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The ways of reaching out to the people to supply news are substantially increasing after the emerge of the Internet. Because of the Internet anyone can make their message heard. The Young Turks claims to be the largest online news show in the world and they have over 650 000 subscribers on Youtube. Therefore it is important to study how alternative media differs from more traditional media.  This study focuses on alternative journalism on Youtube. The aim of this study is to identify the difference between the Youtube channel The Young Turks and CNN. The weight in the study lays in the ways the news is being presented. This study uses qualitative content from four news videos made by The Young Turks and four news videos made by CNN. This study focuses on the specific content in a few news videos rather than the overall content in several news videos. A dramatic analysis method is used to determine how the two media channels differ.  The result shows that the news videos made by CNN used objectivity as a means to claim their professionalism more often than The Young Turks. CNN’s news reporting was also clearer in presenting sources, compared to The Young Turks.

Tales of contemporary society, and who gets the right to tell them, is in this internet era something in motion as new platforms for sharing and getting information have arisen. Where traditional media through newspapers, radio or television has historically been so dominant, more and more voices can make it through as access to new platforms increase. In Latin America and in Guatemala, traditional media has been in the hands of the few and the powerful, concentrating economical and political influence that’s wielded through the power of discourse. Seeing this as hegemonic and representing a society where all are not included, alternative media seeks to counter such discourse and power by telling the untold stories by those historically without voice. This study picks up the perceptions, experiences and views of journalists and activists reshaping what we know about media production and the world, all this in a setting, a moment in time in Guatemala, when the structures of hegemonic power are shaken and put into question. By interviewing representatives of a wide scope of the alternative media sector, this thesis gives account for their aims and contributions as well as the general role and importance of alternative media in Guatemala. What it shows us is that alternative media is perceived as a force changing and adding to narratives about prior marginalized issues in the media as well as countering hegemonic power by contributing to empowerment of the citizenry. This study also show us that alternative media is perceived to open up the space for public opinion to a wider group of people in society and that it has a part to play in monitoring media power. Through these conclusions we gain a better understanding for counter hegemonic voices, ideas and movements and their part to play in society.

Internet and new communication technologies have drastically changed the way we send and receive messages, changing also the professions engaged in the gathering and diffusion of information. The Internet is by many presumed to have had a democratising effect on journalism, as it can be used to spread counter-hegemonic information and dismantle false objectivity (Castells, 2009, Rodriguez 2012). In this thesis, I examine this assumption by targeting one example of alternative journalism practice online. Through a case study of Paraguayan independent news site E’a, the thesis investigates how digital media affects newsroom structures and organisation as well as the role and objectives of the journalists. Previous theories and research on old and new alternative media, offered by scholars such as Susan Forde, Chris Atton, Leah A. Lievrouw, Olga Guedes Bailey, Bart Cammaerts and Nico Carpentier, are set against the voices of the practitioners producing E’a in this qualitative study based on semi-structured interviews. The thesis comes to the conclusion, that the Internet brings both benefits and drawbacks in the case of E’a. As a cheap way of publishing news, the digital platform serves as a lifebuoy for a project with a very limited commercial base. But the low Internet access in the country (and therefore presumed low impact of the project) and the change in organizational structure (web journalism resulting in a less collaborative form of working) leave the majority of the practitioners with network pessimism and a growing desire offline. Potential future research could look closer at alternative newscontent online, how it is perceived by the readers, as well as group dynamics and gendered participation in the digital era.

Broadly defined as self-expressive media and communication artifacts, youth-generated media have become more ubiquitous as media-making tools became cheaper, smaller and more accessible. Moving beyond questions of media effects and consumption, this dissertation explores why and how street racing followers, graffiti artists, web activists, demonstration organizers and others are developing and circulating media artifacts in Lebanon and Saudi Arabia. What motivates them? What type of media are they developing? How do youth conceptualize, execute and distribute their media? What social, economic, cultural contexts are affecting these productions? And what are the implications of youth-generated media on Arab discourse? Drawing on six months of fieldwork, I use a multidisciplinary comparative approach to advance an underrated issue in global media studies. To meet this objective, the dissertation is organized in eight chapters. The first three chapters provide theoretical underpinnings and methodological considerations for an empirically based and theoretically inspired framework to study youth-generated media. Chapters four and five examine specific recent social movements in Lebanon (Independence 05 and July 06 War); while chapters six and seven analyze specific discourses related to Saudi youth leisure time (al-Faragh) and employment policies (Saudization). In their totality, these cases are not an exhaustive list but an illustrative representation of youth-generated media `pulsed' at a particular juncture in Arab youth history.

According to the annual report of the BIS from 2017, Czech republic is a target of Russian hybrid strategy. Alternative and disinformation media can be one part of this strategy, because of their spreading of propaganda and disinformation, which jeopardize strategic interests of the Czech republic. This diploma thesis has two main aims in this framework. The first aim is a description of the czech alternative and disinformation media scene in the context of Russian hybrid strategy. The second aim is to recognize motivations, which lead to this kind of revisionist activities. The first aim is based on the analysis of particular disinformation media in the context of information about Russian hybrid strategy and Russian strategic interests. The second aim is based on semi-structured interwievs with representatives of alternative media.

The Swedish prime minister, Olof Palme was murdered in the middle of the street in the heart of Stockholm, by an unknown perpetrator on the 28th of February 1986. Even though it has been 32 years since the death of the former prime minister, a keen interest of the murder within the media still exists and has not decreased over the years. By conducting a qualitative text analysis, this paper examined how the murder of Olof Palme is described in an alternative medium; Fria Tider. The aim of this study is to problematize citizen journalism in Sweden. With the basis of the framing theory and agenda setting, eight texts were chosen from the alternative medium Fria Tider, an online newspaper. The authors conducted a framing analysis to identify which frameworks were most prominent in the way of describing the murder. The result of this study showed that three frames dominated; a conspiracy of several actors, the police's responsibility, and the solution is near. The authors found that Fria Tider produced several individuals and institutions as suspected of the murder of Olof Palme in these frameworks. While these frameworks can be seen as problematic, this study cannot conclude that it is problematic to read opinions other than what traditional media give. Therefore, this study cannot problematize citizen journalism.

The Diploma thesis titled 'The Development Of The Anarchist Press In The Czech Republic Since 1991' takes the examples of magazines A-kontra and Existence to examine not only anarchist media as the representatives of the alternative media, but also the anarchist movement itself and its thought foundations. It further examines the anarchist groups active on the territory of the Czech Republic since 1991 and the press published by them. The quantitative content analysis is used to further examine the anarchist media using the examples of the magazines of A-kontra and Existence, for instance in the area of topics, and to look for the common traits with alternative media.

@　「社區發展」（community development ）一詞，最先是由聯合國所 出的，其原始意義為：「一種經由全區人民積極參加與充分發揮其創造 量，以促進經濟、社會進步情況的過程。」（United Nations,1955 ）C 但一般的社區發展，多半是以科層組織為基本架構來推行，雖然較具效v ，但往往也流於繁複或保守。部分倡導傳播「文化中心論」（culture- entered theory）的學者建議以經驗共享、創造個人意義、建立社區價 □茖□N科層組織的運作。在此情況下，傳播媒介便負擔了促進資源、經 蟡甈y及共享的功能。@ 社區發展過程中所運用的傳播方式往往是多元的 ，而且無論是其形式 B內容或功能，都和主流媒介有明顯的不同。社區劇 場是社區發展的一個Ф膚峖﹛A也有其特定的角色及功能。但台灣遲至一 九九二年三月才出現釧T定場所、建制人員的社區劇場──台北市民生社 區的「民心劇場」，洏x灣劇場運動在九○年代初產生了另一種新形態。 它除了有其文化的角漵M功能外，也附帶或隱合社區傳播的功能，因為劇 場在社會中具有促進為吨峆堨葹茪H與社會連帶關係的功能，因此似乎應 該更關切它在整個社|的傳播網路中所扮演的角色，及存在位置的意義。@ 其次，我們亦可從「另類媒介」（alternative media），探討社區 @ 場的意義。除了相對於主流媒介外，另類媒介還有幾個值得注意的特徵 A 例如：它們是社區行動和組織的使用工具，它們本身就是行動者，並期瘥 鈳迣y改變；另類媒介的設立便是要草根性的投入，故歡迎民眾參與；早 怢膃野蒆鶪]賦有使命，其目的在促成社會改革。就此觀點而言，社區劇 場是是透過表演藝術的形態來進行社會改革的幫炰梒插A由於表演藝術所 具有的凝聚力及感染力，使它們和所處的社區 c成一種動態的生態關係， 只要他們基於這幾個特徵運作，自然會在經驗嬤氶B意見交流、資訊傳佈 、意義建構等層面上扮演某種特定的角色。 @ 以國內現有的研究成果來 看，對於社區傳播的研究似乎少有人涉獵， t類媒介的研究也有待開發， 而社區劇場是九二年才出現的文化現象，尚憐足鬲膍s者注目的焦點。但 上述三者之間，卻隱約有個脈絡可將其予以窸s，那便是：在社區內，透 過某種形式的媒介來進行社會連帶，可促使懋|變革。若將此一論述具體 化，便是：在社區內，透過社區劇場這種另□C介，可以促進社區發展。 故本研究試圖由這個角度出發，將社區劇場欓陞t類傳播媒介，探討其在 社區傳播中的角色、功能、及定位。

This dissertation analyses social critique, communication critique and aestheticalcritique in television produced by artists. Theoretically it draws on researchon alternative media, TV studies, especially genre analysis and narratology,and media aesthetics. It conducts a text-production study of three examplesof alternative television from the period 2004-2008: ContemporaryArt Center TV (CAC TV): A show produced by the CAC in Vilnius, Lithuaniaand aired on a commercial TV-channel; Good TV who aired video art ona local public access channel in Stockholm, Sweden; and Candyland TV, apirate transmission from an art gallery in central Stockholm.Empirically it builds on TV-texts, web sites and documents, as well asinterviews with participants. Through a study of form and stylistics, relationto conventional genres and modes of narration, it engages in a discussionabout the features of a critical, alternative media text.The study shows how these televisions work in a tradition of alternativetelevision and connects them to tactics and aesthetical forms as found inhistorical examples, but also how this type of formalist media critiquemight inform an understanding of alternative media. From the analysis ofrelations between social and formalist aspects of alternative television, adistinction between alternative as ”alternative worldview” and as ”alternativeexpressions” is suggested, a distinction that contributes to the developmentof theory in the study of alternative media.