This degree project is particularly interested in how people with mental health difficulties use the social media platform TikTok to share their experiences. It aims to contribute to meaningful conversations about the role of social media concerning mental health awareness and the effectiveness of social media for social change. A qualitative content analysis methodology is applied to 50 TikTok videos shared under the TikTok hashtag #mentalhealthuk to determine how people share their experiences. In addition, four semistructured interviews were conducted with video creators sharing content on #mentalhealthuk. The theoretical lens through which this study looks is Media for Development (M4D) and the importance of Voice for development. In addition, there is a special focus on storytelling and performativity in the digital realm. The findings from this study reveal that TikTok has been an effective site for the recovery process of people dealing with metal health difficulties, because it provided a source of connectedness and room for creative expression. However, the findings also reveal the restraints TikTok users face when using social media to share genuine experiences, and the negative effects, for example cyber bullying, had on their mental health.

El presente trabajo analiza los videos espontáneos de los adprosumers de la marca Takis en TikTok como posibles agentes de influencia en el panorama actual. Se decidió estudiar a la marca Takis por el impacto que tuvo en los usuarios de dicha red social en el año 2020-2021. Estos, en gran parte, se convirtieron en adprosumers de Takis, generando una gran cantidad de publicidad gratuita y espontánea. De ahí que se proponga en este estudio de paradigma fenomenológico y enfoque cualitativo, el análisis y contraste de opiniones y percepciones de consumidores que fueron testigos del fenómeno sucedido en dicha aplicación. Para ello, se entrevistó a diecisiete usuarios activos de TikTok, que a su vez, son consumidores de Takis. Entre los hallazgos principales se encontró un proceso en el modo de actuar de estos videos, este proceso sucita la auto-proyección del consumidor en el adprosumer, lo que posteriormente puede despertar la curiosidad por la marca. Finalmente, el estudio concluye que la espontaneidad, en los videos de los adprosumers, es un elemento que aporta emociones y percepciones positivas hacia la marca. Ya que estos videos actúan como un agente de influencia con el cual los usuarios de TikTok se identifican y empatizan por tratarse de personas sin auspicios, ni publicidad pagada. / The present study analyzes spontaneous videos published by adprosumers for the brand Takis on TikTok as potential agents of influence in the present context. The brand Takis was chosen for the impact that it has had on users of the chosen social network from 2020-2021. These users, to a large extent, have become adprosumers of Takis, creating a considerable amount of unpaid, spontaneous advertising for the brand. Therefore, this research, which is based on the phenomenological paradigm and employs a qualitative approach, conducts a contrast analysis of the opinions and perceptions of users witness to the studied phenomenon on said application. To carry out this analysis, 17 respondents who were both TikTok users and consumers of Takis were interviewed. One of the key findings obtained in this study is that there exists a specific behavior process in these videos; this process encourages consumers’ self-projection in the adprosumer, which may arouse curiosity surrounding the brand. Furthermore, this study finds that, in the videos created by adprosumers, spontaneity is an element that creates positive emotions towards and perceptions of the brand. These videos act as an agent of influence with which TikTok users identify and empathize as they are created by individuals that are neither sponsored nor paid for publicity. / Tesis

The rise of TikTok has revolutionised our interaction with music on social media, altering how we discover and share songs. Artists recognise TikTok's potential as a launchpad for their careers, while music streaming platforms have embraced user-generated content and introduced features for incorporating music into online sharing. Based on a user centred mixed-methods approach of content analysis and semi-structured interviews with established TikTok creators, this thesis investigates the motivations and mindsets behind sharing music-related content on the platform. Overall, 285 videos were analysed in the first research pillar and 16 user-interviews were conducted in the second pillar. The interviewed participants were all located in the US, under the age of 30 and required to have posted music-related content in the past 30 days. The data of both research pillars was analysed based on an inductive affinity mapping process. The study identified four distinct creator mindsets: reach-oriented, music-oriented, artist-oriented, and self-oriented mindsets. Each mindset represents a unique approach to music sharing, shaped by specific creator motivations and content themes. The study recommends features that enhance personalisation, facilitate music sharing and authentic self-expression, and offer customisation options for visual aesthetics. Additionally this research recommends exploring AI-generated sounds to create a framework for sharing music in a set context, following trending audio ideas on TikTok. The concept of personalisable sharing templates is explored, highlighting the different nuances to be considered when designing them for creators with different mindsets and offering customisation options to express themselves. By considering the unique motivations and characteristics of each mindset and content theme, these design implications aim to enrich the creator experience, foster engagement within the TikTok community and meaningful connections between creators and their audience. In conclusion, this thesis highlights the importance of considering distinct creator mindsets and content types when exploring motivations and user needs in music sharing on TikTok, providing a foundational guideline for platform designers and music industry professionals to tailor their strategies to meet the specific needs and preferences of creators. Future research should evaluate the discovered mindsets based on a quantitative approach and investigate the applicability of these mindsets to other areas of content creation, further extending our understanding of user needs and motivations across various domains when sharing content online. / TikToks frammarsch har revolutionerat vår interaktion med musik på sociala medier och förändrat hur vi upptäcker och delar låtar. Artister förstår TikToks potential som en möjlig språngbräda för deras karriärer, medan musikstreamingtjänster har välkomnat användargenererat innehåll och infört funktioner för att inkludera musik i online-delning. Baserat på en användarcentrerad mixad metod bestående av innehållsanalys och semistrukturerade intervjuer med etablerade TikTok-kreatörer, undersöker denna avhandling motivationen och tankesättet bakom att dela musikrelaterat innehåll på plattformen. 285 tiktok videor analyserades, följt av 16 användarintervjuer. Samtliga intervjuade var under 30 år, befann sig i USA, samt hade publicerat musikrelaterat innehåll under de senaste 30 dagarna. Data från båda delarna av arbetet analyserades baserat på en induktiv affinitetskartläggning. Studien identifierar fyra distinkta tankesätt hos kreatörer: räckvidds-orienterade, musikorienterade, artist-orienterade och själv-orienterade tankesätt. Varje tankesätt representerar en unik inställning till musikdelning, formad av specifika motivationskällor och innehållsteman. Studien rekommenderar funktioner som förbättrar personaliseringen, underlättar musikdelning och autentiskt självuttryck samt erbjuder anpassningsalternativ för visuell estetik. Dessutom rekommenderar denna forskning att utforska AI-genererade ljud för att skapa ett ramverk för att dela in musik i konkreta sammanhang, utefter ljudrelaterade idétrender på TikTok. Ett koncept med anpassningsbara mallar för delning undersöks och belyser de olika nyanser som bör beaktas vid utformandet av dem för kreatörer med olika tankesätt samt erbjuder anpassningsalternativ. Genom att ta hänsyn till de unika motivationskällorna, egenskaperna för varje tankesätt och innehållsteman ämnar dessa designförslag att berika kreatörs-upplevelsen, främja engagemang inom TikTok-communityn och etablera meningsfulla kontakter mellan kreatörer och deras publik. Sammanfattningsvis belyser den här avhandlingen vikten av att ta hänsyn till kreatörernas olika tankesätt och innehållstyper vid undersökning av motiv och användarbehov vid musikdelning på TikTok, vilket ger en grundläggande riktlinje för plattforms-designers och yrkesmän inom musikindustrin att skräddarsy sina strategier för att möta kreatörernas specifika behov och preferenser. Framtida forskning bör utvärdera de upptäckta tankesätten baserat på en kvantitativ metod och undersöka tillämpligheten av dessa tankesätt på andra områden för innehållsskapande, vilket ytterligare ökar vår förståelse för användarnas behov och motiv inom olika domäner när de delar innehåll online.

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Denna studie jämför hur SVT respektive Aftonbladet använder den sociala mediekanalen TikTok för att förmedla nyheter till ungdomar och unga vuxna. Specifikt analyseras hur programledaren (och andra aktörer) använder språkliga medel för att bygga en relation med publiken i nyhetsförmedlingen, hur grafiska element samverkar med programledaren för att skapa begriplighet och väcka intresse, samt hur SVT och Aftonbladet skiljer sig åt vad gäller relation, begriplighet och intresse i nyhetsförmedlingen på TikTok. Undersökningens teoretiska ramverk utgörs av systemisk-funktionell grammatik (SFG) och sociosemiotik för att studera multimodal kommunikation. Undersökningens analysmetoder lägger fokus på den interpersonella metafunktionen och dess kategorier och begrepp för att besvara frågan om relation, samt visuell framskjutenhet för att studera de grafiska element som förekommer i TikTok-klippen. Undersökningen har sin grund i min praktik på SVT där det framkom att SVT nyligen lanserat nyhetsförmedling via TikTok i syfte att locka unga vuxna, den så kallade generation Z, och en direkt dialog med målgruppen genom återkommande studiebesök. Studien jämför användandet av språkliga och grafiska element i tre likadana nyheter från SVT:s och Aftonbladets TikTok-kanaler. Vidare genomförs en intervjuundersökning mot målgruppen för att få en initial empirisk återkoppling på de slutsatser som framkommer i den språkvetenskapliga analysen. Undersökningens resultat visar på tydliga skillnader i interaktionen mellan programledare och tittare i SVT:s respektive Aftonbladets TikTok-klipp. Slutsatserna ger därmed insikter till hur nyhetsförmedling på TikTok bör utformas för att nå den önskade målgruppen generation Z.

The purpose of this thesis is to examine how teenagers in high school experience and use music in the app Tiktok with the aim to better understand how digital tools can be used in music education. In an app such as Tiktok there are many modes intertwined. I interviewed seven teenagers in two groups where they had to choose one video that contained any type of music to show to the rest of the group. The interviews were filmed in order to be analysed on the basis of a social semiotic multimodal discourse analysis. The same analyse model applied to the analyse of the actual videos. The results were then compared to each other. It showed that the music is often the mode that creates meaning in the video and makes the other modes cohere. It also showed that there are many different discourses in Tiktok that use different combinations of modes to create meaning. The teenagers were well aware about the discourses and how music was used in different ways depending on the discourse, even though they were not always aware about the importance of the music for coherence. They had no problem in navigating, interpret, read and combine the different signs and modes to understand the humor or the purpose of a video. Some of them also produced videos in a specific genre or discourse, using the suitable modes. / Syftet med denna uppsats är att undersöka musikens roll i Tiktok, hur tonåringar upplever musiken och hur de använder den. Jag gjorde intervjuer med två grupper där tonåringarna fick välja varsitt klipp som innehöll musik som vi tittade på tillsammans i gruppen. Intervjuerna filmades för att kunna analyseras utifrån en socialsemiotisk multimodal diskursanalys. Videorna som informanterna valt ut analyserades även separat utifrån samma modell. Resultaten från de olika analyserna jämfördes sedan med varandra. Resultatet visade att det fanns flera olika diskurser som samverkar i Tiktok samt att musiken oftast är den drivande teckenvärlden i videon. Tonåringarna var väl medvetna om de diskurser som samverkade och hur musikens roll förändrades i de olika diskurserna, även om de inte alltid insåg musikens vikt för rytmen och informationslänkningen i videon. I videorna är det många teckenvärldar som används för att skapa mening. Tonåringarna hade inga problem med att läsa av, tolka och sammanföra till exempel text, bild och musik för att förstå humorn eller syftet med en video samt att de själva använde sig av dessa teckenvärldar för att skapa videor i en viss genre med särskilda diskursiva verktyg.

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This thesis explores the influence of User-Generated Content (UGC) on the purchasingdecisions of millennials in the fast fashion industry, particularly through the platformsInstagram and TikTok. The research delves into the transformation from offline to onlinemarketing within the fast fashion sector, examining both fast-fashion and ultra-fast fashion tounderstand UGC's impact on consumer behavior, including environmental and ethicalconcerns. Employing a qualitative research methodology, this study focuses on thematic and contentanalysis to unravel the intricate ways in which UGC shapes millennials' purchasing decisions.The research provides an in-depth exploration of the subjective experiences, perceptions, andmotivations of this demographic, offering rich insights into their interaction with UGC.Additionally, the study integrates social influence theory and buying behavior theory tounderstand the dynamics of digital consumer engagement and the role of UGC incontemporary marketing strategies. Through interviews with Millennial consumers and analysis of their interactions with UGC,the research uncovers patterns and trends that highlight the significant role of UGC in digitalmarketing and consumer decision-making. The results suggest that while UGC significantlyinfluences Millennials, the impact varies across different aspects of the fast fashion sector.This research fills a void in current literature by providing a focused analysis of UGC'sinfluence across generational divides, thus contributing to a deeper understanding of digitalbehavior in the fast fashion industry.

The study aims to analyze how user-generated content contributes to the representation ofcompanies in the context of digital trends. Digital marketing has become a norm forbusinesses in all fields and is a constantly changing phenomenon. Due to the overwhelminguse of influencer-marketing, trust in influencers has decreased. This has contributed to agrowing demand for authentic and relatable material on social platforms. Because of this,user-generated content is on the rise, especially on platforms like TikTok, which has becomean arena for digital marketing. This study examines how the brand Normal is portrayedthrough user-generated content through the TikTok-trend “Run, don’t walk to”. Normal is acompany that has become successful through user-generated content and electronic Word ofMouth (eWOM) on Tiktok, especially via the TikTok-trend “Run, don’t walk to”.We have used a qualitative multimodal analysis to study how the company Normal isportrayed in the trend “Run, don’t walk to”. The analysis examines several semioticresources: linguistic, auditory, visual and gestural and the interaction of the semioticresources. To understand the trend, the way users participate and interact is also studied. Wediscovered that Normal is portrayed in a positive way through user-generated content onTikTok. This is due to users' ambitious and authentic videos that load the brand withfavorable value and attributes. Users participate and interact primarily through archivingpurposes that include liking and archiving. Users' participation in the trend manifests itself ina similar way across all videos. The result is consistent with Dallas Smythe's theory ofaudience commodity, as users do not perceive the production of videos as a burden eventhough they contribute to the free marketing of the brand Normal. Users' participation in thetrend and the calls for consumption can be seen as a transaction and payment for an entry intothe consumer society.

Introduction: In recent years, social media communication has significantly affected the way organizations are sharing information. Social media platforms are shown to be one of the most important forms of communication also for the intent of Corporate Social Responsibility. The purpose of this study was to find out how often CSR is shared across Facebook, Twitter, Instagram, and TikTok and if differences exist between those platforms in frequency, choice of topic, and engagement of fans. Furthermore, the influence of being a winning, midfield, and losing team, and high and low revenue was investigated. Methods: A quantitative content analysis study was chosen as the study design. On the four mentioned social media platforms data was manually collected for Premier League clubs and coded into topics of CSR. The engagement of fans was collected with likes, comments, and shares on the relevant platforms. Results: 6879 total posts were investigated including 272 posts related to CSR content. The highest ratio for CSR posts showed Facebook (5,0%), followed by Twitter (3,7%), then Instagram (3,4%), and at last TikTok (0,8%). However, the highest number of posts was shared by Twitter, followed by Facebook, Instagram, and TikTok. The topics shared the most on Twitter and Facebook are Public Policy, Safety, and Diversity. On Instagram as well Public Policy, Diversity but also Religion posts were shared the most. TikTok showed only one post related to the topic of Religion. The engagement of fans showed that Twitter has the highest engagement compared to a non-CSR-related post, closely followed by Instagram. An ANOVA analysis showed that winning teams and losing teams share significantly more CSR content than midfield teams. It was also discovered that teams with high revenue post more CSR than teams with low revenue. Discussion/Conclusion: New and major findings of this study suggest that teams in the European market have different factors that can influence the teams sharing behavior than teams from the North American market. The most interesting findings of this study show that revenue and winning may positively influence CSR sharing behavior. These insights should help understand CSR communication in sports organizations and displays the potential new platforms like TikTok and Instagram have.