Two years after the COVID-19 pandemic it appears that the consumer behaviour oftourism is returning to pre-pandemic unsustainable behaviour. Whereas scholarscontinually stress that tourism needs to transform if it is to remain a viable option forfuture generations. Additionally, the rapid innovations of technology in thisdigitalising society are affecting how tourism is managed and experienced, especially,the current rise of visual content. Therefore, this thesis aimed to investigate thedynamic relationship between visual content and the tourist identity to find nudgingareas for social change. A netnographic study was conducted of travel posts onCyprus and the main findings were that the tourist identity is mainly constructedthrough user generated content and official promotional material have little influence.The main content categories belonging to Cyprus’ tourist identity are the beach, wateractivities, historic villages, food, and partying. Indicating that nudging tourists inthese categories will be most effective.

In this study, a new design of commenting system for visual contents is investigated. The aim is to explore the elements which enrich the user interaction and enhance the user experience while commenting, specifically on fashion social networks. This study explores how an improved commenting system may motivate fashion social networks’ users to express their idea about fashion products.  A speculative design approach is used as a means for investigation. A design process consisting of semi structured interviews, thematic analysis, paper prototype, online prototype and user testing is followed to design a human-centered commenting system.  The results suggest that providing richer tools for commenting could improve the user interaction. The most promising elements to use in fashion social media commenting system are color and pattern palettes, tagging comment and comment categorization. These elements enable fashion customers to express their ideas easier and obtain a holistic overview around other peoples’ comments. Apart from fashion brands’ social networks, the approach may also be more effective in fashion brand websites. People would like to have a strong impact on fashion brands. Therefore, commenting somewhere that is tightly connected to fashion brands are preferred rather than having the conversation just among themselves in social media. / Detta projekt handlar om att undersöka och utforma ett nytt system för att kommentera visuellt innehåll. Mer specifikt är målet att utforska de element som berikar användarinteraktionen och förbättrar användarupplevelsen i kontexten av sociala nätverk och kommentarer kring klädmode. Detta projekt tittar på hur ett förbättrat kommentarsystem kan motivera användare på sociala nätverk att uttrycka sig i termer av egna idéer kring modeprodukter. Designprocessen för projektet består av semi-strukturerade intervjuer, tematisk analys, pappersprototyper, online-prototyper och användarstudier i syfte att designa ett mer användarcentrerat kommentarsystem. Resultaten pekar på att genom att tillhandahålla ett rikare verktyg för kommentarer så kan användarens interaktion och upplevelse förbättras. De delar av designen för att kommentera mode i sociala nätverk som är mest lovande är färg och mönsterpaletter, taggning av kommentarer samt kategorisering av kommentarer. Dessa delar gör det möjligt för potentiella kunder att på ett enkelt sätt uttrycka sina idéer och samtidigt få en överblick av andra människors kommentarer. Bortsett från modevarumärkenes sociala nätverk så kan tillvägagångssättet även appliceras på mode-bolagens egna webbplatser. I studien såg vi att användare önskar ha en starkare relation till dessa varumärken och mode-bolag. Av detta följer att det är viktigt att användare har möjlighet att på ett rikare sätt kommentera i den nära kontexten till mode-varumärken snarare än att ha konversationen i vanliga sociala medier.

Dans cette thèse, nous traitons de la compréhension de contenus visuels, qu’il s’agisse d’images, de vidéos ou encore de contenus 3D. On entend par compréhension la capacité à inférer des informations sémantiques sur le contenu visuel. L’objectif de ce travail est d’étudier des méthodes combinant deux approches : 1) l’analyse automatique des contenus et 2) l’analyse des interactions liées à l’utilisation de ces contenus (analyse des usages, en plus bref). Dans un premier temps, nous étudions l’état de l’art issu des communautés de la vision par ordinateur et du multimédia. Il y a 20 ans, l’approche dominante visait une compréhension complètement automatique des images. Cette approche laisse aujourd’hui plus de place à différentes formes d’interventions humaines. Ces dernières peuvent se traduire par la constitution d’une base d’apprentissage annotée, par la résolution interactive de problèmes (par exemple de détection ou de segmentation) ou encore par la collecte d’informations implicites issues des usages du contenu. Il existe des liens riches et complexes entre supervision humaine d’algorithmes automatiques et adaptation des contributions humaines via la mise en œuvre d’algorithmes automatiques. Ces liens sont à l’origine de questions de recherche modernes : comment motiver des intervenants humains ? Comment concevoir des scénarii interactifs pour lesquels les interactions contribuent à comprendre le contenu manipulé ? Comment vérifier la qualité des traces collectées ? Comment agréger les données d’usage ? Comment fusionner les données d’usage avec celles, plus classiques, issues d’une analyse automatique ? Notre revue de la littérature aborde ces questions et permet de positionner les contributions de cette thèse. Celles-ci s’articulent en deux grandes parties. La première partie de nos travaux revisite la détection de régions importantes ou saillantes au travers de retours implicites d’utilisateurs qui visualisent ou acquièrent des con- tenus visuels. En 2D d’abord, plusieurs interfaces de vidéos interactives (en particulier la vidéo zoomable) sont conçues pour coordonner des analyses basées sur le contenu avec celles basées sur l’usage. On généralise ces résultats en 3D avec l’introduction d’un nouveau détecteur de régions saillantes déduit de la capture simultanée de vidéos de la même performance artistique publique (spectacles de danse, de chant etc.) par de nombreux utilisateurs. La seconde contribution de notre travail vise une compréhension sémantique d’images fixes. Nous exploitons les données récoltées à travers un jeu, Ask’nSeek, que nous avons créé. Les interactions élémentaires (comme les clics) et les données textuelles saisies par les joueurs sont, comme précédemment, rapprochées d’analyses automatiques des images. Nous montrons en particulier l’intérêt d’interactions révélatrices des relations spatiales entre différents objets détectables dans une même scène. Après la détection des objets d’intérêt dans une scène, nous abordons aussi le problème, plus ambitieux, de la segmentation. / This thesis focuses on the problem of understanding visual contents, which can be images, videos or 3D contents. Understanding means that we aim at inferring semantic information about the visual content. The goal of our work is to study methods that combine two types of approaches: 1) automatic content analysis and 2) an analysis of how humans interact with the content (in other words, usage analysis). We start by reviewing the state of the art from both Computer Vision and Multimedia communities. Twenty years ago, the main approach was aiming at a fully automatic understanding of images. This approach today gives way to different forms of human intervention, whether it is through the constitution of annotated datasets, or by solving problems interactively (e.g. detection or segmentation), or by the implicit collection of information gathered from content usages. These different types of human intervention are at the heart of modern research questions: how to motivate human contributors? How to design interactive scenarii that will generate interactions that contribute to content understanding? How to check or ensure the quality of human contributions? How to aggregate human contributions? How to fuse inputs obtained from usage analysis with traditional outputs from content analysis? Our literature review addresses these questions and allows us to position the contributions of this thesis. In our first set of contributions we revisit the detection of important (or salient) regions through implicit feedback from users that either consume or produce visual contents. In 2D, we develop several interfaces of interactive video (e.g. zoomable video) in order to coordinate content analysis and usage analysis. We also generalize these results to 3D by introducing a new detector of salient regions that builds upon simultaneous video recordings of the same public artistic performance (dance show, chant, etc.) by multiple users. The second contribution of our work aims at a semantic understanding of fixed images. With this goal in mind, we use data gathered through a game, Ask’nSeek, that we created. Elementary interactions (such as clicks) together with textual input data from players are, as before, mixed with automatic analysis of images. In particular, we show the usefulness of interactions that help revealing spatial relations between different objects in a scene. After studying the problem of detecting objects on a scene, we also adress the more ambitious problem of segmentation.

Syftet med denna studie var att genom en visuell innehållsanalys undersöka hur kokböcker normalt såg ut för varje genus. Resultatet skulle sedan jämföras för att hitta skillnader och likheter mellan manliga och kvinnliga omslag för att sätta ett genusperspektiv på utformningen, samt undersöka om designen berodde på författarens eller målgruppens kön. Den visuella innehållsanalysen utfördes på sammanlagt 84 svenska kokböcker där hälften var skrivna av kvinnor och hälften av män. Analysen visade att kvinnor hade ett mer feminint utseende på sin omslagsdesign, men att även männens omslag var mer feminina än maskulina. Detta resultat berodde både på målgruppens och författarens kön. Omslagen var i övrigt lika varandra i utformning och i modellens posering då kokböckers egentliga målgrupp ska vara alla matintresserade och inte ett bestämt kön. / The purpose of the present study was to through a visual content analysis examine how cookbooks usually are designed for each gender. The result would then be compared to identify similarities and differences between the male and female covers to bring a gender perspective on the design, and examine whether the design was due to the author or the audiences sex. The visual content analysis was preformed on a total of 84 Swedish cookbooks, half of which were written by women and half by men. The analysis showed that the women had more of a feminine cover design, but also that men’s cover design had a more feminine look than masculine. This result was both based on the audiences and the authors sex. The covers were generally equal to each other in how they were designed and how the model was posing, since the market segment is supposed to be everyone with a food interest and not based on gender.

In this comparative study, the design elements and visual merchandising approaches employed in window displays by high-end and fast-fashion retailers are investigated. The study utilizes a visual content analysis method with standardized evaluation criteria to analyze the window displays of six high-end and six fast-fashion stores located in Paris. By adopting an analytical framework adapted mainly from Morgan (2015) and Diamond and Diamond (2007), the research aims to uncover shared patterns and distinguishing factors in the approaches of these two sectors. The findings reveal clear differences in purpose, layout, visual weight, focal points, color schemes, and prop usage between highend and fast-fashion retailers. These insights offer valuable practical implications for enhancing the visual appeal of window displays in the highly competitive retail landscape

(in English): In this thesis I present the Zapatista movement and its media strategy. Further I describe its visual communication by means of a case study. After evaluating the significance of media strategies of the zapatista movement, I will prove that Zapatistas' media communication played a crucial role in the transformation of Mexican society in the late 90s and directly influenced the process of transition to democracy in Mexico. In the introduction I will explain how news photographs can be a source of exploration of the Zapatistas and I will introduce the basic hypotheses of my research. In the historical part of my introduction I will put the movement in the context with the political, social and historical development of Mexico and the state of Chiapas, where the uprising broke out in 1994 and I will explain the causes of the rebellion and introduce its goals. Before I describe the aspects of Zapatistas' communication, I will focus on the Mexican media environment so that I can link it with the media outlets of the Zapatista movement. I will describe in general terms media strategies and myths created by the movement. In the case study I will examine photographs of EZLN published in the magazine Proceso in the years 1994 and 2001, I will compare the Zapatistas' visual communication with...

Цель магистерской диссертации заключается в выявлении редакторской специфики создания контент-маркетинговой стратегии театральных корпоративных изданий с последующим составлением рекомендаций. Редакторский подход к созданию контент-маркетинговой стратегии театрального корпоративного издания определяет новизну исследования. Материалом для исследования послужили театральные корпоративные издания «Урал Опера Балет» и Московского театра «Новая Опера». Общий объем проанализированного материала составил более 1200 текстов разных жанров и свыше 1950 иллюстраций из 135 выпусков. В фокусе исследовательского внимания оказались заметки, интервью и фотография как визуальный жанр. В процессе исследования были проанализированы коммуникативные тактики в материалах заметки и интервью, способствующие решению задач, поставленных контент-маркетинговой стратегией. Коммуникативные тактики были разделены на четыре группы – сопоставительные, воздействующие, самопрезентации, взаимоотношений со зрителем. Общими для театральных корпоративных изданий «Урал Опера Балет» и Московского театра «Новая Опера» являются тактики заботы и участия, «проблемное поле», ожидания положительной оценки, ценностной ориентации. Таким образом, издания не только формируют позитивный образ театров и транслируют их ценности, но и открыто обозначают существующие проблемы. По результатам анализа визуального контента предложена классификация жанров фотографии театральных корпоративных изданий. Было выделено три жанра – фоторепортаж, портретное и объектное фотоизображения, которые подразделяются на поджанры. Фоторепортаж представлен сценой из спектакля, фото с репетиции, событийным фото, фотоальбомом. Портретные фотоизображения имеют следующие разновидности: актер в роли, человек за работой, репортажный, постановочный, архивный. Объектные фотоизображения разделяются на фотографии театральных декораций, костюмов, интерьеров, документов. Перечисленные визуальные жанры, за исключением постановочного фотопортрета, помогают эффективно воздействовать на аудиторию и достигать целей театральной организации. При опоре на положительный и отрицательный опыт рассмотренных СМИ театральным корпоративным изданиям был предложен перечень рекомендаций для создания текстового и визуального контента. / The purpose of the master's thesis is to identify the editorial specifics of the content-marketing strategy of the theatrical corporate publications, followed by recommendations. The editorial approach to creating the content-marketing strategy for the theatrical corporate publication determines the novelty of the research. The foundation for the research was the theatrical corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». The total volume of the analyzed material was more than 1200 texts of different genres and more than 1950 illustrations from 135 editions. Notes, interviews and photography as a visual genre were in focus of research attention. During the process of research, the communicative tactics were analyzed by the notes and interviews. These tactics contribute to the solution of the tasks, which are set by the content-marketing strategy. Communicative tactics were divided into four groups – comparative, influencing, self-presentation, relationship with the viewer. Tactics of care and participation, «problem field», expectations of positive evaluation, value orientation are common for theater corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». Thus, the publications not only form a positive image of theaters and transmit their values, but also openly identify existing problems. The classification of genres of photography of theatrical corporate publications is proposed based on the results of the analysis of visual content. There were highlighted three genres: photo reportage, portrait and object photo images, which were subdivided into subgenres. A photo reportage is presented by a scene from a performance, by a photo from a rehearsal, by an event photo, by a photo album. Portrait photo images have the following varieties: actor in the role, person at work, reporting, staged, archived. Object photo images are divided into photographs of theatrical scenery, costumes, interiors, documents. The listed visual genres, with the exception of a staged photo portrait, help to effectively influence on the audience and achieve the goals of the theatrical organization. The list of recommendations for the creation of text and visual content was proposed to the theater corporate publications based on the positive and negative experience of the reviewed media.