This study explores how WeChat, one of the most popular Chinese-based Social Network Sites (SNSs), has been adopted and used under different patterns between two Chinese generation cohorts, namely “The post-70” (i.e., people who were born in the 1970s) and “The post-90” (i.e., people who were born in the 1990s). Three major issues were examined in this Study: (1) what are the differences in WeChat connection between two generations; (2) how Chinese post-70 and the post-90 cohorts differ regarding their cultural value orientations and how those differences influence their WeChat connection; (3) if there is a participatory cultural divide between two generation cohorts. Two hundred and eight the post-70 cohort and 221 the post-90 cohort were recruited to complete a 91-item survey. Results indicated significant differences between the post-70 and the post-90 cohorts in WeChat adoption and use, collectivistic/individualistic (COL/IND) orientations, and participation in creating and spreading of popular online memes. Moreover, factors influencing human capital- enhancing activities on WeChat were examined. Also explored were the influence of cultural values on the motivations to connect to the Internet and frequencies of different types of WeChat activities. Major findings and limitations were discussed.
The majority of trust research has focused on the benefits trust can have for individual actors, institutions, and organizations. This “optimistic bias” is particularly evident in work focused on institutional trust, where concepts such as procedural justice, shared values, and moral responsibility have gained prominence. But trust in institutions may not be exclusively good. We reveal implications for the “dark side” of institutional trust by reviewing relevant theories and empirical research that can contribute to a more holistic understanding. We frame our discussion by suggesting there may be a “Goldilocks principle” of institutional trust, where trust that is too low (typically the focus) or too high (not usually considered by trust researchers) may be problematic. The chapter focuses on the issue of too-high trust and processes through which such too-high trust might emerge. Specifically, excessive trust might result from external, internal, and intersecting external-internal processes. External processes refer to the actions institutions take that affect public trust, while internal processes refer to intrapersonal factors affecting a trustor’s level of trust. We describe how the beneficial psychological and behavioral outcomes of trust can be mitigated or circumvented through these processes and highlight the implications of a “darkest” side of trust when they intersect. We draw upon research on organizations and legal, governmental, and political systems to demonstrate the dark side of trust in different contexts. The conclusion outlines directions for future research and encourages researchers to consider the ethical nuances of studying how to increase institutional trust.
This business uses research and data from different social media comedians in order to create a guide for comedians who own comedy clubs or are trying to break into show business. This thesis includes the logistics of starting a business. It will outline the financing and pricing of a service like this for individuals and businesses. This also outlines the generational stigma of social media, and the difficulties an older generation is currently facing when wanting to expand their business into social media.
The Breakin Media business model assesses each client on a set of five pillars, which have been found by research to affect follower count. The five pillars are relatability, targeted marketing, consistency, high-quality content, and algorithm alignment. Each pillar is dissected and used to increase the exposure of every comedian. There is a 3 tier system for pricing that outlines the costs of each service, and an infographic to guide each client. This thesis is about bridging a gap in generations, and increasing success for small businesses, specifically in theatre and comedy.