The tweeting broadcaster: SBS and social media audience engagement
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- The document analyzes SBS's use of broadcaster-specific hashtags on Twitter for their coverage of Eurovision and the Tour de France in 2012-2013. It found that #sbseurovision and #sbstdf fostered conversation around shared viewing experiences and strengthened relationships between audiences and SBS. However, Eurovision tweets tended to be isolated comments while TDF tweets featured more interactivity and sense of community. SBS's social media strategies extend beyond Twitter to other platforms to provide an integrated online experience around these events.
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The tweeting broadcaster: SBS and social media audience engagement
- 1. e tweeting broadcaster: SBS and social media audience engagement Tim Highfield QUT + Curtin t.highfield@qut.edu.au | timhighfield.net | @timhighfield
- 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. 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. 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. 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. Promotion
- 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. 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. 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. 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. 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. 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. Results
- 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. 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. 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. 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