All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest

Authors

DOI:

https://doi.org/10.15847/obsOBS14420201673

Keywords:

connected viewing, user-generated content, second screen apps, Eurovision, platforms, social TV

Abstract

Based on co-viewing and connected viewing literature (Authors, year), this article analyses connected co-viewing practices within and with the use of media platforms around a live television event, using the Eurovision Song Contest as a case study. This popular event has a long-running tradition which has fostered extensive use of different kinds of connected platforms, including an official app. Using a case study approach and focusing on the Spanish context, we have analysed connected co-viewing in three main platforms: Facebook (through unofficial groups), Twitter (through live conversation and hashtagging practices around the event) and by exploring the Eurovision official second screen app. The study indicates that: (1) co-viewing is mutually shaped by the affordances and interface features of the platforms, the viewers’ practices and uses given to these platforms; (2) co-viewing can be expanded by platforms when designed for collective use; (3) user-generated content and data production are central elements to enhance co-viewing when using connected platforms; (4) platform affordances can create digital spaces, which might channel the way co-viewers perform and enjoy this activity.

Author Biographies

Fernanda Pires, Universitat Pompeu Fabra- Barcelona

Fernanda Pires has a postdoctoral Juan de la Cierva fellowship at the Department of Communication of Universitat Pompeu Fabra-Barcelona. Her main research interests include co-viewing, UGC, social media, social practices, popular culture, and media literacy.

Antoni Roig, University Oberta de Catalunya

Antoni Roig is a senior lecturer at the Information and Communication Science Department of the UOC. He holds a PhD in Information and Knowledege Society by the Universitat Oberta de Catalunya and he has a Degree in Audiovisual Communication by the Universitat Ramon Llull. His main research lines are: participatory culture, audiovisual innovation, fan movies, digital storytelling, cultural practices and collaborative filmmaking. He’s a member of the Mediaccions Research Group.

Downloads

Published

2020-11-13

How to Cite

Pires, F., & Roig, A. (2020). All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest. Observatorio (OBS*), 14(4). https://doi.org/10.15847/obsOBS14420201673

Issue

Vol. 14 No. 4 (2020)

Section

Articles

License

Observatorio (OBS*) has an academic journal profile. As such, it is dedicated to the open exchange of its contents, and freely available to individuals and institutions without charge or formal permission. Copies of this journal or articles in this journal may be distributed for research or educational purposes free of charge and without permission. Authors will not be charged for publication or submission to this journal. Authors who publish in Observatorio (OBS*) will release their contributions under the Creative Commons Attribution-NonCommercial-2.0 generic. This licence allows anyone to copy and distribute the article for non-commercial purposes provided that appropriate attribution is given - being the author the copyright holder. This journal utilizes the LOCKSS system to create a distributed archiving system among participating libraries and permits those libraries to create permanent archives of the journal for purposes of preservation and restoration. The publisher perpetually authorizes participants in the LOCKSS system to archive and restore our publication through the LOCKSS System for the benefit of all LOCKSS System participants. Specifically participating libraries may: • Collect and preserve currently accessible materials; • Use material consistent with original license terms; • Provide copies to other LOCKSS appliances for purposes of audit and repair. Fair use of a copyrighted work, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include: 1. the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 2. the nature of the copyrighted work; 3. the amount and substantiality of the portion used in relation to the copyrighted work as a whole; & 4. the effect of the use upon the potential market for or value of the copyrighted work. The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors. In accord with these provisions, the OBS journal believes in the vigorous assertion and defense of Fair Use by scholars engaged in academic research, teaching and non-commercial publishing. Thus, we view the inclusion of “quotations” from existing print, visual, audio and audio-visual texts to be appropriate examples of Fair Use, as are reproductions of visual images for the purpose of scholarly analysis. We encourage authors to obtain appropriate permissions to use materials originally produced by others, but do not require such permissions as long as the usage of such materials falls within the boundaries of Fair Use.