivity between audio, video, and performance for clarinet and live interactive electronics and video. By referencing the writings of Johnathan Kramer and using models of references from other composers, most notably György Kurtág, this document contemplates and synthesizes a variety of different methodologies and their practical applications to discuss the approach of timelessness, temporal change, and shifts in musical time taken in In einem Augienblick. In my piece, multiple elements of visual and sonic material are utilized in conjunction with each other to create this stagnant but shifting musical world, which will be discussed by presenting examples from the score, video, and electronics to show how each of these elements work together to create moments of timelessness in the piece.

New media have become an essential element of our everyday lives. They are also a platform for digital art. Through them, readers can encounter so-called 'electronic literature' as a developing cultural form, allowing to some extent, the the mutual influencing of media and genres. Firstly, all electronic literature needs to be consistently differentiated from electronic books, similarly the conversion of classical, analogue works into a digital form. This thesis deals with the definition of this specific area of literature, its reflection, including its historical anchoring. This work is necessarily based on an interdisciplinary approach, it draws on concepts from literary theory, however electronic literature cannot be viewed through its paradigms alone, as traditional definition frameworks and concepts cannot be fully applied in the new media environment. There is also emphasis upon media studies' theory, specifically studies of new media. Concurrently, the work deals with a specific form of narrative, the so- called 'interactive narrative', which is not found solely in the works of electronic literature, but it also has a wide scope. The final section presents the results of the author's research focused on readers' response to selected works of electronic literature with an interactive...

Cyberbullying is harassment through the Internet or other technologies. Forty-two percent of youth nationally have experienced cyberbullying and 53% admitted to being the cyberbully. A lack of understanding by adults of cyberbullying logistics and impact causes cyberbullying to remain a serious issue that has not yet been appropriately addressed within schools. A sequential, mixed methods study was implemented to investigate the prevalence of cyberbullying in one middle school and to determine the nature and impact of the experience in order to inform site-based interventions. Bandura's social learning theory, Bronfenbrenner's ecological framework, and Agnew's strain theory provided this investigation's theoretical foundation. Two separate web-based data collection tools were administered sequentially. Descriptive survey data showed that 37.8% of students had experienced cyberbullying, 56% observed cyberbullying, and that eighth grade students experienced a higher incident rate of cyberbullying (42.1%). Inductive coding of qualitative data from the questionnaire conducted with eighth graders contributed to the identification of emergent themes related to the psychological and educational impact. Specifically, these themes included symptoms of anger, depression, thoughts of violence, and interference with learning. Overall key findings from this study showed that cyberbullying is prevalent at this site and cyberbullying experiences have had a debilitating impact on psychological functioning, environmental comfort, and educational engagement. This study informs social change by providing information to tailor school-based solutions that can effectively decrease incidence of cyberbullying among students within this educational community.

Interactive cinema is a relatively unexplored area of film and new media studies. This thesis summarizes the theories and models which relate to interactivity, interactive narrative and interactive cinema that have been developed so far, and defines the main elements which the interactive cinema consists of. It sets this area in the context of new media and their properties, such as interactivity and convergence. It also briefly deals with interactive cinema from the historical perspective. The thesis explains the basic methods of narrative and visual analysis, especially in the context of interactive cinema. These findings are then used in the analysis of three films with a nonlinear narrative structure using viewers interaction. These movies are set into the models and theories that were introduced in the first part of this thesis. Finally, the films are compared and confronted with the author's hypothesis, which is based on the relatively negative public acceptance of interactive cinema.

The purpose of this thesis is to examine how six different art museums are working on digitizing their collections, and how they are made available to the public. To answer the purpose, three research questions were formulated; how the museums work with digitization, what is digitized and which programs and guidelines are used, and how the digitized material is made available to the public on the websites. The museums examined in this thesis are Nationalmuseum in Stockholm, the Rijksmuseum in Amsterdam, the Smithsonian Institution in Washington D.C., Moderna Museet in Stockholm, the National Palace Museum Taiwan in Taipei and the Metropolitan Museum of Art in New York. Prior to the study, previous research on digital humanities, digitization in museums, and the role of museums and their approach to digital collections, were studied. The theoretical framework used in the analysis consists of theories regarding “New media” and digital humanities, theories about “The museum process” and Actor-network theory, ANT. The method used is qualitative content analysis and semiotic image analysis of the museum websites. The results and analysis show that the museum websites differ in terms of design, functions, user-friendliness and collection content. In addition, the museums use different guidelines and software programs in the digitization process of their collections, although there is some overlap. The analysis shows that the Rijksmuseum, the Smithsonian and the National Palace Museum Taiwan are the museums in the study that have made the most progress with digitizing their collections and using interactive elements on their websites. The museum with the least developed digitization work is Moderna Museet, whose search page is the simplest and most standardized in comparison with the other museum websites.

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