Matching Items (47)
Description
Social media offers a powerful platform for the independent digital content producer community to develop, disperse, and maintain their brands. In terms of information systems research, the broad majority of the work has not examined hedonic consumption on Social Media Sites (SMS). The focus has mostly been on the organizational perspectives and utilitarian gains from these services. Unlike through traditional commerce channels, including e-commerce retailers, consumption enhancing hedonic utility is experienced differently in the context of a social media site; consequently, the dynamic of the decision-making process shifts when it is made in a social context. Previous research assumed a limited influence of a small, immediate group of peers. But the rules change when the network of peers expands exponentially. The assertion is that, while there are individual differences in the level of susceptibility to influence coming from others, these are not the most important pieces of the analysis--unlike research centered completely on influence. Rather, the context of the consumption can play an important role in the way social influence factors affect consumer behavior on Social Media Sites. Over the course of three studies, this dissertation will examine factors that influence consumer decision-making and the brand personalities created and interpreted in these SMS. Study one examines the role of different types of peer influence on consumer decision-making on Facebook. Study two observes the impact of different types of producer message posts with the different types of influence on decision-making on Twitter. Study three will conclude this work with an exploratory empirical investigation of actual twitter postings of a set of musicians. These studies contribute to the body of IS literature by evaluating the specific behavioral changes related to consumption in the context of digital social media: (a) the power of social influencers in contrast to personal preferences on SMS, (b) the effect on consumers of producer message types and content on SMS at both the profile level and the individual message level.
ContributorsSopha, Matthew (Author) / Santanam, Raghu T (Thesis advisor) / Goul, Kenneth M (Committee member) / Gu, Bin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Fringe: Abstract Fringe is a feature length screenplay and a work of original science fiction. The story takes place in the future, on a planet far from Earth but it is told from the human perspective and is meant to draw into question many issues present in society today: prejudice, hatred, multiculturalism, war, and social division. The screenplay seeks to pose an allegorical relationship between the humanity living on the planet, and the enemies they face, and the present day conflict between America and the Middle East or ISIS. The story follows Miles as he is forced to ally with his sworn enemy, the Lue, and learn to fight together to save his world from destruction. Miles begins the film bitter, resentful, and filled with prejudice towards his foes, much like a majority of Americans today. Instead of focussing on that conflict though, my story unites these two bitter enemies and asks them to put aside their violent and hateful pasts to fight a new, more powerful foe together. As the events unfold my characters learn that their enemies can be just like them and that they have something valuable to offer their world. My screenplay is about finding commonality with the enemy, on both sides of a conflict. By the end of my tale, Miles learns that there is good to be found in the world, even in his sworn enemies, if he looks close enough. It may seem like an archetypal plot on the surface but I worked hard to create a world that has not been seen in film before, an original science fiction universe that can bring these issues into the light and entertain an audience while doing so. I feel that my screenplay does just that, offering entertainment with and edge of social commentary, and stays true to the science fiction form.
ContributorsTrcic, Colton Walker (Author) / Maday, Gregory (Thesis director) / Bernstein, Gregory (Committee member) / WPC Graduate Programs (Contributor) / W. P. Carey School of Business (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
While studying in Japan, I became fascinated by the variety shows my roommates would watch. These shows featured a flexible format with comedians and other entertainers participating in a wide variety of activities. For my senior creative project, I decided to determine what features were essential to Japanese variety shows, and to then use these features to create my own program.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
ContributorsAmkraut, Elliott R. (Author) / Chambers, Anthony (Thesis director) / Wilson, Bradley (Committee member) / Maday, Gregory (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-05
Description
For students on a college campus, many courses can present challenges to them academically. Some universities have taken an initiative to respond to this by offering tutoring opportunities at a central location. Generally this provides help for some struggling students, but others are left with many questions unanswered. Two primary reasons for this are that some tutoring services are broad in scope and that there may not be sufficient one-on-one time with a tutor. With the development of a mobile application, a solution is possible to improve upon the tutoring experience for all students. The concept revolves around the formation of a labor market of freelancers, known as a gig economy, to create a large supply of tutors who can provide their services to a student looking for help in a specific course. A strategic process was followed to develop this mobile application, called Tuzee. To begin, an early concept and design was drafted to shape a clear vision statement and effective user experience. Planning and research followed, where technical requirements including an efficient database and integrated development environment were selected. After these prerequisites, the development stage of the application started and a working app produced. Subsequently, a business model was devised along with possible features to be added upon a successful launch. With a peer-to-peer approach powering the app, monitoring user engagement lies as a core principle for consistent growth. The vision statement will frequently be referred to: enhance university academics by enabling the interaction of students with each other.
ContributorsArcaro, Daniel James (Author) / Ahmad, Altaf (Thesis director) / Sopha, Matthew (Committee member) / Department of Information Systems (Contributor) / WPC Graduate Programs (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This thesis explores cybersecurity as a profession and whether it belongs in academia. It also explores exactly how it should be implemented into universities. Whether in a bachelor's program or master's program, cybersecurity degree or cybersecurity concentration, engineering school or business school, cybersecurity has a place in higher education that plays an integral role in helping fix the issue of a lack of cybersecurity professionals. At Arizona State University, a cybersecurity concentration currently exists in the engineering school at both the bachelor's and master's level as well as the business school at the bachelor level. The one location it is missing from is the master's level of the business school. The goal of this report is to suggest a change to the specific curriculum in the Information Systems Department at the W.P. Carey School of Business. This thesis compares the curriculum of the Master of Science in Information Management (MSIM) program at Arizona State to eight other programs around the country that either offer a cybersecurity concentration option, offer cybersecurity degrees, or have highly ranked MSIM programs. A new curriculum is recommended that includes greater flexibility for students in customizing their education to specific career fields within information systems, offers multiple certificate options including cybersecurity, and better matches what the other highly ranked programs are offering to students. This curriculum is not only better for students attending or seeking Arizona State University but better for the University itself. It offers a more well-rounded scope of topics than the current program does while maintaining the identity and strengths of the current program.
ContributorsWelcome, Anthony (Author) / Sopha, Matthew (Thesis director) / Mazzola, Daniel (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
Data has quickly become a cornerstone of society. Across our daily lives, industry, policy, and more, we are experiencing what can only be called a “data revolution” igniting ferociously. While data is gaining more and more importance, consumers do not fully understand the extent of its use and subsequent capitalization by companies. This paper explores the current climate relating to data security and data privacy. It aims to start a conversation regarding the culture around the sharing and collection of data. We explore aspects of data privacy in four tiers: the current cultural and social perception of data privacy, its relevance in our daily lives, its importance in society’s dialogue. Next, we look at current policy and legislature in place today, focusing primarily on Europe’s established GDPR and the incoming California Consumer Privacy Act, to see what measures are already in place and what measures need to be adopted to mold more of a culture of transparency. Next, we analyze current data privacy regulations and power of regulators like the FTC and SEC to see what tools they have at their disposal to ensure accountability in the tech industry when it comes to how our data is used. Lastly, we look at the potential act of treating and viewing data as an asset, and the implications of doing so in the scope of possible valuation and depreciation techniques. The goal of this paper is to outline initial steps to better understand and regulate data privacy and collection practices. Our goal is to bring this issue to the forefront of conversation in society, so that we may start the first step in the metaphorical marathon of data privacy, with the goal of establishing better data privacy controls and become a more data-conscious society.
ContributorsAnderson, Thomas C (Co-author) / Shafeeva, Zarina (Co-author) / Swiech, Jakub (Co-author) / Marchant, Gary (Thesis director) / Sopha, Matthew (Committee member) / WPC Graduate Programs (Contributor) / Department of Finance (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
There is a wide range of steps that go into making any film. Pre-production alone can take up to six months on feature-length films. The labor dedicated to bringing the director's vision to life can take over a year on long form projects. From concept to final cut, the process is simultaneously abstract and technical, demanding unique contributions from every member of the team. It is the director's job to make a film as entertaining as it can possibly be. This is done through careful planning put into the pre-production which is carried through to on-set production and post-production. The culmination of this hard work is the final film, but the process of making a film from the director's point of view can be seen through an important document known as the director's notebook. In a director's notebook, the creative process is captured through all the steps that go into making a film. The purpose of this creative project is to show the entire process of writing and directing a short film by documenting each step in a director's notebook to be shared alongside the final film, Shutter's Affection. Shutter's Affection is a narrative piece aiming to dissect the thought processes behind a serial killer. In this short, a photographer named Martin lives a blissful perfect life with his girlfriend, but soon finds his relationship with her isn't like it is in the photos he's captured of other couples going through their day to day activities. The director's notebook of Shutter's Affection documents all the steps of the creative process, from conception to shooting script, storyboard, and beyond.
ContributorsBender, Brenton James (Author) / Maday, Gregory (Thesis director) / Fortunato, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
My creative project is a feature-length screenplay called Welles. It follows Orson Welles' struggle to get Citizen Kane exhibited .The overarching idea that I wanted to explore within this project is the blatantly self-destructive nature that Welles exhibited in his personal life, all in an attempt to reach his creative/professional goals.
ContributorsDomecq, Tyler (Author) / Bernstein, Gregory (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
My thesis is comprised of three components: the first is the short film, “State of Grace.” The second is a Project Portfolio of my films produced from May 2016 – April 2017; this document includes concept notes for each project, visual inspirations, shot lists, storyboards, and budget breakdowns. The individual video URLs are included at the end of the portfolio. The third component is a video showcasing each of those projects in a demo reel.
The short film, “State of Grace,” is about a woman who reminisces about a past relationship on a night drive. The memories of this relationship compel her to show up at his door. The title, “State of Grace,” is a reference to the character’s emotional state. She is unable to move forward with a new relationship because she is still in love with her ex-boyfriend; however, her ex-boyfriend has moved on and she cannot reclaim that love. The title also refers to the struggle of reconciling love with heartbreak. The film is predominantly silent, accompanied by a piano driven score that reflects the character’s state of mind. The project is highly imagistic, intercutting between happy memories of the couple and the woman driving alone. The piece ends with the character at her ex-boyfriend’s door, intending to tell him she’s still in love with him. She changes her mind when she realizes he isn’t alone. The production influences are described in greater detail in the Project Portfolio.
“ACT1” is the brand I’ve assigned to my films. The Project Portfolio includes concept notes for each of the seven projects I’ve produced, directed, and edited in the past year (May 2016 – April 2017). In addition to a written description of the creative influences on the project, I’ve included my visual inspirations for each piece. All of the films are silent, feature slow motion photography, and are accompanied by original music. The visual expression of emotion inspires most of my work, along with connections in human relationships. Overall, my films have a cinematic, surreal aesthetic, experimenting with ethereal lighting and high frame rates. The shot lists and storyboards are included for most of the projects, along with an itemized budget breakdown. Since I’m most inspired by imagery, my shooting style is improvisational—none of my films have formal screenplays. Intercutting and jump cuts are frequent editing techniques in my projects, including the demo reel.
I edited the reel, connecting the different projects via match cuts whenever possible. The match cuts are on similar composition, content, or camera motion. The music is original and synth-heavy. The title animation features parallax overlays and lens flares to reference the surreal aesthetics in my films.
The short film, “State of Grace,” is about a woman who reminisces about a past relationship on a night drive. The memories of this relationship compel her to show up at his door. The title, “State of Grace,” is a reference to the character’s emotional state. She is unable to move forward with a new relationship because she is still in love with her ex-boyfriend; however, her ex-boyfriend has moved on and she cannot reclaim that love. The title also refers to the struggle of reconciling love with heartbreak. The film is predominantly silent, accompanied by a piano driven score that reflects the character’s state of mind. The project is highly imagistic, intercutting between happy memories of the couple and the woman driving alone. The piece ends with the character at her ex-boyfriend’s door, intending to tell him she’s still in love with him. She changes her mind when she realizes he isn’t alone. The production influences are described in greater detail in the Project Portfolio.
“ACT1” is the brand I’ve assigned to my films. The Project Portfolio includes concept notes for each of the seven projects I’ve produced, directed, and edited in the past year (May 2016 – April 2017). In addition to a written description of the creative influences on the project, I’ve included my visual inspirations for each piece. All of the films are silent, feature slow motion photography, and are accompanied by original music. The visual expression of emotion inspires most of my work, along with connections in human relationships. Overall, my films have a cinematic, surreal aesthetic, experimenting with ethereal lighting and high frame rates. The shot lists and storyboards are included for most of the projects, along with an itemized budget breakdown. Since I’m most inspired by imagery, my shooting style is improvisational—none of my films have formal screenplays. Intercutting and jump cuts are frequent editing techniques in my projects, including the demo reel.
I edited the reel, connecting the different projects via match cuts whenever possible. The match cuts are on similar composition, content, or camera motion. The music is original and synth-heavy. The title animation features parallax overlays and lens flares to reference the surreal aesthetics in my films.
ContributorsTufts, Amber Christine (Author) / Bernstein, Gregory (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This paper discusses the parameters of my creative project, which utilizes a staged reading of scenes from John Cariani’s Almost, Maine as a means of investigating the representation of queer individuals and relationships in theatre, film, and television. The first section provides background information on Almost, Maine itself, while the second section explains the details of the project and what to expect on the day of my defense. The next section explains my purpose in developing a project centralized around queer representation, and the last two sections are personal reflections of the both my growth throughout the creative process, and the final product: the performance and talkback.
ContributorsThompson, Savannah Blake (Author) / Maday, Gregory (Thesis director) / Rohd, Michael (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05