Live Studio Research Articles

How Streamers Enhance Consumer Engagement and Brand Equity in Live Commerce

Live steamers play key roles in enhancing brand equity in live commerce. Understanding the mechanism of how streamers impact brand equity in live commerce is of great significance for firms to launch live streaming, influencer, and engagement marketing campaigns. Building on social support, consumer engagement and brand equity theories, this study investigates the impact of perceived streamer support on consumer engagement, which in turn affects brand equity in live commerce settings. Based upon analysis of the data from 264 questionnaires with SmartPLS3.0 software, the results demonstrate that 1) perceived emotional, informational and financial support positively impact brand engagement, streamer engagement and live studio engagement separately; 2) brand engagement and streamer engagement positively impact brand equity respectively; and 3) streamer engagement positively impacts brand engagement and live studio engagement respectively. The findings provide conducive guidance for firms to develop live streaming, influencer, and engagement marketing campaigns.

The studio in tertiary education

Why is studio teaching important for interior design? Can interior design perhaps architecture really be taught withou the use of a live studio? Why is there a need to ask this question at all?

When the Artist Studio is Alive, Art is Alive: Empowering Art Educators and Students through Live Studio Practice

Art education plays a vital role in developing artistic talent and nurturing creativity. However, the challenges facing art education in many developing countries, including Ghana, are significant. Traditional teaching methods, lack of resources, and cultural and social factors are barriers to the development of high-quality art education programmes and the cultivation of artistic talent. This qualitative study uses textual analysis to explore the potential of live studio practice as a solution to the challenges facing art education in Ghana. With regards to duration, investigation time frame falls between 2012 and 2023. The analysis of selected texts related to art education in Ghana reveals several key themes and patterns related to the challenges facing art education in Ghana and the potential of live studio practice to promote practical skills development, creativity, community engagement, professional skills development, and cultural exchange. The findings of this study disclose that policymakers, educators, and practitioners in the field of art education in Ghana does not prioritize the factor of the development of policies and practices that promote the development of high-quality art education programmes and the cultivation of artistic talent in Ghana through the use of live studio practice. In terms of suitable spaces for the critical artistic studio practical aspects, it is uneasy to have comfortable dwellings for the consistent practical works. These factors donate the hindrance of potentials in the amateur artists. This study contributes to the ongoing debate about the future of art education in Ghana and provides insights into the potential of live studio practice as a solution to the challenges facing art education in Ghana and other developing countries.

Lidelse og frigjøring: TV som minneaktør i 70- og 75-årsmarkeringene av den siste krigsvinteren i Nord-Norge

In this article, I compare two tv-programs about the ending of WWII in northern Norway, aired by the Norwegian Public Broadcaster (NRK). The first one was sent from Tromsø October 31st 2014, with the title, “The Autumn they lost everything,” and marked the 70 years anniversary of the forced evacuation of the people, as almost all houses in Finnmark and Northern Troms were burnt down when the Nazis retreated from the area after being defeated by the Red Army. The second was aired from Kirkenes five years later, in 2019, marking the 75 years anniversary. The title was “Saved by the Russians,” as the celebration of the heroism of the soldiers and the relationship between Russia and Norway were the main topics.The structure of the analysis concentrates on three aspects of the programs. First, I look at the ways tv-resources are being used in each of them, focusing on the host style and the aesthetics of the live studio. Secondly, I show how the programs express a northern identity by addressing critical perspectives on the main national story of WWII and the lack of support from Norwegian authorities for the people in the north during the autumn and winter of 1944/45. The third aspect concerns the ways memories of the war are being connected to contemporary issues. In 2014 this is the refugee situation in Europe, whereas the program in 2019 discusses the value of memory culture in relation to political controversies about Norway’s defence strategy in the north vis á vis Russia. By following these three aspects of the tv-programs, the analysis sheds light on their functions as memory agents situated in a particular media context, in which the regional perspective on WWII is being negotiated within the framework of national public television.

Toward Interactively Balancing the Screen Time of Actors Based on Observable Phenotypic Traits in Live Telecast

Several prominent studies have shown that the imbalanced on-screen exposure of observable phenotypic traits like gender and skin-tone in movies, TV shows, live telecasts, and other visual media can reinforce gender and racial stereotypes in society. Researchers and human rights organizations alike have long been calling to make media producers more aware of such stereotypes. While awareness among media producers is growing, balancing the presence of different phenotypes in a video requires substantial manual effort and can typically only be done in the post-production phase. The task becomes even more challenging in the case of a live telecast where video producers must make instantaneous decisions with no post-production phase to refine or revert a decision. In this paper, we propose Screen-Balancer, an interactive tool that assists media producers in balancing the presence of different phenotypes in a live telecast. The design of Screen-Balancer is informed by a field study conducted in a professional live studio. Screen-Balancer analyzes the facial features of the actors to determine phenotypic traits using facial detection packages; it then facilitates real-time visual feedback for interactive moderation of gender and skin-tone distributions. To demonstrate the effectiveness of our approach, we conducted a user study with 20 participants and asked them to compose live telecasts from a set of video streams simulating different camera angles, and featuring several male and female actors with different skin-tones. The study revealed that the participants were able to reduce the difference of screen times of male and female actors by 43%, and that of light-skinned and dark-skinned actors by 44%, thus showing the promise and potential of using such a tool in commercial production systems.

The Audience of the Future

The Audience of the Future

Filmed in Front of a Live Studio Audience: Laughter and Aggression in Political Entertainment Programming

Shows blending humor and information are on the rise, and many such shows incorporate live studio audiences. Using two separate experimental studies, we test whether audience laughter on humorous political talk shows affects audience perceptions. We find that the effects of audience laughter depend on context, boosting perceptions of host and program credibility when a host is unknown, while reminding viewers of the comedic intentions and appeal of a known comedic host. If humor allows the hosts of comedic political talk shows more freedom to pointedly question their guests without turning off viewers, it may better engage and inform audiences.

The genre of live studio audience programmes in a political context: The Flavio Cavalcanti Show and the Brazilian military regime

This essay aims to contribute to television genre theory by integrating a historical approach with the main concepts of field theory developed by Pierre Bourdieu. I analyzed live studio audience programs aired during the military regime in Brazil as a television genre that is deeply affected by three separate and often colliding forces: its own production rationale, the hierarchical relations between television genres and the political context, and the power relations in society. The present article focuses on Brazilian television host Flavio Calvacanti and his shows, broadcasted by the Tupi Network during the military regime period (1964–85). Despite their immense popularity, and although at least ostensibly they had no ideological pretences and Flavio Cavalcanti even openly endorsed the military regime, his live studio shows were resented by the military leadership and taken off the air for a number of years. Instead of the seemingly almost perfect harmony between the military regime and the entertainment genres, the present analysis focuses on the internal dynamics of live studio shows and the impact of the political context on their survival on the small screen.

Testing Art with a Live Studio Audience: John Cage at an Intersection of Popular Television and the Avant-Garde

Testing Art with a Live Studio Audience: John Cage at an Intersection of Popular Television and the Avant-Garde

Testing Art with a Live Studio Audience: John Cage at an Intersection of Popular Television and the Avant-Garde

Testing Art with a Live Studio Audience: John Cage at an Intersection of Popular Television and the Avant-Garde