The Research Topic and the Need for It: This thesis starts with a review of what the literature says about the importance of corporate image and how it needs to be managed as a strategic asset. However, the problem is there is no model that shows what corporate image comprises and explains how its various components interact with one another so that it can be managed. The result is a number of confusing and contradictory definitions and unproductive discussions about things like whether corporate reputation and corporate image are different or synonymous. In response to this need, it is suggested that corporate image comprises three different image perspectives; namely, Self Image, Projected Image and Perceived Image and that it is only when these are defined separately and regarded holistically that corporate image can be properly defined, understood and managed. Objective: The objective of this research was to develop and test this model using triangulated approaches in which data could be acquired and understood from different sources. To this end questionnaires were developed by document analysis, consultation and discussion. This research was conducted in two very different organisations - a new university campus and a sugar co-operative. In the interests of confidentiality they have been renamed Barton University's Kingsley Campus and Sunstate Sugar Co-operative Association Limited. Data was input into both SPSS and HIPSYS computer programs for the Kingsley Campus research and into HIPSYS for the Sunstate Sugar research. For both research sites the results were discussed with members of all response groups so that accurate interpretations of the data could be made and additional meaningful data acquired. For Kingsley Campus, response groups included all Academic and General Staff of Kingsley Campus for the Self Image and the Projected Image, and for the Perceived Image all Current and Past Students, a representative sample of Grade 12 high school students, advanced diploma students of Kingsley TAFE, and Community Leaders. In all 3,693 questionnaires were distributed and 934 completed questionnaires were processed. For Sunstate Sugar, response groups included all employees for the Self Image separated by Management, Supervisors and Workforce, all Board members and all Employees who interface with the growers (members of the co-operative) for the Projected Image, and all members of the co-operative for the Perceived Image. In all 1830 questionnaires were distributed and 916 completed questionnaires were processed. Findings: The results from the Kingsley Campus research showed that the Projected Image needed to be more effectively targeted at the Grade 12 target group. The results from the Sunstate Sugar research showed that its Perceived Image was affected by its Self Image as well as by its Projected Image and that its Self Image in particular needed to be made more positive. The results from both organisations suggest that a positive corporate Self Image influences the Projected Image and can have as much impact on the Perceived Image as does the Projected Image. In exploring and discussing the results of this research, each organization derived recommendations which led to their developing action plans for the more effective management of their corporate image. These results indicate that the model created has eliminated a gap in the literature, diffused the confusion regarding what corporate image is, and provided a structure and a methodology by which corporate image can be identified and managed. It has been shown to have considerable utility.

The late nineteenth century and early twentieth century were an important period for popular shows involving the moving and projected image, yet there have been few sustained studies that have mapped optical entertainments systematically outside London or that have analysed the influence of such shows on early film exhibition. This thesis has profiled the popular and visual culture of five contrasting South West locations during this period, tracing the development and distribution of magic lantern shows and dioramas as well as identifying the local and touring companies who hosted film on its arrival in the region. Using the local press, the trade press, contemporary publications and ephemera, this thesis has reconstructed an account of local shows and culture which not only deepens our understanding of popular visual entertainments in regional contexts, but which also serves to stand as a comparison to other established urban and metropolitan paradigms and thus to contribute to a wider and more complex national picture. It advances the argument for a broader classification of such shows in response to local findings and for a more nuanced and detailed appraisal and understanding of their provenance and profiles, and the role film played within them. In addition, this thesis interrogates early film exhibition in these resorts following the move to fixed-venue cinemas in the late 1900s and investigates the arrival of cinema and its emergence as a fledgling industry in the region. It offers an overview of investment into the business locally and evidences the varied set of partnerships and individuals responsible for financing the first cinemas here. Responses to the new technologies and local modifications to business models for cinemas and film exhibition are analysed and their diversity examined. Managerial relationships with communities are evidenced as an important contributory factor to the success of many local cinemas, permitting adaptations to the needs of patrons which boosted audiences and increased revenue. The variety of local interpretations of cinema discovered here reflects the social and cultural diversity of these selected sites, and is a key finding of this thesis.

The images of tourist destinations significantly influence travel choices. Accordingly, destination marketers make great efforts to inform their potential consumers about their destinations using deliberately designed projected images. This research focuses on a Chinese tourism destination, Qingdao, exploring the relationships between the images projected by Qingdao government agencies and those perceived by current visitors and by residents. It also examines the factors that influence the image formation of visitors and residents. Three sources of information are used in this research: promotional materials issued by the Qingdao municipal government and the Qingdao Tourism Administration, key informant interview transcripts and a questionnaires survey. The promotional materials were collected from the aforementioned agencies in May 2009. Key informant interviews were conducted in April and May 2009. Self-administered surveys of 578 visitors and 337 residents of Qingdao were administered throughout May and June 2009. The image construct was conceptualized as having three dimensions: cognitive, affective and overall images. The cognitive image attributes included seafood, scenery, beaches, local people, green space, special events, ethnic attractions, weather, squares, architecture, relaxing atmosphere, resorts, hygiene and cleanliness, cultural attractions, golf course, highway system, accommodation, public transport, shopping, fashion shows, value for money, transportation cost, nightlife, football games, airline schedules, and traffic congestion. The affective image attributes included arousing-sleepy, exciting-gloomy, pleasant-unpleasant, and relaxing-distressful. Qualitative evaluation suggested greater congruence between the images projected by Qingdao government agencies and those perceived by visitors than quantitative correlation analysis. The projected images of Qingdao and images perceived by visitors were consistent in their emphases on certain image themes. However, the correlations between these two types of images suggested that the extent to which these image themes were emphasized differed. Similar results were found in the comparison between the images projected by Qingdao and those perceived by residents. Furthermore, most visitors and residents held positive images of Qingdao. Both similarities and differences were discovered in the cognitive, affective and overall images perceived by visitors and residents. Residents were generally more positive than visitors in their cognitive and affective images. It was found that sex, education, place of residence, and previous travel experience only significantly affected visitors’ images of one or two attributes, while age, occupation, primary motivation, most important information source used and number of sources used significantly influenced visitors’ images of between 5 and 8 attributes. Additionally, place attachment and importance of the 2008 Olympic Games were significantly positively correlated with most of the image attributes examined in this study, while importance of German Heritage and Qingdao International Beer Festival were significantly positively correlated with fewer attributes (8 and 6 attributes, respectively). With regard to the factors influencing resident images, it was discovered that sex, education, age, occupation, length of residence, most important source used and number of sources used significantly affected residents’ images to different degrees, ranging from 7 to 18 attributes. Furthermore, place attachment and the importance of German heritage, the 2008 Olympic Games and Qingdao International Beer Festival were significantly positively correlated with the majority of the image attributes examined in this research. This study is one of very few that compares projected and perceived images although methodological challenges for undertaking such research remain. It is also innovative in that it encompasses both tourists’ and residents’ images. Very few such studies have been undertaken in China which has a massive domestic tourism industry and is a major player in international tourism.

The images of tourist destinations significantly influence travel choices. Accordingly, destination marketers make great efforts to inform their potential consumers about their destinations using deliberately designed projected images. This research focuses on a Chinese tourism destination, Qingdao, exploring the relationships between the images projected by Qingdao government agencies and those perceived by current visitors and by residents. It also examines the factors that influence the image formation of visitors and residents. Three sources of information are used in this research: promotional materials issued by the Qingdao municipal government and the Qingdao Tourism Administration, key informant interview transcripts and a questionnaires survey. The promotional materials were collected from the aforementioned agencies in May 2009. Key informant interviews were conducted in April and May 2009. Self-administered surveys of 578 visitors and 337 residents of Qingdao were administered throughout May and June 2009. The image construct was conceptualized as having three dimensions: cognitive, affective and overall images. The cognitive image attributes included seafood, scenery, beaches, local people, green space, special events, ethnic attractions, weather, squares, architecture, relaxing atmosphere, resorts, hygiene and cleanliness, cultural attractions, golf course, highway system, accommodation, public transport, shopping, fashion shows, value for money, transportation cost, nightlife, football games, airline schedules, and traffic congestion. The affective image attributes included arousing-sleepy, exciting-gloomy, pleasant-unpleasant, and relaxing-distressful. Qualitative evaluation suggested greater congruence between the images projected by Qingdao government agencies and those perceived by visitors than quantitative correlation analysis. The projected images of Qingdao and images perceived by visitors were consistent in their emphases on certain image themes. However, the correlations between these two types of images suggested that the extent to which these image themes were emphasized differed. Similar results were found in the comparison between the images projected by Qingdao and those perceived by residents. Furthermore, most visitors and residents held positive images of Qingdao. Both similarities and differences were discovered in the cognitive, affective and overall images perceived by visitors and residents. Residents were generally more positive than visitors in their cognitive and affective images. It was found that sex, education, place of residence, and previous travel experience only significantly affected visitors’ images of one or two attributes, while age, occupation, primary motivation, most important information source used and number of sources used significantly influenced visitors’ images of between 5 and 8 attributes. Additionally, place attachment and importance of the 2008 Olympic Games were significantly positively correlated with most of the image attributes examined in this study, while importance of German Heritage and Qingdao International Beer Festival were significantly positively correlated with fewer attributes (8 and 6 attributes, respectively). With regard to the factors influencing resident images, it was discovered that sex, education, age, occupation, length of residence, most important source used and number of sources used significantly affected residents’ images to different degrees, ranging from 7 to 18 attributes. Furthermore, place attachment and the importance of German heritage, the 2008 Olympic Games and Qingdao International Beer Festival were significantly positively correlated with the majority of the image attributes examined in this research. This study is one of very few that compares projected and perceived images although methodological challenges for undertaking such research remain. It is also innovative in that it encompasses both tourists’ and residents’ images. Very few such studies have been undertaken in China which has a massive domestic tourism industry and is a major player in international tourism.

The subject of the thesis Live images of VJing is an aesthetic activity, based on visual projections and on work with new media in real-time, known as VJing, or more generally "live audiovisual performance". As these performances usually complement auditory events or are supplemented by music. The first part follows the origins of VJing out of three angles: First the historical development of projected image, electronic music and the discourse of synaesthesia principle as an principle joining different sensory perceptions into one. Second part of this thesis is introducing an philosophical perspective and it's defining terms, through which can be glimpsed the tendencies in the development of contemporary art of new media, particularly following the example of the German new-media philosophy with terms like homöotechnik, performativity, mediality and gesture. The outcome of this thesis is the finding, that it's not the media-philosophy bringing the textures and shapes to VJing, but the opposite - VJing as an art form is a valuable contribution to defining of the media-philosophy, which seem to be forming along with the new media itself and with the experimental arts exploring it's radical possibilities.