“Congratulations, you’re on TV!”: Middle-space performances of live tweeters during the FIFA World Cup

Abstract

This is a self-archived version of an original article. This version may differ from the original in pagination and typographic details.

Dissertation: “In the intersection of television and Twitter: Social television as a tool for interaction and participation in a media event”

“…In addition, the study reveals another significant proof of the powerful status of television in the context of a media event: when tweets were unfolded on the television screen, the tweeters acknowledged these tweets e.g. by congratulating or complimenting the tweeter, thus making the television presence a significant achievement (Salomaa & Lehtinen 2018). Consistent with the results of previous studies, e.g.…”

“…The first article (Salomaa 2016) stresses the role of the audience by studying the discursive positions (Davies & Harré 1990) live tweeters are offered by the media producer, as well as the ways tweeters accept or reject these ready-made roles. The second article (Salomaa & Lehtinen 2018) focuses on the issue of media publicity by examining what happens in Twitter after one's tweet has unfolded on the television screen. Turn design (see Drew 2012) and adjacency pairs (see Schegloff & Sacks 1973) are used to explicate how tweeters orient to each other, on the one hand, and to media publicity, on the other.…”

Conversation Analytic Perspectives to Digital Interaction. Practices, Resources, and Affordances

“…In addition to responding to a previous tweet, anteeks(i) mitä can be used at the beginning of an opening tweet that is not commenting on another tweet, as shown in Extract 7. Aki writes a live tweet (Salomaa & Lehtinen 2018) about the television reality show Big Brother, topicalising it accordingly through the hashtag #bbsuomi 'Big Brother Finland' . He refers to an event in the show when the show participants have been sent to a cabin and are playing Battleship as an assignment.…”

Social TV and the WWE: Exploring the fan-to-brand relationship in a highly engaged, live-viewing, interactive online space

“…Simply put, social TV allows viewers to engage with each other and a program about the televised content through social media platforms such as Twitter, Facebook, and Instagram (Nielsen Social), all while synchronously watching the same TV programs as they are broadcast in the real time (Quintas-Froufe and González-Neira, 2014). This gives ordinary audiences access to the public stage (Salomaa and Lethinen, 2018) by providing a simultaneous backchannel during a telecast, essentially virtually connecting viewers with each other, as well as at times the program itself, in real time. This can provide crucial insight to audience reactions to specific, temporal moments of a telecast in ways legacy viewership measurements, such as Neilsen household ratings for audience size and demographic composition, cannot match (Harrington et al, 2013).…”