Difference between revisions of "Broth2008"
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|Abstract=The present text focuses on the complex context of TV-production. The study shows how the dynamics of 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 in a state of mutual attention to the unfolding studio interaction. Based on a number of recordings made in the control room during the live production of the French TV-show Rideau Rouge (January 20, 2004) the study describes in particular the crew's orientations towards three dimensions of the endogenous organization of the studio interaction: turn construction, sequence organization, and activity constitution. The analysis confirms the general relevance of these orders of organization for talk-in-interaction, and shows how each can be used for the practical purposes of the production of the show. The study also reflects upon 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 at hand, which is shown to be of some importance for the way in which it can be understood. | |Abstract=The present text focuses on the complex context of TV-production. The study shows how the dynamics of 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 in a state of mutual attention to the unfolding studio interaction. Based on a number of recordings made in the control room during the live production of the French TV-show Rideau Rouge (January 20, 2004) the study describes in particular the crew's orientations towards three dimensions of the endogenous organization of the studio interaction: turn construction, sequence organization, and activity constitution. The analysis confirms the general relevance of these orders of organization for talk-in-interaction, and shows how each can be used for the practical purposes of the production of the show. The study also reflects upon 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 at hand, which is shown to be of some importance for the way in which it can be understood. | ||
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Latest revision as of 10:52, 18 February 2016
| Broth2008 | |
|---|---|
| BibType | ARTICLE |
| Key | Broth2008 |
| Author(s) | Mathias Broth |
| Title | The studio interaction as a contextual resource for TV-production |
| Editor(s) | |
| Tag(s) | Context, EMCA, Intersubjectivity, Mediated interaction, TV-interviews, TV-production |
| Publisher | |
| Year | 2008 |
| Language | |
| City | |
| Month | |
| Journal | Journal of Pragmatics |
| Volume | 40 |
| Number | 5 |
| Pages | 904–926 |
| URL | Link |
| DOI | 10.1016/j.pragma.2007.10.010 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
The present text focuses on the complex context of TV-production. The study shows how the dynamics of 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 in a state of mutual attention to the unfolding studio interaction. Based on a number of recordings made in the control room during the live production of the French TV-show Rideau Rouge (January 20, 2004) the study describes in particular the crew's orientations towards three dimensions of the endogenous organization of the studio interaction: turn construction, sequence organization, and activity constitution. The analysis confirms the general relevance of these orders of organization for talk-in-interaction, and shows how each can be used for the practical purposes of the production of the show. The study also reflects upon 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 at hand, which is shown to be of some importance for the way in which it can be understood.
Notes
