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Nicky Lewis, Walter Gantz, and Lawrence A. Wenner

Exposure to live sports as a mediated leisure activity remains extremely popular, and live sports as a television genre seems to be a special, perhaps unique, type of media content (see Gantz et al., 2006 ). Live game broadcasts (e.g., FIFA World Cup soccer matches, NFL football playoff games) are

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Roxane Coche and Benjamin J. Lynn

broadcast industry, especially the sports production field, quickly and for good. Live Sports Productions Live events are central to television production. Live sporting events, in particular, reliably draw big audiences. Television production techniques for these events have evolved and been refined for

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Jeffrey Cisyk and Pascal Courty

: they are more likely to offer a fan appreciation day and have above-average fan devotion. Prior Research Because the live sports industry relies heavily on its in-game attendance revenue, significant marketing effort is invested into the understanding of (a) the determinants of attendance—and repeat

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Patrick C. Gentile, Nicholas R. Buzzelli, Sean R. Sadri, and Nathan A. Towery

each interviewee was asked ranged from, “What was your daily routine like before coronavirus and what type of articles have you been writing in the absence of live sports?” to “Without live sports to cover, have you been asked to fill in on the news beat?” and “How has the inability to conduct in

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Mark Ludwig and Christoph Bertling

Though visual features such as slow motion, camera angle, or the cutting rate are considered to have great importance for professional media presentation of sports broadcasts and their influence on viewers, there has as yet been little research on the effects of fundamental visual parameters on viewer perception in the field of sport communication. In its primary step, this study researches the effect cutting rates have on the liking of live soccer broadcasts. To this end, an experiment (between-subjects design) with three groups (N = 92) was conducted. All participants received an identical excerpt of a soccer match; however, the number of cuts was systematically altered. A MANCOVA revealed significant effects—for example, a lower cutting rate leads the consumer to perceive less aesthetic appeal and the influences of effects are moderated by fandom. Implications are discussed.

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Ted Hayduk III, Natasha Brison, and Joris Drayer

The efficacy of partitioned pricing (PP) has been investigated in a range of industries. This work showed that the usefulness of PP is situational, with numerous contextual factors playing important roles. Ticket pricing scholarship has yet to devote adequate attention to PP as a focal variable, which is problematic given the industry’s reliance on ticket revenue and the “service” fees ubiquitous in the ticketing industry. In addition, there is a need to investigate the moderating factors unique to sport consumption, such as team identification and the entertainment value of live sport. Using a sample of 403 sport consumers, this study found that PP is associated with lower perceptions of fairness but not lower enduring attitudes about the platform. Thus, sport consumers are displeased by PP, but not enough to dissuade them from future purchases. The analysis found that team identification—the entertainment value of live sports entertainment value—can further offset negative perceptions of PP.

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Christiana Schallhorn and Jessica Kunert

During the COVID-19 pandemic, TV broadcasters and clubs were challenged to provide alternative formats and content for fans of Germany’s favorite sport, football [soccer]. Thus, they emulated matchdays and created a Bundesliga feeling in new ways. The authors focus on this alternative creative sports coverage during the Coronavirus crisis and consider the effect on the audience. TV broadcasters, for instance, recreated Bundesliga matchdays through broadcasting historical matches, sticking with the original fixtures from before the crisis, while offering renewed commentary. Clubs conducted the Bundesliga Home Challenge, that is, FIFA20 videogame matches with their professional and eSport players, covering these matches on Twitter and their website. The authors argue that these efforts of keeping up the beloved structure of daily sports events satisfy social and entertaining belongings that are normally continually recreated through watching and talking about live sports events. Moreover, they discuss the possible sustainability of these innovative ways of sport communication.

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Jamie Cleland

attending a live sports event, 67 percent said they felt no risk, 20 percent said they felt some risk, 9 percent said they felt a lot of risk and 4 percent were not sure. The open-ended section of the survey then asked the respondents some questions on their perception of risk when attending a live sporting

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Emma Pullen, Daniel Jackson, Michael Silk, P. David Howe, and Carla Filomena Silva

that shape its sports coverage in particular ways ( Solves et al., 2019 ; Sparks & Tulloch, 2000 ). In the current moment, despite shifts in media consumption patterns, live sports broadcasting (or, more specifically, video), given the increasing consumption of sports highlights made for mobile and

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Qingru Xu and Andrew C. Billings

global audience with the IOC’s patrimonial assets and archives, original series and shows, live sports events, and news pertaining to sports and athletes, enabling fans to experience the Olympics year-round, especially during the 2-year gap between the Winter Olympics and the Summer Olympics ( About the