The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest
Other Titles: 
The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest
Keywords: 
Music video
television production
audiovisual production
textual analysis of audiovisual discourse
Eurovision Song Contest
Issue Date: 
2020
Publisher: 
Servicio de Publicaciones de la Universidad de Navarra
ISSN: 
2386-7876
Citation: 
Pérez-Rufí, J.P. (José Patricio); Valverde-Maestre, A.M. (Águeda María). "The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest". Communication & Society. 33 (2), 2020, 17 - 31
Abstract
Multicamera television production’s similarity to the video clip has become evident in the production of the EBU’s Eurovision Song Contest, where various musical numbers representing public television stations from the organizing countries compete against each other in terms of spectacularity and originality. The main objective of this research is to analyze several acts to identify such appropriation. We will apply a textual analysis to the audiovisual discourse of a sample chosen through subjective sampling. We divide our analysis into four sections: preliminary phase, formal audiovisual analysis, staging and performance. The investigation leads to the conclusion that the characteristic fragmentation of space and time of video clips can also be identified in live music videos. This fragmentation is seen in the break in spatial continuity, resulting from recreating sets on stage and the abstraction of the stage thanks to screens and an avant-garde composition shot. We also consider that the production imitates the time fragmentation and fast shot speed of the video clip.
Multicamera television production’s similarity to the video clip has become evident in the production of the EBU’s Eurovision Song Contest, where various musical numbers representing public television stations from the organizing countries compete against each other in terms of spectacularity and originality. The main objective of this research is to analyze several acts to identify such appropriation. We will apply a textual analysis to the audiovisual discourse of a sample chosen through subjective sampling. We divide our analysis into four sections: preliminary phase, formal audiovisual analysis, staging and performance. The investigation leads to the conclusion that the characteristic fragmentation of space and time of video clips can also be identified in live music videos. This fragmentation is seen in the break in spatial continuity, resulting from recreating sets on stage and the abstraction of the stage thanks to screens and an avant-garde composition shot. We also consider that the production imitates the time fragmentation and fast shot speed of the video clip.

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