Erasmus University Thesis Repository
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Driving Offline Attendance in eSports: How Advertisement Messages Shape Consumer Willingness to Pay
No full textThe Role of Air Alliances for Belly Cargo Operations in the Operational Efficiency and Resilience during Disruptions
No full textThe role of sustainability initiatives and female management in reducing energy consumption
No full textThe role of media portrayals in shaping Oxfam's corporate reputation
No full textThe legitimacy of non-governmental organizations (NGOs) is deeply depended on
public trust and moral authority, making them uniquely vulnerable to reputational crises. This study explores how media portrayals shape the corporate reputation of non-governmental organizations (NGOs), with Oxfam as a case study. Drawing on Gofffman's (1974) framing theory, McCombs and Shaw's (1972) agenda-setting theory and Fombrun and Van Riel's (2004) reputation management. All viewed through Durkheim's (1893) structural functionalist lens. This research examines how media narratives influence the trust, legitimacy and capability of NGOs. Aiming at snwering the main research question: ''In what ways do different portrayals in media shape Oxfam's corporate reputation?''. Using a qualitative, longitudinal design, 44 news articles published between 2014 and 2024 were analyzed through thematic analysis that was supported by quantitative insights. This period includes Oxfam's 2018 sexual misconduct scandal, offering insight into reputational crisis and recovery in the years after.
The analysis revealed six themes: (1) accountability & governance failures, (2) crisis
& organizational misconduct, (3) media representation & public discourse, (4) internal positioning, (5) reputation & legitimacy management and (6) donor dynamics & financial pressure. Results show how media shaped Oxfam's corporate reputation. By portraying internal crises as symptoms of structural failure and ethical inconsistency. For example scandals, like the one of Haiti from 2018 were sensationalized, contributing to widespread reputational damage. Media outlets also highlighted performative accountability and moral failure which reinforced organizational legitimacy loss. Political orientation also played a role in shaping corporate reputation because it was found to influence framing. While right-leaning outlets focused on scandal and hypocrisy, left-leaning media emphasized systemic issues and reform. The reputational crisis that followed had tangible consequences, including donor withdrawal, financial instability and having to shut down programs. Oxfam's internal efforts to rebuild trust, such as policy reforms and public apologies, were met with skepticism. These findings highlight how narrative positioning and framing shape NGO reputation, trust, and legitimacy.
Concluding that organizational reputation of NGOs does not only depend on internal
governance or ethical action. Instead, it is continuously co-produced through external media narratives, symbolic interpretation and public reactions. This reputational process is revealed to be complex, fragile, and non-linear. Highly depending on how actions are communicated and framed over time. Ultimately, the thesis contributes to a deeper understanding of how crisis, legitimacy, and media discourse interact in the humanitarian sector. Showing that for NGOs, reputation is both a moral economy and a strategic resource. Adding to a broader societal understanding of how NGOs operate under moral scrutiny in a highly mediated environment
Institutional Approaches to Career Longevity of Visual Artist
No full textThis thesis seeks to examine the existing initiatives put in place by cultural organizations in
facilitating the effective transition and sustenance of progressive career pathways for emerging
visual artists within the creative industry. Specifically, it explores how cultural organizations
interact with these emerging artists and the crucial role they play in enabling access to the art
market. The study also considers the challenges that emerging visual artists face in maintaining a
successful and progressive career trajectory. The central research question guiding this study is
"What role do cultural organizations play in supporting emerging visual artists within Nigeria's art
market?" To address this question, the thesis analyzes how cultural organizations are perceived,
their roles as gatekeepers, the challenges often encountered by emerging visual artists, and the
support and guidance available for navigating the evolving West African art market. While
academic research provides ample evidence of the importance of relationships between cultural
organizations and visual artists in creative industries globally, there is limited explanation of how
these relationships function within the Nigerian context, particularly for emerging visual artists.
Therefore, this study adopts an exploratory approach to investigate the outcomes of such
interactions. To achieve this, thirteen interviews were conducted with gallery owners, curators,
managers, directors, and art professionals. The findings reveal that most galleries in Lagos, key
cultural organizations in the Nigerian art scene primarily focus on showcasing and representing
established and veteran artists. Their limited engagement with emerging artists is largely driven
by the need to safeguard their own sustainability, especially in light of the country's challenging
economic climate. However, over the past decade, some galleries have slowly shifted focus by
integrating programs aimed at increasing inclusivity for emerging visual artists. Despite these
efforts, the challenges remain substantial. The increasing number of young artists entering the
industry poses financial burdens, with limited return on investment compared to the profitability
of established artists. Participants also noted that collectors tend to prioritize key components of
quality in artworks, which many emerging artists fall short of. Furthermore, the advent of social
media has contributed to a culture where many young artists pursue quick sales at the expense of
developing essential professional and management skills. Although some galleries have confirmed
the existence of initiatives aimed at supporting emerging visual artists; these efforts are insufficient
to meet the demands of the rapidly growing artist population. Ultimately, while the thesis presents
evidence of interactions between galleries and emerging artists; these relationships are not always
advantageous to the latter. Nevertheless, this study offers valuable academic insights that can
inform future, more detailed research into the West African art market and its evolving institutional
dynamics
French Nuclear Colonialism : The Impact of The French Nuclear Test Campaigns on The Evolution of French Polynesia and Their Expression of French Neocolonialism
No full textThe thesis shows that the French conducted nuclear testing in French Polynesia from 1966 to 1996 as a means of retaining influence in the region while hiding behind the disguise of national safety and scientific progress. The study is based on records, stories, writing from protests and images and uses them to examine how France gained control over its nuclear technology by taking away local autonomy and removing cultural and health protections in French-run colonies. To address the main question, three further questions look at France's motivation, the effects on society and economy and the impact after 1996. Evidence shows that the French wanted to move testing to Moruroa and Fangataufa mainly to be stronger in the neocolonial and post-imperial world as a superpower, but the real reasons for the move were deep inequality and discrimination based on race and territory. Economic reliance was strengthened, many health problems were caused and indigenous identity, including their culture and traditions, was altered by both domination and resistance. Even though France proclaimed developmental achievements, the real effects involved rigorous government oversight, damage to nature and suppression of freedom. Social movements led by Moruroa e tatou, church and local political activists played a key part in switching the focus from modernization to betrayal. Efforts made after 1996 such as the Morin Law, brought only partial justice and often allowed the state to rule over what facts regarding the Terror were made known. Historiography is advanced by the thesis, as it brings Cold War thinking, postcolonial perspectives and the knowledge found in indigenous cultures together, while also treating oral accounts as proper ways to understand history. Overall, the study points out that the French nuclear tests were a form of nuclear colonialism and their effects and consequences are still being addressed today in discussions about justice and history
Audience Reactions to Black Marxist films as seen on Letterboxd and IMDb
No full textThis study explores how general audiences, and professional critics engage with Black Marxist films on Letterboxd and IMDb. Letterboxd and IMDb are review platforms that anyone can join, where many different people are going to be contribute their thoughts, reviews, and interpretations to certain films. A qualitative thematic analysis was executed on 160 general audience and professional reviews of the films The Spook Who Sat by the Door (1973), Babylon (1980), Bamboozled (2000), and Sorry to Bother You (2018). These films were chosen because of their depiction and criticism of race under capitalist systems. They highlight systemic racial issues and portray forms of resistance. This analysis examined how labor, class, race, and political resistance are received. Thematic analysis is important in this scenario because it requires recognizing key words shown in all the reviews, generating codes, seeing common themes and messages in the reviews from the coding, reviewing the themes and their significance to views on Black Marxism. The analysis gives a comprehensive method in reporting accurate data in people's views on Black Marxist films. The theoretical frameworks of Media Effects Theory, Conflict Theory, Marxist Conflict Theory, Communication Theory, and Black Marxist Theory were used in this study. Through these frameworks, the key themes of Identity and Representation, Media and Cultural Critique, Historical and Social Context, Political Agency and Resistance, Labor and Capitalism, Film Form and Aesthetics, and Emotional and Personal Impact emerge.
The results show that both professional critics and general audiences engaged with these films on a deep emotional and intellectual level. The professional critics often reference the historical significance of the films and the political context they are in. The general audiences tended to note how emotionally and personally significant it was for them. This study also explores how neoliberal ideologies seen in mainstream media can possibly influence audience reception. The results find that the reviewers on Letterboxd and IMDb view these films as forms of cultural resistance that resonate with them on a personal and intellectual level
Here Is The News
No full textIn december 2024 en januari 2025 vonden drie schietpartijen plaats in de Rotterdamse wijk IJsselmonde. Diverse landelijke en lokale media hebben hierover op een eigen manier bericht. Meerdere onderzoeken wijzen uit dat lokale gebeurtenissen vaker werden besproken door lokale media, maar er zijn weinig voorbeelden te vinden over nieuwsdiversiteit in de Nederlandse media. Daarom richt dit onderzoek zich op de manier hoe diverse nieuwsmedia hebben bericht over de schietpartijen in IJsselmonde en alle bijbehorende ontwikkelingen. De onderzoeksvraag die hierin centraal staat is: In hoeverre verschilt de diversiteit aan onderwerpen, invalshoeken en brongebruik in de berichtgeving rond de schietpartijen in de wijk Rotterdam-IJsselmonde tussen verschillende landelijke en lokale nieuwsmedia in de periode van 21 december 2024 tot 19 april 2025?
In dit onderzoek staat dus nieuwsdiversiteit centraal, wat allereerst kan worden verdeeld in de thema's die rond de schietpartijen in IJsselmonde zijn samengesteld en over diverse aspecten rond deze gebeurtenis gaan: de schietpartijen, de slachtoffers, de dader, een mogelijk motief en de nasleep. Al deze thema's - op het motief na - zijn ongeveer even vaak besproken door landelijke en lokale nieuwsmedia. Dit laat zien dat de grenzen tussen landelijke en lokale media minder zichtbaar worden als het gaat om het invullen van de berichtgeving. Dit kan mede worden aangetoond doordat er sprake was van letterlijke tekstuele overlap tussen de twee soorten nieuwsmedia.
Nieuwsdiversiteit kan ook worden gemeten via framing. Voor dit onderzoek is gekeken naar welke frames het vaakst zijn gebruikt door de nieuwsmedia. Hiervoor is de verdeling van Semetko en Valkenburg in acht genomen, bestaande uit het conflictframe, het economisch frame, het human interest-frame en het moraliteitsframe. Het conflictframe en het human interest-frame zijn door zowel landelijke als lokale nieuwsmedia het vaakst ingezet. Landelijke media gebruikten vaker het conflictframe, lokale media vaker het human interest-frame. Dit toont aan dat lokale media meer gericht zijn op een verbindende rol met de consument, doordat zij op een menselijkere manier het nieuws brengen en daardoor dichter bij hun publiek staan.
Tot slot komt nieuwsdiversiteit tot uiting via het gebruik van verschillende typen bronnen. Er werd onderzocht welke bronnen het vaakst zijn gebruikt door de nieuwsmedia. Hiervoor zijn op basis van eerder onderzoek acht verschillende bronnen geformuleerd die naast de data zijn gelegd. Twee van deze bronnen betreffen institutionele organen (zoals de politie en de gemeente Rotterdam) en de ooggetuigen/wijkbewoners. Deze typen bronnen werden het vaakst ingezet door de nieuwsmedia. Waar landelijke media echter vaker institutionele bronnen gebruikten, richtten de lokale nieuwsmedia zich meer tot de wijkbewoners. Deze resultaten leren ons dat er vooral een bepaalde afhankelijkheid bestaat tussen de nieuwsmedia en de mensen, en dat zij van waarde kunnen zijn voor het invullen van een nieuwsverhaal. Andere nieuwsmedia worden nauwelijks als bron gebruikt. Rond nieuwsdiversiteit zijn dus weinig verschillen tussen landelijke en lokale media in de inhoud en meer in de toon en aanpak van de nieuwsberichten
Music industry milestones for success in career trajectory of early-stage Hip-hop artists
No full textThis master thesis investigates the milestones and strategies in the early career trajectories of artists in the Hip-hop and R&B genres, with particular attention on the role of industry professionals in shaping their recognition. Utilizing a qualitative methodology, the study integrates findings from nine semi-structured expert interviews including five emerging artists and four industry professionals - including label founders, managers, A&R representatives and promoters. A dual inductive-deductive thematic analysis approach reveals that stable career advancement is influenced by a complex interplay of structural dynamics and require artists to maintain continuous presence across all platforms.
A central finding of the study is the central role of cultural capital - accumulated through live performances, cultural validation and brand alignment - as a central component that facilitates gaining recognition in the early-career stage. The accumulation and conversion of cultural capital emerged as a foundational condition for visibility within the competitive music sector of the creative industries. Authenticity was identified as a substantial indicator of credibility, particularly when demonstrated by artists tangible content delivery in live acts that foster lasting audience connection and loyal fan-base support.
Furthermore, this study uncovers the tension faced by early-stage artists: full-time commitment is necessary to gain recognition, yet financial compensation from streaming and industry support is insufficient in the early-stage. Artists are frequently needed to perform extensive labour efforts in absence of a stable source of income. Although the digitalization of the industry presents expectations of allowing for more accessible trajectories to success, findings illustrate that wider institutional inequalities remain. In overview, assumptions that social media enables a more. The analysis outcome suggests that structural inequalities are transformed rather than obsolete. Both traditional and digital gatekeepers continue to hold decisive power in conditioning which artists gain access to pivotal milestones.
Overall, the study contributes with insights on how early-stage Hip-hop and R&B artists are required to navigate the rapidly evolving industry demands while implementing strategies that align with their brand identity, meeting audience expectations and conforming to industry standards in the precarious collaboration with digital and streaming platforms.
Ultimately, presenting a more complex understanding of early-career development in the music industry
FROM DEBORD TO DEUTSCHLAND: RAMMSTEIN AND MEDIA SPECTACLES IN MUSIC VIDEOS
No full textThis paper investigates the narratives presented and framed via various societal discourses in Rammstein's music videos, particularly synthesized through Debord's society of the Spectacle. In light of the main research question "How do Rammstein engage with constructing narratives via controversial discourses in their music videos, and what is the significance of the music video medium as the platformised dissemination for their storytelling?", and three sub-questions (1) "does the media spectacle challenge and dispute a discourse as social commentary?", (2), "does the media spectacle help to advocate for an ideology?", and (3) "does the media spectacle help with engagement and notoriety?, this paper explores how Rammstein employ media spectacles under three main societal themes in order to provide storytelling through controversial imagery: national & totalitarian, sex & gender, colonial & racial. Moreover, the music videos are also studied through their media medium and the band's interactions with platforms like YouTube in terms of their visual language. This study is mainly grounded on Debord's works on the spectacle, Garber et al.'s media spectacles, Wicke's Gesamtkunstwerk, Kong & Yeoh's studies on nationalism, Schippers' gender hegemonies, Said's Orientalism, and O'Leary's platformisation. A total of 32 music videos are analysed with a mixed method approach of visual analysis and critical discourse analysis (CDA). The results suggest that Rammstein's media spectacles around nationalism are often multifaceted and intentionally placed to communicate a message, create irony, or provide social commentary. While media spectacles on sex, gender, colonialism and race are utilized much more loosely, creating less irony and reinforcing more traditional notions on sex, gender roles & race difference. Furthermore, the band's media spectacles have followed the shift of platformisation by favouring more universal topics in their latest videos compared to their earlier ones. However, the platforms are not a source for the curation of their media spectacles but more of a facilitator. This paper contributes to the overall knowledge and perception of the media spectacles with the application of spectacle theories onto new mediums of media, and their interactions with platformisation