Abstract

Shaped by the forces of globalisation, commericalisation and mediatisation, contemporary cricket has been repackaged as a media-centric “product” notable for innovative and experimental technologies. Indeed, by embracing constant technological innovation, cricket affords an accelerated culture of intensified spectacle interlaced with and interwoven by the threads of entertainment, consumerism, tourism and officiating orientations across its global telecasts. My article explores how technologies creatively manipulate and play with the spatial and aesthetic realms of cricket in non-traditional ways to recast, re-position, augment and enhance the viewing experience. Thus, cameras often oscillate between stylistic (intensified mobility), all-seeing (analytical omniscience) and participatory (pseudo-participatory) perspectives, providing a highly-mobile visual intensity through extraneous exploration, analytical complexity via hi-tech officiating tools, to the sensory invigoration of mediated athletic replication. Such permutations are extending to the digitalised, mobile and virtual formats that continue to re-shape the future mediated consumption of cricket for ephemeral and invested viewers.

摘要

在全球化、商业化和媒体化的力量塑造下，当代板球被重新包装为以媒体为中心的“产品”，以创新和实验技术着称。事实上，通过不断的技术创新，板球提供了一种加速的文化，这种文化与娱乐、消费主义、旅游和全球电视转播中的主播方向交织和交织在一起。我的文章探讨了技术如何以非传统的方式创造性地操纵和发挥板球的空间和美学领域，以重新塑造、重新定位、增强和增强观看体验。因此，相机经常在风格（增强机动性）、全视（分析无所不知）之间摇摆不定。) 和参与性（伪参与性）视角，通过无关的探索、通过高科技裁判工具的分析复杂性提供高度移动的视觉强度，以促进运动复制的感官刺激。这种排列正在扩展到数字化、移动和虚拟格式，这些格式继续为短暂的和投资的观众重新塑造未来的板球中介消费。