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This study was designed to determine whether Time, Newsweek and U.S. News & World Report news magazines expressed. opinions in their coverage of four topics concerning the 1979 energy crisis: United States government, OPEC, oil companies, and consumers. A content analysis of all stories in the three magazines from May to December 1979 indicated that Time was the most opinionated, U.S. News & World Report was second, and Newsweek was most neutral in coverage of the energy crisis. The percentage of article space allotted had no apparent effect upon the magazines' handling of those topics.

Streaming services such as Netflix have changed how television is produced and consumed. In 2019, the online video on demand market was topical, with big launches such as Disney+ and Apple TV+. This period in the streaming market was popularized in the press as the “streaming war(s).” Previous research on the streaming market has aimed at understanding the industry, often with a focus on innovative features. Some studies have articulated a need to look beyond the current narrative used to describe the market. This study examines this very discourse, as no studies have concentrated on the discourse surrounding the streaming market or the relationship between the streaming industry and television trade press. Such a study object may illustrate how market discourse is currently formed and understood under neoliberalism, as well as create an understanding of how the streaming industry is understood and functions. This study aims to examine the reporting on the streaming market in television trade press in 2019, with special interest to ideological biases and the portrayed power geometry between actors within the industry. It approaches the subject with a political economy perspective and conducts a critical discourse analysis on articles from The Hollywood Reporter, Variety, Deadline Hollywood, Indiewire, and Financial Times. The sample contains only articles using the phrase “streaming war(s)”. The data is approached by asking questions about how the phrase is used, how the power relations of the streaming market are portrayed, and what ideological implications can be found in the texts. The results find that the phrase “streaming war(s)” is widely used, although no agreed meaning exists. The phrase works as a conceptual metaphor, shaping a discourse where the streaming market is viewed as a war. This portrayal of the market as harsh conflict and competition is motivated by economic interests, which the television trade press helps reproduce. The “streaming war(s)” fetishizes the streaming market and conceals the responsibility held by large media conglomerates. The actors on the streaming market are found to be positioned against each other, further portraying the market as a war. Netflix and Disney are represented as the most powerful participants because of their relations to flows of capital, content, and users. The streaming service audiences are given no agency, while the market is portrayed as having an agency of its own.

This thesis expands an understanding of how Netflix has been established in Sweden’s media landscape. It seeks to investigate what effect the press has had, and more specifically, the study explores how the press builds up Netflix as powerful and how it imbues Netflix with legitimacy. Methodologically the thesis starts off with a usage of purposive sampling in order to find articles. The material is further handled with a critical discourse analysis, where writers’ language is explored, along with an investigation into how the world is represented with regards to identities, relationships and sociocultural aspects. Analysed articles with an economic focus come from Dagens Industri and those with cultural focus comes from Aftonbladet, Expressen, Dagens Nyheter and Svenska Dagbladet. Moreover, the study is based on theories and earlier studies within political economy, with a pursuit to understand film and television industry; trade press, to interpret the economic articles; cultural journalism, to interpret the cultural articles from; and power, to distinguished different power aspects in Netflix. The analysis comes in two parts: the economic analysis, which is divided in three ways and a two-folded cultural analysis. When it comes to economic legitimacy, two major aspects are prominent: Netflix’s success in competition against other streaming services and a clear establishment on the global market. Some articles have also given reasons to understand Netflix’s situation as ambiguous, meaning its future is uncertain. With regards to cultural legitimacy, the question of quality is significant, along with a connection to other social contexts such as gender, politics and climate. Netflix is perceived as having a societal responsibility. As a result of this thesis, it can be noted that cultural articles tend to be more critical than economic. Cultural journalists appear to cover the subject with a more open approach, using personal opinions, often suggesting what Netflix can improve. Writers of economic articles demonstrate a stricter portrayal of Netflix, mainly focusing on developments and success.

This empirical study is concerned with the extent to which news announcements affect the performance of common equity securities of oil and gas producing companies. The market effects of news announcements are considered to be of importance in resolving two issues. One concerns financial statement disclosure and the second concerns examination of prior oil and gas industry-related accounting research. This dissertation assumes capital market efficiency and addresses two research questions: do news announcements concerning activities of nonintegrated oil and gas producing companies affect the companies' common stock prices, and are announcements concerning nonintegrated oil and gas companies' financial, personnel, explorational, and developmental and operational activities used equally by investors in their decision-making?

Derrière l’apparent consensus de l’application du registre de la durabilité à la ville, notre recherche contribue à analyser, dans une perspective critique, ce que recouvre la locution de ville durable dans le champ de l’urbanisme. Nos investigations reposent tout d’abord sur l’étude des modalités d’émergence de l’expression, conjuguée à l’examen du traitement dont la notion fait l’objet dans la littérature scientifique et professionnelle. Nourrie du rapport dressé entre méditerranéité et pensée complexe (MORIN 1999), l’approche est ensuite incarnée au sein d’une ville méditerranéenne : Marseille. Elle se fonde alors sur l’analyse des représentations que les acteurs en charge de la fabrique urbaine se font de la ville durable, éclairant ainsi ce qui fonde leurs actions dans ce domaine. L’enjeu réside enfin dans la mise en regard de l’ensemble avec les conséquences matérielles, socio-spatiales et vécues des productions effectives. Celle-ci s'opère à travers un cheminement exploratoire sensible ponctué d’observations et de récits d’habitants, au sein d’un secteur dont les principes de réalisation sont rattachés à l’idée de ville durable. Notre parcours de thèse montre ainsi comment, exogène aux sphères de l’urbanisme, la notion de ville durable ne constitue pas un cadre suffisamment émancipateur et robuste pour permettre aux acteurs du champ de parvenir à un renouvellement des savoirs ni de s’affranchir des contraintes et tendances lourdes qui pèsent sur la fabrique urbaine. Il propose, ce faisant, une démarche écologique permettant d’explorer ce/ceux sur quoi/qui pourraient reposer la ou plutôt les durabilités urbaines et comment. / Whilst there seems to be a consensus on the feasibility of applying sustainability thinking to town and city development, our research contributes to the critical understanding of the notion of a sustainable city within the field of urban planning. We will begin with a study of the modalities of the emergence of this term, combining it with an analysis of the ways in which the notion is used in professional and scientific literature. Following on from the correspondence drawn between "méditerranéité" and complex thinking (MORIN 1999), our approach will then be embodied in the heart of a Mediterranean city : Marseille. Considering the mental pictures conjured up by the notion of sustainable city, we thus analyse the ways in which the elements of meaning previously highlighted are being used or not, interpreted, or even diverted, and how they influence decisions and actions. As the object of our work is the relationship between these and their material, socio-spatial and experiential impact, we then go on to conduct a sensitive exploration using observations and stories told by local residents within a sector in which actualisation principles are relating to the idea of sustainable city. This research shows, in the end, how the notion of sustainable city, which is exogenous to the domain of urban planning, does not offer a sufficiently emancipating or robust framework to allow the development of new “knowledge and know-how” or to outweigh the constraints and forceful trends that hinder the development of the town. This leads us to propose an "ecological" approach to explore what and whose contributions urban sustainability or rather sustainabilities might be built upon.

This dissertation addresses the breakthrough of the multi-reel feature film in the United States, and the significance of this process within the wider context of the American film industry and culture in the 1910s. The purpose is to provide a new, and more comprehensive analytical framing of the topic, and to enhance our understanding of how a new central commodity, i.e. the multi-reel feature film, changed the conditions for film exhibition and reception. The introduction links the breakthrough of the multi-reel feature film to an array of film-historical transformations unfolding in the US around the same time. A critical assessment of previous scholarly work dealing with the early feature is also provided. Part I analyzes how the breakthrough of the multi-reel feature film was negotiated within the trade and by contemporary commentators. The result is a multi-perspective framing of the topic that highlights the complexity of these cultural negotiations and the uncertainty over cinema’s possible futures. Part II shifts attention to film culture and film exhibition in Philadelphia around 1914. The objective of this case study, largely based on newspaper sources, is to examine how the increasingly common multi-reel feature film was integrated into and/or changed the existing film culture in the city. The main conclusion is that experimentation and diversity rather than smooth transitions characterized the local response to the emergence of features. Part III deepens the investigation of local diversity by offering a case study of one particular film: The Spoilers (Selig Polyscope Co., 1914). The conditions of the film’s historical reception are outlined, and particular attention is given to the film’s role in the Americanization of the feature film market.

This dissertation examines the coming of sound film in Sweden during the years 1928–1932, and the reception of mechanically recorded sounds both in the trade press and among audiences. The novelty of sound film opened up for a negotiation of the perception of sound and image, as it made visible the film medium’s technological construction, before this visibility was once more absorbed by the cinematic discourse. The conversion to sound film is considered from three perspectives -- technology, reception and practice -- as well as through the concept of intermediality, focussing how the audio-visual expression changed during this period. Chapter 1 “Image, Sound, Audience I: ‘Constructed’ sounds - the visibility of technology” deals with these issues prior to the conversion to sound, and the following intermediate years, until sound film had reached a certain equilibrium. Chapter 2 “Production – The Companies” deals with the production and the major Swedish sound companies. Particular attention is given to how formative music in their films transforms itself into a consistent use of non-diegetic music two years before this happened in Hollywood. Chapter 3 “Reception – The Cinemas” addresses the topic of the reception of the first sound films in Sweden during 1929. The argument is that the audience’s re-awakened awareness of the technology described in Chapter 1 was an active part in this process, and that their reactions led back into the advertising campaigns, making them participants in the cinematic event. Chapter 4 “Practice – The Musicians” continues this debate from a musician’s point of view. This chapter turns the focus upside down and looks at the arrival of sound film from a grass-roots perspective. While chapter 4 diverts somewhat in dwelling on issues that do not strictly deal with the conversion to sound, it serves to contextualise a technological invention that changed not only film production and reception, but also had very concrete social repercussions for those that created the sounds of music. Chapter 5 “Image, Sound, Audience II: ‘Authentic’ sounds - the disappearance of technology” dovetails with Chapter 1, addressing similar phenomena at a time when these had become fully integrated and the technology once more became invisible.