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This thesis explores the phenomenon of cancel culture within the media and communication science field, aiming to contribute to the understanding of cancel culture beyond the focal point of the cancelled figure. Drawing upon the theoretical framework of Governmentality with discourse and language and utilizing Multimodal Discourse Analysis (MCDA) as a methodological tool, the study delves into the complexities of cancel culture and its implications. The research involves a comprehensive qualitative analysis of Facebook news posts, with a further selection of content informed by a preliminary quantitative analysis of prevalent language themes found in their comments. By combining both quantitative and qualitative approaches, the study provides a nuanced understanding of the discourses surrounding cancel culture. Through an exploration of the praise of Yasin as Sweden’s best rapper, now a prominent figure within the context of cancel culture, the thesis analyses the qualitative technicalities of how Yasin is being cancelled and its potential resonance with his fans from marginalized communities. It sheds light on how Yasin's music functions a powerful medium of expression, capturing the complexity of life in exposed areas that resonates with the experiences of many young residents in the suburbs of exclusion. The thesis problematizes the potential consequences of cancelling public figures of marginalized communities and how this can be understood as a power relationship. Moreover, it stresses the potential segregation of social circles that can result from such actions. By this, it underscores the paradox of cancelling Yasin, who addresses the challenges faced by marginalized communities, and how cancelling his domestic narrative may further widen the divide between these communities and the rest of society.

In this thesis I will use a ‘men’s rights’ influencers fanbase as an example of a new generation of people who values toxic and traditional masculinity. I will do so by doing a critical discourse analysis on 1200 comments from the platform Reddit, using Fairclough's three-dimensional model as inspiration. Furthermore, to deepen the analysis I have chosen to analyze the comments in relation to parasocial relationships, hegemonic masculinity as well as the concepts of traditional and toxic masculinity. I found through my analysis that the fanbase views the influencer as a form of ‘beacon of truth’, and made a plethora of external references in regards to the movie 'The Matrix’. Moreover, the fans articulate masculinity in a way where ‘strength’ is prevalent, and is in line with traditional and toxic masculinity - whilst holding the influencer as a form of ideal of this form. In the discussion I draw parallels to how referencing the Matrix as a concept could speak of a mistrust towards the government, and how the countermovement to ‘modern’ masculinity could result in dangerous practices. To conclude, I highlight how there is still more research to be done on the field of alternative influencers and what consequences this ‘countermovement’ may have.

Within the landscape of Japanese media production, and video game production in particular, there is a niche comprising video games centered around establishing, developing, and fulfilling imagined intimate relationships with anime-manga characters. Such niche, although very significant in production volume and lifespan, is left unexplored or underexplored. When it is not, it is subsumed within the scope of wider anime-manga media. This obscures the nature of such video games, alternatively identified with descriptors including but not limited to ‘visual novel’, ‘dating simulator’ and ‘adult computer game’. As games centered around developing intimacy with characters, they present specific ensembles of narrative content, aesthetics and software mechanics. These ensembles are aimed at eliciting in users what are, by all intents and purposes, parasocial phenomena towards the game’s characters. In other words, these software products encourage players to develop affective and bodily responses towards characters. They are set in a way that is coherent with shared, circulating scripts for sexual and intimate interaction to guide player imaginative action. This study defines games such as the above as ‘character intimacy games’, video game software where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters. To do so, however, player must recognize themselves as playing that type of game, and to be looking to develop that kind of response towards the game’s characters. Character Intimacy Games are contingent upon player developing affective and bodily responses, and thus presume that players are, at the very least, non-hostile towards their development. This study approaches Japanese character intimacy games as its corpus, and operates at the intersection of studies of communication, AMO studies and games studies. The study articulates a research approach based on the double need of approaching single works of significance amidst a general scarcity of scholarly background on the subject. It juxtaposes data-driven approaches derived from fan-curated databases – The Visual Novel Database and Erogescape -Erogē Hyōron Kūkan – with a purpose-created ludo-hermeneutic process. By deploying an observation of character intimacy games through fan-curated data and building ludo-hermeneutics on the resulting ontology, this study argues that character intimacy games are video games where traversal is contingent on players knowingly establishing, developing, and fulfilling intimate bonds with fictional characters and recognizing themselves as doing so. To produce such conditions, the assemblage of software mechanics and narrative content in such games facilitates intimacy between player and characters. This is, ultimately, conductive to the emergence of parasocial phenomena. Parasocial phenomena, in turn, are deployed as an integral assumption regarding player activity within the game’s wider assemblage of narrative content and software mechanics.

This study examines how pop culture fandoms are formed, based on five communications theories: Escapism, Mood Management, Parasocial Relationships, Identification, and Social Capital. The researcher examined the Harry Potter fandom specifically because of its global pervasiveness. Using Q Methodology, 47 respondents fell into one of four categories: Relationship Experts, Happy Introverts, Identifying Isolationists, and Isolated Self-regulators. Relationship Experts like Harry Potter because of parasocial relationships with the characters as well as the story's capacity for escapism, and Happy Introverts focus on liking Harry Potter for their own enjoyment (not that of others) and mood management. Identifying Isolationists like Harry Potter because they identify with the characters and enjoy discussing the books with those around them, while Isolated Self-regulators do not have any parasocial relationships and focus on the books' mood management capacity. It is interesting to note that Escapism played a supporting (but never leading) role in each of these Factors. All respondents agree that Harry Potter has been, and will continue to be, an important part of their lives. It is hoped that this conclusion can form the foundation of future popular culture studies.

Digital hostility has become an issue on social media, while discussing mentalhealth has become more recognized. Previous research has shown that influencersmost likely are not viewed as the ideal victim, thus leading to harassment becominga normalized and accepted behavior directed at them. The aim of this study is,therefore, to find out how the media audiences interact with influencers who openlyhave addressed their mental health issues online. In order to study the interaction, amixed method content analysis has been made on the comment sections of theinfluencers Gabbie Hannas and FouseyTubes TikTok accounts, as well as on thevideo responses made by the audiences. Parasocial interactions- as well as uses andgratifications-theory, were applied to this study due to their relevance to the subjectof interactions between the active audience and media content, or in this case, socialmedia influencers. Study 1, the quantitative content analysis, concluded that amajority of the comments were positive and supportive of Gabbie Hanna, while thecomment section under FouseyTubes videos often consisted of negative comments.The result for this part of the study aligned partly with previous research, whichstated that influencers often are victims of harassment and stalking-like behaviorsfrom the audience. Moreover it concluded that previous research regardinganonymous accounts being more likely to be hostile towards influencers, werecorrect. Study 2, the qualitative content analysis, concluded that a majority ofTikTok users use a negative tonality when making video-responses towards GabbieHanna and FouseyTube. Furthermore, the results aligned with previous researchwhich claimed society justifies digital hostility towards influencers. The observationshowed how the audience, generally, paid low- or no- regard towards the subject oftheir mental health. In conclusion, this study presents how the interaction betweentwo influencers, who have encountered a public scandal in regards to their mentalhealth, and TikTok users can look like. While the study may not be applicable toevery influencer, understanding of how the interaction can, and has, manifested isshown. In addition the study provides more context to how the culture online looksin regards to Gabbie Hanna and FouseyTube.

This study explores how knowledge and reality is constructed within an online fandom’s communication, with a focus on LGBTQ+ discourse within Taylor Swift’s fans on Reddit. This is done through a qualitative digital ethnographic method and uses LGBTQ+ symbols and parasocial relationships as tools to analyse 75 posts and 850 comments total. The theoretical framework mainly consists of Berger and Luckmann’s (1966) theory on the social construction of reality and Couldry and Hepp’s (2017) reinterpretation of their work that considers the effects of digitalization and how our construction of reality has changed with it. The analysis showed that the group uses symbols to build a shared collection of facts and continuously follows an us-versus-them narrative to construct their community. Their foundational belief that Swift herself is secretly queer is not to be too closely questioned within the group and they often use the version of Swift that outsiders have built up to discuss hypothetical what-ifs. To participate in the community and be seen as “logical” it appears to require that you to some extent correctly consume the media in a way that aligns with pre- existing facts that the group shares. Meaning that the group has unspoken rules that dictate the knowledge hierarchies within it.

This essay examines the presence of parasocial relationships in the comments of one k-pop girl group’s and one k-pop boy group’s vlog series on YouTube with the intent to compare and examine if the way parasocial relationships are expressed differentiates if the artist in question is a man or a woman. By the study of the two comment sections this essay intends to contribute with insights about the phenomenon of parasocial relationships from a feminist perspective. The data is examined by combining a quantitative and a qualitative method. The first step is a quantitive content analysis with which we collect and code 100 comments from each video with the purpose of mapping out the general themes of the comments and to sort out the comments which will be analysed in the next step. In the next step a qualitative linguistic analysis is used to find the main themes of the comments which express parasocial relationships. This step enables a deeper analysis and understanding of the comments which express parasocial relationships and to be able to compare the results these comments are coded as well. The results of both codings are presented in the form of charts and tables. The findings suggest that there is a slight difference between how people express parasocial relationships towards men and women. The comments under the female artists vlog were significantly shorter and had in general less comments that suggested parasocial relationships. The female artists comment section also showed the least amount of identification with the artist, less belonging and more intimacy compared to the male artists comment section.

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