Sedan 2013 har allt fler börjat använda sig av streamingtjänster för film och TV på internet (Findahl,2014). I takt med att användningen ökar är det viktigt att tjänsterna är välutvecklade och lättillgängliga för användaren. I denna uppsats undersöker vi funktioner på de tre största Video on Demand-tjänsterna (VoD) i Sverige ur ett användarperspektiv. Med hjälp av befintliga teorier och litteratur diskuterar vi användarbarhet och genomför en områdesanalys av de utvalda VoD-tjänsterna. Utifrån analysen har vi gått vidare med tio funktioner för att avgränsa studien. Uppsatsen innehåller två metoder; fokus grupper och enkätundersökning. Resultatet från dessa metoder presenteras i en rankningslista som ska fungera som rekommendation till operatörerna. Slutsatsen som kan dras från resultatet är att en VoD-tjänst som har flera eller alla av funktioner från rankningslistan tillgängliga, kommer ge användare en betydligt bättre användarupplevelse på webbplatsen. / The development of streaming media services has rapidly evolved since 2013 (Findahl, 2014). As the usage of video on demand (VOD) services increases, it becomes more important that the services are well developed and accessible to its users. In this essay we study the functionality of the three most used VOD-services in Sweden, from a user perspective. Using existing theories and literature, we discussusability and conduct a field evaluation, analysing the three VOD services. Based on the conducted evaluation, we decided to move forward with ten features that, we found, were the most useful from a user perspective. It also helped delimit the study. The essay contains two research methods, a questionnaire survey and focus groups. The results from the study are presented in a ranking-list that will serve as a recommendation to the operators of the VOD services. The conclusion we made from the ranking-list is that a VOD service that take most of these functions into account will make for a better user experience.

As artificial intelligence becomes more widespread, the need forexplanations on how the technology actually works increases.Previous research in the area has mainly focused on studyingexplanations for technologists and domain experts. Moreover, theuser's need for information is rarely accounted for. The purpose ofthis study is to examine which information needs lay users have indealing with the systems that employ artificial intelligence thatsurround them in their daily lives. In order to achieve the purpose ofthe study, as well as building on results from previous research,Netflix was chosen as the object of study. A qualitative study usingsemi-structured interviews was conducted. The research materialwas later analyzed, using thematic analysis. The results show thatthe users’ mental model, and the lack of information from Netflix,affected the users’ information needs. All participants expressedthat the information provided by Netflix was insufficient and thatthey wanted more information. / I takt med at kunstig intelligens blir tatt i bruk av stadig fleresystemer, øker behovet for forklaringer om hvordan teknologienfungerer. Tidligere forskning innen området har hovedsakeligfokusert på å studere forklaringer for teknologer ogdomeneeksperter. Brukernes faktiske informasjonsbehov gjøressjelden rede for. Hensikten med denne studien er å undersøkeinformasjonsbehovet lekbrukere har i møte med de systemer somomgir dem i dagliglivet, som benytter seg av kunstig intelligens. Forå oppnå hensikten med studien, samt å ta hensyn til forslag fratidligere forskning, ble Netflix valgt som studieobjekt. Det blegjennomført en kvalitativ studie med semistrukturerte intervjuer.Materialet som ble samlet inn ble analysert ved hjelp av tematiskanalyse. Resultatet viser at brukerens mentale modell ogmanglende informasjon fra Netflix påvirket deresinformasjonsbehov. Alle deltakerne uttrykte at informasjonen fraNetflix var mangelfull, samt at de ønsket mer informasjon.

Netflix är en streamingtjänst som har hjälpt till att mynta termen för fenomenet binge-tittande, vilket i det här arbetet definieras som att titta på minst tre avsnitt av en serie i sträck. Tjänsten använder sig av en funktion som kallas automatisk uppspelning som förhandsgranskar nästa avsnitt av en TV-serie efter att användaren har avslutat föregående avsnitt och därefter automatiskt spelar upp det efter ett antal sekunder har passerat. Frågan som undersöks i denna uppsats är huruvida automatisk uppspelning på Netflix har en inverkan på hur mycket användare binge-tittar. Detta i hopp om att användare som binge-tittar kan bli mer medvetna om en eventuell inverkan funktionen har på deras tittarvanor och därför kan göra ett mer informerat val kring att använda funktionen eller inte. Relaterad forskning som är relevant för det här arbetet är studier om flow experience, beroende, dark design patterns och tidigare undersökningar kring Netflix. Frågeställningen undersöktes genom att genomföra intervjuer med en testgrupp av studenter från KTH samt dokumentera, jämföra och analysera data från deras tittarhistorik på Netflix. Testgruppen blev ombedda att inaktivera automatisk uppspelning i en vecka och historiken från testperioden jämfördes sedan med den från veckan innan. Resultatet från studien visar att inaktiveringen av funktionen ledde till en minskning på 45 minuter av den tid som individerna binge-tittade per tillfälle. Däremot hittades ingen signifikant inverkan på tittarvanorna hos testpersonerna i form av antalet tillfällen och hur länge de binge-tittade, samt hur många avsnitt de såg per binge-tillfälle. Det konstaterades även att inaktiveringen av automatisk uppspelning ökade medvetenheten om testgruppens binge-tittande, vilket talar för att automatisk uppspelning ökar användarens flow experience. Detta skulle eventuellt kunna medföra att funktionen ökar risken för ett beroende av binge-tittande. Andra aspekter som upptäcktes under undersökningen men inte undersöktes vidare och därför kan vara fokuspunkter för efterföljande studier inkluderar den inverkan automatisk uppspelning har på tittarvanor när användaren binge-tittar aktivt versus passivt samt vid binge-tittande på olika enheter. / Netflix is a streaming service that has helped coin the term for the phenomenon of binge watching, which in this essay is defined as watching at least three episodes of a tv-series back-to-back. Netflix provides a feature called post-play which previews the next episode of a TV series after having finished the previous one and then automatically plays it after a couple of seconds. The question examined in this essay is whether post-play on Netflix has a significant impact on the extent to which users binge watch. This is done in the hope of making users who binge watch more aware of any possible influence the feature can have on their binging-habits and therefore being able to make a more informed choice about disabling post-play or not. Related research that was relevant to this paper include studies on flow experience, addiction, dark design patterns and previous studies surrounding Netflix. The thesis was investigated by conducting interviews with a test group of students from KTH as well as documenting, comparing and analyzing their viewing-history on Netflix. The test group was asked to disable post-play during a week and the viewing-history from the test period was then compared to that from the week before. The results of the study showed that disabling of the feature led to the users reducing the amount of time they spent binge-watching per binge-session by 45 minutes. There was however no evidence of the function having a significant impact on the viewing-habits of the subjects in terms of the amount of episodes watched per binge-session or the overall amount of instances and hours they binge-watched during the test period. It was found that the disabling of post-play raised the awareness of binge watching in the subject, which indicates that post-play increases the flow experience for the user. This would subsequently suggest that the feature heightens the risk for addiction to binge watching. Aspects that were discovered but not examined and could therefore be focus points of subsequent studies include the impact of post-play on viewing habits when binge watching actively vs passively and when binge watching on different units.

This paper will examine, how queer is represented in the animated tv-serie She-Ra and the princesses of powerfrom 2018-2020. To understand this work, the paper will define representation, gender and queer, and examine the visual and narrative elements in the tv-serie. Through a visual analysis, the paper can understand if the serie represent queer values. Then the paper will look at some characters from the serie, to see if their visual design and the narrative structure reflects queer characteristics. This means the paper will define what are queer values and how is it shown in the characters of the show. It will be supplied with theory about queer and gender, for examples Raewyn Connell and Stuart Hall. The theory will supply characteristics, which have defined the social norms about genders through history. This paper concludes that the tv-serie reflects queer values through it’s visual and narrative structure. The characters have queer personalities. I need this paper with a discussion of the effects of queer representation and other ways to look at the serie from a perspective of gender.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-18T11:35:11Z No. of bitstreams: 1 Reinaldo Augusto de Oliveira Ramos.pdf: 4385963 bytes, checksum: 2f3c319e5e8683bc29abfb9359b1a73f (MD5) / Made available in DSpace on 2016-11-18T11:35:11Z (GMT). No. of bitstreams: 1 Reinaldo Augusto de Oliveira Ramos.pdf: 4385963 bytes, checksum: 2f3c319e5e8683bc29abfb9359b1a73f (MD5) Previous issue date: 2016-09-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pontifícia Universidade Católica de São Paulo / This research aims to examine and analyze the evolution of the concept of linear television in the digital age and the impact that Netflix TV is provoking with Internet distribution of audiovisual content for streaming services. It intends to check how digital technology changes the transmission and distribution of video services, transforming the relationship between consumers and the traditional television industry. In this new paradigm, we have to understand how this mediation is transforming the experience and the perception of its subscribers, when media are understood as “extensions” of the body, taking also in consideration that hybridization or cross media completely changes the landscape of media industries, at times causing the extinction of these media, as in the case of the telegraph, and more recently of the music industry. Netflix took advantage of the opportunities of this new scenario, providing content in almost every screen. The television industry was slow to move in that direction. In this new scenario, we are witnessing the clash between the analog old TVs, cable and open, and new internetTVs, with Netflix as its greatest exponent and a present threat to the old linear programming model. The conclusion suggests a scenario for the emerging television and possible ways of development for this sector. Authors such as Henry Jenkins (2008), Amanda Lotz (2014), Chris Anderson (2006; 2009), Marshall McLuhan (1964/2005) e Lucia Santaella (2007) are the basis of the theoretical framework / Esta dissertação tem como objetivo de pesquisa examinar e analisar a evolução do conceito de televisão linear na era digital e o impacto produzido pelo serviço Netflix, “televisão por internet”, que distribui conteúdo audiovisual por streaming. Pretende verificar como as mudanças tecnológicas digitais de transmissão e distribuição de conteúdo televisivo vêm transformando as relações entre consumidores e a indústria de televisão tradicional. Sendo este um novo paradigma, trata-se de compreender: (a) como essa mediação vem modificando a experiência e a percepção de seus assinantes e usuários, na medida em que os novos serviços funcionam como “extensões” do próprio corpo; (b) como a hibridização ou cruzamento dos meios muda completamente o panorama das indústrias de mídia, por vezes causando até mesmo sua extinção, como ocorreu com o telégrafo e, mais recentemente, com a indústria fonográfica. A Netflix aproveitou as oportunidades desse novo cenário para disponibilizar seu conteúdo em praticamente todas as telas. Já a indústria de televisão demorou a se movimentar nessa direção. Com esse novo panorama, estamos presenciando o embate entre as antigas tevês analógicas, a cabo e aberta, e as novas tevês por internet, que têm na Netflix seu maior expoente, surgindo como ameaça ao antigo modelo de programação linear. Por fim, discute o cenário para onde caminha a emergente televisão, além das possibilidades de desenvolvimento para esse setor. Autores como Henry Jenkins (2008), Amanda Lotz (2014), Chris Anderson (2006; 2009), Marshall McLuhan (1964/2005) e Lucia Santaella (2007) são utilizados como referencial teórico

The choice of content and number of technologies that audiences view television with are increasingly expanding in the post-network era, leading those who use the medium to question its definition. In the wake of the Internet, online programming and streaming technologies, the death of television is frequently forecast.  Netflix’s 2013 release of their original online production House of Cards prompted popular media and trade journals alike to declare a revolution of television that would result in a paradigm shift of current production and viewing practices. House of Cards is esteemed for its distribution method and asserted advantages over traditional television by creators and executives surrounding the show, which calls for an examination of the specific practices that are dubbed ‘innovative’, as current television production practices have been put in place for years. The aim of this thesis is to shed light on the claims surrounding the series through production and textual analysis. Second-hand sources are used to gather evidentiary claims surrounding the production, and analyzed using historical poetics analysis with Jason Mittell’s complex television definitions in order to make comparisons of particular elements of the creation, production and distribution of House of Cards. Making these areas its starting point, this inquiry provokes larger questions of the future of online television programming in general, and its role in the death of television in particular.

Submitted by Eliana Barboza (eliana.silva1@mackenzie.br) on 2018-03-07T15:32:08Z No. of bitstreams: 2 Helena Zanella Prates.pdf: 2488330 bytes, checksum: 2d701b19c4b1059b52cd743cb3504385 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-03-08T11:13:28Z (GMT) No. of bitstreams: 2 Helena Zanella Prates.pdf: 2488330 bytes, checksum: 2d701b19c4b1059b52cd743cb3504385 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-08T11:13:28Z (GMT). No. of bitstreams: 2 Helena Zanella Prates.pdf: 2488330 bytes, checksum: 2d701b19c4b1059b52cd743cb3504385 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Universidade Presbiteriana Mackenzie / The convergence of the Internet with television brings about a “new media”, which has been called “Internet TV” (HUNT, URIBE, 2015) or “Connected TV” (BRENNAN, 2013), the present research intends to evaluate if such convergence would also occur in relation to the languages of these media. After a debate on the convergence of media, this dissertation reflects on the language of Databases from authors such as Lev Manovich, Victoria Vesna, Christiane Paul, Sharon Daniel, among others, to analyze the film production of the service streaming video Netflix, the main representative of this “new media”. From this content, the current research tries to observe the convergence of languages demonstrating the recent changes of the film and series provider in relation to the degree of convergence between the films and series and the technical and aesthetic possibilities coming from the format of databases. / A convergência da internet com a televisão faz surgir uma “nova mídia”, que tem sido chamada de “Internet TV” (HUNT, URIBE, 2015) ou “TV Conectada” (BRENNAN, 2013), a presente pesquisa pretende avaliar se tal convergência está também ocorrendo em relação às linguagens desses meios. Além de apresentar um debate sobre a convergência dos meios, também reflete sobre uma linguagem dos Bancos de Dados a partir de autores como Lev Manovich, Victoria Vesna, Christiane Paul, Sharon Daniel, entre outros, para analisar a produção de filmes e séries do serviço de streaming de vídeo Netflix, principal representante dessa “nova mídia”. A partir desse conteúdo, a presente dissertação procura observar a convergência de linguagens demonstrando as modificações recentes da plataforma de distribuição audiovisual em relação ao grau de convergência entre os filmes e séries e as possibilidades técnicas e estéticas provenientes do formato de bancos de dados, apresentando duas possíveis novas linguagens de produção audiovisual: linguagem interativa e linguagem algorítmica.

This project proposes a user-focused approach to study the algorithm logic of on-demand apps, using Netflix as a case study. The main research interest is the perception that the user has about the suggestion and recommendation logic of Netflix. In order to gather the information, a walkthrough method on Netflix was applied as well as personal, in-depth think aloud interviews were carried out. The sample consisted on a selection of heavy users, millennials ex-pats living in Singapore and working in the creative industry to get specific insights on their relationship with the algorithm.  To analyze the gathered material, qualitative content analysis was carried out. This kind of study is important within today’s contemporary media environment to have integral approach to users perceptions instead of just analytical figures and numbers. The theoretical context used to enlight some of the conclusions discussed on this research were based on the study of media in everyday life, global cultural industry studies, as well as algorithm culture and the science and technology studies. How algorithms are perceived have major repercussions not only on on-demand apps, technology business models or entertainment industry but also an intense influence on the way people consume content. Re-thinking the user as a co-producer of information and knowledge, considering some of the implications this phenomenon might have on the creative industry and how that affects on our daily life are some of the issues this research elaborated on. It can be said that the selected sample appreciates the suggestion logics and it has multiple functionalities: recommendation, curation, entertainment, companionship and leisure. Netflix Originals are very well validated; being one of the main attractions of the app. Interface, functionality and features are also items that the sample positively highlights. The accuracy perception of the algorithm is good, although low when compared to other countries where the sample used the app. The same applies to the amount of content and titles available, being these last two, issues that Netflix could improve.   This research was conducted for 8 months, from October 2016 to May 2017, for Sodertorn University – Stockholm, Sweden, with the guidance and support of Associate Professor Anne Kaun.

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