Background The rules of marketing are changing all the time and companies have to develop new types of marketing to survive in the hard competition today. Technology has taken marketing in a new direction, where online marketing is the most dynamic and fast-moving field within marketing today. Social media is a part of online marketing that has increased a lot over the past years. Companies in the apparel industry are using social media frequently today as a way to communicate with their customers and are now being able to communicate and reach to their consumers to a much lower cost than ever before.Research Question: - What should a small and medium sized enterprise in the fashion industry consider when approaching social media successfully as a marketing strategy?Method: This thesis is based on a qualitative study with mainly in-depth interviews. We have held interviews with several respondents within our research field but with knowledge in different areas. We believe that this gives an overall perspective to the problem.Purpose: The purpose of this thesis is to increase our knowledge of how social media can be used as a marketing tool by SMEs in the fashion industry.Conclusions in short: Our main conclusion to the research is that to work with social medium in a successful way as a small or medium sized fashion company you need devotion. There is no ”right” way, and the strategy takes time. Everything should be well planned according to the nature of the business and the goals. Furthermore it is important to realize that social media is not focused on creating sales, but instead on building relationships and giving you as a business owner an insight to your customers’ minds. / Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing

Today's popular over-the-top (OTT) video streaming services such as YouTube, Netflix and Hulu deliver video contents to viewers using adaptive bitrate (ABR) technologies. In ABR streaming, a video player running on a viewer's device adaptively changes bitrates to match given network conditions. However, providing reliable streaming is challenging. First, an ABR player may select an inappropriate bitrate during playback due to the lack of direct knowledge of access networks, frequent user mobility and rapidly changing channel conditions. Second, OTT content is delivered to viewers without any cooperation with Internet service providers (ISPs). Last, there are no appropriate tools that evaluate the performance of ABR streaming along with video quality of experience (QoE). This thesis describes how to improve the video QoE of OTT video streaming services using ABR technologies. Our analysis starts from understanding ABR heuristics. How does ABR streaming work? What factors does an ABR player consider when switching bitrates during a download? Then, we propose our solutions to improve existing ABR streaming from the perspective of network operators who deliver video content through their networks and video service providers who build ABR players running on viewers' devices. From the network operators' point of view, we propose to find a better video content server based on round trip times (RTTs) between an edge node of a wireless network and available video content servers when a viewer requests a video. The edge node can be an Internet Service Provider (ISP) router in a Wi-Fi network and a packet data network gateway (P-GW) in a 4G network. During the experiments, our solution showed better TCP performance (e.g., higher TCP throughput during playback) 146 times out of 200 experiments (73%) over Wi-Fi networks and 162 times out of 200 experiments (81%) over 3G networks. In addition, we claim that the wireless edge nodes can assist an ABR video player in selecting the best available bitrate by controlling the available bandwidth in the radio access network between a base station and a viewer's device. In our Wi-Fi testbed, the proposed solution saved up to 21% of radio bandwidth on mobile devices and enhanced the viewing experience by reducing rebufferings during playback. Last, we assert that software-defined networking (SDN) can improve video QoE by dynamically controlling routing paths of video streaming flows based on the provisioned networking information collected from SDN-enabled networking devices. Using an off-the-shelf SDN platform, we showed that our proposed solution can reduce rebufferings by 50% and provide higher bitrates during a download. From the perspective of video service providers, higher video QoE can be achieved by improving ABR heuristics implemented in an ABR player. To support this idea, we investigated the role of playout buffer size in ABR streaming and its impact on video QoE. Through our video QoE survey, we proved that a large buffer does not always outperform a small buffer, especially under rapidly varying network conditions. Based on this finding, we suggest to dynamically change the maximum buffer size in an ABR player depending on the current capacity of its playout buffer for improving the QoE of viewers. During the experiments, our proposed solution improved the viewing experience by offering 15% higher average played bitrate, 70% fewer bitrate changes and 50% shorter rebuffering duration. Our experimental results show that even small changes of ABR heuristics and new features of network systems can greatly affect video QoE. However, it is still difficult for video service providers or network operators to evaluate new ABR heuristics or network system changes due to lack of accurate QoE monitoring systems. In order to solve this issue, we have developed YouSlow ("YouTube Too Slow!? - YouSlow") as a new approach to monitoring video QoE for the analysis of ABR performance. The lightweight web browser plug-in and mobile application are designed to monitor various playback events (e.g., rebuffering duration and frequency of bitrate changes) directly from within ABR video players and calculate statistics along with video QoE. Using YouSlow, we investigate the impact of the above playback events on video abandonment: about 10% of viewers abandoned the YouTube videos when the pre-roll ads lasted for 15 seconds. Even increasing the bitrate can annoy viewers; they prefer a high starting bitrate with no bitrate changes during playback. Our regression analysis shows that bitrate changes do not affect video abandonment significantly and the abandonment rate can be estimated accurately using the rebuffering ratio and the number of rebufferings. The thesis includes four main contributions. First, we investigate today's popular OTT video streaming services (e.g., YouTube and Netflix) that use ABR streaming technologies. Second, we propose to build QoS and QoE aware video streaming that can be implemented in existing wireless networks (e.g., Wi-Fi, 3G and 4G) and in SDN-enabled networks. Third, we propose to improve current ABR heuristics by dynamically changing the playout buffer size under varying network conditions. Last, we designed and implemented a new monitoring system for measuring video QoE.

Depression contributes to a host of health problems resulting in disability, pain, and death. An important aspect of preventing and reducing the harmful effects of depression is educating the public about this pervasive mental disorder, including the importance of early detection and effective treatment. During the past 20 years, many people have turned to the Internet in general and social media in particular to learn about health. Current research has examined YouTube coverage of some mental health topics, but no published research describing YouTube coverage of depression was identified. The purpose of this study was, therefore, to describe the most viewed YouTube about depression with respect to source, speaker, format, purpose, number of views, length, upload year, and content. A cross-sectional design was used to examine the 394 most viewed YouTube videos on depression. Collectively, these 394 videos were viewed 155,349,029 times. Three sources—consumers, internet-based video, and nongovernmental agencies—accounted for approximately 85% of the most frequently viewed videos and garnered 93% of the total views (n=144,506,467). Consumers uploaded almost half of all the most widely viewed videos (n=193, 48.98%), and these videos had the highest cumulative view count (74,391,500 views). Content mainly focused on signs and symptoms, which were covered in more than 75% of the videos (n=300, 76.14%), and promotion of healthful behaviors and protective factors, which was covered in 68.52% (n=270). Slightly more than one-half of the videos explicitly mentioned risk factors (n=200), and slightly less than one-half provided general information about depression (n=189). Between 20% and 35% of the videos included content related to suicide (23.10%), stigma (22.08%), psychotherapy (28.93%), medication (31.22%), and alternative therapies (30.96%). Content related to screening was only included in 9 of the most widely videos (2.28%). While good sleep hygiene was only mentioned in 28 videos (7.11%), collectively, these videos received over 16 million views. Another main finding was that governmental agencies have not produced videos that are among those most widely viewed. Given YouTube’s wide reach, they should, however, be using this media channel to help inform the public.

In 2016, over 11 million people misused prescription opioids and the economic costs were estimated to be over $500 billion. In the same year, opioids killed 42,000 people, which was more than any year on record. These data highlight the need to reduce the harm caused to individuals, families, communities, and the nation. One element of a more comprehensive national strategy is increasing awareness among citizens, physicians and policy makers. Given its widespread reach YouTube can be very helpful. There is a large literature on the opiate epidemic, but no published studies describing the sources or content of YouTube videos on the opiate epidemic were identified. This study was, therefore, intended to help fill this gap in current knowledge. YouTube was searched using two key terms, “opiate addiction” and “opioids.” The results were sorted by number of views, and the URL, title, and number of views were saved for videos with a minimum of 1,500 views. Videos were then screened for the inclusion and exclusion criteria. The remaining sample comprised 309 videos. Collectively, these 309 videos were viewed 44,693,887 times. The results revealed the sources that were most viewed and the nature of content that was and was not likely to be covered. The two main sources of videos were Internet Based and Television news/Entertainment. Compared with videos with health professions as the main speaker, those featuring consumers garnered almost 10 times as many cumulative views (30.35%versus 3.24%). Government organizations uploaded 11 videos (< 4%), collectively garnering 343,983 views (less than 1% of cumulative views). YouTube represents an important opportunity for health promotion and disease prevention regarding the opiate epidemic. However, improved understanding about ways to communicate accurate and useful information in ways that attract viewers is needed. Recommendations for research, policy and practice are presented relevant to how YouTube can help mitigate the harm caused by the opiate epidemic.

This diploma thesis outlines the ways of efficient marketing use and performance measurement of social networks by FMCG companies. The first chapter defines the concewpt of social networks, describes their benefits for company marketing and introduces the major world and Czech social networks. The second chapter is dedicated to the current most important social network, Facebook. The sub-chapters are covering structure and creation of a fan page, main principles of page management, post planning, aplications, ads, social graph and Facebook advertising policies. Main attention is given to the content of a fan page. the third chapter introduces the marketing potential of Youtube.The fourth chapter features the options of social networks performance measurement. The second half of the work introduces the marketing strategy on social networks for the company Nutricia a.s.

Submitted by Divanete Paiva (divanete.paiva@utp.br) on 2018-07-31T18:13:45Z No. of bitstreams: 1 YOUTUBE E SURDEZ.pdf: 810999 bytes, checksum: 97a576a12d4ef65824c4162cf9fe5882 (MD5) / Made available in DSpace on 2018-07-31T18:13:45Z (GMT). No. of bitstreams: 1 YOUTUBE E SURDEZ.pdf: 810999 bytes, checksum: 97a576a12d4ef65824c4162cf9fe5882 (MD5) Previous issue date: 2012-03-23 / Currently, YouTube has dominated the segment of online videos in the world, and in Brazil it is no different. Due to the site's visibility, YouTube can be looked as a possibility of expression for a person that is deaf, as it allows discourses, made in sign language, to be registered. This study has the objective of analyzing the discourses produced by deaf people and posted on YouTube regarding the themes deaf culture, aspects of the living environment between hearing and deaf and political manifestations. This study's content was composed by 25 videos in which the deaf people manifested themselves about deafness. The study offered us data and conditions to consider YouTube as a tool to provide deaf people a new interactive space in their discursive production by establishing interaction. In light of Bakhtin's theory of language, it was possible to identify the social voices present in the discourses as well as the change in otherness, dialogic, enunciation, heteroglossia and responsiveness. With this study, it became possible to conclude that, on behalf of YouTube, deaf people where able to establish a reason to value "being deaf", which presents the possibility of reconstructing, through sign language, a new opinion about deafness. / Atualmente, o YouTube tem dominado o segmento de vídeos online no mundo, não sendo diferente no Brasil. Devido à visualidade do site, o YouTube pode ser encarado como uma possibilidade de expressão para o sujeito surdo, na medida em que possibilita o registro e a circulação de discursos produzidos em língua de sinais. Esta pesquisa apresenta como objetivo analisar os discursos produzidos por surdos em vídeos postados no YouTube a respeito da cultura surda, aspectos de convivência na sociedade entre surdos e ouvintes e movimentos políticos. O material de pesquisa foi composto por 25 vídeos nos quais pessoas surdas discorriam a respeito da surdez. A pesquisa nos ofereceu dados e condições para considerar que a ferramenta YouTube proporciona ao sujeito surdo um novo espaço interativo em sua produção discursiva pelo estabelecimento de interações. À luz da teoria da linguagem de Bakhtin, foi possível identificar as vozes sociais presentes nos discursos dos surdos, assim como os movimentos de alteridade, dialogia, enunciação, heteroglossia e responsividade. Mediante esta pesquisa, foi possível concluir que, através do YouTube, os surdos conseguiram estabelecer motivos para uma valorização do “ser surdo”, o que representa possibilidade de reconstrução de um novo olhar sobre a surdez por meio da língua de sinais.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-08-04T15:15:06Z No. of bitstreams: 1 Guilherme Brasil Medeiros Silva_.pdf: 5833680 bytes, checksum: c1edb53a2e862eaf7842eaf8aa46a430 (MD5) / Made available in DSpace on 2016-08-04T15:15:06Z (GMT). No. of bitstreams: 1 Guilherme Brasil Medeiros Silva_.pdf: 5833680 bytes, checksum: c1edb53a2e862eaf7842eaf8aa46a430 (MD5) Previous issue date: 2016-05-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / UNISINOS - Universidade do Vale do Rio dos Sinos / Esta dissertação, através de um processo cartográfico, pretende entender formas de apropriação de diversas emissoras de rádio que transmitem seus programas ao vivo pela plataforma de vídeos YouTube, a partir do recurso de transmissão ao vivo recentemente disponibilizado pelo site. Esse uso reiterado leva a pensar que a transmissão ao vivo suscita um gênero emergente usado por emissora de rádios que estamos chamando aqui de radiovisual. A partir da figura benjaminiana do flâneur, e seguindo a programação (por softwares) da plataforma, foi feito um mapa com diversas experiências que dão a ver particularidades desses usos como a reinvenção do tempo ao vivo, a enunciação de câmeras e olhares voyeurs e a constituição de um regime de visibilidade que dá outros sentidos ás imagens técnicas do estúdio de rádio. O radiovisual se mostra como parte de um processo de audiovisualização da cultura que é próprio da plataforma em questão e que inclui o usuário, o vídeo e a interface como elementos de um audiovisual que retoma as clássicas montagens do cinema e da TV e as sobrepõe às montagens próprias do meio web. / This dissertation, through a mapping process, aims to understand forms of appropriation of various radio stations that broadcast their programs live by the YouTube video platform, from the transmission feature live recently made available by the platform. This usage reiterated suggests that the live broadcast raises an emerging genre used by station radios that we are calling here radiovisual. From Benjamin's figure of the flâneur, following the programming (software) platform, was charted with several experiences that give to see the characteristics of those uses as the reinvention of live time, the enunciation of cameras and voyeurs looks and establishment of a regime of visibility that gives other senses ace techniques radio studio pictures. The radiovisual shown as part of a culture of audiovisual process that is platform itself in question and that includes the user, the video and the interface as elements of an audiovisual that takes the classic montages of film and TV and overlaps the own mounts web environment.

This dissertation explores the role of social media in political activism in authoritarian societies, using as case studies the use of YouTube as an alternative channel of communication and resistance during the political crises in Pakistan, Tunisia, and Egypt. I studied Pakistan because it is one of the few majority Muslim countries in which social media were part of the media mix during the mass uprisings that led to the overthrow of the regime of military leader, General Pervez Musharraf in 2007. Tunisia and Egypt were chosen because these two countries are seen as the iconic nations of the Arab Spring 2011. The study argues that the term "Arab Spring" itself limits the scope of ongoing online and offline political uprisings in the Muslim World, which is spreading beyond the geographical boundaries of the Middle East. The investigation uses "social movements" as defined and theorized by Hirschman (1970), Lohmann (1994), Olson (1965), and Tarrow (1994; 1998) as its theoretical foundation, in order to describe and explain how YouTube was part of the information activism of the social movements that sprang up during the revolutions in Pakistan, Tunisia and Egypt. A comparative methodological approach enables me to analyze the "most viewed" YouTube videos of political protests in the three countries. By examining a purposive sample of 60 most viewed protest-related YouTube videos, the study explores how these videos served as a "voice," (alternative channels of communication) when the authoritarian governments controlled all the media in the three countries. Using quantitative content analysis and thematic analysis approaches, the study investigates YouTube's role and content during Pakistan's political crisis of 2007, and compares it with that platform's role as an alternative avenue of communication, as well as its content in the 2011 political uprising in Tunisia and Egypt, which are the core of the Arab Spring in North Africa. Eight research questions were asked for this investigation. These questions were derived from Hirschman (1970), Lohmann (1994), Tarrow (1998), and Perlmutter's (1998) works. Issues that were investigated in these questions include: identifying the cultural and ideological frames used in the most viewed videos of each revolution, YouTube videos as "informational cascades," Al-Jazeera's role as "informational cascade," YouTube videos as a "Voice," and the most iconic images of each revolution. The findings of these research questions suggest that in the absence of traditional media sources, YouTube can serve as an alternative platform of communication and dissent. The study finds that the social movements in the three countries (The Lawyers' Movement of 2007 in Pakistan, the so-called Jasmine Revolution of Tunisia (2010), and the Arab Spring of Egypt 2011) utilized YouTube as an alternate channel of communication to disseminate information on political protests against the dictatorial regimes for purposes of promoting resistance. The visual content analysis of these videos revealed that the YouTube videos of political protests utilized common religious and national ideologies as a part of cultural and ideological frames to spread the narratives of political protests online. The findings of this study support that the most viewed videos contributed to serve as informational cascades for the observers (YouTube viewers) of these protest-related videos. The findings also highlight that the pan-Arabic TV channel Al-Jazeera utilized YouTube as an alternative platform to disseminate its protest-related videos, particularly when the channel was banned in the three countries. The visual content analysis of the most viewed videos of protests suggest that social movements in Pakistan, Tunisia and Egypt used YouTube to amplify their voice against corruption, unemployment, and authoritarianism in the three countries. The findings of this dissertation identify that three images (one from each country) were treated as the icons of outrage in the 60 most viewed protest-related videos. These icons of outrage include the images of Mohamed Bouazizi's self-immolation (Tunisia), torture-disfigured face of Khaled Said (Egypt), and the arrest of Pakistani Chief Justice, Iftikhar Chaudry. Based on its findings, the dissertation argues that the ongoing political struggle in Muslim-majority countries is a much bigger phenomenon than the "Arab Spring." This study also makes a strong case that Pakistan experienced online informational activism long before the Arab Spring of 2011. Since political communication in Pakistan is a relatively under-researched field, academic archives do not provide sufficient information on the role and emergence of social media in the country, including how the new modes of digital communication serve as alternative channels of political activism against dictatorship. This dissertation intends to fill this void. The study also contributes to the existing literature on communication, social movements and political activism, which is predominantly specific to Western settings. Since this study applies Western approaches of social movements to non-Western settings, it helps to explicate the applicability of such approaches to non-Western societies and contexts. Furthermore, it is important to understand the role of social media as alternative channels of communication in closed, authoritarian societies where the traditional media serve only the interests of the ruling elites. In addition, the study helps to explain how the increasingly popular social media, e.g. YouTube, are contributing to civil liberties by challenging the authoritarian regimes of the Muslim World.

十七世紀德國作曲家帕海貝爾（Johann Pachelbel）所作的〔Canon and Gigue in D〕之影響力，不僅在傳世巨片可見；近年來，它的快速流傳其實亦成為自由文化的指標。本研究擬從法律、規範、市場，以及基構這四項作用力，初步勾勒Canon Rock自由文化的樣貌，並採取內容分析的民族誌法將相關文本加以歸納及分類，以瞭解促成Canon Rock自由文化的重要原因。最後，研究者提出為何「網路自由文化這個概念勢必要把商業性文化涵括在內」的道理，針對Canon Rock自由文化這個個案，重新定義了「自由文化」。另外，本研究亦探討有助於建立自由文化的創用CC目前在本地的樣貌，藉此進一步探看Canon Rock此自由文化還可以如何往前推展，在這部分，研究者採用圖書館法，以創用CC的角度探看既有文化，瞭解創用CC為何是個尊重與保障創作人的智慧，但卻不因此而剝奪其他人或整個社群於其之上再創作及累積更多智慧的可能性。最後，本研究將進一步解釋為何創用CC得以讓大眾從「取得授權」與「合理使用」的困境中解套，亦呈現當其創作被非法使用於商業用途時，創用CC所能保障的有其限制。 / The 17th Century German composer, Johann Pachelbel, wrote the〔Canon and Gigue in D〕. The popularity (or influence) of this musical work is obvious not only in having been adopted in great movies (【Ordinary People】, 【My Sassy Girl】). In recent years, it also has become the indicator of Free Culture by being spreading rapidly. This research basically uses these four forces: law, norms, marketing, and structure, as the primary parameters to outline the profile of the Free Culture of Canon Rock. I also use the ethnographic content analysis to summarize and classify this study, in order to present the main reason why Free Culture of Canon Rock is so promoted. Finally, with explanation, I propose that “the concept of free culture bounded in the network should include the legal commercial use”, and I will re-define the “free culture” respect to the case of Canon Rock. In addition, I study the current appearance in Taiwan of the use of CC, which helps to build free culture, and I try to find out the way that the Free Culture of Canon Rock can be further extended. I use the library methodology to show that the use of CC can protect and respect the intellectual property of the creators; meanwhile CC allows other people and the whole community to recreate and accumulate their possible creativities based on these original creations. Finally, this study will show how the use of CC allows the public recreate freely from the plight of “licensed” and “fair use”, and the limit of the protection which CC can offer for the creators while the creativity of these people are illegally used in commercial way.

<p>Syfte: Uppsatsens syfte är att problematisera och göra ett försök på att visa på varför och hur informationsspridning via internet kan gynna respektive missgynna de symboliska maktstrukturer som finns inom olika fält bland Jehovas Vittnen och ex-Jehovas Vittnen.</p><p>Frågeställningar: Varför har ex-Jehovas Vittnen behov av att sprida information om samfundet och sina liv och hur fungerar denna spridning?</p><p>Teori: Inom teoridelen används två teorier som har många likheter med varandra men som trots detta tillhör två, till viss del, olika tanketraditioner. Det ena är den sociologiska traditionen och det andra är den sociobiologiska traditionen. Inledningsvis presenteras sociologin då denna ligger närmast uppsatsens första frågeställning, för att sedan gå över till en teori kallad memetik.</p><p>Metod: Metoddelen utgår ifrån den hermeneutiska traditionen och via denna utförs etnografiska observationer av klipp på Youtube med komparativ och relationell analytisk inriktning.</p><p>Resultat: Resultatet visar på att den symboliska makt ett samfund som Jehovas Vittnen har över sina medlemmar, mycket väl kan sättas ur balans av att tillgängligheten av information med kritisk karaktär, sprids via internet. Det är relativt svårt för ett samfund som Jehovas Vittnen att övervaka och begränsa alla individer som befinner sig inom samfundets fält från att komma i kontakt med exempelvis ex-Jehovas Vittnen.</p>