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Friday, November 11

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PP 319

Tour de France – Mediatization of Sport and Places

K. Frandsen

Aarhus University, Department of Media and Journalism Studies, Aarhus N, Denmark

The aim of this paper is to explore some of the ways that media historically have shaped and changed the production of the world’s largest annual sports

event, the Tour de France. The analysis is framed by a broad understanding of mediatization as a long term process of change, where media interrelate with

other social and cultural domains in a reciprocal process of change, but in the case of sport it is in particular intertwined with processes of commercializa‑

tion and globalization (Livingstone, 2009; Hjarvard,2013; Frandsen, 2014). The Tour de France holds several characteristics, which makes it a particularly

interesting case to discuss in a mediatization perspective. First, the event was invented in 1903 by a newspaper for commercial reasons and in collaboration

with a booming bicycle industry (Thompson 2008; Mignot 2016). Just like it was the case with several road cycling events in France, Belgium and Italy in

the late ninetieth century. With these initiatives media were directly engaged in the very shaping of cycling as sport and in the formation of cycling as one

of the oldest professional sports (Desbordes 2006). Second, with television Tour de France has developed into a mega sports event (Roche, 2000; Müller

2014). But as such it stands out as to how it is organized in time and space. The mobility of the event means that spectators only get very short glimpses

of the race. The audience for the event has always been referred to media’s coverage if they want to experience the race in its entirety. And as there is no

gate receipts the media have been pivotal factors in the formation of the event’s financial structure. The event’s organization on public roads all over France

means that geographical space and sport is closely integrated in the production and mediation of the event.The paper will therefore have a specific focus on

how this and the summer atmosphere, that surrounds the event, means that mediatization of the Tour de France involves tourism as a mediatized practice

(Jansson 2002) – and in particular how this has developed with television since the late 1980s. Mega sports events involve both a ’core’and ’periphery’– in

terms of consumption and production (Pujik 1997). The main focus in the paper will be on how structural changes and the touristic element are related in

the core production, where there has been an increase in the hours produced for live coverage on television along with an enhanced focus on the places, that

surround the race.This will briefly be supplemented with observations from a small national broadcaster in the periphery, who has customized the coverage

of the Tour de France in keeping with local strategic concerns. Thus the paper intends to illustrate, how parallel processes of mediatization can be at work in

both the core and peripheries of a mega sports event, like Tour de France.

PP 320

Here, There and Everywhere. On the Musicalization of Everyday Life

U. Volgsten

, T. Pontara

Örebro University, Dept. of Musicology, Örebro, Sweden

University of Gothenburg, Dept. of Cultural Studies, Gothenburg, Sweden

“Music is ubiquitous in today’s media societies”writes media scholar Benjamin Krämer (2011). As a result of its mediatization the entire field of music has

changed drastically during the 20

century, giving priority to a diversity of genres as institutional determinants of music reception and consumption (ibid.).

Whereas Krämer’s argument is cogent and convincing it is limited in scope, dealing with the surface effects of a more thorough reaching phenomenon that

we propose to call musicalization. Musicalization can be defined as a long-term historical process characterized by an ever-increasing presence of music

in everyday life, a process that is intimately connected with changing technological conditions and with transformations in how music is mediated and

communicated as well as with broader socio-cultural processes at work in a given historical period. At its broadest the concept of musicalization captures

the gradually altered position of music in social life from unmediated forms of music making (singing and dancing) in pre-modern societies to the ubiquity

of music of all kinds in our digitalized and globalized world. Some of the more profound and wide-ranging effects of musicalization in the twentieth century

concern emerging new ways in which people listened to and behaved towards music and, even more importantly, fundamental changes in how music was

comprehended and conceptualized. However, those changes should not merely be understood as transformations in the reception and consumption of es‑

tablished and newly emerging musical genres. Rather, they should in a more radical way be seen as enabling new musical ontologies; that is, as effecting

alterations in the very nature or “essence” of music and consequently as restructuring the ways human relations and communicative action is organized

around music. In this paper we will look at some central aspects of musicalization and consider how processes of musicalization interact with processes

of mediatization. The relation between the two is a complex issue complicated by the fact that other factors of social and cultural change (institutional,

economic, ideological, etc.) should be taken into consideration when searching for an explanation of the often very gradual alterations in the dissemination

and conceptualization of music, as well as its influences on other cultural and social practices. We begin with some examples of what the concept of musi‑

calization implies. We then discuss the relation between musicalization and what we see as the most important aspects of mediatization. Finally, we sketch

the outlines of a theoretical account of how the mediatization of music and processes of musicalization relate to other agents of socio-cultural change.

PP 321

‘Private Religion’? – The Appropriation of Individual Transcendental Imagination in a Media Saturated World

B. Sönmez

, M. Braeuer

Gazi University, Ankara, Turkey

Ilmenau University of Technology, Institute of Media and Communication Science, Ilmenau, Germany

Although Western democracies are regarded to be ‘secular’, religion has become more visible in the course of the last years (Hjarvard, 2016). From a me‑

diatization perspective it is clear that the process of mediatisation influences the relation between religion as an institution and individual religiosity. In

this regard religious institutions lose authoritative power. Established religions are presented in the media with the specific logics of media, focusing for

example on scandals or fundamentalism. Religious sectarians can make use of social media and provide alternative images of religiosity. Finally, media

culture furthermore activates, transmits, and shapes religious representations which are not necessarily based on religious traditions and dogmas (e.g.

mystery, fantasy, and science fiction). This aspect is coined as‘banal religion’(Hjarvard, 2016). These trends probably shape individual religiosity. People can