All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078 |
Resumo: | Abstract Based on co-viewing and connected viewing literature (Pires & Roig, 2016), this article analyses connected co-viewing practices within and with the use of media platforms around a live television event, using the Eurovision Song Contest as a case study. This popular event has a long-running tradition which has fostered extensive use of different kinds of connected platforms, including an official app. Using a case study approach and focusing on the Spanish context, we have analysed connected co-viewing in three main platforms: Facebook (through unofficial groups), Twitter (through live conversation and hashtagging practices around the event) and by exploring the Eurovision official second screen app. The study indicates that: (1) co-viewing is mutually shaped by the affordances and interface features of the platforms, the viewers’ practices and uses given to these platforms; (2) co-viewing can be expanded by platforms when designed for collective use; (3) user-generated content and data production are central elements to enhance co-viewing when using connected platforms; (4) platform affordances can create digital spaces, which might channel the way co-viewers perform and enjoy this activity. |
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All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contestconnected viewinguser-generated contentsecond screen appsEurovisionplatformssocial TVAbstract Based on co-viewing and connected viewing literature (Pires & Roig, 2016), this article analyses connected co-viewing practices within and with the use of media platforms around a live television event, using the Eurovision Song Contest as a case study. This popular event has a long-running tradition which has fostered extensive use of different kinds of connected platforms, including an official app. Using a case study approach and focusing on the Spanish context, we have analysed connected co-viewing in three main platforms: Facebook (through unofficial groups), Twitter (through live conversation and hashtagging practices around the event) and by exploring the Eurovision official second screen app. The study indicates that: (1) co-viewing is mutually shaped by the affordances and interface features of the platforms, the viewers’ practices and uses given to these platforms; (2) co-viewing can be expanded by platforms when designed for collective use; (3) user-generated content and data production are central elements to enhance co-viewing when using connected platforms; (4) platform affordances can create digital spaces, which might channel the way co-viewers perform and enjoy this activity.OberCom2020-12-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articletext/htmlhttp://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078Observatorio (OBS*) v.14 n.4 2020reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttp://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078Pires,FernandaRoig,Antoniinfo:eu-repo/semantics/openAccess2024-02-06T17:22:28Zoai:scielo:S1646-59542020000400078Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T02:29:09.216356Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
title |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
spellingShingle |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest Pires,Fernanda connected viewing user-generated content second screen apps Eurovision platforms social TV |
title_short |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
title_full |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
title_fullStr |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
title_full_unstemmed |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
title_sort |
All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest |
author |
Pires,Fernanda |
author_facet |
Pires,Fernanda Roig,Antoni |
author_role |
author |
author2 |
Roig,Antoni |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Pires,Fernanda Roig,Antoni |
dc.subject.por.fl_str_mv |
connected viewing user-generated content second screen apps Eurovision platforms social TV |
topic |
connected viewing user-generated content second screen apps Eurovision platforms social TV |
description |
Abstract Based on co-viewing and connected viewing literature (Pires & Roig, 2016), this article analyses connected co-viewing practices within and with the use of media platforms around a live television event, using the Eurovision Song Contest as a case study. This popular event has a long-running tradition which has fostered extensive use of different kinds of connected platforms, including an official app. Using a case study approach and focusing on the Spanish context, we have analysed connected co-viewing in three main platforms: Facebook (through unofficial groups), Twitter (through live conversation and hashtagging practices around the event) and by exploring the Eurovision official second screen app. The study indicates that: (1) co-viewing is mutually shaped by the affordances and interface features of the platforms, the viewers’ practices and uses given to these platforms; (2) co-viewing can be expanded by platforms when designed for collective use; (3) user-generated content and data production are central elements to enhance co-viewing when using connected platforms; (4) platform affordances can create digital spaces, which might channel the way co-viewers perform and enjoy this activity. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-12-01 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078 |
url |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S1646-59542020000400078 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
text/html |
dc.publisher.none.fl_str_mv |
OberCom |
publisher.none.fl_str_mv |
OberCom |
dc.source.none.fl_str_mv |
Observatorio (OBS*) v.14 n.4 2020 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799137359668707328 |