A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país. / The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

I den här uppsatsen undersöks röstkvalitén betydelse för att förmedla information från utvalda filmerfrån Youtube-kanalen Crash Course för att se i vilken mån informationen förtydligas. Syftet meduppsatsen är att skapa en medvetenhet hos medieproducenter om att rösten har betydelse för hur deutformar informationen, och genom att tillämpa en modell för röstkvalité kan de jobba systematisktmed detta. Uppsatsen analyserar tre olika filmer med tre skilda ämnen från Youtube-kanalen.Materialet undersöks genom en kvalitativ analys enligt van Leeuweens struktur till anknytningsteorinsfyra maximer och designteori från multimedia principer. Resultatet tydde på att kategorierna styrka,mörkt och ljust i rösten var viktigast i röstkvalitén. När det gäller de fyra maximerna var begriplighetoch kvantitet de variabler som behövdes för att skapa ett socialt band mellan informant ochpresentatör. Det krävs vidare empirisk forskning för att ge en kompletterande bild av mönster som kanunderlätta en social koppling till informanten.

Detta arbete syftar till att undersöka internet som medium för att sprida information genom bildproduktion, både stillbilder och rörliga bilder. YouTube är intressant idag som kommunikationsmedel då det är en av de mest populära internettjänsterna globalt. Med YouTube är det möjligt för vem som helst att skapa och dela sina bildproduktioner till en internationell publik och monopolet ligger inte längre hos de traditionella mediekanalerna så som television och pappersmedia. Tillgängligheten bidrar enormt till spridning av kunskap men används också tyvärr för att sprida destruktiva budskap efter personliga agendor vilket bidrar till ett polariserat internet och samhälle.  Metoderna som används i arbetet är situerad kunskap och visuell etnografi. Arbetets analys grundar sig i politiska event, beslut och befattningar som direkt eller indirekt kan komma att stärka främlingsfientlighet och polarisering mellan människor, minska mobilitet, frihet och förståelse mellan olika nationer som den gemensamma nämnaren. För att kunna ge ett så trovärdigt och ”verklighetsbaserat” perspektiv som möjligt krävs det att medieproducentens tolkningar är baserad på en djup kunskap samt att producenten redogör kontexten för sitt perspektiv. Den största svårigheten med att skapa produktioner för en potentiellt internationell publik är att alla människor uppfattar budskap olika beroende på individuellt bagage och kultur. Jag har försökt utnyttja detta till min fördel. Under 3 veckor utgick jag från visuell etnografi när jag lärde mig om Venedig och dess människor, för att utifrån mitt skriftliga arbete skapa en filmproduktion som genom att vara abstrakt öppnar upp för mer tolkning. / This work aims to investigate the internet as a medium for spreading information through image production, both still images and moving images. YouTube is interesting today as a means of communication since it is one of the most popular internet services globally. With YouTube, it is possible for anyone to create and share their productions and images to an international audience and the monopoly no longer lies with the traditional media channels such as television and paper media. Accessibility contributes enormously to the dissemination of knowledge but is also unfortunately used to spread destructive messages according to personal agendas which contributes to a polarized internet and society. The methods used in the work are situated knowledge and visual ethnography.  The analysis of the work is based on political events, decisions and positions that may directly or indirectly strengthen xenophobia and polarization between people, reduce mobility, freedom and understanding between different nations as the common denominator. In order to provide as credible and "reality-based" perspectives as possible, it is necessary that the media producer's interpretations are based on a deep knowledge and that the producer describes the context of his/her perspective.  The main difficulty in creating productions for a potentially international audience is that all people perceive messages differently depending on individual baggage and culture. I have tried to use this to my advantage. For 3 weeks I started from visual ethnography when I learned about Venice and its people, to create a film production based on my written work. By being an abstract film it opens up for more interpretation.

This Diploma thesis deals with the campaign of the two political parties SPD and Trikolóra on social media networks before regional elections in 2020. It strives to show the form and the differences of the pre election campaign of these two political parties two weeks before the elections on Facebook, YouTube, Twitter and Instagram. The theoretical part shows the way we can classify the political parties with the cleavages, describes the chosen social media platforms and answers why these four specific platforms had been chosen. It narrates the characteristics of the regional elections with the second-order elections theory and defines negative campaign. The practical part of the thesis draws attention to the political situation in the Czech Republic in autumn 2020, because the regional elections were affected by the Covid-19 pandemic. This part describes SPD and Trikolóra, their history, electoral achievements, defines the election program of these two parties and their similarities. The next chapter includes the quantitative analysis of the social media platforms of SPD and Trikolóra which is supplemented by the qualitative analysis describing the content of the posts. The conclusion of the thesis compares the data of the two parties and provides the campaign differences.

The diploma thesis describes the issue of using social networks of a selected com-pany in marketing communication. The aim of the thesis is to analyze the current situation in the company and to suggest a new solution, the marketing tools, which the company can use in the future. The first part summarizes the issues of marke-ting communication, marketing and communication mix and social networks. The analytical part includes analysis of the internal and external environment, analysis of the competitive position of the company, as well as SWOT analysis. The final proposal then explores the communication channels currently in use and shows new possibilities for using communication channels along with the expected costs.

This study examines how Media Logic of YouTube and Twitch affects individual creators who works with creating content on the two platforms. It touches upon the different structures of Media Logic that exists over social media platforms and a little bit on how they have changed over the years. Most importantly it examines what a content creators work process and structure looks like and how that is affected by the different Media Logic structures. This subject is original since there is not previously made another likewise study around this particular subject. This not only makes it an exploratory study but more importantly starts the conversation about the subject. By writing about this subject, it gives creators a voice that could both help other creators in the future, but also make creators feel heard. In today’s society there is a lot of content creators on both platform and it’s a growing industry. So, when talking about their creative process and how the platforms in any way impacts that, it can open up for even more conversations such as how viewers perceive content differently depending on the platforms Media Logic of how creators perceive themselves on the platform. The study has an overall abductive approach and to gather the information, five semi-structured interviews took place. Within these interviews it was possible to get a preliminary insight into how a few content creators feel about their jobs and the platforms they use in their work. The collected data was gathered and analysed together with information collected about the platforms and theory of choice, Media Logic. It was then possible to reach a tentative conclusion. The results showed that even though the creators were not previously aware of Media Logic they all indirectly were affected by it. They could be affected through the way they choose to structure and plan their videos or in how they decided to express themselves online; all five of the content creators that participated in the study were in one way or another affected by the logics of the platforms YouTube and Twitch during their content creation process. In collecting this it created a stable ground for future researchers that wants to investigate the area.

This qualitative study investigates the incorporation of female empowerment discourses in Swedish lifestyle influencer Bianca Ingrosso’s YouTube vlogs. The aim of the study is to gain a better understanding of what it means to be a feminist in the current Swedish media moment, where the influencer industry is a commonly found subject for debates concerning the tensions between feminism and postfeminism. By critically analyzing the postfeminist expressions of female empowerment in influencers’ social media presence, the study problematizes the neoliberal feminism embraced by influencers like Ingrosso, whose feminist alignment mainly appears in promotional content for beauty and fashion products. A critical discourse analysis is performed, utilizing Norman Fairclough’s three-dimensional model, in order to examine the ways in which Ingrosso utilizes and reinforces postfeminist discourses in her role as influencer. The study is performed through a feminist perspective, supported by feminist and postfeminist literature, using feminist media theory and field theory complemented by theory on gender and erotic capitals to examine the material. The analysis show that Ingrosso, through the social and financial capital that she holds as an influencer in a feminized space, is empowered. The postfeminist discourse allows her to maintain an influential position, as her physical attributes and encouragement of hegemonic femininity through consumption align with the neoliberal gender norms and expectations that structure the advertisement field in which influencers function. However, as it is the capitalist structures that allow influencer like Ingrosso to commodify their social media presence, the female empowerment that she promotes is in no way contributing to the efforts of the feminist movement.

Diploma thesis describes the use of social media in marketing communication. Defines the extent of their efficient use and establishes procedures that can achieve maximum efficiency of communication to the market.

Moving image. Story. Burn what is not yours.

"Pattern Extraction - Scenarios" is a documentation of experiences inside of the collective subconscious that is the internet and an attempt at understanding and highlighting mechanisms and effects of algorithmic governance and cultural automation.