Searching for public value in innovation coordination: How the Eurovision Song Contest was used to innovate the public service media model in Estonia

Ibrus, Indrek; Rohn, Ulrike; Nanì, Alessandro

doi:10.1177/1367877918757513

Cited by 11 publications

(9 citation statements)

References 25 publications

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“…Television, also, was believed to have a direct and positive impact on the audience’s awareness and sales. Specifically, talent shows as well as the national pre-selection competition for the Eurovision Song Contest, Eesti Laul , were mentioned as influential sources of recognition (see also Ibrus et al, 2019). As the sales manager of a major label said, popular commercial radio stations “would not waste their time on songs that are not kept alive in other channels.” Or as the CEO of MiB explained, anonymous radio airplay is insufficient because consumers need to recognize the artists whose songs are being played.…”

Section: The Mutual Dependency Of the Music Industries And Legacy Mediamentioning

confidence: 99%

The emergence of promotional gatekeeping and converged local music professionals on social media

Järvekülg

Wikström

2021

Convergence: The International Journal of Research into New Med

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The digitalization of creative industries has undermined the business models of legacy media outlets as well as the music industries. This article discusses the two primary ways that legacy media has functioned in the context of the music industries—as a producer of symbolic value and as an engine of music promotion. However, the central aim of this study is to analyze the development of these functions in the new media sphere by identifying music promotion practices on Facebook. Based on in-depth interviews conducted with local music industry professionals in Estonia, two sets of promotional approaches have been identified: brand-centered approaches and community-oriented approaches. The findings indicate a continuing convergence of autonomous music criticism and music promotion across many dimensions and the presence of “promotional gatekeeping” as a form of business activity in small creative industries.

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Section: The Mutual Dependency Of the Music Industries And Legacy Mediamentioning

confidence: 99%

The emergence of promotional gatekeeping and converged local music professionals on social media

Järvekülg

Wikström

2021

Convergence: The International Journal of Research into New Med

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Section: Shaping the Marketmentioning

confidence: 99%

“…In relation to both the supply base and innovation, PSM’s role includes “growing symbiotic partnerships” (Mazzucato and O’Donovan 2016 ) and acting as “coordinators for all the media ecosystems conceptualized as ‘innovation ecosystems’” (Ibrus et al 2019 , p. 4). The establishment of relationships with other media actors counters some of the crowding out thesis, and considers the public sector as “positive, co-productive agent” (Ibrus et al 2019 , p. 4). The relationship between public value and collaboration strategies has been highlighted by Raats et al ( 2014 , p. 267), and in the past few years there has been an increase in public-private collaborations in the media sector, mainly as a response to the increasing criticism of PSM’s digital expansion (Wauters and Raats 2018 , p. 176).…”

Section: Shaping the Marketmentioning

confidence: 99%

Public Service Media Interventions: Risk and the Market

Rodríguez-Castro

Noonan

Ramsey

2021

Palgrave Global Media Policy and Business

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This chapter explores the relationship between Public Service Media (PSM) and the market through the lens of risk. Instead of approaching PSM’s market impact from a crowding-out perspective, we focus on how these organizations contribute to creating, shaping, and sustaining markets. We identify two key areas of risk that PSM organizations are actively negotiating and/or as part of a change to their remit and responsibilities: first, in creating and sustaining a supply base of indigenous content, and second, in contributing to innovation capacity. Whilst we don’t argue that all PSM organizations are engaging in these equally, or even delivering effectively on these agendas, we want to highlight the important contribution that PSM makes to creative economies and to economic and cultural activity within nation states more generally. The chapter concludes by arguing that by undermining the scale and funding of PSM their capacity to assume that risk is weakening, and that this will have implications for the entire marketplace.

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“…Fricker & Gluhovic 2013;Raykoff 2021;Raykoff & Tobin 2007;Vuletic 2018;Yair 2019). Viime aikoina on kuitenkin ilmestynyt joitain televisiotuotantoon liittyviä tutkimuksia, jotka tarkastelevat esimerkiksi nykyisten euroviisuesitysten audiovisuaalista rakentumista ja Viron euroviisukarsinnan tuotantoa monialustaisessa ympäristössä (Ibrus, Rohn & Nanì 2019;Pérez-Rufí & Valverde Mestre 2020). Jatkan näissä artikkeleissa aloitettua keskustelua kiinnittämällä huomiota tuotannon ylirajaisiin piirteisiin.…”

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Laulukilpailusta show-kilpailuksi?

Pajala¹

2021

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Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980, 1990 ja 2000 Eurovision laulukilpailuista, joita analysoimalla luon kuvan kilpailukappaleiden audiovisuaalisen esillepanon kehityksestä. Toiseksi käytän vuosien 2016–2019 Euroviisujen tuotantotietoja aineistona rakentaessani kuvaa laulukilpailun nykytuotannosta. Esitän, että euroviisuesityksille on aina pyritty rakentamaan kappaleen tyyliin sopiva visuaalinen ilme. Teknologinen kehitys ja kilpailun sääntömuutokset ovat kuitenkin mahdollistaneet entistä vaihtelevammat ja monimutkaisemmat esitykset. Suurimuotoisen tv-spektaakkelin rakentaminen edellyttää yhteistyötä eri maista tulevien ammattilaisten ja yritysten kesken, ja nykyiset Eurovision laulukilpailut ovatkin ylirajaisia tuotantoja. Samat televisioalan ammattilaiset ja yhtiöt osallistuvat kilpailun tuotantoon eri maissa. Lisäksi kansalliset delegaatiot palkkaavat ylirajaisesti työskenteleviä ammattilaisia suunnittelemaan kilpailuesityksiään. Eurovision laulukilpailun tuotantoon on myös muodostunut eräänlainen alueellinen hierarkia, jossa Pohjois-Eurooppa on johtavassa asemassa erityisesti Ruotsin television SVT:n ja ruotsalaisten ammattilaisten keskeisen roolin ansiosta.Avainsanat: Eurovision laulukilpailu, televisioestetiikka, televisiotuotanto, spektaakkeli, ylirajaisuus From a song contest to a show contest? The increasingly transnational production of television spectacle in the Eurovision Song ContestAlthough academic interest in the Eurovision Song Contest (ESC) has grown over the past two decades, research has only rarely focused on television aesthetics and television production. The article explores the common claim that the contemporary ESC places more and more emphasis on visual spectacle. The article asks, how has the audiovisual presentation of Eurovision entries developed over the course of the contest’s history, and how can we characterize the production of the contemporary ECS?The primary research material consists of, firstly, ESC broadcasts from 1960, 1970, 1980, 1990, and 2000. These are analysed to describe the historical development of the audiovisual presentation of Eurovision entries. Secondly, the article draws on production information for ESC 2016–2019 to gain an understanding of the scope of the contemporary production.The article argues that ESC producers have always aimed at creating visually varied performances that suit the style of each song. However, changes in technology and the contest’s rules have enabled increasingly complex performances. As a result, creating the contemporary ESC requires using creative and technical personnel across national borders, and many of the same television professionals and companies participate in the production year after year. Moreover, successful stage directors work transnationally, designing Eurovision performances for different countries. Thus, the ESC participates in a wider turn towards transnational production in European television culture. The transnational field of ESC production is not without hierarchies, as Northern Europe plays a central role in the development of the contest, thanks to strong input from Swedish television SVT and Swedish television professionals in particular.Keywords: Eurovision Song Contest, television aesthetics, television production, spectacle, transnational

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Searching for public value in innovation coordination: How the Eurovision Song Contest was used to innovate the public service media model in Estonia

Cited by 11 publications

References 25 publications

The emergence of promotional gatekeeping and converged local music professionals on social media

The emergence of promotional gatekeeping and converged local music professionals on social media

Public Service Media Interventions: Risk and the Market

Laulukilpailusta show-kilpailuksi?

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