Difference between revisions of "Broth2006"

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{{BibEntry
 
{{BibEntry
|Key=Broth2006
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|BibType=ARTICLE
|Key=Broth2006
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|Author(s)=Mathias Broth;
 
|Title=L'interaction du plateau comme ressource contextuelle pour la réalisation télévisuelle
 
|Title=L'interaction du plateau comme ressource contextuelle pour la réalisation télévisuelle
|Author(s)=Mathias Broth;
 
 
|Tag(s)=EMCA; Multimodality; TV; activity construction; control room; sequence organization
 
|Tag(s)=EMCA; Multimodality; TV; activity construction; control room; sequence organization
|BibType=ARTICLE
+
|Key=Broth2006
 
|Year=2006
 
|Year=2006
 +
|Language=French
 
|Journal=Verbum
 
|Journal=Verbum
 
|Volume=26
 
|Volume=26

Latest revision as of 01:33, 18 October 2017

Broth2006
BibType ARTICLE
Key Broth2006
Author(s) Mathias Broth
Title L'interaction du plateau comme ressource contextuelle pour la réalisation télévisuelle
Editor(s)
Tag(s) EMCA, Multimodality, TV, activity construction, control room, sequence organization
Publisher
Year 2006
Language French
City
Month
Journal Verbum
Volume 26
Number 2-3
Pages 279–304
URL
DOI
ISBN
Organization
Institution
School
Type
Edition
Series
Howpublished
Book title
Chapter

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Abstract

The present paper focuses on the highly complex context of a live TV-production. The study shows how the studio interaction can be made relevant as a crucial contextual resource for the production crew filming and broadcasting the very same interaction. The mutual intelligibility of the crew’s indexical practices (e.g. talk, switches and camera movement) is shown to be grounded, to a large extent, in a state of mu- tual attention to the unfolding interaction in the studio. Based on a number of video recordings made in the control room during the live production of the French TV- show Rideau Rouge (January 20, 2004) the paper describes in particular the crew’s orientations towards three dimensions of the local and endogenous organization of the studio interaction: turn construction, sequence organization, and activity consti- tution. The analyses confirm the general relevance of these orders of organization for talk-in-interaction, and shows how each can be used, in this particular context, for the practical purposes of the production of a show for an audience of TV- viewers. The study also considers possible mediating effects when perceiving the studio interaction at a distance. In the control room, the studio interaction can only be observed through the technological system in use, a fact which is shown to be of possible importance for the way in which it can be understood.

Notes