The machine without the ghost
Early interactive television in Japan
Datos Bibliográficos
| ID | 21690176 |
|---|---|
| Autores | Elizabeth Rodwell (0000-0002-5357-576X, University of Houston, autor de correspondencia) |
| Año | 2021 |
| Volumen | 27 |
| Número | 5 |
| Páginas | 1376-1392 |
| Fecha de publicación | 2021-10-01 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | Convergence The International Journal of Research into New Media Technologies (JOURNAL) |
| Identificadores de la revista | ISSN: 1354-8565 • E-ISSN: 1748-7382 |
| Editorial | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/1354856520983754 |
| OpenAlex | W3129109015 |
| Idioma | EN |
| Referencias citadas | 45 |
This article is part of an ongoing ethnography of the Japanese television industry focusing on its attempts to experiment with live, interactive content that was manipulable via smart devices, laptops, and remote controls. Based on 18 months of fieldwork in the Japanese television industry in four major TV network offices and two production companies, it also incorporates interviews with more than 30 broadcast company employees. I use two case studies of early interactive television programming to discuss the strategies producers have used to create community and promote identification among audiences of these shows: ‘ Arashi Feat. You’ was a live music event that courted a large audience through the involvement of a massively popular boy band and promoted the idea of ‘turning viewers into users’ by allowing them to play musical instruments along with the band. ‘ The Last Award’ allowed participants to submit and evaluate each other’s videos live through a dedicated user interface. Through these examples, I argue that participation alters the nature of television spectacle and results in changes to the way producers address and inscribe audiences as cocreators of content. The rhetoric used by interactive television accordingly defaults to ‘we’ and ‘us’ and features accessible and relatable celebrities as surrogates for the audience
Advertising · Art · Business · Ethnography · Interactive television · Media studies · Multimedia · Musical · Political science · Rhetoric · Sociology · Spectacle · Television studies · Visual arts · Computer Science · Digital Games and Media · Media Studies and Communication · Multimedia Communication and Technology
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Transmedia Television
Anti-Crisis
Desperately Seeking the Audience
Shoveling Smoke
Cruel Optimism
Art as a Social System
Second Screen and Participation
Media audiences and reception studies
Media Spectacle and the Crisis of Democracy
Idols and Celebrity in Japanese Media Culture
Television Audiences Across the World
Société Du Spectacle
A Japanese Advertising Agency
The concept of participation. If they have access and interact, do they really participate
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Watching Television Without Pity
Push–Pull Dynamics
Inside the Data Spectacle
Active Audiences? The Debate Progresses But Is Far From Resolved
Character, audience agency and transmedia drama
Politics, power, and performativity in the newsroom
The Participatory Condition in the Digital Age
The Myths of Japanese 'Homogeneity
Fanning the Flames
Scripted Affects, Branded Selves
Production perspectives on audience participation in television
The condition of postmodernity
Bringing Discourse Theory into Media Studies
Japanese Daytime Television, Popular Culture, and Ideology
Users like you? Theorizing agency in user-generated content
The Unworkable Interface
"Electronic Pageantry and Japan's "Symbolic Emperor
Personal Branding and the Commodification of Reflexivity
Parasocial Interaction and Parasocial Relationship
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |