Den här uppsatsen undersökte hur medielogiken uttrycks i Rädda Barnens och Sverige för UNHCR:s videomaterial under flyktingkrisen september 2015. Då majoriteten av den medialiseringsrelaterade forskningen i Sverige har intresserat sig för partiledardebatter och politisk kommunikation finns det en kunskapslucka kring hur medielogiken formar andra sfärer i samhället. Denna studie avsåg att genom semiotisk analys och mulitmodal analys undersöka videomaterial i dessa två ideella organisationer, för att identifiera mediernas berättartekniker i dem. Sammanlagt analyserades fyra videoklipp i två ideella organisationers Facebook-sidor under september 2015 utifrån teorin om semiotik och medielogik. Två tydliga teman i videoklippen framträdde ur resultatet. Dessa benämnde vi som Flyktingkrisen som empati och Flyktingkrisen som verklighet. Ur dessa framkom fyra underteman. Dessa benämnde vi som dramatisering, dokumentering, reklamformat och nyhetsformat. Studiens resultat visade även att medielogiken personifiering förekommer starkt i samtliga av våra studieobjekt. Utifrån detta resultat kunde vi dra slutsatser kring genom vilka stereotyper personifieringen framkom i.   Vår studie bidrar därmed till forskningsfältet med kunskap om stereotyper av flyktingar. I tidigare forskning av Ylva Brune (1998) urskiljs två sorters stereotyper av flyktingar: offer eller hot. Vidare menar Urban Ericsson (2001) att stereotypen den duktige flyktingen tenderar att förekomma i media endast på individnivå. I vårt material fann vi att en flykting gestaltades annorlunda än de stereotyper vi fann i vår tidigare forskning. Vi valde att kalla den här kategorin flyktingen som målmedveten då denne är fast besluten att ta sig fram trots omständigheterna. Vi fann även en icke tidigare dokumenterad framställning av flyktingar som likartad publiken när det gäller välfärdsbakgrund. / The aim of this paper was to examine how media logic’s are expressed in Save the children’s and Sweden for UNHCR’s video material during the migrant crisis. Since the majority of the mediatization research in the Swedish context has focused on the party leaders and political communication, there is a lack of awareness regarding how media logic shapes other spheres in the community. This study’s objective was to examine video material through semiotic and multimodal analysis, to identify media logics. In total four videos from two nonprofit organizations, that were published in September 2015, were analyzed based on the understanding of media logics.  Two distinctive themes appeared in the results. These were titled migrant crisis as empathy and migrant crisis as reality.  From these, four subthemes appeared. These were titled dramatization, documentation, advertising formats and news format. The result shows that personalization occurs strongly in all of our study.  Our study contributes to the research field with knowledge about stereotypes of refugees. We found a new kind of stereotype that we have chosen to call the determined refugee. The choice of name for this category is based on our interpretation of a refugee as determined to survive. In addition to the study’s contribution of how the representation of refugees among nonprofit organizations now take a new form, we also found a not previously documented representation of refugees like the crowd when it comes to the welfare background.  Our study contributes to knowledge about how mediatization is expressed in strategic communication.

Internet and digital media have profoundly reorganised the radio landscape by giving birth to new formats and patterns of radio listening. Today, traditional radio actors systematically use online platforms to diffuse their programs and communicate with their audience. This master thesis offers a case study and examines how Radio FIP, a French music station of public service, uses its digital devices to diffuse its program and produce content online. On the basis of existing researches on radio and radio diffusion online, and with the help of the concepts of format, media logics and hybrid media system, the author of this paper defines two logics of traditional radio and radio online used as reference in order to analysis the influence of media logics on the station’s material and formats online.   Observation of Radio FIP’s website and social media pages on Facebook and Twitter showed  a clear influence of radio online logics in the visual and informative extra content, the additional audio offers through online webradio streams, the promotion of non linear and asynchronous formats of radio listening’s and the incorporation of networked media frames. At the same time, logics of traditional radio prove to be also very significant with the pre-eminence and promotion of the station’s on air broadcast on digital devices and the reproduction of traditional radio patterns of temporality, music prescription and vertical communication on social media platforms. The coexistence of the two logics in Radio FIP online platforms characterises the station’s digital apparatus as a hybrid media space, and opens up new research trails for better understanding what influence the content formats of radio stations diffusing online.

The purpose of this thesis is to increase the understanding of political party organizations' digital communication by investigating what and how Swedish political youth associations communicate on TikTok. The purpose is realized through a case study of two youth associations, Moderata Ungdomsförbundet (MUF) and Sveriges Socialdemokratiska ungdomsförbund (SSU). The material is collected from a three-month period (November 1, 2023 - January 31, 2024) and the method of the thesis is a combination of quantitative multimodal content analysis and thematic analysis. The theoretical framework provides an understanding of the youth associations' conditions and expectations as an organization, as well as the media logics and norms that they need to adhere to in their communication. In the result it became clear that what the youth associations communicate differs. The most frequently communicated content from SSU consisted of entertainment content, closely followed by political content. MUF mostly focused on political content, but entertainment was also seen. Like previous research, only a small part of the material consisted of personal content. In terms of how the youth associations communicate, there was a similarity in that both associations used a comic style frequently, something that is typical for the platform and thus becomes a way for the youth associations to adopt the current style on TikTok. Similar to previous research, however, there was a lack of interactive tendencies on the part of MUF, which the platform invites. SSU appeared to use the interactive style in about half of the material. Similar to previous studies, we found that both SSU and MUF were diligent users of affordances such as music, audio, text, hashtag and location features. Tendencies we could see in how the youth associations communicated were also that they use platform trends and vernaculars frequently, which differs from previous research. We could thus state that both youth associations showed an adaptation to the platform dynamics.