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The tweeting broadcaster: SBS and social media audience engagement

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The tweeting broadcaster: SBS and social media audience engagement

  1. 1. e tweeting broadcaster: SBS and social media audience engagement Tim Highfield QUT + Curtin t.highfield@qut.edu.au | timhighfield.net | @timhighfield
  2. 2. Background •  Tracking  hashtags  around  Eurovision  and   the  Tour  de  France,  2012-­‐‑2014 – See: •  Highfield,  Harrington,  &  Bruns  (2013).  TwiGer  as  a   technology  of  audiencing  and  fandom:  The   #eurovision  phenomenon.  Information,   Communication  &  Society,  16(3),  315-­‐‑339. •  Highfield  (2013).  Following  the  yellow  jersey:   Tweeting  the  Tour  de  France.  Twi5er  and  Society   (eds.  Weller  et  al.),  249-­‐‑261.
  3. 3. The  twist •  Rather  than  the  event-­‐‑wide  hashtags,   concentrating  here  on  broadcaster-­‐‑specific   hashtags – SBS: •  #sbseurovision •  #sbstdf – Other  broadcasters  covering  same  events  may   use  their  own  specific  hashtags,  in  addition  to   the  global  #eurovision,  #esc,  #tdf,  #letour…
  4. 4. Reasoning •  Using  unique  hashtags  can  enable  a   concentration  or  centralisation  of  the   broadcaster’s  audience – Separates  viewers  from  those  watching  other   broadcasters,  provides  common  context  and   allows  for  additional  content  for  broadcast – In  the  case  of  Eurovision,  #sbseurovision  is  a   channel  for  Australians  unsullied  by  spoilers   (since  delayed  telecast),  unlike  #eurovision
  5. 5. Questions •  To  what  extent  might  broadcaster-­‐‑specific   hashtags  foster  conversation  around  the   shared  experience  of  watching  televised   programming? •  How  do  such  conventions,  and  their   outcomes,  impact  upon  the  relationships   between  audiences  and  broadcasters  on   social  media?
  6. 6. Promotion
  7. 7. Methods yourTwapperKeeper -­‐‑  queries  TwiGer  API  for  specified  keywords   (including  hashtags) -­‐‑  subject  to  rate  limiting  and  does  not  access   full  TwiGer  stream #sbseurovision  and  #sbstdf  archived  in  2012   and  2013  (and  continued  in  2014)
  8. 8. Results – #sbseurovision  (SF1-­‐‑final): •  2012:  112,836  tweets  from  20,418  users •  2013:  146,934  tweets  from  18,828  users – #sbstdf  (first  stage  to  final  stage): •  2012:  39,115  tweets  from  3,185  users •  2013:  46,202  tweets  from  5,425  users  
  9. 9. Results 0 5000 10000 15000 20000 25000 30000 2012-­‐‑May-­‐‑25   2012-­‐‑May-­‐‑25   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑26   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑27   2012-­‐‑May-­‐‑28   #sbseurovision,  tweets  per  hour  (2012) 0 5000 10000 15000 20000 25000 30000 2013-­‐‑May-­‐‑17   2013-­‐‑May-­‐‑17   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑18   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑19   2013-­‐‑May-­‐‑20   #sbseurovision,  tweets  per  hour  (2013)
  10. 10. Results 0 10000 20000 30000 40000 50000 2012-­‐‑May-­‐‑25 2012-­‐‑May-­‐‑26 2012-­‐‑May-­‐‑27 #sbseurovision,  types  of  tweet    (2012) Sum  of  retweets Sum  of  genuine  @replies Sum  of  original  tweets 0 10000 20000 30000 40000 50000 60000 70000 80000 2013-­‐‑May-­‐‑17 2013-­‐‑May-­‐‑18 2013-­‐‑May-­‐‑19 #sbseurovision,  types  of  tweet    (2013) Sum  of  retweets Sum  of  genuine  @replies Sum  of  original  tweets
  11. 11. Results 0 500 1000 1500 2000 2500 3000 #sbstdf,  tweets  per  day  (2012) 0 500 1000 1500 2000 2500 3000 3500 4000 4500 #sbstdf,  tweets  per  day  (2013)
  12. 12. Results 0 1000 2000 3000 4000 5000 #sbstdf,  types  of  tweet  (2012) Sum  of  retweets Sum  of  genuine  @replies Sum  of  original  tweets 0 1000 2000 3000 4000 5000 #sbstdf,  types  of  tweet  (2013) Sum  of  retweets Sum  of  genuine  @replies Sum  of  original  tweets
  13. 13. Results
  14. 14. SBS  TwiGer  strategies –  Official  accounts  (programme  and  host)  active   during  broadcasts  and  visible  hooks  for  audience •  Mentions  of  official  accounts  as  signifiers  for  the   people/shows  themselves  (in  keeping  with  wider   TwiGer  practices) –  Promote  hashtags  not  just  for  content  in   broadcast,  but  to  strengthen  communal  feeling   among  audience •  #sbstdf  community  in  particular:  dedicated  audience   with  its  own  tropes  (including  tweeting  at  and  with   presenters)
  15. 15. Eurovision  vs.  TDF – Some  crossover  among  audiences: •  41,298  users  contribute  to  the  four  datasets  in  total –  159  posted  in  all  four,  486  in  three  of  the  four –  Among  users  posting  in  all  four  are  SBS  personalities   Mike  Tomalaris  and  Sam  Pang,  and  SBS  News – Different  styles  of  audience  tweeting •  Interactivity,  conversation?,  and  community  (TDF)   vs.  isolated  one-­‐‑liners  en  masse  (Eurovision)  –   with  an  aim  to  appear  on-­‐‑screen? •  Impact  of  different  types  of  event/programme  on   tweets?
  16. 16. SBS  and  the  TwiGer  audience •  Interactions  are  based  both  around  the  text   and  the  other  people  involved  in  the   discussions –  Fans  respond  to  the  conventions  and  tropes  of  the   broadcasts  of  Eurovision  and  the  Tour  de  France   as  well  as  the  specific  developments  on  screen. –  For  both  events,  repetition  of  traits  is  an   important  part  of  the  experience  of  these  events,   fostered  by  familiarity  with  the  texts  and   encouraged  by  the  broadcaster •  Inspire  increased  dedication,  centralisation,  and  text-­‐‑ specific  fandom.
  17. 17. Beyond  TwiGer –  SBS’s  trans-­‐‑/social  media  strategies •  Online  experience  of  broadcasts  through  Tour  Social  Hub •  Apps •  Podcasts,  games,  radio,  blogs/op  eds •  In-­‐‑broadcast  social  media  extends  beyond  TwiGer  to   Instagram  and  Facebook  (as  promoted  in  2014  Eurovision   broadcast) •  Not  strictly  broadcasting  (one-­‐‑to-­‐‑many)  but  more  reflexive? –  TwiGer  is  a  particularly  visible  medium,  well-­‐‑ established  as  a  backchannel  and  comparatively   straightforward  to  collect  data •  However,  it  is  not  the  only  medium,  and  is  not  used  in   isolation •  Part  of  an  extended  experience  around  these  events

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