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Purpose: the aim of this study is to investigate the relation between audience experience and the success factors of dinner shows. Due to many possible aspects of dinner shows, as part of the audience experience, current study focuses on three concepts - the show, the interaction, and the dinner . The success factors and audience attendance were researched to give the entire study context and are relevant to answer the research questions. Methodology: an approach that can be characterised through an exploratory and abductive nature is used, based on primary data, which results in qualitative data. Interviews were conducted with experts from different companies or shows, different countries (the Netherlands, Ireland, or Sweden) and different point of views (audience member, performer, or manager). Additionally, observations were made at one of the shows studied. Results & Conclusions: the main findings are categorised into three parts: the audience experience (1), the success factors (2), and audience attendance (3). The type of show has no significant influence on the audience experience. Active participation and the quality of the food are recognised as important regarding audience experience at dinner shows. Success factors for dinner shows are: the show, the service, the servicescape and other surroundings, and the interaction between performers and the audience. Audience attendance is broad in terms of age, gender, ethnic background, and social class. Suggestions for further research: further studies are needed to understand the relationship between audience experience and success factors for dinner shows, especially regarding the experience during and after the dinner show. Moreover, other concepts in dinner shows - such as the service/staff and surroundings - are suggestions for further research, as these have been recognised as success factors of such shows. Contributions: the concept of dinner shows has not been much studied. Especially the audience experience, dinner experience, and success factors combined is not to be found in existing literature. The results of this study provide a starting point for further academic investigation regarding success factors and audience experience in dinner shows. The outcome of this study assists managers in working effectively towards performance improvements, regarding positive audience experience and success factors in dinner shows. Limitations: the limited number of interviewees affects the possibility to generalise findings.

L'expérience d'artiste et de pédagogue d'Alexandre Del Perugia l'a mené à élaborer une théorie et une pédagogie sur la présence de l'artiste en scène. La première partie relate la trajectoire du pédagogue A. Del Perugia depuis son enfance et met en évidence ses capacités précoces en matière de perceptions, intuitions et transmission, ainsi que son parcours professionnel du Théâtre-École du Passage avec Niels Arestrup à la codirection du CNAC en passant par la création du lieu culturel de l'Hostellerie de Pontempeyrat. La deuxième partie expose la manière d'être du pédagogue A. Del Perugia. Profondément attaché à la liberté de pensée, il n'est ni un maître socratique, ni un maître ignorant, mais davantage un accompagnant. Ses cours sont des cours de re-création où les artistes de toutes disciplines jouent aux jeux d'Enfant pour retrouver le chemin vers le plaisir et les états de présence. La troisième partie établit les fondements théoriques de l'approche artistique d'A. Del Perugia. Après avoir acquis les outils du joueur (attitudes, principes, dynamiques) au cours de deux étapes de maturation, l'élève en arrive à ne plus jouer, mais à se laisser traverser et se faire agir : le geste juste est toujours celui qui s'échappe. La présence n'est autre que la présence en soi et réside dans un espace-temps différent de la réalité offerte à nos sens : le réel. La quatrième partie retranscrit 37 jeux pédagogiques créés par A. Del Perugia. Ces 240 pages de dessins permettent d'avoir un aperçu concret et pas-à-pas de sa pédagogie et théorie. / L'expérience d'artiste et de pédagogue d'Alexandre Del Perugia l'a mené à élaborer une théorie et une pédagogie sur la présence de l'artiste en scène. La première partie relate la trajectoire du pédagogue A. Del Perugia depuis son enfance et met en évidence ses capacités précoces en matière de perceptions, intuitions et transmission, ainsi que son parcours professionnel du Théâtre-École du Passage avec Niels Arestrup à la codirection du CNAC en passant par la création du lieu culturel de l'Hostellerie de Pontempeyrat. La deuxième partie expose la manière d'être du pédagogue A. Del Perugia. Profondément attaché à la liberté de pensée, il n'est ni un maître socratique, ni un maître ignorant, mais davantage un accompagnant. Ses cours sont des cours de re-création où les artistes de toutes disciplines jouent aux jeux d'Enfant pour retrouver le chemin vers le plaisir et les états de présence. La troisième partie établit les fondements théoriques de l'approche artistique d'A. Del Perugia. Après avoir acquis les outils du joueur (attitudes, principes, dynamiques) au cours de deux étapes de maturation, l'élève en arrive à ne plus jouer, mais à se laisser traverser et se faire agir : le geste juste est toujours celui qui s'échappe. La présence n'est autre que la présence en soi et réside dans un espace-temps différent de la réalité offerte à nos sens : le réel. La quatrième partie retranscrit 37 jeux pédagogiques créés par A. Del Perugia. Ces 240 pages de dessins permettent d'avoir un aperçu concret et pas-à-pas de sa pédagogie et théorie.

AbstractThe purpose of this study is to establish the representations of the main characters of Modern Family out of three themes: the representation of genders, race and LGBTQ+, based on theories within the field, such as representation and stereotypes. Earlier research shows that these three social groups often are represented stereotypically in media with more inclusivity in some aspects and less in some. Four episodes have been chosen from different years and have been analyzed from an intersectional perspective. This purpose of this research is to understand what codes have been used when creating the main characters, and it focuses on three research questions:- In what ways are the female, male, Latin and LGBTQ+ characters on Modern Family represented?- Has the representation of race, gender and LGBTQ+ changed over the nine years since Modern Family started broadcasting? If so, in what ways?- What stereotypes replicate on the different characters depending on their race, gender and LGBTQ+?To do this, descriptive text analysis and semiotics have been used to analyze each episode and for better understanding of the stereotypical traits and representation in the analysis, Richard Dyer’s definition of stereotypes and Stuart Hall’s theory of representation have been used. The results show different changes in representation regarding the three themes. In conclusion, the representation of genders has changed over the nine years, thus has the representation of the Latin race and LGBTQ+ community not changed in many significant ways.Heading: Representation of race, gender and LGBTQ+ on Modern Family. Author: Anna Sofia StoiljkovicLevel: Final Exam Project in Media and Communication Studies, 15 hp Institution: School of Arts and Communication (K3)Faculty: Faculty of Culture and Society University: Malmö University Supervisor:Examiner:Term: Spring of 2019Keywords: Media representations, tereotypes, gender, race, LGBTQ+, Modern Family.

Includes bibliographical references / Philip Glass is best known for his role in the establishment of the 1960s minimalist movement, which was characterised by an extensive reduction of musical means. Since the mid-1970s, the composer has adopted a richer, more complex musical language, and distanced himself from the minimalist label. Academic scholarship on the composer's more recent compositions is severely limited, with the result that he is often still viewed as a minimalist. This dissertation's focus is on a more recent work by Glass, the Tirol Concerto for Piano and Orchestra (2000), and thus seeks to contribute to our knowledge of the composer's more recent stylistic development and the extent to which it is minimalist. The research approach entails compositional analyses of the concerto's second movement from both literary and theoretical perspectives. The movement's conception, its background and factors that had an influence on its compositional content are explored through literature studies. This is followed by theoretical investigations of its musical characteristics through the application of functional harmonic analysis and neo-Riemannian theory. Findings from the research provide evidence that the composition's title stems from the 'Tyrolean character' that was requested by its commissioners. However, relations between the movement and the film The Truman show (1998) challenge the composer's affirmations of a Tyrolean folk-song basis. Musically, the movement consists of a simple, repetitive structural and harmonic framework that undergoes superficial variations through melodic, textural and rhythmic changes. Transformational coherence within a functional structure is an essential component of the movement's harmonic content. This dissertation concludes that the piece contains musical characteristics consistent with all of Glass's stylistic periods, including minimalism, as well as new compositional devices that have not been identified previously. It recommends further study of the composer's more recent output , especially through transformational perspectives, and a reconsideration of the ontology and appropriateness of stylistic labels such as minimalism.

This study aimed to examine the power relations in a TV-show called Kvartsamtalet between the host Parisa Amiri and her guests. The empiric material consisted of four programs which were guested by Ebba Busch, Jason Diakité, Anders Ygeman and Nanna Blondell. The material was analyzed with discursive psychology which is a form of discourse analysis that focuses on psychological themes in text, talk, and images. Our study aimed to analyze the talk between Amiri and her guests. The material is analyzed with theories of power by Michel Foucault, performative gender by Judith Butler, theatrical performance by Erving Goffman and intersectionality by Nina Lykke, Paulina De los Reyes and Diana Mulinari. The result of the study shows that power relations through intersectionality mostly is negotiated between identity categories such as gender and ethnicity. The interviews showed that the power relations through intersectionality are both maintained and contradicted by every individual on the show, and the negotiation also takes place in a larger societal perspective. The analysis has shown that power is created in social interaction depending on how individuals talk to each other.

Detta arbete hade som syfte att undersöka vilka kunskaper och färdigheter som är viktiga att inkludera och gestalta i en portfolio riktad mot branschen game audio design. Baserat på denna undersökning ville jag sedan själv skapa en egen portfolio riktad mot denna bransch. För att genomföra min undersökning samlade jag in data och information genom att dels genomföra intervjuer med verksamma inom branschen, dels samla information från artiklar, bloggar och forum kring ämnet. Denna undersökning resulterade i en sammanställning av de kompetenser och kunskaper som enligt branschen ansågs vara meriterande för yrket. Resultatet delade jag upp i fyra kategorier; ”avancerad ljuddesign”, ”verktyg och programvaror”, ”programmering och logik,” samt ”kreativitet, storytelling och innehåll”. Min show reel inkluderade och gestaltade bland annat kunskaper inom programvarorna Unreal Engine, Wwise och Logic Pro X, samt färdigheter inom programmering, avancerad bearbetning av ljudmaterial och storytelling. Projektet som helhet inkluderade även kreativt arbete inom områdena ljuddesign, inspelningsteknik, spelutveckling, programmering, filmfotografi och filmredigering. Efter avslutat projekt gick jag vidare med många nya kunskaper och färdigheter inom området game audio design. Jag hade också fått en stor förståelse kring hur branschen fungerar och jag hade även färdigställt en egen konkurrenskraftig show reel riktad mot nämnda bransch.

Travesti show - in other words men's dressing as women (especially famous singers) in order to create a parody - has become a legitimate part of the Czech cultural events for the last twenty years. Moreover, in comparison with a foreign production of that kind it is very specific as regards terminology and content. Although travesti show theme has penetrated into the Czech academic ground too, it is still understood only from the perspective of gender performativity and is focused on performers themselves. On the contrary, this paper tries to grasp spectators' perspectives regarding not only the audience perception of the performers, but also a wide range of spectators' characteristics related to their general degree of tolerance towards gender roles in the society as well as LGBT issues in comparison with common population.

5 Abstract My diploma thesis is focused on electronic surveillance in the area of consumption, marketing and media. Electronic surveillance is a form of collecting and evaluating data, which were created as a secondary product of electronic devices. The use of new technologies and internet allows spying their users and saving the received data to both state and commercial databases. Subsequent data use is common in the business or crime prevention area. This practice brings the risk of privacy disruption, influencing and directing people. The diploma thesis consists of three main chapters. The first chapter follows up the history of surveillance and its development. The second part is focused on formation of the electronic surveillance and describes different areas of surveillance. The third chapter relates to one concrete area - consumption and marketing. This chapter includes also practical examples. Key words Surveillance, interactivity, customization, reality show, Panopticon, media

The purpose of this thesis is to study crisis communication through the organization The Ellen Show and with the crisis they underwent used as a case study. Communication is studied through the company that distributes the program, the producers and the host. To carry out the study, three different questions are used. These questions revolve around response strategies, legitimacy and rhetorical means used by the actors. The main theory used in the study is image repair theory by William Benoit. To support and deepen our analysis based on image repair theory, the concepts of legitimacy by Max Weber as well as rhetorical means were applied. The method used in this study is a qualitative research method and to analyze the collected material a directed content analysis was applied. The material was collected digitally and consists of statements taken from digital magazines. In addition, two videos were collected. The result showed that each actor tries to protect legitimacy in different ways, mainly by focusing on DeGenere´s legitimacy and by proxy also the organization´s. The actors also use different response strategies which varied between the actros. Over-represented in the rhetorical means were the use of different dramatic, emotional and moral-based arguments when trying to influence recipients. The study can be seen as helpful for both organizations that are going through a crisis and those that for preventive purposes plan to acquire knowledge about the subject.