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Sättet på vilket vi upplever musikalteater har under de senaste åren genomgått ett skifte. Allt fler musikaler har gått ifrån att främst vara framförda live till att allt oftare vara inom ett producerat och inspelat format. Som musikproducent och musikalkompositör är jag fascinerad av detta skifte, och vilka möjligheter detta medför. Inom ramen för detta självständiga arbete på avancerad nivå utforskar jag möjligheterna i att komponera och producera musikal för inspelat medium, utifrån perspektivet av musik- och medieproduktion, och vilka konstnärliga möjligheter som uppstår när produktionstekniska aspekter tas hänsyn till under hela processen i skapandet av en musikalfilm. Genom reflektion kring hur musikaler görs idag, och hur modern teknologi och produktionstekniker kan påverka hur musikaler görs framöver, diskuterar jag olika produktionskoncept utifrån egna erfarenheter erhållna från detta projekt, och utifrån redan etablerade produktionsmetoder och teorier, såsom användandet av klicktrack inom musikproduktion, musikaliska metaforer, och mediatransformation. Jag diskuterar fördelen med att, som musikproducent, vara insatt i alla delar av processen, och drar slutsatsen att genom att ta hänsyn till produktionstekniska aspekter under hela skapandeprocessen uppstår nya konstnärliga möjligheter för narrativ och berättande inom musikalteater. / The way in which we experience musical theatre has shifted in the last few years. Rather than being performed live, musicals lean more often towards being within a produced and recorded format. As music producer and musical composer, I am intrigued by this change, and the possibilities it entails. Within this master’s project I explore the possibilities in composing and producing musical for the recorded medium, out of the perspective of music, and media production, and explore artistic possibilities when considering the production aspects during the entire process in creating a musical film. Reflecting on how musicals are being made right now, and how modern technology and producing techniques can affect how musicals could be made in the future, I discuss different production concepts I gather from my own experience working with this project, and previously existing production methods and theoretical ideas, such as the use of a click track while producing, musical metaphors, and media transformation. I discuss the benefits of, as music producer, having insight in every step of the process, and state that by considering production aspects of the project during the entire process, new artistic possibilities are created for musical narrative and further storytelling when creating musical theatre. / <p>Inkluderat som bilaga för detta självständiga arbete är ett videoklipp med utvalda delar från musikalfilmen <em>HAZEL - An Extravagant Musical</em>, som arbetet resulterat i.</p>

This thesis examines how authenticity is articulated and communicated in contemporary forms of branded entertainment. In a digital media landscape, participatory culture and co-creation has become of primary importance, leading to ‘authentic’ and ‘amateurist’ characteristics being strategically implemented in advertisements and professional media content production. At the same time, research on brand communication and authenticity have overlooked the many ways in which brands extend and mediate authenticity, especially in relation to symbolism and visual semiotics. In this thesis, we explore the way symbolic meaning is constructed in We the Bathers, a documentary produced in 2019 by director Phoebe Arnstein in collaboration with Lush, a cosmetic brand known for their vegan-friendly and cruelty-free products. The study was conducted using visual analysis which allows us to approach the study object in a qualitative and exploratory way. We then apply the theoretical frameworks of cultural myths and digital storytelling to analyze the effects and strategies employed in We the Bathers to communicate authenticity through the filmic medium. By extending Bell &amp; Leonard’s framework for evaluating organizational storytelling, which highlights the role of the communicative codes of affinity, authenticity andamateurism, we argue that the overall notion of authenticity in video content produced for digital environments can be determined through either of these lenses. By examining the intention of the sender in terms of genuineness (authenticity), relatability (affinity), and techniques which lends the story a sense of ‘realness’ (amateurism), our findings indicate that authenticity can be viewed as a tool for producing certain media effects as opposed to arising from the mediation of inherent personality traits.

This master’s thesis investigates how freelancers experience job precarity and asymmetrical power relations which have been established within the media production industry as well as the relevance and value of coworking spaces providing a workspace with the possibilities of knowledge sharing, networking and community building, as a framework in order to challenge their precarious working conditions. Furthermore, the research aims at examining the participants’ experiences in a qualitative manner to explore those rather new concepts of freelancing and coworking spaces as previous research has failed to address the individual experiences of how freelancers deal with the nature of work in the media production industry.Situated in the context of the structural changes within media production towards a project-based nature of work and the decrease of permanent employment, freelancers are increasingly facing precarious working conditions such as uncertainty and instability.Applying the theory of structure and agency as theoretical framework, it is discussed to what extent freelancers are influenced by the established structures, rules and norms within the media production industry and how their agency is enabled within these structures.Using a qualitative research approach, this study is based on an investigation of the experiences and knowledge of eleven freelancers working in the media production industry and who are users of coworking spaces by the means of semi-structured interviews. In summary, this thesis reveals that the majority of the participants experience asymmetrical power relations and precarity to a high degree. Furthermore, freelancers who seek for communities in order to challenge their precarious working conditions, experience coworking spaces as highly valuable concept in order to increase the possibilities for their individual agency. Having investigated those rather novel concepts, this thesis serves as a starting point for examining further research on freelancers’ individual experiences of their working conditions.

This single-case study examines the influence of social media practices on tennis players’ physical behaviours in the context of Swedish tennis club. Through semi-structured interviews with tennis club members, the research aims to understand how social media practices impact tennis players’ physical behaviours. The study draws on theoretical frameworks that highlight social media’s influence on both the production and consumption of content, which can shape tennis players’ physical behaviours. The findings reveal that social media practices affect tennis players’ physical behaviours. Firstly, these practices can lead to changes in coaching approaches as coaches adapt their strategies and techniques based on social media trends and feedback. Tennis players may develop new habits influenced by what they observe and engage with on social media platforms. Additionally, social media practices can impact tennis players’ societal position, influencing their interactions with others and potentially affecting their social dynamics within the sports community. In conclusion, this study emphasizes the importance of considering social media practices beyond online engagement and their impact on physical behaviours. The findings provide valuable insights for sports organizations aiming to develop strategies that promote positive social media practices among tennis players while mitigating negative influences. Moreover, the study contributes to the research field by exploring the influence of social media practices on tennis players’ physical behaviours in offline settings. Researchers interested in further investigating this topic can draw upon the methodology and findings of this study as a guide for their own investigations.

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This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. In conclusion, the Korean Wave has rekindled national forces in spreading local popular content globally in three ways: 1) by deconstructing a binary approach of West vs. non-West, and Global vs. Local in order to understand media cultures and practices; 2) by understanding the rise of Northeast Asian media connections as part of a global culture; and 3) by decolonizing non-US/UK state actors to perceive their actions, which hinges on the ongoing centrality of nation-states in the global media sphere. / Media & Communication

The purpose of this study was to find out more about upper secondary school students ́ experience of peer response to media productions, eg movies and digital stories. We also explored how they learn peer response, how they use it and how peer response affects students’ choice of content for the media productions that they produce. The methods that we have used is an unstructured lesson observation, combined with discussions in two focus groups with 1st and 2nd grade students enroled at the Arts program at a secondary school in a metropolitan area in Sweden. The results of the study show that students experience peer response as positive but emphasises the importance of the teachers’ attitude and expertise as essential both to the students learning process as well as to their experience of giving and receiving feedback from a fellow student. The students find it difficult to be completely honest when they give response to a friend. The teachers’ response always outweighs the response from a fellow student and the students in this study do not use the peer response to revise and improve their media productions. The study shows that the students do not adapt the content of their media productions due to the fact that classmates will assess the result. They perceive media productions as something per definition accessible to the public, that is, the products will be showcased in public, for example, published on the internet. The students relate to this fact as they select content to their media productions. / Syftet med denna studie har varit att ta reda på mer om gymnasieelevers upplevelser av kamratrespons på medieproduktioner, t.ex. filmer och digitala berättelser. Vi har också undersökt hur de lär sig kamratrespons, hur de använder sig av den och på vilket sätt kamratrespons påverkar elevernas val av innehåll till de medieproduktioner som de producerar. Metoderna som vi har använt oss av är en ostrukturerad lektionsobservation i kombination med diskussioner i två olika fokusgrupper med elever från årskurs 1 och 2 på det Estetiska programmet på en gymnasieskola i ett storstadsområde. Resultatet av studien visar att eleverna upplever kamratrespons som någonting positivt men framhåller att lärarens attityd och expertis är avgörande för såväl övning som upplevelsen av att ge och ta emot respons från en kamrat. Eleverna upplever att det är svårt att vara helt ärlig när de ger respons till en kamrat. Lärarens respons väger alltid tyngre än kamraters och eleverna i studien använder sig heller inte av kamraternas respons för att omarbeta och förbättra sina medieproduktioner. Studien visar att eleverna inte anpassar innehållet till sina medieproduktioner utifrån vetskapen om att klasskamraterna kommer att ge respons. Eleverna uppfattar medieproduktioner som per definition publika, d.v.s. produkter som kommer att visas upp offentligt, exempelvis publiceras på internet och detta faktum förhåller sig eleverna till när de väljer innehåll till sina medieproduktioner.

Hösten 2016 uppkom ett fenomen som blev omtalat i svenska morgontidningar, den så kallade “clownhysterin”. Fenomen sattes snabbt på agendan och handlade om clowner som hade attackerat människor. Syftet med denna studie är att undersöka vilka som får synas i artiklarna och hur de representeras. Artiklarna kommer att inhämtas från de två största kvälls- och morgontidningar i Sverige, Aftonbladet och Dagens Nyheter. Studien använder sig av teorin om medielogiken där begreppen tillspetsning, förenkling, polarisering, intensifiering, personifiering, konkretion och stereotypisering använts. En kvalitativ textanalys kommer att vara studiens metod. Resultaten som tagits fram visar på att vittnen, clowner och utsatta är underrepresenterade i artiklarna. Poliser och högre uppsatta syns till en större grad. Clownerna representeras som de onda och skräckinjagande medan poliser framställs som tillförlitliga och sakliga. / In the fall of 2016 the words “creepy clown hysteria” or “clown attacks” became regular to the Swedish daily press. The phenomenon of clowns attacking people and scaring people became media's head priority during approximately two weeks. The focus of this thesis is to establish who gets to talk in the articles and how these people are represented. The articles are found in the biggest night and morning newspapers, Aftonbladet and Dagens Nyheter. The theory for this thesis is called media logics and includes seven directions, these are; sharpening, simplification, polarization, intensification, personification, concreteness and stereotyping. A qualitative text analysis is used as method for this thesis regarding text. The results of the thesis are that there is an underrepresentation of witnesses, clowns and victims in the texts and an overrepresentation of people with authority like polices. The clowns are represented as evil and horrifying while the polices are shown as trustworthy and honest people.

This study analyzes young women’s descriptions and conceptualizations of cyberviolence and cyberbullying, including how they both challenge and reify mainstream cyberbullying discourses. The central themes analyzed include the way(s) in which self-representation in social networking sites are constrained through the limited options young women describe as being available for self-expression in these spaces, how notions of publicity, privacy and context-specific communication in social networking sites factor in girls’ descriptions of platform architecture, and how platform architecture often amplifies cyberviolence. Finally, the study unpacks the reasons that young women offer to explain why adults are often so out of touch when it comes to understanding cyberbullying and its relationship to young people’s digital culture. This dissertation contributes to cyberviolence studies, feminist new media, and girls’ digital culture studies, and has relevance for critical feminist criminology, by centring the voices of young women in order to investigate cyberviolence through participatory video with a sizable number of young women. The findings are based on data collected through eight participatory video workshops, two co-produced short documentaries and six focus groups with one hundred and twelve (N=112) participants in total under the larger umbrella study “Cyber & Sexual Violence: Helping Communities Respond” (2013-2016). This project was a community partnership between the Atwater Library and Computer Centre in Montreal and the TAG Lab at Concordia University, and was funded by Status of Women Canada. I employ an interdisciplinary theoretical framework that puts feminist new media studies, feminist approaches to online misogyny and girls’ digital culture studies into conversation with the extant literature on cyberbullying and cyberviolence. This theoretical approach is used to examine how the social norms in the discourse communities of social networking sites that girls outline in their descriptions of cyberviolence are structured through age-old misogynistic myths and impossible contradictions around femininity. Employing a participatory arts-based feminist lens allowed me to invite participants to share their perspectives in an accessible and fun way while examining their work through qualitative thematic analysis. Among the many findings this research produced, three key themes extend as threads that run throughout the dissertation. First, my participants did not relate to the term ‘cyberbullying’ in the way that adults often use it. While researchers and policy-makers continue to debate how to define cyberviolence and cyberbullying, participant responses illustrated the need for more dialogue around the toxic social norms and assumptions that currently structure young people’s digital culture, mainstream cyberbullying debates and anti-cyberbullying programming. Secondly, young women’s focus on issues of publicity versus privacy, anonymity, and peer surveillance highlights both the nuances that girls’ voices contribute to ongoing cyberbullying debates and how social networking sites amplify age-old double standards facing women and girls in visual culture and the public sphere. Finally, the themes of empathy and education that emerged from participants’ suggestions for strategies with which to address cyberviolence underscore the systemic changes that will be necessary in tackling the continually evolving and widespread phenomenon of cyberviolence. Participants conceptualize cyberviolence and cyberbullying as existing along a continuum of daily interactions in social networking sites that include encountering everything from mean jokes to sexual violence.