Difference between revisions of "Camus2015"
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|Author(s)=Laurent Camus; | |Author(s)=Laurent Camus; | ||
|Title=Réaliser en direct: une vidéo-ethnographie de la production interactionnelle du match de football télévisé depuis la régie | |Title=Réaliser en direct: une vidéo-ethnographie de la production interactionnelle du match de football télévisé depuis la régie | ||
| − | |Tag(s)=EMCA; sport; Live broadcast; Television; | + | |Tag(s)=EMCA; sport; Live broadcast; Television; |
|Key=Camus2015 | |Key=Camus2015 | ||
|Year=2015 | |Year=2015 | ||
| + | |Language=French | ||
|URL=https://www.theses.fr/2015ENST0036 | |URL=https://www.theses.fr/2015ENST0036 | ||
|School=Télécom ParisTech | |School=Télécom ParisTech | ||
|Abstract=This PhD dissertation develops an approach to live soccer TV-production defined as a practical accomplishment, based on a fieldwork observation of real-time editing in the control-room during matches of the French championship (Ligue 1) broadcasted by Canal +. Instead of focusing on the broadcast as a result and a resource for interpretation, this thesis analyses the activities of perception, filming and editing exhibited by the participants of the control-room. By a video-analysis of operators' interactions, it considers the TV-broadcast from the technological, collaborative and embodied environment of its production. This praxeological perspective takes into account the visual and temporal characteristics of real-time multi-cameras editing. It describes the emergence of the remote event from the screens and the speakers of the control-room. Thus, it examines how, by real-time editing, the participants of the control-room order, reflexively and visually, the interactions of the match they watch. This emic perspective shows that there is a reflexive and temporal adjustment between operators at work and the environment they produce. The televised broadcast is considered as an account of the soccer match and of the social and moral phenomena taking place in it. Instead of adopting a critical perspective on “sport shows”, this dissertation proposes an empirical analysis of the endogenous dynamics of the activity of operators in the recent development of sport events. | |Abstract=This PhD dissertation develops an approach to live soccer TV-production defined as a practical accomplishment, based on a fieldwork observation of real-time editing in the control-room during matches of the French championship (Ligue 1) broadcasted by Canal +. Instead of focusing on the broadcast as a result and a resource for interpretation, this thesis analyses the activities of perception, filming and editing exhibited by the participants of the control-room. By a video-analysis of operators' interactions, it considers the TV-broadcast from the technological, collaborative and embodied environment of its production. This praxeological perspective takes into account the visual and temporal characteristics of real-time multi-cameras editing. It describes the emergence of the remote event from the screens and the speakers of the control-room. Thus, it examines how, by real-time editing, the participants of the control-room order, reflexively and visually, the interactions of the match they watch. This emic perspective shows that there is a reflexive and temporal adjustment between operators at work and the environment they produce. The televised broadcast is considered as an account of the soccer match and of the social and moral phenomena taking place in it. Instead of adopting a critical perspective on “sport shows”, this dissertation proposes an empirical analysis of the endogenous dynamics of the activity of operators in the recent development of sport events. | ||
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Latest revision as of 03:04, 14 October 2017
| Camus2015 | |
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| BibType | PHDTHESIS |
| Key | Camus2015 |
| Author(s) | Laurent Camus |
| Title | Réaliser en direct: une vidéo-ethnographie de la production interactionnelle du match de football télévisé depuis la régie |
| Editor(s) | |
| Tag(s) | EMCA, sport, Live broadcast, Television |
| Publisher | |
| Year | 2015 |
| Language | French |
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| Number | |
| Pages | |
| URL | Link |
| DOI | |
| ISBN | |
| Organization | |
| Institution | |
| School | Télécom ParisTech |
| Type | |
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| Chapter | |
Abstract
This PhD dissertation develops an approach to live soccer TV-production defined as a practical accomplishment, based on a fieldwork observation of real-time editing in the control-room during matches of the French championship (Ligue 1) broadcasted by Canal +. Instead of focusing on the broadcast as a result and a resource for interpretation, this thesis analyses the activities of perception, filming and editing exhibited by the participants of the control-room. By a video-analysis of operators' interactions, it considers the TV-broadcast from the technological, collaborative and embodied environment of its production. This praxeological perspective takes into account the visual and temporal characteristics of real-time multi-cameras editing. It describes the emergence of the remote event from the screens and the speakers of the control-room. Thus, it examines how, by real-time editing, the participants of the control-room order, reflexively and visually, the interactions of the match they watch. This emic perspective shows that there is a reflexive and temporal adjustment between operators at work and the environment they produce. The televised broadcast is considered as an account of the soccer match and of the social and moral phenomena taking place in it. Instead of adopting a critical perspective on “sport shows”, this dissertation proposes an empirical analysis of the endogenous dynamics of the activity of operators in the recent development of sport events.
Notes
