As television viewers we are used to watching television as a flow of programs with varying content, and usually do not think about how the programs are created. Who decides what should be produced and what the programs should contain? What role do the TV producers play? Who are the producers? Have their working conditions changed due to changes in society? The aim of this study was to answer questions about the TV producer’s background and career, and about how ideas for TV productions developed into actual TV programs. The study resulted in more than 90 “cases” or descriptions in drama and journalism. The respondents were asked about the role that different levels of management, economic resources, technical equipment, audience ratings played in the production of television programs. They were also asked how they evaluated professionalism and competition and what changes had occurred during the periods of the study, 1992-1999 and 2006-07. The TV producers who were interviewed belonged to different “generations” and had  entered  the television industry on  different occasions, such as at the launch  of  television channels  (the first TV channel, TV2, TV4) or  new ventures like regional television or minority language programs. The drama producers often executed the ideas that had been decided on by higher management, even though some drama authors who participated in this study had great power over the story lines and content. The journalist producer’s independence and power over the content were greater than the drama producer’s, since they wrote their own “scripts” during the production of programs. In light of many “cases” of programs described it can be suggested that journalist producers’ choice of program ideas were  parallel and complementary or alternative institutional processes, that preceded, followed or coexisted with reports, investigations, trials etc.   One of the most obvious changes during the period studied from 1992 to 2007 was the change in overall technology from analog techniques to digital. Internet, intranets, e-mail and cell phones had made “the mobile office” a reality and the analog techniques in cameras and editing in TV production became digital during the period.

In this thesis the argument of a new visual language as a narrative device will be discussed and looked at, by analyzing four different TV-series in the science-fiction genre: Terra Nova 2011, Defiance 2013-, Doctor Who 1963 – 1989 and Doctor Who 2005-. It will be possible to see the use of digital visual effects as a narrator in the image. To do this one main question has been asked and to be able to answer that question a framework model has been created, consisting of seven different questions: How are DVFx used as a visual language in the TV-series? What key elements drive the TV-series forward? What influence did DVFx have on the TV-series? How is DVFx used in the series as a narrator? What does DVFx represent in the image? Could the series have been created without DVFx? Techno-enhancement, visual language or hybrid?

<p>Due to the technical development the enterprises of today are forced to creative thinking when it comes to marketing of their products. An example of one of these new methods are the development of product placement which has come to an interesting turn namely advertiser funded programming (AFP). Instead of the product just being a small part of the storyline it has become the story itself. The purpose of this study is to analyse how the advertiser funded tv-production Roomservice, a Swedish home styling program, communicates with it’s viewers as well as how they perceive the message. The study is based on qualitative interviews and a quantitative survey. The results showed that Roomservice is communicating without an obvious source but still clearly reaching the viewers with its message. Information about paint and painting are frequently shown in the program. This has affected the viewers in means of higher appreciation of the product. The most thrilling and unexpected result was the fact that a big part of the respondents were valuing the product higher and therefore willing to spend more money on paint after having seen Roomservice. The information also gets the viewers more engaged in the subject of paint and a small but important group was even looking for more information about things they’ve seen in the program. A big majority stated that Roomservice made them feel a stronger desire to paint, due to these results it can only be said that Roomservice has had influence on the viewers. Finally, the study showed that in order to create a successful advertiser funded production the integration of the product must be done correctly, as well as the ability of the production to work as tv-entertainment.</p>

Due to the technical development the enterprises of today are forced to creative thinking when it comes to marketing of their products. An example of one of these new methods are the development of product placement which has come to an interesting turn namely advertiser funded programming (AFP). Instead of the product just being a small part of the storyline it has become the story itself. The purpose of this study is to analyse how the advertiser funded tv-production Roomservice, a Swedish home styling program, communicates with it’s viewers as well as how they perceive the message. The study is based on qualitative interviews and a quantitative survey. The results showed that Roomservice is communicating without an obvious source but still clearly reaching the viewers with its message. Information about paint and painting are frequently shown in the program. This has affected the viewers in means of higher appreciation of the product. The most thrilling and unexpected result was the fact that a big part of the respondents were valuing the product higher and therefore willing to spend more money on paint after having seen Roomservice. The information also gets the viewers more engaged in the subject of paint and a small but important group was even looking for more information about things they’ve seen in the program. A big majority stated that Roomservice made them feel a stronger desire to paint, due to these results it can only be said that Roomservice has had influence on the viewers. Finally, the study showed that in order to create a successful advertiser funded production the integration of the product must be done correctly, as well as the ability of the production to work as tv-entertainment.

The Swedish TV production  is  facing great challenges  today and actors on  the market have  to  strategize  to cope with  these changes. This  thesis explores what  strategies are used,  how  they  are  formed,  and what  parameters  are  focused  on when  analyzing  the market  and  industry,  from  a  company  perspective. Consequently,  the  purpose  of  this thesis  is  to  investigate  how  Swedish  TV  production  companies  think  strategically  to cope with emerging market changes. The method used to collect data was semi-structured interviews. In order to retrieve ac-curate and reliable information we conducted four interviews. Three of these interviews were  done with  actors within  the market. To  ensure  an  accurate market  picture, with high  trustworthiness, we  interviewed one  large,  one medium  and one  small  company. Finally, we  interviewed an  independent market consultant, who provided an additional perspective. After having analyzed  the material  from each  interview we  later on com-pared the findings in a cross case analysis, in order to draw general conclusions. Our research and findings indicate that Swedish TV production companies mainly keep track of social trends, industry demand, the factors of the SWOT analysis, and the bar-gaining  power  of  buyers  in  order  to  plan  and  form  their  strategies. Additionally,  our findings  indicate  that Swedish TV production companies mainly use: a differentiation strategy and international strategic alliances. Moreover, we have also found that if Swe-dish TV production companies belong to an international conglomerate, they use this to their advantage.

Magasinprogrammet Go’kväll sänder i regel fem program per vecka under hela vinterhalvåret. Programmet produceras och sänds ut av SVT allmän-TV i Umeå. Till vissa delar av programmet önskas gäster som uttalar sig om aktuella ämnen. Vid några tillfällen har redaktionen upplevt att man inte kunnat plocka in de mest optimala gästerna för kommentarer på grund av rent logistiska skäl, i regel att den efterfrågade gästen i fråga inte kunnat närvara fysiskt i Umeå, ofta på grund av kort varsel, något som nuvarande programutformning kräver av alla som medverkar i direktsändning. Det som efterfrågades var en lösning för att kunna inkludera konceptet gäst via direktlänk i kortare segment av programmet. I utgångsläget fanns ingen budget eller möjlighet till stora ekonomiska investeringar just för detta ändamål. Problemformuleringen blev därför: Hur implementerar man konceptet gäst via länk med hjälp av de resurser SVT idag och inom den närmsta framtiden förfogar över? TV-verksamheten inom SVT är primärt indelad i tre olika divisioner: allmän-tv (dit hör exempelvis barn-, nöje-, fakta- och kulturprogram), nyheter (nyhetsbevakning, sport, regionala nyheter etc.) och SVTi (teknisk utveckling). Allmän-TV (ATV) produceras av SVT på fyra orter som är Stockholm, Göteborg, Malmö och Umeå. De fyra ATV-orterna har utrustning för att sända HDTV och producerar även i HD. Nyheter, och framförallt de regionala nyheterna inkluderar redan i dagsläget olika direktsända inslag från fältet i sina produktioner men skillnaden är att allt produceras i det gamla SD-formatet. I praktiken innebär detta att HD endast kan sändas mellan ATV-orterna och sedan ut i rutan utan att infrastrukturen ändras. Den stora utmaningen blev följaktligen att hitta en lösning där så mycket av befintlig infrastruktur och personalresurs som möjligt kan utnyttjas och samtidigt möta de krav på bildkvalitet som efterfrågas. Med hjälp av intervjuer och interna dokument kartlades befintliga resurser och resultatet blev att möjligheter för att lösa problemet med hjälp av befintlig infrastruktur och bemanning torde vara fullt genomförbart och möjligt att implementera snarast. / The talk-show Go'kväll (Good evening) broadcast five shows per week during the autumn, winter and spring. The show is produced and broadcasted by the non-news section (ATV) of SVT in Umeå. In some parts of the show, guests who gives comments to various recent events is wanted. Some particular times, the editorial staff has experienced that the most ideal guests could not be present in the show, mainly according to the circumstance that they have to be physically present in the studio in Umeå in order to participate in the show, often made impossible by travel logistics. The production wanted a solution for using the concept of remote located quests participating live via video link in chosen segments of the show. There was no economical budget for the project, so the question was: How to implement the concept of using remote located quests live in Go'kväll, only using present infrastructure and other resources? The TV-operations within the company of SVT is divided into three different divisions, ATV, News section (news, sport) and SVTi (Technichal development). ATV is produced and broadcasted from Stockholm, Gothenburg, Malmö and Umeå. These four facilities produce and broadcast in HD-format while the news division mainly broadcasts in SD. Practically, this means that with no change at all in infrastructure, HD can only be transmitted between and from the ATV-locations. The main challenge then, become finding a solution where as much as possible of resources in terms of infrastructure and staff could be used and also meet the requirements of video quality. By making interviews and reading internal working documents, existing resources were surveyed and the results shows that possibilities to solve the problem using existing technical infrastructure and labour exists and should be implementable instantly, if requested.

This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.

La tesi ripercorre le linee di sviluppo del genere poliziesco nella televisione italiana e americana per coglierne i tratti fondamentali e le tendenze in termini di formati, strategie narrative ed evoluzione dei contenuti. In seguito si analizza nel dettaglio il caso della serie Distretto di Polizia, dall'ideazione fino alla sua evoluzione nei sei anni della messa in onda, con particolare attenzione al confronto con i precedenti modelli di racconto italiani e stranieri. La tesi si concentra poi sui diversi modelli di organizzazione del lavoro creativo legati ad alcuni dei maggiori titoli seriali italiani, individuando pregi e limiti di ogni struttura in rapporto alle esigenze produttive e alle particolarità di formato e mantenendo per quanto possibile valido il confronto con analoghi team autoriali americani. / The first part of the research goes over the lines of development of the detective story's genre in Italian and American TV, grasping its fundamental traits and tendencies in terms of formats, narrative strategies and contents' evolution. The following chapters focus on a case study. TV show Distretto di Polizia is an excellent example of this crime story series; this TV series is examined from the moment of the creation trough the six years of its broadcasting, focusing especially on the confrontation with the previous Italian and foreign story models. The last part of the research presents the different models of internal organisation of the creative work teams responsible for the most important titles among Italian TV shows. The aim of the research is to grasp the advantages and the limits of each model in relation to the different production requirements and the special characters of the various formats, trying to confront, as often as possible, the Italian management models with similar American models.

This study aims to examine the production of HIV/AIDS lessons on Tsha Tsha Entertainment-Education and their reception by HIV-positive men in Soweto, and to find out whether this response impacts on their perception of their roles and responsibilities in HIV/AIDS. The rationale behind this study is that gender and HIV/AIDS has been critical in interventions aimed at combating the disease. Studies in South Africa on gender have revealed that versions of masculinity can be implicated in the increasing infection rates of HIV/AIDS making efforts to combat the disease problematic. A qualitative methodology is used. This method included interviews and focus group discussions. Five interviews were done with programme producers and researchers of Tsha Tsha to find out the major considerations in production. An average of seven HIV-positive men were exposed to 12 episodes of Tsha Tsha to find out their responses in six focus group discussions, and whether these indicated a changed perceptions in their roles and responsibilities in HIV/AIDS. Their responses were then examined under Bandura’s (1971) social learning theory and Hall’s (1977) encoding-decoding theory .This theories explain the considerations in the production of lessons in Tsha Tsha and how audiences respond to those lessons respectively. The findings reveal that audiences (HIV-positive) men identify with lessons around HIV-testing, disclosure, support and those that challenge stigma and masculinity in HIV/AIDS. Disclosure emerges as a major theme and is compared with sub themes of testing, stigma, masculinity and social support to form categories that are presented as the findings. While HIV-disclosure is seen as challenging HIV/AIDS stigma and masculinity, where men accept their condition, and take responsibility to continue occupying their space as men, E-E production can reinforce lessons around disclosure and other coping strategies to combat HIV/AIDS.

The theme for this doctoral thesis focuses on how a film editor strives actively to perceptually frame and direct the film viewer’s gaze across film edits. The editor’s (audio-)visual intentions concerning the film viewing correspond to perceptual considerations that the editor makes during film editing. Film editing in this thesis is considered as a kind of design work, foremost motivated by the possibilities of many new approaches, questions, and answers that a design perspective brings, stretching well beyond what previously adopted perspectives have done. The research questions asked, as well as the presented results, are discussed with regard to design theory, established film production field knowledge, and perception research. Apart from considering audiovisual perception in a film editing context, film editing is also discussed as audiovisual design, and tentative implications for the role of perception in other kinds of design work are pointed out. The results of my analyses are that there is reason to consider parts of film production as design work; that properties of an audiovisual material affect the creative space; that perceptual considerations are a significant part of the film editor’s treatment of the audiovisual material; that film viewers’ response to film edits varies with the shape of the edits; and that this variation is possible to link with the film editor’s intention regarding the edits, as well as to the degree of fulfillment of the intention. I conclude that perceptual precision at the edit point is decisive for attaining a desired film-viewing decoding of a film sequence, and that when the perceptual precision is low, it is likely that the perceived continuity of the film fails. The contribution of this doctoral thesis is that it drives the investigation of actual appliance of perception as audiovisual knowledge in film editing. Hence, it also adds to the more general discussion on perception as part of audiovisual thinking, and how audiovisual knowledge is formed. The thesis contributes to the area of Innovation and Design through its mix of methods, since the main study considers the creation of new artefacts, the thinking going on during that process, as well as human responses to the artefacts. Conclusively, the thesis provides a thorough example of how a design research perspective can add to the understanding of film production, and its trades and activities. / Temat för denna doktorsavhandling är hur det går till när en filmklippare aktivt strävar emot att perceptuellt fånga in och styra sin filmtittares blick över filmklipp. Klipparens (audio-)visuella intentioner med filmtittandet motsvaras av perceptuella överväganden som klipparen gör under klipparbetet. Klipparbetet motiveras i denna avhandling som ett designarbete, främst för att ett designperspektiv på filmproduktion har möjligheter att bidra med många nya infallsvinklar, frågeställningar och svar, som sträcker sig bortom vad tidigare tillämpade perspektiv gör. De forskningsfrågor som ställs, och de svar som presenteras, diskuteras sedan gentemot designteori, etablerad filmproduktionskunskap och perceptionsforskning. Utöver att audiovisuell perception beaktas inom filmklippningskontexten, diskuteras även filmklippning som audiovisuell design, och kopplingar görs till annat designarbete och möjliga implikationer för perceptionens roll i dessa sammanhang. Data om klipparbetet har skapats via videoinspelade deltagande observation där även fortlöpande skärminspelningar skett, medan en filmklippare färdigställde en dokumentärfilmsekvens. Utifrån dessa inspelningar har sedan en elicitering med filmklipparen skett. På så vis har klipparens intentioner och möjliga beaktande av perceptuella faktorer fångats in. Klipparens intentioner avseende filmtittare har sedan testats via ögonrörelsestudier där tittarnas ögondata samlats in medan de tittat på den skapade filmsekvensen. Resultaten av mina analyser är att det finns skäl att betrakta delar av filmproduktion som designarbete, att audiovisuella materialegenskaper påverkar det kreativa utrymmet, att perceptuella hänsyn ingår som en väsentlig del av filmklipparens bearbetning av det audiovisuella materialet, att filmtittares respons på filmklipp varierar med hur klippen är utformade, samt att man kan koppla denna variation till filmklipparens intention med klippen, och graden av intentionens uppfyllelse. Jag drar slutsatserna att perceptuell precision i klippunkten är avgörande för att uppnå en önskad avkodning av en filmsekvens för tittarens del, samt att när den perceptuella precisionen är låg är det troligt att den upplevda kontinuiteten hos filmen fallerar. Doktorsavhandlingens bidrag är att den hjälper till att reda ut den faktiska tillämpningen av perceptionen som audiovisuell kunskap i filmklippning. Men den bidrar därmed även till en mera generell diskussion om perception som en del av audiovisuellt tänkande och formerandet av audiovisuell kunskap. Avhandlingen bidrar till området Innovation och Design genom sin blandning av metoder, eftersom huvudstudien rör skapandet av nya artefakter och tänkande som pågår inom denna process, liksom mänsklig respons på dessa artefakter. Slutligen bidrar avhandlingen med ett genomgripande exempel på hur ett designforskningsperspektiv kan bidra till att förstå delar av filmproduktion, och de yrken och aktiviteter som sker där.