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Description
In the delivery of a public service, meeting the needs of its users through cocreation has generated considerable research. Service users are encouraged to engage with public services through dialogue, sustained interaction, and equal partnership, wherein the role of the user changes from passive to active. As the relationship between service provider and service user evolves, researchers have sought to explain how resources, time, accessibility, and bandwidth may affect such relationships, specifically concerning the economically disadvantaged. While many researchers have focused on the logistical barriers that inhibit cocreation among the economically disadvantaged presented by such factors as cost and transportation, limited research has examined the relationship between the service provider and economically disadvantaged service user. Combining previous research, this study examines what economically disadvantaged service users actually do when they cocreate value with a public service by conducting 12 in-depth interviews with participants of SNAP-Ed, nutrition education for persons eligible for government assistance. The study's findings suggest that cocreation exists through relational characteristics of collaboration, isolation, acceptance, connection, and guidance that help in the development and maintenance of relationships, and that a relationship between service provider and user could be further typified by equality. This finding suggests that equality is an independent construct not necessary in the process of cocreation--a departure from previous research--but rather a way to approach the service provider/user relationship. This study is intended as a step toward examining cocreation through the development of organization-public relationships.
ContributorsCandello, Elizabeth J (Author) / Thornton, Leslie-Jean (Thesis advisor) / Matera, Fran (Committee member) / Gilpin, Dawn (Committee member) / Perez, Adriana (Committee member) / Arizona State University (Publisher)
Created2014
Description
U.S. television is about earning profits, but European broadcasting has historically been governed as public service, indirectly or directly operated by the government. Substantial changes occurred in the 1990s. Privatization and the United Kingdom’s Independent Television franchise auction stimulated commercial developments throughout Europe. Even public service broadcasters lost their traditional characteristics, adopting routines making them almost indistinguishable from commercial competitors.
Television remains the number one news source overall. Research shows news adheres to similar, recurring and predictable elements; an anchor team balances the broadcast and its various elements, following a formula of friendly personalities, visuals and sound bites.
This study examined American news consultants’ role in the development of television news in the UK in the 1990s. American news consultants’ work abroad is important because they spread the U.S. model - the origin of today’s on-air news style – and changed television news on a global scale.
Limited research has been conducted on the consultants’ European work and how they operated, largely because of proprietary material. This study was based on 2359 pages of archival material from Frank N. Magid Associates’ European archives. In addition, 24 interviews with Magid staff and UK journalists allowed for a comprehensive examination.
Magid truly infiltrated UK television - from the headquarters of the BBC and ITN, to the regions. A major finding is the extent of Magid’s penetration with research services, storytelling and performance training. During the franchise auction, Magid worked with ITV clients in 11 of the 16 regions.
This study examined how Magid played a role in the development of television news. It analyzed key concepts integrated into UK news and how those are similar or different from the U.S. The importance of good storytelling permeated the findings. Tell a story well – tailored to the culture, medium and viewers – and it will attract an audience. In turn, that attracts advertisers, making news profitable. Change theory guided an analysis of societal forces. Driving forces, such as privatization and technology, spurred on development of television news; restraining forces, such as fear of Americanization, slowed it down.
Television remains the number one news source overall. Research shows news adheres to similar, recurring and predictable elements; an anchor team balances the broadcast and its various elements, following a formula of friendly personalities, visuals and sound bites.
This study examined American news consultants’ role in the development of television news in the UK in the 1990s. American news consultants’ work abroad is important because they spread the U.S. model - the origin of today’s on-air news style – and changed television news on a global scale.
Limited research has been conducted on the consultants’ European work and how they operated, largely because of proprietary material. This study was based on 2359 pages of archival material from Frank N. Magid Associates’ European archives. In addition, 24 interviews with Magid staff and UK journalists allowed for a comprehensive examination.
Magid truly infiltrated UK television - from the headquarters of the BBC and ITN, to the regions. A major finding is the extent of Magid’s penetration with research services, storytelling and performance training. During the franchise auction, Magid worked with ITV clients in 11 of the 16 regions.
This study examined how Magid played a role in the development of television news. It analyzed key concepts integrated into UK news and how those are similar or different from the U.S. The importance of good storytelling permeated the findings. Tell a story well – tailored to the culture, medium and viewers – and it will attract an audience. In turn, that attracts advertisers, making news profitable. Change theory guided an analysis of societal forces. Driving forces, such as privatization and technology, spurred on development of television news; restraining forces, such as fear of Americanization, slowed it down.
ContributorsLiseblad, Madeleine Sonja (Author) / Thornton, Leslie-Jean (Thesis advisor) / Casavantes, Michael (Committee member) / Delmont, Matthew (Committee member) / Silcock, Burton William (Committee member) / Arizona State University (Publisher)
Created2018
Description
Broadcast journalists often report on people dealing with illness or physical hardship, their difficulties and triumphs. But what happens when journalists personally experience those kinds of health-related issues? This study explores how 24 local and national on-air journalists share how they manage life with illness and hardship using personal narratives shared on their professional social media pages, detailing how the journalists navigate sharing a deeply personal experience while maintaining a professional journalistic persona. Thematic analysis found the journalists’ performed three acts when sharing personal health information in a public forum: they reported on their illness, they were transparent, and they justified their actions. Within the three themes a range of expression – from personal to professional – and influences over content were found, leading to the final overarching theme, implications and consequences on content creation. This dissertation finds a complicated struggle to maintain a professional self while acknowledging the urge to connect with others through a deeply personal experience.
ContributorsPellizzaro, Kirstin Nicole (Author) / Thornton, Leslie-Jean (Thesis advisor) / Silcock, Bill (Committee member) / Kwon, K. Hazel (Committee member) / Cheong, Pauline (Committee member) / Arizona State University (Publisher)
Created2019
Description
Scholars argue that masculinity and war are united because masculinity is best observed through male-dominated arenas, such as the military. Moreover, film can serve as a medium to not only establish what is socially acceptable, but play an active role in the creation of one’s identity. Filmmakers past and present have employed the motif of masculinity in their war films, which put it at the center of the social structure and creates an overall acceptable cultural ideology. These filmmakers have established the overall rules, themes, and methods used as part of the war film genre. These rules, themes, and methods served well for pre-1970 American war cinema, when women were not allowed in the military as soldiers. However, as of 2003, female soldiers have grown to comprise twenty percent of the active soldiers and officers in the military. Studies on masculinity construction are well documented in World War II, Vietnam, and Gulf War-era combat films; however, little has been studied on post-9/11 American war films involving the Iraq and Afghanistan wars. Using literature on masculinity constructs, both inside and outside of film, as well as social construction theory, identity theory, genre theory, and auteur theory, this dissertation textually examines masculinity construction in six post-9/11 American war films. This dissertation finds that the contemporary war genre continues to construct masculinity similar to past eras of war film. Comradery, the warrior image, not showing emotion, having a violent demeanor, and the demonization of women and cowardice were all prevalent in one or more of the films analyzed in this study. However, there were many nontraditional masculine ideals that were implemented, such as women being present and taking an active role as soldiers, as well as women being portrayed in the warrior image. The films analyzed demonstrate that the war film genre is still depicting and therefore socially constructing masculinity in a way that was prevalent in pre-1970 war films. However, the genre is evolving and nontraditional masculinity constructs are starting to present themselves.
ContributorsBowen, James (Author) / Russell, Dennis (Thesis advisor) / Thornton, Leslie-Jean (Committee member) / Craft, John (Committee member) / Giron, Angela (Committee member) / Arizona State University (Publisher)
Created2019
Description
Long before “fake news” dominated the conversation within and about the media, media literacy advocates have championed the need for media literacy education that provides the tools for people to understand, analyze, and evaluate media messages. That the majority of U.S. adults now consume news on social media underscores the importance for students of all ages to be critical users of media. Furthermore, the affordances of social media to like, comment, and share news items within one’s network increases an individual’s responsibility to ascertain the veracity of news before using a social media megaphone to spread false information. Social media’s shareability can dictate how information spreads, increasing news consumers’ role as a gatekeeper of information and making media literacy education more important than ever.
This research examines the media literacy practices that news consumers use to inform their gatekeeping decisions. Using a constant comparative coding method, the author conducted a qualitative analysis of hundreds of discussion board posts from adult participants in a digital media literacy Massive Open Online Course (MOOC) to identify major themes and examine growth in participants’ sense of responsibility related to sharing news information, their feeling of empowerment to make informed decisions about the media messages they receive, and how the media literacy tools and techniques garnered from the MOOC have affected their daily media interactions. Findings emphasize the personal and contextual nature of media literacy, and that those factors must be addressed to ensure the success of a media literacy education program.
This research examines the media literacy practices that news consumers use to inform their gatekeeping decisions. Using a constant comparative coding method, the author conducted a qualitative analysis of hundreds of discussion board posts from adult participants in a digital media literacy Massive Open Online Course (MOOC) to identify major themes and examine growth in participants’ sense of responsibility related to sharing news information, their feeling of empowerment to make informed decisions about the media messages they receive, and how the media literacy tools and techniques garnered from the MOOC have affected their daily media interactions. Findings emphasize the personal and contextual nature of media literacy, and that those factors must be addressed to ensure the success of a media literacy education program.
ContributorsRoschke, Kristy (Author) / Thornton, Leslie-Jean (Thesis advisor) / Chadha, Monica (Committee member) / Halavais, Alexander (Committee member) / Silcock, Bill (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study is to explore the shifting cultural norms of copyright law, and that concept’s impact on the performance and practice of artists producing original works of authorship. Although related concepts predate it, and today it exists as a subset of a broader category known as intellectual property, the purpose of copyright beginning with the United States Constitution was to allow for a temporary economic monopoly to an author of a fixed creative work. This monopoly was meant to incentivize authors to contribute to the public good with works that promote progress in science and art. However, increases over time in the scope and duration of copyright terms grant broader protections and controls for copyright owners today, while advances in technology have provided the public with the potential for near-limitless low-cost access to information. This creates a conflict between proprietary interest in creative works and the public’s right and ability to access and build on those works. The history of copyright law in America is rife with efforts to balance these competing interests.
The methodology for this study consisted of flexible strategies for collecting and analyzing data, primarily elite, semi-structured interviews with professional artists, attorneys, and others who engage with the cultural and legal norms of intellectual property regimes on a regular basis. Constant comparative analysis was used to maintain an emic perspective, prioritizing the subjective experience of individuals interviewed for this research project. Additional methods for qualitative analysis were also employed here to code and categorize gathered data, including the use of RQDA, a software package for Qualitative Data Analysis that runs within the R statistical software program. Various patterns and behaviors relevant to intellectual property reforms as they relate to artist practices were discussed in detail following the analysis of findings, in an effort to describe how cultural norms of copyright intersect with the creation of original works of authorship, and towards the development of the theory that the semiotic sign systems subject to intellectual property laws are not themselves forms of real property, as they do not meet the categorical requirements of scarce resources.
The methodology for this study consisted of flexible strategies for collecting and analyzing data, primarily elite, semi-structured interviews with professional artists, attorneys, and others who engage with the cultural and legal norms of intellectual property regimes on a regular basis. Constant comparative analysis was used to maintain an emic perspective, prioritizing the subjective experience of individuals interviewed for this research project. Additional methods for qualitative analysis were also employed here to code and categorize gathered data, including the use of RQDA, a software package for Qualitative Data Analysis that runs within the R statistical software program. Various patterns and behaviors relevant to intellectual property reforms as they relate to artist practices were discussed in detail following the analysis of findings, in an effort to describe how cultural norms of copyright intersect with the creation of original works of authorship, and towards the development of the theory that the semiotic sign systems subject to intellectual property laws are not themselves forms of real property, as they do not meet the categorical requirements of scarce resources.
ContributorsBillingsley, Evan (Author) / Russomanno, Joseph (Thesis advisor) / Anderson, Douglas (Committee member) / de la Garza, Amira (Committee member) / Thornton, Leslie-Jean (Committee member) / Arizona State University (Publisher)
Created2018
Description
Television is currently in a changing state. There is no longer a singular broadcast format for series to follow. Streaming websites such as Netflix, Hulu, and Amazon Prime now release series in their entirety; this is known as a full-season release (FSR). Viewers are now able to act independently and determine the pace they wish to watch a new FSR series. This not only affects how fans engage in social television discussions on social media, but also changes the previously proposed viewer engagement model. Whereas previous research suggests that fans follow a static linear engagement model consisting of pre-communication, parallel communication, and post communication phases, fans are now able to move freely through viewer engagement phases. This creates a new type of engagement model: The Atomized Engagement Model. As fans move freely through the atomized engagement phases, they choose social media platforms to engage in fandom discussion. Research suggests that although there are distinct types of posts that occur in relation to social television discussions, the platforms used have a direct effect on the content and length of the post.
ContributorsPouls, Samantha Rae (Author) / Gilpin, Dawn (Thesis director) / Barrett, Marianne (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Community Resources and Development (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This paper looks at the growth of influencer marketing in application and how it has shifted the relationship between brands and consumers. Barriers to enter the space and methods of practice are discussed and analyzed to project the accessibility of obtaining influencer status. Best practices for brands and influencers are outlined based on research, and key findings are analyzed from interviewed participants that play an active role in the field. Another component of the paper includes the discussion of the significance of platform dependence regarding influencers and brands using social media channels to reach consumers. The dynamic of the relationship that exists between consumers, brands and platforms is demonstrated through a model to demonstrate the interdependence of the relationship. The final component of the paper involves the exploration of the field as an active participant through an experiment that was conducted by the researcher on behalf of the question: can anyone be an influencer? The answer to this question is explored through personal accounts on the journey during an eight month process of testing content creation and promotion to build awareness and increase engagement. The barriers to enter the space as an influencer and to collaborate with brands is addressed through the process of testing tactics and strategies on social channels, along with travel expeditions across Arizona to contribute to content creation purposed into blog articles. The findings throughout the paper are conclusive that the value of influencer marketing is increasing as more brands validate and utilize this method in their marketing efforts.
ContributorsDavis, Natalie Marie (Author) / Giles, Bret (Thesis director) / Schlacter, John (Committee member) / Department of Information Systems (Contributor) / Department of Marketing (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
As the U.S. reckons with the reality of sexual assault and harassment in the wake of the #MeToo movement, it is particularly important to consider sexual assault in the military, an institution that is a massive employer and the face of the U.S. abroad. Media coverage is a catalyst for change, and the nature and scope of coverage is indicative of public and political attitudes. This thesis uses both quantitative and qualitative data to analyze characteristics of military sexual assault cases that complicate media coverage and to identify strengths and weaknesses of the media's approach to such stories. On the quantitative side, it takes advantage of nearly 600 case reports of sexual assault from U.S. military bases in Japan that were categorized to identify themes such as disposition outcomes, alcohol involvement and victim participation in investigations. Qualitatively, this thesis includes interviews with military officials, victims' advocates, journalists and other stakeholders that help to create a more holistic understanding of how media cover military sexual assault. Notably, this thesis finds that a lack of public interest in the military, a lack of congruency between military and civilian systems, and a highly complex hierarchy that limits journalists' access to military sources and data all complicate coverage. Drawing from these conclusions, it recommends that the media avoid episodic reporting, focus on personalizing stories in an institutional context, embrace accountability journalism and dedicate resources to pursuing complex investigations. It also acknowledges the important role of non-traditional media in the future of information sharing on the topic of military sexual assault.
ContributorsArmstrong, Mia Anne (Author) / Warner, Carolyn (Thesis director) / Gilger, Kristin (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
South Korea possesses the only culture to successfully create a transnationality and hybridity formula that is not replicable. So why Korea and why now? The goal of this thesis creative project is to demonstrate the marketing and communications strategies used in the arts and culture industry to drive global awareness and interest in K-Pop. In order to achieve that goal, I created HellotoHallyu.com, a website designed for an audience of Millennials and Generation Z English speakers to increase their awareness of the growth and impact of the Korean Wave in a fun and engaging way. So those who may hear a song by K-Pop idol group BTS on a music awards show in the U.S. can get themselves up-to-speed before diving into the fast-paced world of K-culture gossip sites and forums. Hello to Hallyu delivers consumer-friendly, educational content easily understood by English speakers with no prior knowledge of Korean culture, while still piquing the interest of K-pop connoisseurs. It provides the background necessary for even the most dedicated fans to glean new knowledge of Korea's cultural industry and a new perspective on the content they consume. Hello to Hallyu is based on a combination of secondary and primary research conducted over four semesters beginning Spring 2017 and continuing through Spring 2018. This project is set up as an ever-expanding resource freely available to anyone with internet access. The research required to maintain the site will continue with the Wave. However, the content currently on the site is evergreen, a documentation of the history of the Wave as explained in peer-reviewed articles and by Dr. Ingyu Oh as well as a documentation of my personal experience with Hallyu while in Korea and as a Westerner living in the U.S. The site's goal is to demonstrate the marketing and communications strategies used in the industry to drive global awareness and interest. Through this means, Hello to Hallyu aims to provide fully developed multimedia content intended to increase English speakers' awareness of the growth and impact of the Korean Wave as shown through site visits, content views, and audience engagement.
ContributorsTravis, Lisa Anne (Author) / Hass, Mark (Thesis director) / Shewell, Justin (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05