Due to the increased consumption of video streaming services, the user’s requirements increase, which strengthens the demands on the services and requires a well-functioning navigation system. This study aims to examine the user experience (UX) of the navigation system on the streaming service Netflix. The study has focused on the pragmatic and hedonic aspects to find out their significance for the result. This was investigated through a combination of both qualitative and quantitative studies, including user tests followed by a semi-structured interview and with the measuring tool AttrakDiff. By analysing the results from a phenomenological point of view, the results were reached.  The results and analysis from the study show that the hedonic aspects are the ones that mainly contributes to the positive user experience. The user tests show that the individual steps towards the user goals are highly relevant and that less positive parts of the product do not necessarily mean that the user experience becomes negative.

This thesis expands an understanding of how Netflix has been established in Sweden’s media landscape. It seeks to investigate what effect the press has had, and more specifically, the study explores how the press builds up Netflix as powerful and how it imbues Netflix with legitimacy. Methodologically the thesis starts off with a usage of purposive sampling in order to find articles. The material is further handled with a critical discourse analysis, where writers’ language is explored, along with an investigation into how the world is represented with regards to identities, relationships and sociocultural aspects. Analysed articles with an economic focus come from Dagens Industri and those with cultural focus comes from Aftonbladet, Expressen, Dagens Nyheter and Svenska Dagbladet. Moreover, the study is based on theories and earlier studies within political economy, with a pursuit to understand film and television industry; trade press, to interpret the economic articles; cultural journalism, to interpret the cultural articles from; and power, to distinguished different power aspects in Netflix. The analysis comes in two parts: the economic analysis, which is divided in three ways and a two-folded cultural analysis. When it comes to economic legitimacy, two major aspects are prominent: Netflix’s success in competition against other streaming services and a clear establishment on the global market. Some articles have also given reasons to understand Netflix’s situation as ambiguous, meaning its future is uncertain. With regards to cultural legitimacy, the question of quality is significant, along with a connection to other social contexts such as gender, politics and climate. Netflix is perceived as having a societal responsibility. As a result of this thesis, it can be noted that cultural articles tend to be more critical than economic. Cultural journalists appear to cover the subject with a more open approach, using personal opinions, often suggesting what Netflix can improve. Writers of economic articles demonstrate a stricter portrayal of Netflix, mainly focusing on developments and success.

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Netflix is currently the world's largest subscription-based streaming platform, with 221.8 million subscribers worldwide (Maglio, 2022). Part of Netflix's enormous global appeal is its Netflix Original brand of films and TV shows - content it produces specifically for broadcast on its streaming platform. To make its content accessible to deaf and hard-of-hearing audiences, Netflix subcontracts the creation of closed captioning to vendors, instructing them to follow the Timed Text Style Guide (TTSG), which it makes freely available online. My study examines how closed captions for Netflix Original content endeavour to make audiovisual content accessible to deaf audiences, and I demonstrate how the platonic ideal of "equal access" is out of reach due to the limitations of timed text. The objective of my study is to highlight and critique the transformations of meaning that occur when captions translate sound and spoken dialogue into timed text. Drawing on D'Acci's circuit model of media studies (2004) my thesis links the sociohistorical conditions from which captioning techniques and technologies were developed, the conditions of caption production, and the way in which the needs of deaf audiences are articulated in the TTSG. I explore how these three forces affect the content of closed captions. To this end, I engage in a close reading of the TTSG and a selection of closed captions for Netflix Original series and films, borrowing from Berman's (2000) theories regarding the deforming tendencies of translation to describe the changes that result from the intralingual and intersemiotic translation involved in captioning (Jakobson, 2004). My study is informed and inspired by my personal experience as a professional captioner.

The purpose of the study “Representation of gender in Swedish youth TV series” is to illustrate how genders are represented in Swedish youth tv-series. Young people are influenced by the media when creating their identities and shaping their views of the world. The media reproduces gender sterotypes which affects young people’s perception of gender and sexuality, which is why it’s important to analyse what kind of gender representations are visible in popular culture today. Earlier research shows most movies reproduce gender stereotypes and homosexual characters are often discriminated against or not displayed at all. The TV series analysed are the popular Netflix shows Young Royals and Störst av allt (Quicksand). Our research questions were “How aremasculinites and femininites represented in the tv-series based on norms and stereotypes? and “What similarities and differences in these representations can be found in the two tv-series?” The theoretical framework used is gender theory, representation theory, feminist film theory as well as masculinites and stereotypes. A list of stereotypical male and female traits was compiled to be used when analysing the characters. By using the method multimodal critical discourse analysis five analytical tools were chosen, which were lexical choices, attributes, setting, body language and image representation. These were used when analysing the first season of Young Royals and Störst av allt which were six episodes each. The analysis resulted in 16 thematic discourses that illustrate the gender representationes in the series. The study found that both series showed stereotypical and non-stereotypical traits in the characters. Some of the non-stereotypical discourses were “men as caring and thoughtful”, “women in positions of power” and “men expressing emotions”. Some of the prominent stereotypical discourses were “men in positions of power”, “violent men”, “women as victims”   and “women as caring and thoughtful”. The non-stereotypical gender representations indicate that society’s view and expectations on the genders may be changing and developing.

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Studien ”Blev du värsta psykologen helt plötsligt bre?” ämnar kartlägga och belysa konstruktionen av könsstereotyper i en svenskproducerad dramaserie. Uppsatsen undersöker porträtteringen av könsstereotyper i den populära dramaserien Snabba Cash som släpptes våren 2021 på streamingplattformen Netflix. TV-serier och medier har sen länge porträtterat könen väldigt stereotypiskt, men har förbättrats över åren, speciellt i Europa. Sverige som medieproducenter har även tagit fram initiativ för att bidra till ett mer jämställt klimat inom tv- och filmbranschen. Studiens teoretiska ramverk utgår utifrån representationsteori och stereotyper, genusteori och hegemonisk maskulinitet. Med hjälp av metoden multimodal kritisk diskursanalys och lexikala val, ordval, attribut och miljö som analysverktyg, har studien undersökt seriens sex avsnitt och dess porträttering av könsstereotyper. Analysen resulterade i att vi kunde utvinna fyra diskursiva teman som var bidragande till seriens porträttering av könsstereotyper: Kvinnor som karriärsstyrda, Män som visar känslor, Kvinnor och män som föräldrafigurer och Män som våldsamma. Analysens resultat visade att seriens huvudkaraktärer porträtteras icke-stereotypiskt, och utmanar båda den hegemoniska maskuliniteten som närvarar i seriens miljö. Detta görs genom att den kvinnliga huvudkaraktären tillskrivs egenskaper som bidrar till en hegemonisk position trots sitt kön. Spegelvis bryter den manliga huvudkaraktären den hegemoniska roll han har i början av serien för att utvecklas till en person som innehar mer accepterade feminina egenskaper och mål. / This thesis, ”Blev du värsta psykologen helt plötsligt bre?”, aims to map out and spotlight the construction of gender stereotypes in a swedish-produced drama series. Th e thesis investigates the portrayal of gender stereotypes in the popular drama series Snabba Cash, that was released during the spring of 2021 on the streaming service Netflix. Since far back, TV-series and media has been portraying the genders as stereotypical, but has improved over the years, especially in Europe. Sweden as mediaproducers has also developed initiativs to contribute to more equal climate within the tv- and film industry. The thesis theoretical framework revolves around representation theory and stereotypes, gender theory and hegemonic masculinity. With the help of Multimodal Discourse Analysis and lexical choices, word choices, attributes, and environment as tools of analysis, the thesis has examined the series six episodes and they’re portrayal of gender stereotypes.   With the result generated by the analysis, four clear discursive themes could be extracted that we’re detrimental to the shows portrayal of gender stereotypes: Women as carrier-oriented, Men that show emotions, Women and men as parental figures and Men as violent. The result of the analysis showed that the main characters of the show are portrayed non-stereotypical, and they both challenge the hegemonic masculinity that is present in the series. This is achieved through the female lead by assigning her that contributes to typical hegemonic role despite her gender. However, the male lead breaks out of his designated hegemonic role to a character that has more accepted feminine attributes and goals.

In this dissertation I explore what binge-watching is, how it is practiced, and its relationship with contemporary identities of television and viewers. Building on the theoretical frameworks of ambivalent cultural studies, post-structural feminism, and collective memory, I examine binge-watching and binge-viewers through their mediated articulations and ritualized actions. In Chapter 2, I chronicle the history of the terms’ usages in journalism from 1948-2016 and use that data to construct a functional definition of binge-watching. In Chapter 3, I analyze advertised constructions of binge-viewers in the commercial rhetoric of media companies from 2013-2015. In Chapter 4, I explore the rituals of contemporary television viewers through semi-structured interviews to understand how and why people binge-watch. In Chapter 5, I synthesize my findings on the articulations and actions of binge-watching and provided a reflexive narrative of my subject position as a binge-viewer studying binge-watching. I conclude that binge-watching is a techno-cultural phenomenon, which, through its action and articulation, is reshaping the identities of and relationships between television and viewers. / Media & Communication

<p dir="ltr">When diagnosed with cancer, it is not uncommon for patients to turn to narratives—both fiction and non—looking for comfort or a way to make sense of their situation. When it comes to cancer on screen, we often see a romanticized version of cancer diagnosis: young sick kids falling in love, messages of going on to do amazing things after treatment, or visuals of glamorized sickness. This is not reflective of the dark thoughts that often find homes in the minds of cancer patients. And yet, little media exists to resonate with these darker narratives. Netflix’s The Midnight Club, a horror show catered toward young adults, helps to twist the pre-existing narratives surrounding cancer by utilizing the conventions of the horror genre to explore the darker sides of cancer diagnosis through storytelling. Though often uncomfortable, the show’s ability to discuss thoughts of mortality, pain, and loss in wake of terminal diagnosis is one important of discussion, as is done in this paper.</p>