This thesis are investigating production companies in Sweden and how they are working with new technology, such as web TV, mobile TV but also how they handle their business models and if they are working with other financial forms to reach revenue. All the interviewed companies said that they worked with their business models but not to the extent that they should, and this is a side effect to the risk that it might involve. They do work with the new opportunities that are given to them but are afraid to take too big of a risk. The market seems to be on the upswing and they are getting a larger marginal to the distributors and are able to take bigger risk and develop new ways to reach out with their productions.

The Swedish TV production  is  facing great challenges  today and actors on  the market have  to  strategize  to cope with  these changes. This  thesis explores what  strategies are used,  how  they  are  formed,  and what  parameters  are  focused  on when  analyzing  the market  and  industry,  from  a  company  perspective. Consequently,  the  purpose  of  this thesis  is  to  investigate  how  Swedish  TV  production  companies  think  strategically  to cope with emerging market changes. The method used to collect data was semi-structured interviews. In order to retrieve ac-curate and reliable information we conducted four interviews. Three of these interviews were  done with  actors within  the market. To  ensure  an  accurate market  picture, with high  trustworthiness, we  interviewed one  large,  one medium  and one  small  company. Finally, we  interviewed an  independent market consultant, who provided an additional perspective. After having analyzed  the material  from each  interview we  later on com-pared the findings in a cross case analysis, in order to draw general conclusions. Our research and findings indicate that Swedish TV production companies mainly keep track of social trends, industry demand, the factors of the SWOT analysis, and the bar-gaining  power  of  buyers  in  order  to  plan  and  form  their  strategies. Additionally,  our findings  indicate  that Swedish TV production companies mainly use: a differentiation strategy and international strategic alliances. Moreover, we have also found that if Swe-dish TV production companies belong to an international conglomerate, they use this to their advantage.

The study concerns the inter-relationship between media reform and civil society in Thailand between 1995-2000. It examines case studies of two selected television organisations - the production company Watchdog and the broadcast channel Independent Television (iTV) - and analyses their internal production decision-making processes, their public affairs programs and their urban and rural audiences. Debates about civil society and media reform between 1995-2000 influenced the government's media regulation policies to the extent that more attention was paid to media freedom as intended by Articles 39, 40 and 41 in the 1997 Constitution. Non-governmental Organisations (NGOs) took an important role in monitoring government policies on media reform under the Constitution and issues about media re-regulation and ownership were canvassed, although the drawn out National Broadcasting Commission (NBC) selecting process delayed media reform. The transparency of the selection process of the NBC has been widely debated among NGOs, media scholars and media professionals. Most Thai public affairs programs in the period were shown on iTV, Channel 9 and Channel 11 and were in the minority compared with entertainment. Thai television stations normally screened entertainment programs to make profits, while they usually would not allow producers to air open debates critical of the government. Also, public affairs programs that were screened often were given inappropriate airtimes. Watchdog and iTV treated public affairs programs in different ways. Watchdog, originating from an NCO, the Creative Media Foundation, emphasized public participation in local community-oriented programs - such as Chirmsak Pinthong's Lan Ban Lan Muang - which exemplified civic journalism on television. In contrast, iTV was created in 1996 to meet the promise made in 1992 after Black May that a non-state commercial channel would be introduced. It was organised by journalists from the Nation Multimedia Company and focused on current national news issues which seldom allowed public participation. Both organisations attempted to maintain their professionalism despite political and business pressures. Chirmsak and Watchdog were accused of bias favoring the Democrat Party and often encountered program censorship. ITV staff, especially in the news department led by Suthichai Yoon and Thepchai Yong, unsuccessful fought. Shin Corps 2000-2001 takeover of the station that had been brought on by the financial problems of iTV and the Siam Commercial Bank after the economic crisis of 1997. There were three main concepts of civil society in the period 1997-2000 - Communitarianism, Self-sufficiency and Good Governance. These ideas were advanced by reformers such as Dr. Prawase Wasi and Thirayut Boonme, and were reinforced by His Majesty King Bhumibol's December 1997 Birthday Speech that endorsed the ideal of national self-sufficiency. Thai civil society debates often were involved with rural people, while the 8th National Development Plan and the Chuan government's policy on decentralisation aimed to strengthen the rural sector as an antidote to the 1997 crisis. However, the aims of civil society reformers were at times too idealistic and were viewed with skepticism by some middle class urban critics. The continuing influence of electoral corruption in rural areas also obstructed civil society ideals, while decentralisation and community development still maintained a top-down way of development and depended on government support. These difficulties in implementing pro-civil society reforms in the political process were paralleled by difficulties in developing public interest programs on Thai television. Current affairs and investigative journalism programs, such as iTV Talk, Tod Rahad and Krong Satanakarn, did not often open public discussion on the programs. Rather, the regular format of panel discussions, consisting of elites and some celebrities, tended to focus on national topics rather than local issues. The hosts of many of these public affairs programs depended on their own celebrities status and tended to invite well-known guests, whereas community-oriented programs such as Lan Ban Lan Muang and Tid Ban Tang Muang promoted civic journalism and deliberative democracy more effectively. The latter programs allowed the public to participate in the programs as the main actors and even proposed their own agendas. However, a limited study of three audience focus groups - an expert urban group, a young middle class urban group, and a rural group - found considerable scepticism about the possibility of developing public interest awareness via television programs. The expert and young middle class groups criticised both the hosts and the style of a selection of current affairs programs, which they thought were too serious and also biased. Some also considered that current affairs programs were a platform for the people in power rather than providing a space for the public. Therefore, they rarely watched them. In contrast, the rural group who participated in Lan Ban Lan Muang, believed that the program was useful for development communication. The audience gained information about other communities and used the media as the means to publicise their own community. However, they rarely watched it because the airtime of the program was the same as a popular entertainment program on Channel 3. The researcher used qualitative research methods to collect data, including indepth interviews, focus groups, participant observation, program recording and document analysis. Theoretically, the study has attempted to combine the approaches of western and Thai scholars. The main approach used to explain the relationship between the media and civil society is media and public sphere theory, as introduced by Habermas, and combined with the perspectives on media re-regulation of the Thai scholar Ubonrat Siriyusak. In terms of analysing Watchdog and iTV, the researcher used political economy perspectives to understand decision-making in both organisations. In addition, an organisational culture approach was used to explore conflicts of interest that arose in both organisations due to their different sub-cultures. Civic journalism, framing theory and development communication theory were further employed to examine the television programs and their roles in promoting the public interest and development projects, while the audience groups were considered in the context of participatory communication theory and reception theory.

As television viewers we are used to watching television as a flow of programs with varying content, and usually do not think about how the programs are created. Who decides what should be produced and what the programs should contain? What role do the TV producers play? Who are the producers? Have their working conditions changed due to changes in society? The aim of this study was to answer questions about the TV producer’s background and career, and about how ideas for TV productions developed into actual TV programs. The study resulted in more than 90 “cases” or descriptions in drama and journalism. The respondents were asked about the role that different levels of management, economic resources, technical equipment, audience ratings played in the production of television programs. They were also asked how they evaluated professionalism and competition and what changes had occurred during the periods of the study, 1992-1999 and 2006-07. The TV producers who were interviewed belonged to different “generations” and had  entered  the television industry on  different occasions, such as at the launch  of  television channels  (the first TV channel, TV2, TV4) or  new ventures like regional television or minority language programs. The drama producers often executed the ideas that had been decided on by higher management, even though some drama authors who participated in this study had great power over the story lines and content. The journalist producer’s independence and power over the content were greater than the drama producer’s, since they wrote their own “scripts” during the production of programs. In light of many “cases” of programs described it can be suggested that journalist producers’ choice of program ideas were  parallel and complementary or alternative institutional processes, that preceded, followed or coexisted with reports, investigations, trials etc.   One of the most obvious changes during the period studied from 1992 to 2007 was the change in overall technology from analog techniques to digital. Internet, intranets, e-mail and cell phones had made “the mobile office” a reality and the analog techniques in cameras and editing in TV production became digital during the period.