The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest

Rufí, José Patricio Pérez; Maestre, Águeda María Valverde

doi:10.15581/003.33.2.17-31

Cited by 4 publications

(3 citation statements)

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“…Third, the contest as a source for political disputes within Europe, including political and block voting (Yair, 1995;Yair & Maman, 1996). Fourth, studies using the Eurovision to explain wider, external events, such as economic collaborations, political conflicts, media events, and even social and anthropological aspects, such as collective and cultural memory (Highfield et al, 2013;Pajala, 2011;Pérez-Rufí & Valverde-Maestre, 2020). This study aims to join the fourth category, as it uses the ESC to examine phenomena such as news coverage and framing; media cooperation; the historical evolution of media technologies, etc.…”

Section: Historical Background: "Eurovision Is Coming To Jerusalem"mentioning

confidence: 99%

The historical coverage of televised media events in print media: The Case of the Eurovision Song Contest

Greenwald

2023

Communication & Society

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This study argues that, historically, televised media events managed to become prominent in the public agenda, not only through their live broadcast on television, but also through their long-term, continuous visibility in the print media. This, both on the level of the intensity of their press coverage; and also on the level of their framing as important and significant events for society. In other words, media events have enabled a content-based “coexistence” between print media and television. Through a thematic-qualitative analysis, the study describes how two Israeli, popular and elite newspapers promoted the public discourse on two of the most famous media events in Israel’s history: the 1979 and 1999 Eurovision Song Contests in Jerusalem. Findings reveal an intensive print media coverage of the two shows, from both “soft” (gossip) and “hard” (politics) perspectives. In addition, differences were found in the historical coverage of the contests in popular newspapers, compared to elite ones.

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Section: Historical Background: "Eurovision Is Coming To Jerusalem"mentioning

confidence: 99%

The historical coverage of televised media events in print media: The Case of the Eurovision Song Contest

Greenwald

2023

Communication & Society

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“…Operators need to be familiar with one site of three-dimensional animation technology. All users use the LAN to assist and cooperate with communication and technology and develop animation systems to create animation materials [11,12]. In the production of television shows, animation and rendering technology is a widespread and vital technology.…”

Section: Application Of 3d Animationmentioning

confidence: 99%

Virtual Reality and Its Application for Producing TV Programs

Li-ya

2022

Mobile Information Systems

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This paper aims to conduct an in-depth study on the effective application of virtual reality technology in TV program production. To begin, construct the three-dimensional animation system’s overall structure, determine the animation system’s user interface, and establish the three-dimensional animation system for TV program production. Second, software like YOLOv3 and ResNet-50 network is used for identification and facial recognition. Then, the pixel cross-support window is built using the adaptive stereo matching method. The adaptive filter window is built using the horizontal expansion of the cross-support window. For the successful application of virtual reality technology in TV program creation, the aggregation is completed by regional filtering, and the final parallax image is obtained by parallax selection and parallax optimization. This technology has the ability to improve the visual effect and quality of TV programs, increase the amount of information in programs’ content, and shorten the production cycle of the program in the context of the gradual development of science and technology and the new technology period. In comparison to other approaches, simulation experiments demonstrate that the proposed method has the potential to increase the quality and attractiveness of TV programs and meet the psychological demand of viewers.

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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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The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest

Cited by 4 publications

References 6 publications

The historical coverage of televised media events in print media: The Case of the Eurovision Song Contest

The historical coverage of televised media events in print media: The Case of the Eurovision Song Contest

Virtual Reality and Its Application for Producing TV Programs

Laulukilpailusta show-kilpailuksi?

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