Live nu! is an essay in media and communication studies covering 15hp. The authors have, by interviewing five Swedish companies, looked at how Periscope as a livestreaming medium is viewed and used for marketing purposes, as well as how it has changed the media climate of today. This by analysing the interwievs in a theoretical context based on theories conserning user generated content and the concept of Webb 2.0 as well as theories on marketing and the creation of value for costumers. Henry Jenkins theory about convergence culture was also applied. Discourse analysis is the method used in the qualitative work that make the foundation of this essay. The material was analysed and categorised using tools such as nodal points, chains of equivalence and articulations. Theories on marketing, user generated content and Webb 2.0 were then used to make a deeper analysis of the content. The results of the study shows Periscope viewed by Swedish companies as a tool to create content on costumers terms. A type of content built on trustworthiness, transparency and, if used in the right way, interactivity. Periscope is seen as a way to achieve a more personal dialog with the target group and to strengthen the brand whilst giving costumers value outside of consumable products.

In this study the aim was to investigate the area of non-celebrity people with a popular Instagram account, and indentify their motives to being active on Instagram, whether or not they maintained an online image and what consequences they could see as results of Instagram activity. Through six interviews with women between 17 and 28 years of age, the results showed the following patterns. The identified motives to Instagram use matched Whiting and Williams (2013) ten ways to apply Uses and Gratificatios Theory, and also identified three new ones: professional use, friendship and validation of oneself. Use of an online image was confirmed, as the interviewees stated how constructed to show ones best sides an Instagram account usually is, both theirs and others. Consequences and effects as result of Instagram use was stated to be both positive and negative, positive as inspiration, affirmation and easing contact with friends. Negative effects such as envy, comparisons, anxiety, a normalised view of unhealthy bodies, and the risk of addiction to Instagram use was noted.

This thesis is about YouTube, focusing on the phenomenon on the platform called vlogging. The study aims to examine how the dedicated user explains his/hers feelings towards the people of which vlogging content they have been consuming for a long period of time. Is there perhaps a noticeable pattern regarding how and why they established this relationship in the first place, and how it has developed over time. What is it that makes this type of video consumption valuable to the consumer, and what is the driving force that makes them stay so committed. The aim and purpose of this study is to find out what kind of participatory culture that is involved around vlogging as a media production and how it is described with the dedicated users own words. Is the driving force behind the engagement being a part of a community on the platform, or is the relationship straight between the producer and the consumer. If so, how and what is it that makes this one-way-relationship between the viewer and the vlogger valuable. To gather information about the dedicated users view of their consumption, and to answer the questions above, I have carried out 10 qualitative interviews with respondents who have been watching vlogs for five years or more within the media of YouTube. Through data collection and previous research within the subject, this thesis is able to confirm five different themes. Through analysis these themes together map out a pattern that concludes different factors for participating.

Sätten att titta på TV-serier har utökats de senaste åren i och med Internets allt mer centrala rolli vår mediekonsumtion. Sverige har gått ifrån att vara ett land med en enda public service-kanaltill ett med ett stort utbud av kommersiella TV-kanaler med syfte att locka tittare och annonsörer.I vår studie har vi undersökt aspekter av TV-serier som ligger utanför själva texten. GerardGenette (1997) var den som myntade uttrycket paratext som består av de två delarna peritextoch epitext. Dock är det Jonathan Gray (2010) som pratar om paratexter i relation till TV-serier,medan Genette (1997) endast beskriver paratexter i samband med litteratur. Eftersom det finnsså många olika TV-serier och TV-kanaler är det viktigt för en ny TV-serie att sticka ut blandmängden, samt att skapa en bild av vilken typ av TV-serie den är innan den faktiskt börjat sändas.Vi har använt oss av tre olika metoder för att kunna besvara våra två frågeställningar som rörvilka epitexter TV-kanaler använder sig av och hurvida det finns ett intresse hos tittare att kunnaengagera sig vidare i en TV-serie. Vår första metod utgjordes av en kvantitativ innehållsanalys avtio svenska TV-serier på fem olika svenska TV-kanaler, där vi främst riktade in oss på epitextersom kan hittas online. Därefter skapade vi en kvantitativ enkätundersökning där 79 respondentersom tittar på TV-serier deltog. Den sista metoden var en kvalitativ innehållsanalys på fyrapopulära svenska TV-seriers officiella webbplatser.Vårt resultat tyder på att det finns ett starkt intresse hos TV-tittare att följa en TV-serie på andrasätt än endast på utsatt tid på TV:n, och även att det finns en vilja att diskutera TV-serier, medsläkt och med vänner, likväl som med främlingar på Internet. Webbplatser för de olika TV-serierna erbjuder besökare möjligheter till både diskussion och vidare läsning om exempelvisavsnitt eller karaktärer. På så sätt skapas ett engagemang som gynnar båda parter. / Ways of watching TV series have increased over the years by way of the ever expanding part theInternet plays in our media consumption. Sweden has gone from being a country with a singlepublic service channel to one with a wide range of commercial TV channels with the purposeto attract viewers and advertisers. In our study we have examined aspects of TV series that existbeyond the text itself. Gerard Genette (1997) was the one who coined the expression paratextwhich consists of two parts; peritext and epitext. Though Jonathan Gray (2010) is the one whowrote about paratexts in relation to TV series, whereas Genette (1997) only describes them interms of literature. Because there are so many different TV series and television channels it isimportant for a new series to stand out from the rest, while also making it easy for potentialviewers to determine the show’s genre even before it has started airing. We have used threedifferent methods to be able to answer our two main questions about what different epitexts TVchannels use and whether there is an interest among viewers to be able to engage themselvesfurther in a TV series. Our first method consisted of a quantitative content analysis of tenSwedish TV series from five different Swedish television channels, where we mainly looked atepitexts found online. After this we made a quantitative survey in which 79 people who watchTV series took part. Our last method used was a qualitative content analysis of the officialwebsites of four popular, Swedish TV series.The result of our study shows a strong interest among viewers to follow a television seriesbeyond its regular broadcasting on television, and also that there is a will to discuss TV series,among family and friends, as well as with strangers found online. Websites of the different TVseries give visitors possibilities for discussion and further reading about, for example, episodesand characters from the show. In this way an involvement that benefits both parties is created.

This dissertation contains an exploratory study of how four Swedish media companies has decided to use social media in their daily work, and also how they in fact use them. What are the goals with implementing social media, how do they differ between different companies and do the goals transfer into the newsrooms? The four companies studied are Sveriges Radio, Aftonbladet, Dalarnas Tidningar and Gotlands Media. Media companies that differ from one another both in size, geographical coverage and economy. They range from small local newspapers to national public service radio and the biggest tabloid on the Swedish market. The methods used are qualitative research interviews and field studies as well as quantitative data analysis. The theoretical chapter helps define traditional journalism and journalistic practice. The concepts of boundaries, participatory cultures and normalizing of work methods are also discussed and helps build a context for the analysis of the empirical data. Some key findings from the study are that there are more similarities than differences between the various companies in both how they aim to use social media and how they in fact use them. That the digital development in the surrounding society are much faster than the implementation of new technologies in the newsrooms. Also, that there are differences between how the companies aim to use social media and the actual usage. For instance, all companies strive for a more active dialog with the audience in their visionary work, but has a hard time turning this into reality. There is also notable that social media in this study do not change the journalistic fundamental routines and traditions. The studied journalists are still in control of their own content and they aim to meet the same standard in journalistic quality when working in social media. It is also evident that Facebook is invaluable for all the studied companies, which gives Facebook an interesting indirect power over the journalistic work process and product. Finally, the study finds that it is hard to engage the audience in an active collaboration even when working with social media.

Dagens ungdomar idag präglas starkt av konvergenskulturen och deltagarkulturen och deras medievanor har ökat under åren. Företag som inriktar sig på denna målgrupp behöver anpassa sig till deltagarkulturens egenskaper och krav för att bibehålla sina kunder inom denna målgruppen. Uppsatsens syfte är att undersöka hur ett företag kan anpassa sig till deltagarkulturen och ungdomarnas medievanor. Uppsatsen undersöker företaget SVT och hur de gjort för att anpassa sig till den deltagande kulturen. Genom en observation och tre kvalitativa intervjuer har författaren samlat in allt resultat som kan ställas mot teorin i diskussionen. Resultatet visar att SVT arbetar mot att anpassa sig till deltagarkulturen via deras Projekt Z, där de arbetar med att kommunicera med målgruppen: generation Z, samt samlar in material från dem för att kunna skapa framtida tv-program som är anpassade efter ungas behov och önskningar.Slutsatsen för denna studie visade att om ett företag ska anpassa sig till deltagarkulturen så måste dem först få en förståelse kring vad konvergens och deltagarkulturen innebär och vilka krav deras målgrupp kräver från dem. Företaget måste anpassa sig till det höga deltagandet, uppfylla behoven hos deras målgrupp och fokusera på att arbeta på deras relation med målgruppen. / Today's youth today are strongly influenced by the convergence culture and participatory culture and their media habits have increased over the years. Companies focusing on this target group needs to adapt to the participant culture's characteristics and requirements to maintain their customers within this target group.The purpose of the essay is to investigate how a company can adapt to the participatory culture and the youth's media habits. The essay explores the company SVT and how they did to adapt to the participating culture. Through an observation and three qualitative interviews, the author has collected all the results that can be put against the theory in the discussion. The result shows that SVT works to adapt to the participant culture through their Project Z, where they work with communicating with the target group: generation Z and collecting material from them to create future television programs adjusted to the needs and wishes of young people.The conclusion of this study showed that if a company is to adapt to the participant culture, they must first get an understanding of what convergence and participatory culture means and what requirements their target group demands from them. The company must adapt to the high level of participation, meet the needs of their target audience and focus on working on their relationship with the target audience.

Denna studien har analyserat hur fansen till den slutna Facebookgruppen “Game of Thronesdiscussions” skapar sig en identitet efter serien Game of Thrones. För att kunna ta reda pådetta har 48 kommentarer, inlägg och memes valts ut och sedan analyserats utifrån metodenkvalitativ innehållsanalys. De kommentarer, inlägg och memes som valdes ut stårsjälvständiga och läses inte som varken tråd eller konversation. De delades sedan in i tremakro- och åtta mikroteman. Studien har fyra frågeställningar, Hur skapar fansen sig enidentitet utifrån diskussionen i gruppen “Game of thrones Discussions”, Hur serkommunikationen ut mellan gruppmedlemmarna, Vilken kunskap och vilka känslor användsför sitt identitetsskapande i gruppen och På vilket sätt visar medlemmarna att serien Game ofThrones överförs till deras fysiska liv. Studien har använt teorier om konvergens ochdeltagarkultur, samt teorier om identitet och identitetsskapande online.Resultatet visar att fansen i gruppen “Game of Thrones discussions” skapar en identitet utifrånserien genom att göra inlägg, kommentarer och publicera memes. Det är fokus påkommunikation genom att medlemmarna använder sig av ett specifikt språk, humor,konflikter och har ett behov av att visa känslor för karaktärerna som finns i serien. För att blien del av identiteten krävs även kunskap i form av kunnighet samt böcker. Fansen visar ocksåhur de lever sina Game of Thrones-liv utanför gruppen, det visas genom att göra inlägg omhur de påverkas emotionellt i verkligheten samt hur deras praktiska verklighet ser ut.Gruppmedlemmarna har ett behov av att känna att de är äkta fans till serien Game of Thrones,och genom att bli en del av den kollektiva identiteten som skapas i Facebookgruppen får debekräftelsen som eftersträvas. / This study has analysed how the fans in the closed Facebook group “Game of Thronesdiscussions” has created an identity after watching the show Game of Thrones. To examinethis, 48 comments, posts and memes have been selected and analyzed with a qualitativecontent analysis method. The comments, posts and memes that was selected are allindependent and are not supposed to be read as a thread or a conversation. Then they weredivided into three macro themes and eight micro themes. This study have four issues, Howare the fans creating an identity from the discussions in the group “Game of Thronesdiscussions”, How is the communication between the members from the group viewed, Whatknowledge and which feelings are used for their identity creation in the group and In whatway do the members show that the Game of Thrones series is transferred to their physicallives. The study has been using theories about convergence, participant culture, identity andidentity creation online.The results shows that the fans from the group “Game of Thrones discussions” are creating anidentity from the series by making posts, comments and publishing memes. There is focus onthe communication thru a specific type of language, humor and conflicts that the members areusing, and they also have a require to show their emotions for the characters from the series.To be a part of the identity, knowledge in terms of literacy and the books are claimed. Thefans also show how they are living their “Game of Thrones” life outside the group, it appearsthru their posts about how they are affected emotionally in reality and how their practicalreality are viewed. The members from the group have a need to feel that they are genuine fansof the series Game of Thrones, and by being a part of the collective identity that is created inthe Facebook group they get the conformation that is sought.

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Uppsatsens syfte är att utreda huruvida ett visst mått av interaktivitet är möjlig inom ramen för en films berättarstruktur. Med andra ord söker den visa om en tittare kan vara delaktig i filmens handlingsförlopp genom att aktivt påverka det. För uppsatsens syfte används filmen Lola Rennt (Spring Lola, Tom Tykwer, 1998) som en teoretisk försökskanin. Genom analys av filmens berättarstruktur och diverse tidigare forskning, fallstudium inom interaktiv film, samt relevanta bitar ur de Narratologiska (berättarforskning) och Ludologiska (spelforskning) skolorna ämnas det finna svar på hur ett interaktivt filmnarrativ kan se ut, samt hur det skulle påverka tittarens relation gentemot filmens karaktärer och handling.

Detta är en fallstudie som studerar deltagarkulturen samt publikens gemenskap och engagemang hos Sveriges Radio Creepypodden. Syftet med studien är att skapa en djupare förståelse av deltagarkulturen som fenomen och hur detta skapar utrymme för gemenskap hos publiken genom att analysera Sveriges Radios Creepypoddens lyssnardeltagande. Målet med studien är att få en större förståelse för hur ett mediums historiska utveckling kan se ut och hur lyssnarna får delta aktivt i mediet. För studien genomfördes en intervju med Creepypoddens skapare och programledare Jack Werner samt två lyssnardeltagare. Förutom intervjuerna genomfördes även en analys av arkivdata i form av fyra olika inlägg publicerade i forumet ”Creepypodden – Eftersnack” på Facebook. Teorikapitlet behandlar begreppet mediekonvergens som ger läsaren förståelse för vad mediekonvergens betyder men även hur den appliceras i det moderna mediesamhället. Deltagarkultur lyfts även som en vässentlig aspekt i det moderna medielandskapet. Studien visar på att Creppypoddens arbete med deltagarkultur är grunden till poddens existens och att gemenskapen bland lyssnarna upplevs givande. / This is a case study that study the participant culture as well as the community and commitment among the audience at Sveriges Radio Creepypodden. The purpose of the study is to create a deeper understanding of participant culture as a phenomenon and how it creates a space for community by analyzing the listening participation of Sveriges Radios Creepypodden. The aim of the study is to gain a greater understanding of what a mediums historical development can look like and how listeners are allowed to actively participate in the medium.  An interviw with the creator of Creepypodden, Jack Werner and two listeners was conducted. In addition to the interview, an analysis of collected data from four different posts published in ”Creepypodden – Eftersnack” on Facebook has been conducted.  The theory chapter process the concept of media convergence which gives the reader an understanding of what media convergence means but also how it works in the media world. Participant culture is discussed as a central aspect in the modern media landscape. The study shows that the work Creepypodden does with participant culture is the foundation to the existence of the podcast and that the community among the listeners is perceived as rewarding.