Purpose This thesis aims to provide guidelines for cosmetic companies on how to use social media in times of crisis. Background In today’s society, cosmetic companies can face crises that can vary according to their level of impact and their level of controllability. These crises can go viral and reach a huge amount of stakeholders since social media can take on many different forms such as Facebook, Twitter, and YouTube. It is important to know how to manage these different com-   munication tools and it is even more crucial in times of crisis. However, social media and the cosmetic industry have not been combined in previous studies. Therefore, it is beneficial for cosmetic companies to have guidelines on how to use social media in times of crisis. Method The method is based on an inductive approach. Benchmarking case studies reflect crises that occurred in industries other than the cosmetic industry. The findings from the case studies are then complemented with a chosen company representative from the cosmetic industry. Finally, a semi-structured interview has been conducted to balance the research and add new valuable information to the investigation. Conclusion Based on the results of the analysis, the authors of the thesis have been able to provide guidelines to cosmetic companies on how to use social media in times of crisis. These guidelines are divided into two parts: the first part advises guidelines to follow while the second part recommends factors to avoid on social media.

SAMMANFATTNING Titel: Musikbolags kommunikationsprocess via social media Författare: Sabrina Bengtsson, Angelica Wass Granquist och Cecilia Wiklund Handledare: Joachim Timlon Kurs: Kandidatuppsats 15 hp i Företagsekonomi inriktning Marknadsföring, Music & Event Management, Linnéuniversitetet, Hösttermin 2013-2014. Forskningsfråga Hur kommunicerar svenska musikbolag med sina kunder genom social media? Syfte Syftet med uppsatsen är att beskriva hur kommunikationsprocessen ser ut via social media, analysera hur svenska musikbolag kommunicerar via sociala medier samt ge rekommendationer till hur de på bästa sätt kan kommunicera med kunderna via de sociala medierna. Metod I uppsatsen har vi valt att göra en kvalitativ undersökning med en abduktiv forskningsansats. Detta gjorde vi då vårt mål har varit att komma så nära vårt problemområde som möjligt och gå på djupet istället för bredden. Den empiriska studien bygger på fem intervjuer med personer som har en koppling till kommunikation och musikindustrin. Slutsatser Vi har genom analysen kommit fram till att musikbolagen inte marknadsför sig själva utan sina artister. Något av det bästa ett musikbolag kan göra är att anpassa sig efter sin målgrupp. Genom att noggrant segmentera marknaden och se till livsstilsfaktorer kan musikbolagen utforma sin kommunikation på ett sätt som tilltalar valda segment. Det är viktigt att finnas på det ställe som kunderna befinner sig samt att innehållet är relevant och passar artistens image. Nyckelord: kommunikation, kommunikationsprocess, sociala medier, Facebook, Instagram, Twitter, Spotify, Youtube, internet, musikindustrin, musikbolag

<p>The purpose of this study is to show and explain how and why Swedish young people use Youtube.</p><p>We conducted a written survey, asking approximately 120 students between the ages 16 and 18. The survey was carried out in the classrooms in order to receive answers from as many students as possible. We then interviewed six of them to gain further knowledge of why they use Youtube the way they do.</p><p>The survey showed that Youtube is used by all of the students and very frequently by most of them. Comedy and music videos are by far the most popular genres that are viewed. In most cases watching video clips on Youtube is a social activity, often combined with both talking about clips and sending and receiving video links to and from friends. Very few upload videos of their own.</p><p>Explanations as to why they watch video clips on Youtube can be found in the uses and gratifications theoretical approach. We found that the primary uses of Youtube seem to be motivated by the need for entertainment and filling time. There is also an important social context to the viewing since many of the students talk with their friends and classmates about what they have seen.</p>

Στην παρούσα μεταπτυχιακή εργασία ειδίκευσης μελετήθηκε το Web 2.0, η σχέση με το Social Web, το Social Semantic Web και έγινε μια σύγκριση της λειτουργικότητας που προσφέρουν οι ακόλουθες πλατφόρμες κοινωνικής δικτύωσης: Facebook, Twitter και Youtube. Mε βάση την προσφερόμενη λειτουργικότητα αυτών των πλατφορμών έγινε μια οντολογική αναπαράσταση της κοινής λειτουργικότητάς τους. Αρχικά, έγινε μελέτη πάνω στις λειτουργίες και στις Προγραμματιστικές Διεπαφές Εφαρμογών (APIs) των Facebook, Twitter και Youtube. Η χρήση των APIs επιτρέπει στους προγραμματιστές την ανάπτυξη αξιόπιστων και υψηλής ποιότητας εφαρμογών, οι οποίες είναι προσαρμοσμένες στις ανάγκες και προτιμήσεις των χρηστών. Τα APIs αποτελούν μέρος του Web 2.0, μια ‘νέα έκδοση’ του Web. Η συνεργασία ανάμεσα στο Web 2.0 και στους χρήστες, πιο συγκεκριμένα, το σύνολο των Web αλληλεπιδράσεων που σχετίζονται με την κοινωνικότητα χαρακτηρίζει τον όρο Κοινωνικό Δίκτυο (Social Web). Η εφαρμογή του Σημασιολογικού Ιστού (Semantic Web) στο Κοινωνικό Δίκτυο οδηγεί στο Κοινωνικό Σημασιολογικό Ιστό (Social Semantic Web). Η αναζήτηση πληροφοριών-μεταδεδομένων από το Web στηρίζεται σε συσχετιζόμενα λεξιλόγια και οντολογίες. Σε αυτό το κομμάτι έχει αναλυθεί η έννοια της οντολογίας και των μεταδεδομέων, οι γλώσσες που υποστηρίζουν μια οντολογία και ο τρόπος αναπαράστασης αυτής. Στα επόμενα κεφάλαια έχει γίνει περιγραφή της λειτουργικότητας των Youtube, Twitter και Facebook καθώς και μία κατηγοριοποίηση της κοινής λειτουργικότητας αυτών με βάση την πιστοποίηση αυθεντικότητας, τη δημοσίευση περιεχομένου και την ανάκτηση περιεχομένου. Τέλος, με τη χρήση του λογισμικού πακέτου Protégé δημιουργήσαμε την οντολογική αναπαράσταση της κοινής λειτουργικότητας των Facebook, Twitter και Youtube. / It this thesis, we studied the Web 2.0 and its relationship with the Social Web and the Social Semantic Web. Furthermore, we studied and compared the functionality provided by the following social networking platforms: Facebook, Twitter and Youtube. Based on the provided functionality of these platforms an ontological representation of their common functionality takes place. Initially, we examined the functions and the Application Programming Interfaces (APIs) of Youtube, Twitter and Facebook. The use of APIs allows developers to develop reliable and high quality applicatons that are customized to the user’s needs and preferences. The APIs are part of the Web 2.0, which is a “new edition” of the Web. The interaction between Web 2.o and its usres characterizes the term of the Social Web. The integration of the Semantic Web with the Social Network leads to the Social Semantic Web. The search of information-metadata from the Web is based on associated vocabularies and ontologies. In this par, we have analyzed the concept of ontology and metadata, thae languages that support an ontology and the way that it can be represented. In the following chapters the functionality of Youtube, Twitter and Facebook is presented and also a categorization of their common funcrionality is given. This categorization is based on the functionality of authentication, the functionality of the publishing content and the functionality of the retrieving content. Finally, we built an ontological representation of the common functionality of Youtube, Twitter and Facebook making use of the Protégé software toolkit.

This Bachelors essay aims to investigate and detect what perceptions influencers have when it comes to marketing different products and services on Youtube. The focus is on the relationship between youtuber and audience and how this interaction affects the consumer behavior of the audience. This study is based on Swedish users of YouTube between 12-30 years. What follows below is a quantitative survey study. The investigation and discussion is based on the Para-social Interaction theory, also called PSI, alongside with Uses &amp; gratification theory and lastly the twostep-flow of Communication. When we look at the results, our general inference is that gender and age seems to affect the perceived impact on the audience and their faith in youtubers recommendations. The perceived impact, in turn, is affecting the audience´s consumer behaviour.

The digitalization has changed the entire world speaking of communication, both between individuals but also between organizations and their audience. Organizations and business over all requires a good communication to be able to reach their goals within the company and make the most out of their business. But it is not only profit-driven organization, the new era of communication is as important for charity organizations as any other. This qualitative study is about Unicef and their strategic communication via the platform YouTube, a social network which is the biggest in the world when it comes to video and therefor mobile communication. Due to the new technologies, it is simple for commonalty to upload a video on YouTube, and because of the accessibility the platform has been compared to the original television. This has resulted in a transition from traditional media to social media, which is the ultimate tool to communicate through, which is why we think it is important to look into Unicef and their strategies when communicating via YouTube to their audience, in hopes of creating an engagement and to invoke affect. Unicef can through YouTube effectively get the information to reach people all over the world, which can contribute to a greater understanding of the work Unicef does. To study and analyze Unicef’s strategic communication we are using a few theories and literature background to consolidate our aim, which is to search for explicit and implicit strategies in ten different video clips from Unicef's campaign Syrian #ChildrenUnderAttack on YouTube. The theorists we are mostly directing to improve our arguments with are Lillie Chouliraki and Edward J. Lawler. After using Fairclough’s Critical Discourse Analysis studying these video clips, we can definitely establish that the organization uses a variety of strategies and approaches to create an impact and create commitment to the audience. Unicef uses both explicit and implicit strategies and has made a strategic choice in cooperating with celebrities. To summarize some of the strategies Unicef uses, we have listed some of them; to communicate through sympathy, social exchange, communicate through guilt, shame and anger, the use of appeals; negative appeals along with positive appeals, big focus on children, relationship creation, explicit strategies such as language selection, music selection and color choices, identification, portraying celebrities for increased dissemination and finally the strategic choice to use YouTube to reach as wide a crowd as possible.

I denna uppsats undersöks svensk-engelsk kodväxling i vloggar publicerade på videoplattformen YouTube mellan november 2017 och april 2018. Syftet är att undersöka kodväxlingarnas struktur, funktion och interna skillnader mellan olika youtubers. Det transkriberade materialet har samlats in från åtta vloggar publicerade av fyra olika youtubers mellan november 2017 och april 2018. För att uppnå studiens syfte och besvara frågeställningarna skapades fyra korpusar där kodväxlingarna kategoriserades enligt struktur, funktion och sedan jämfördes sinsemellan. Den vanligaste typen av kodväxling är ettordsväxlingar medan en majoritet av kodväxlingarna har en fatisk funktion. Den komparativa delen av uppsatsen visar att kodväxling förekommer olika mycket hos olika youtubers, men även att det finns vissa skillnader både när det gäller vilka kodväxlingsfunktioner och vilka typer av kodväxling som används av respektive videoskapare.

Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos. Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.

Fish Out of Water: A Transmedia Adaptation of The Little Mermaid is a critical examination of how by using transmedia approaches to storytelling we are able to make characters with less common background more relatable. In this project the story of Maria, a first generation student, is told through the mediums of vlogs, blog posts, tumblr, and twitter.

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