The Qualitative Interview in Media Production Studies

Bruun, Hanne

doi:10.1057/9781137541949_9

Cited by 44 publications

(32 citation statements)

References 13 publications

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“…Opblomstringen betyder ikke desto mindre, at der også er kommet fl ere nye bidrag, hvor de teoretiske for-forståelser eller metodiske udfordringer i medieproduktionsanalyse diskuteres i et lidt bredere perspektiv med henblik på at konsolidere og videreudvikle det som selvstaendigt forskningsfelt (Paterson et al, 2016;Bruun, 2010Bruun, , 2016bHesmondhalg & Baker, 2011;Frandsen, 2007). Denne artikel ønsker at bidrage til at styrke disse tiltag ved at se naermere på betydningen af tid.…”

Section: Hanne Bruun and Kirsten Frandsenunclassified

“…Det vilkår betyder, at nogle forskere bevidst dyrker og vedligeholder langvarige bekendtskaber med centrale personer i mediebranchen. Simpelthen for at holde ' døren på klem' i forhold til fremtidige forskningsprojekter og de nødvendige eksklusive informanter (Bruun, 2016b). En strategi, som på den ene side kan vaere meget givtig, men på den anden side indebaerer en principiel risiko for at miste selvstaendig analytisk distance og skarphed.…”

Section: Timing -Et Spørgsmål Om Samspilunclassified

“…

AbstractIn recent years, media production studies have grown into a thriving fi eld of research, which has given rise to a discussion of the theoretical and methodological approaches it employs (Paterson et al, 2016;Frandsen, 2007;Bruun, 2010Bruun, , 2016b. Th is article is a contribution to this development.

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confidence: 99%

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Tid og timing: Et metodisk perspektiv på produktionsanalyse

Frandsen¹,

Bruun²

2017

MedieKultur

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In recent years, media production studies have grown into a thriving fi eld of research, which has given rise to a discussion of the theoretical and methodological approaches it employs (Paterson et al., 2016;Frandsen, 2007;Bruun, 2010Bruun, , 2016b. Th is article is a contribution to this development. Th e focal point is a discussion of how time and timing are important in media production research. Th e article points out that time is not just a matter of the amount of time that researchers have for their data collection. In production studies, the researcher constructs the object for analysis, and time is to be considered depending on the type of analytical object you are trying to create, on the temporality that is present in the production process behind specifi c genres and subject areas, and on the changes the media are undergoing. A particular aspect of time is timing, which has both a performative and a strategic dimension. Th e importance of time and timing will be illustrated with examples from our own and other researchers' projects. IndledningGennem de senere år har medieproduktionsanalyse fået en opblomstring som forskningsfelt. Den voksende interesse har resulteret i en raekke bidrag, hvor der ikke mindst er fokus på at praesentere resultater af konkrete studier (Hesmondhalg, 2006;

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Section: Hanne Bruun and Kirsten Frandsenunclassified

Section: Timing -Et Spørgsmål Om Samspilunclassified

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Tid og timing: Et metodisk perspektiv på produktionsanalyse

Frandsen¹,

Bruun²

2017

MedieKultur

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“…Rooted in the recent infrastructural turn in platform and software studies [11], this paper contributes methods and strategies for a specific strand of industry research focused on the internet industry. In addition to employing in-depth background interviews, as is common in media production studies [3], this research draws on digital historical research methods. We contend that Facebook's ability to shape the digital marketing ecosystem establishes path dependencies-that is, the ways in which other third parties become directly or indirectly platformdependent.…”

Section: Introductionmentioning

confidence: 99%

The Political Economy of Social Data

Helmond

Nieborg

Vlist

2017

Proceedings of the 8th International Conference on Social Media &Amp; Society - #SMSociety17

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Social media platform-industry partnerships are essential to understanding the politics and economics of social data circulating among platforms and third parties. Using Facebook as a case study, this paper develops a novel methodology for empirically surveying the historical dynamics of social media industry partnerships and partner programs. Facebook is particularly emblematic as one of the few dominant actors that functions both as data aggregator and as digital marketing platform whilst operating a multiplicity of dedicated partner programs that cater to a wide array of industry partners. We employ mixed methods by aligning digital historical research and interview methods: using "digital methods", we reconstruct both ongoing and former declared platform-industry partnerships and programs with web data whilst conducting semi-structured interviews with selected platform partners to contextualize the empirical research. This enables us to address (i) the dynamic relations between social media platforms and industry partners, (ii) their diversification by catering to a growing number of stakeholders with distinct interests, and (iii) their gradual entrenchment as dominant actors within an emerging digital marketing ecosystem. By tracing how and when partnerships and industry alliances are forged, sustained, and terminated over time we are able to develop a critical account of the political economy of social data that addresses the politics of platforms and stakeholders as well as the consolidation of platform power. CCS Concepts • Collaborative and social computing➝Collaborative and social computing theory, concepts and paradigms➝Social media • Collaborative and social computing➝Collaborative and social computing systems and tools➝Social networking sites

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“…With their case studies located at the global-local intersection, their discussion considers how international appeal and local specificity are not necessarily mutually exclusive, but that the latter may indeed be instrumental for the former. Kai Hanno Schwind successfully negotiates the different levels of industrial reflexivity (Caldwell, 2008) presented by his 'exclusive informants' (Bruun, 2016) in order to explore the copyright infringement of Stromberg, the German format adaptation of the British sitcom The Office. By thinking through the complex relationships between conceptualisations of 'format' and creative agency, his article makes a valuable contribution to both non-Anglophone comedy production studies and format scholarship.…”

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confidence: 99%