Background The online second-hand fashion market is a growing market that can be promoted with the help of social media and influencers. Influencers can help with store promotion as well as to promote sustainability and, therefore, promote this alternative fashion consumption style. Furthermore, in social media marketing videos, the aspects of education, entertainment, and esthetics have been noted to be important dimensions to consider.  Purpose This study aims to describe what aspects of influencer marketing videos appeal to consumers in the second hand fashion online store market. Methodology The study took the form of a descriptive and qualitative study in order to describe what aspects of the dimensions of education, entertainment and esthetics appeal to consumers in the second hand fashion online stores. A pilot study with two participants was conducted in order to ensure that the interview guide was understandable for the main study. Six participants took part in the main study with online interviews. Findings The empirical data contributed to the consideration of the most relevant aspects within each dimension. In education, these were the type of information, the message delivery and the deliverer. For entertainment, this was the influencer’s personality and engagement. For esthetics, the visuality of the video was evidently to be considered.  Conclusion The findings contribute to describing an appealing influencer marketing video from all of the three dimensions. For education, the importance lies in the delivering verbal information about sustainability and about the online store, as well as the influencer’s trustworthiness and persuasiveness. The findings of education are highly context specific for the second hand fashion market. Similarly, the persona was important regarding the perceived entertainment, as energetic and engaging persona successfully engaged, together with the aspect of suitable and interesting plot. For esthetics, the visuality, such as basic colors and short text were perceived appealing, as well as the style of the influencer.  The dimensions of entertainment and esthetics, however, act more as enhancing dimensions for the appeal, and education can be seen as an important appealing factor on its own. Moreover, for all dimensions the influencer has a central role for how the content and the marketing video is perceived by the audience.

Objectives: Consequent to previous research indicating the positive influence of entertainment on attitudes, this quantitative study investigates which interactive elements more effectively augment entertainment and to which degree Gamification, Data Selection, Storytelling, and Motion augments entertainment through the beneficial components Emotional Arousal, Recovery and Regulation and Aesthetic Appreciation (Dobni, 2007). Method: A pre-study survey was conducted to determine a neutral topic for the interactive infographics used in the main study. The main study consisted of experiments on university students. The participants were asked to engage with four interactive infographics, each focusing on one interactive element, while consecutively answering a questionnaire. The results of the survey were analyzed by ​​descriptive analysis, while the questionnaire was analyzed by ANOVA, MANOVA, ​​descriptive analysis, and Pearson’s r. Results: The pre-study survey concluded that Wild Animals was the most neutral topic. Statistically significant differences in shown entertainment were discovered between all interactive elements except Gamification and Storytelling (p = 0.696) and Data Selection and Motion (p = 0.971). Statistically significant differences in signs of Emotional Arousal and Aesthetic Appreciation were discovered between the interactive elements, but none in Recovery and Regulation. A significant (p < 0.001), strong positive correlation (r = 0.744) between shown and self-reported entertainment level was identified. Conclusion: Four out of five null hypotheses were successfully rejected. The findings show that Gamification and Storytelling can be used to augment entertainment more effectively. All interactive elements augment entertainment mainly through Aesthetic Appreciation. Storytelling and Gamification secondarily use Emotional Arousal, while Data Selection and Motion use Recovery and Regulation. Practical implications include that teachers and creators can augment entertainment by choosing effective interactive elements when designing and selecting interactive infographics. Further research can be conducted through qualitative methods or investigating other interactive elements, populations or device environments.

Entertainment on airplanes has increased in later years and is a significant part of the flight experience. In-flight Entertainment (IFE) can consist of many different types of entertainment such as movies, music, live-tv, and games. Recently, the attention to making accessible websites has also increased. WCAG is a set of guidelines for creating accessible web pages. The target devices for WCAG are computers, laptops, and mobile phones. This thesis aims to customize the guidelines and success criteria in WCAG to increase their utilization when applied in an IFE system. Additionally, this thesis focuses on finding differences in accessibility for IFE systems and websites.    The procedure to customize WCAG was done through literature and case studies. The data gathered from these two methods were used together to customize the guidelines and success criteria. The case study was done on people working with the development of IFE systems. Following the customization of WCAG, a comparison was made in a specific scenario between the customized guidelines and WCAG. The study showed that customization of some guidelines and success criteria in WCAG was necessary if WCAG was applied in an IFE system. However, the results also showed that most guidelines and success criteria can be used in an IFE system without changes. The customized guidelines are called IFCAG - In-Flight Content Accessibility Guidelines. To conclude, the guidelines and success criteria in IFCAG should work better than WCAG when applied in the development of an IFE system. However, this cannot be determined before IFCAG is applied during an actual development of an IFE system. Furthermore, WCAG consists of a large ecosystem of additional supporting documents. Future research could also look at these documents with IFE systems in mind.

Organisational culture is a long debated research field, one that is greatly influential in modern day workspace, possibly deeply affecting organisational performance. This thesis is a case study on Blizzard entertainment from 1997 to 2005, where Blizzard North and Blizzard South, two organisations, existed and worked on some of the company’s most influential games. The authors analysed and inspected the unique culture of each of the organisation, intending to understand the effect of organisational culture on video game development. The analysis is conducted utilising multiple organisational cultural theories and models. Both of the studios' organisational culture is explored in this study and the study aims to show the effect of these organisational cultures in the game development process. The importance of this research lies in studying the connection between organisational culture and the gaming development process. This research is for an audience which takes interest in starting their own company or working in one, people who want to understand how companies work and people who are interested to see different behaviours in different situations. The key findings of this study are about how organisational culture affects different aspects of game development such as design, approaches and relationships between peers.

This thesis began as an exploration of how to create an immersive design through an immersive design experience. The project I used to study this inquiry was the design of a new country pavilion at Epcot in Walt Disney World based on Peru. This project revealed that in architecture, the design process is integral to the outcome; they are interwoven and cannot be separated. Weaving has emerged throughout every level of this investigation, from the intertwining of the overarching ideas to the physical and metaphysical weaving within the project. The method in which I worked became a weaving of the study of artifacts with the use of traditional architectural techniques and the exploration of emerging design technologies. Traditional architectural design processes must be iterated on and adapted to better address more specialized sectors of the industry. For a themed entertainment project specifically, the design process must be catered to understanding and enhancing the user experience. I argue that a more immersive, multimedia design process is necessary to appropriately address these issues. / Master of Architecture / This thesis began as an exploration of how to create an immersive design through an immersive design experience. The project I used to study this inquiry was the design of a new country pavilion at Epcot in Walt Disney World based on Peru. This project revealed that in architecture, the design process is integral to the outcome; they are interwoven and cannot be separated. Weaving has emerged throughout every level of this investigation, from the intertwining of the overarching ideas to the physical and metaphysical weaving within the project. The method in which I worked became a weaving of the study of artifacts with the use of traditional architectural techniques and the exploration of emerging design technologies. Traditional architectural design processes must be iterated on and adapted to better address more specialized sectors of the industry. For a themed entertainment project specifically, the design process must be catered to understanding and enhancing the user experience. I argue that a more immersive, multimedia design process is necessary to appropriately address these issues.

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This paper examines the concept of brand-funded documentaries that center on the issue of climate change and uses Aristotle’s Rhetorical Triangle to better understand how the films use rhetoric in communicating their message. A rhetorical analysis was conducted using four brand films from Amazon, Corona, Patagonia and REI and the results are intended to demonstrate the best methods of persuasion and the most effective rhetoric utilized in brand-funded documentaries. Because brand-funded documentaries not only make an argument about a particular issue, in this case climate change, but also must communicate a particular brand’s values and commitments, examining the rhetoric in these films proves particularly interesting and informative both for advertisers and filmmakers. The research shows that using emotions such as fear, awe, sadness, and joy serves to complement information dissemination in documentaries and allows for stronger engagement with audiences.

By the late nineteenth and early twenty century both the United States and Europe were experiencing massive shifts in social organization, social attitudes, and global influence due to the effects of the industrial revolution and imperialistic expansion. This birth of a public sphere and the mass entertainment industry was related to a blurring of the lines between traditional social classes. Mass entertainment's growth was directly related to the need to attract large audiences with entertainment that appealed in some way to a broad spectrum of the populace. At the same time, stage illusionists or magicians were one of the most recognizable stars of mass entertainment. In fact, they were in the midst of what has been termed the “Golden Age” of magic. By recognizing the popularity of their performances in the United States and Europe, this thesis will use them as a reflection of historical trends and popular attitudes in areas such as romanticism, secular/technical superiority, race, and gender. Historians, like Lawrence Levine, have produced a number of historical studies in regards to performance art, mass entertainment, and the historical implications represented in entertainment. Previous studies of magicians during the time period have been primarily biographical or technical in nature. It is only recently that historians have begun to combine the two in regards to performance magic. This thesis will combine previous research on the historical narrative of the time from authors such as Leon Fink, Sean Cashman, and Alan Trachtenburg in order to analyze how magical performances confirm conclusions reached by previous work on the historical context of these performances. The themes that are addressed within this work begin with the birth of mass entertainment, the need for an act with mass appeal to attract audiences, and how the mass entertainment displays a blurring of class lines. It will expand on work by Daniel T. Rogers in explaining how these trends were not exclusive to the United States or Europe and were actually a transatlantic phenomenon. It will use Simon During to explain how magicians, with roots in folk culture, became stars on the stage because of their appeal and their unique position in performance art. It will add to work by authors such as Lawrence Levine, showing how magicians needed to perform acts for mass consumption by working class, middle class, and upper class individuals. Finally, it will use magical performances as text to reflect social attitudes of the time period much in the way that authors such as Eric Green or Katherine Prince have done in their work.

This thesis looks at entertainment bias, specifically bias on the Tonight Show with Jay Leno towards Arnold Schwarzenegger during the time leading up to the California recall election in 2003. Entertainment media possess a unique ability to communicate messages to an unguarded audience, which gives them the potential to have more of a political impact than traditional news media. The basic theory is that Jay Leno showed political bias in his monologues towards his friend and gubernatorial candidate, Arnold Schwarzenegger. This theory was tested through a highly detailed descriptive analysis of monologue jokes and summary data for the time period March 31, 2003 to October 6, 2003. In total, there were 388 jokes from monologues of the Tonight Show analyzed. These jokes were broken down into categories based on their content and the subject. They were then compared to jokes delivered on the Late Show with David Letterman about the California recall election. The analysis of jokes showed that the manner in which candidates were portrayed on the Tonight Show with Jay Leno was politically biased towards Arnold Schwarzenegger. Due to the differences in program structure it was difficult to determine if this political bias was also present in the Late Show with David Letterman. / Master of Arts