Communicating in 140 Characters. How Journalists in Spain use Twitter = Comunicar en 140 caracteres. Cómo usan Twitter los comunicadores en España

The emergence of Twitter appears to be changing information practices. Hence, a great deal of recent research is based on its popularity among communicators, reaching the conclusion that it serves to increase interactivity with readers. But to what degree is it true that it contributes to a type of journalism which is more open to the public? This research aims especially to clarify two main questions: what specific uses do journalists make of Twitter and to what extent does twoway interaction with the public take place through this medium? It is based on the quantitative analysis of a sample comprising almost 5 million tweets posted by 1,504 Spanish media communicators, perhaps the largest sample studied so far. The analysis shows the existence of a twospeed Twitter (with a minority of influential communicators and a majority who have little impact), which has negligible interaction with followers. With few exceptions, the communicators establish endogamous relationships on Twitter. They respond to mention and retweet colleagues, failing to take advantage of the multidirectional potential offered by the platform. This research expands the empirical basis which can be used to consider and discuss the scope and limits of user participation in information events. Many authors have theorized on this subject, perhaps too enthusiastically and arguably from a somewhat utopian perspective

Hibridando el saber: investigar sobre comunicación y música

Comunicaciones presentadas para las I Jornadas de Investigación Doctoral sobre Comunicación y Música, celebradas el 7 de junio de 2010 en el Aula Magna de la Facultad de Ciencias de la Comunicación de la Universidad de Málaga

Pop-Rock Festivals Today: counterculture hippie transformed into a mainstream commodity

In recent years, outdoor pop-rock festivals are becoming a global phenomenon due to their power for attracting tourists and encouraging the economic development of the area that hosts them, but also because they have adapted to the cultural practices of the younger generations, which are dominated by speed, condensation and the search for experiences. Nowadays, it can be argued that festivals, especially outdoor festivals, are products elaborated, designed, planned and commodified by the current cultural and creative industries, in particular by the music business, but also by other actors involved in the process of their development. As a result, festivals have proliferated all over the world, whose organisers have used the collective imaginary of the Counterculture festivals of the 70s and 80s in order to produce commercially marketable, saleable, experienced products that are more typical from the entertainment economy than from culture. Using an in-depth documentary review and interviews with experts, this paper aims to offer a conceptual delimitation that describes the current nature of the phenomenon, which is heir to the hippie counterculture, but is more like an experience and leisure destination. The results suggest that contemporary outdoor pop-rock festivals have transcended beyond the musical product to convert themselves into ecosystems where the players involved —organisers, sponsors, artists, festival-goers, authorities, mass media, etc.— develop their own narratives, rooted in the collective imaginary of popular culture regarding rock festivals, in order to create a product that can be consumed in an experiential way. In the same way, the study shows that, despite the differences and specificities of each event, we are faced with a truly uniform and global phenomenon that responds to common and recognisable characteristics in each one of them.This participation has been funded by the PAIDI Group of the University of Malaga (Spain), SEJ-435 “Contenidos audiovisuales avanzados”, coordinated by Miguel de Aguilera Moyano. Campus de Excelencia Internacional Andalucía Tech

Communicating in 140 Characters. How Journalists in Spain use Twitter

La irrupción de Twitter parece estar cambiando las prácticas informativas. De ahí que bastantes investigaciones recientes partan de su popularidad entre los comunicadores para concluir que sirve para aumentar la interactividad con los lectores. Pero ¿hasta qué punto es cierta su contribución a un periodismo más abierto a la ciudadanía? Este trabajo busca sobre todo contribuir a clarificar dos cuestiones principales: qué usos concretos dan a Twitter los periodistas y hasta qué punto se mantiene esa interacción −de ida y vuelta− con la ciudadanía gracias a este medio. Se basa en el análisis cuantitativo de una muestra de casi cinco millones de tuits correspondientes a 1.504 comunicadores de medios españoles; probablemente, la mayor muestra estudiada hasta ahora. El análisis constata la existencia de un Twitter a dos velocidades (con una minoría de comunicadores muy influyente y una mayoría con escaso impacto), pero una interacción con los seguidores prácticamente nula. Salvo excepciones, los comunicadores establecen en Twitter relaciones muy endogámicas, respondiendo, retuiteando y mencionando a colegas, desaprovechando así las potencialidades multidireccionales que ofrece esta plataforma. Esta investigación amplía la base empírica con la que pensar y discutir el alcance y los límites de la participación de los usuarios en los fenómenos informativos, que tantos autores han teorizado, quizá, con demasiado entusiasmo y, sin duda, con una perspectiva en cierta medida utópicaThe emergence of Twitter appears to be changing information practices. Hence, a great deal of recent research is based on its popularity among communicators, reaching the conclusion that it serves to increase interactivity with readers. But to what degree is it true that it contributes to a type of journalism which is more open to the public? This research aims especially to clarify two main questions: what specific uses do journalists make of Twitter and to what extent does two-way interaction with the public take place through this medium? It is based on the quantitative analysis of a sample comprising almost 5 million tweets posted by 1,504 Spanish media communicators, perhaps the largest sample studied so far. The analysis shows the existence of a two-speed Twitter (with a minority of influential communicators and a majority who have little impact), which has negligible interaction with followers. With few exceptions, the communicators establish endogamous relationships on Twitter. They respond to, mention and retweet colleagues, failing to take advantage of the multidirectional potential offered by the platform. This research expands the empirical basis which can be used to consider and discuss the scope and limits of user participation in information events. Many authors have theorized on this subject, perhaps too enthusiastically and arguably from a somewhat utopian perspectiv

Between broadcast yourself and broadcast whatever: YouTube’s homepage as a synthesis of its business strategy

YouTube is a company representative of its original context, Web 2.0, that originally positioned itself as an open and collaborative platform to broadcast videos created by all kinds of users; their slogan was, and remains, Broadcast yourself. The acquisition of YouTube by Google introduced it in the search for profit in the framework of OTT (over the top) communication. The YouTube homepage reveals the successive business policies followed by the platform. In this work we analyze the evolution of the unlogged homepage of YouTube Spain between 2009 and 2018. We observe the gradual disappearance of the videos produced by private users and its replacement by those made by professional users (youtubers) and cultural industries. There is a remarkable parallelism between the implementation of business models and the greater or lesser recommendation of video from one kind of user or another

EVOLUTION OF YOUTUBE BUSINESS MODEL: FROM COLLABORATIVE TO COMMERTIAL PLATFORM

El objetivo principal de esta investigación es identificar los modelos de negocio aplicados por YouTube desde su creación hasta 2018, al tiempo que intentar categorizar dichas actuaciones. Pretendemos así evaluar la eficacia de las diferentes estrategias comerciales abordadas y valorar la evolución en su planificación empresarial. Los resultados muestran que YouTube apuesta por una gama amplia y simultánea de modelos de negocio, más allá de la modalidad AVOD (Ad-Supported Video on Demand) dentro del Video on Demand (VOD). Su fuerte posicionamiento ligado al consumo de vídeo gratuito financiado con publicidad y al contenido creado por el usuario condiciona en extremo los pasos de la compañía en la búsqueda de la rentabilidad.UNIVERSIDAD DE MÁLAGA. CAMPUS DE EXCELENCIA INTERNACIONAL ANDALUCÍA TEC

The cultural and creative industry potential index

The cultural and creative industries are regarded as a strategic sector in today’s knowledge economy and are therefore encouraged by government policies. The link between culture, creativity and economic development has flourished in Spain in recent years, to the extent that by 2014 the sector accounted for 3.5% of the country’s GDP and 3% of all jobs. Such an important sector requires a diagnostic tool to support decision making. A number of indicator systems have been put forward to meet this need, all of which are designed to evaluate creativity in a given field. This article examines and reviews the various indicators that have been proposed and uses them to develop a composite indicator – the Cultural and Creative Industry Potential Index – which measures the sector’s potential from three angles: the cultural base, government policies, and the cultural and creative industries themselves.Las industrias culturales y creativas se han convertido en un sector estratégico para la nueva economía del conocimiento y, en consecuencia, para las administraciones públicas que promueven el sector a través de sus políticas. En España, la relación entre cultura, creatividad y desarrollo económico se ha ido consolidando en los últimos años hasta alcanzar un 3,5% del PIB y un 3% del empleo total en 2014. La importancia del sector requiere de un diagnóstico que facilite la toma de decisiones. Para cubrir esta necesidad han proliferado sistemas de indicadores cuyo objetivo es la evaluación de la creatividad en un territorio determinado. En el presente artículo se analizan y revisan los distintos índices existentes para, a partir de éstos, elaborar un indicador sintético: el Índice de potencialidad de las industrias culturales y creativas, que aborda esta realidad a partir de tres dominios: base cultural, políticas públicas e industrias culturales y creativas

Impacto de las plataformas globales en la competencia mediática y los resultados de las empresas de comunicación europeas

The market value and capitalization of traditional media companies have dropped dramatically in the last five years. This is due to the evolution of digital platforms and the emergence of global communications mega-corporations that have since absorbed the distribution of new information and entertainment content. It is also a consequence of the aggregation of value-added services generated through incessant innovation. Communications mega-corporations, the GAFANs (Google, Amazon, Facebook, Apple and Netflix), and audiovisual and telecommunications platforms reached market capitalizations ranging from 56% to 170% in the last five years (2012-17) respectively, whilst those of traditional media did not exceed 75 percent. Asymmetries on competition regulations against traditional media and the political alarm ignited by the so-called fake news or scandals due to the mishandling of users data awakened the European states and the EU about the urgency of filling the legal gap existing around the development of such platforms, particularly in order to demand rules and responsibilities comparable to those that apply to editorial groupsLa cotización y capitalización de las empresas de medios tradicionales se ha hundido en los últimos cinco años ante la evolución de las plataformas digitales y la conformación de mega grupos globales de comunicación que absorben la distribución de los nuevos contenidos informativos y de entretenimiento, así como la agregación de los servicios de valor añadido generados a través de su incesante innovación. Los mega grupos de comunicación, los GAFAN (Google, Amazon, Facebook, Apple y Netflix), y las plataformas de audiovisual y telecomunicaciones lograron en los últimos cinco años (2012-17) capitalizaciones de entre el 560 y el 170% respectivamente, frente a las de los medios tradicionales, que no pasaron del 75 por ciento. La asimetría de la regulación de la competencia frente a los medios tradicionales y la alarma política provocada por las fake news o los escándalos del uso impropio de datos de los usuarios despertó a los estados europeos y a la propia UE sobre la urgencia de llenar el vacío legal sobre el desarrollo de las plataformas para exigirles reglas de juego y responsabilidades como a los grupos editorialesResults included in this article belong to the project “Indicators related to broadcasters governance, funding, accountability, innovation, quality and public service applicable to Spain in the digital context” (Reference CSO2o15-66543-P), which is part of the National Programme for Fostering Excellence in Scientific and Technical Research, National Sub-Programme for Knowledge Generation launched by the Ministry of Economy and Competitiveness of Spain, and co-financed by the European Union through the European Regional Development Fund (ERDF). Also, this article is partly based on the activity of the Communication Management International Research Network (REDES 2016 G-1641 XESCOM) supported by the Department of Culture, Education and University Planning of the Xunta de Galicia (reference ED341D R2016 / 019). Marta Rodriguez-Castro is a FPU researcher in the PhD Program of the Faculty of Communication Sciences of the University of SantiagoS

Beyond the venue: the role of digital visual communications in sustaining and recreating the music festival experience

La proliferación actual de festivales en el territorio español —agentes destacados dentro de la industria musical— ha traído consigo un aumento de la competitividad en este sector. Con la intencionalidad de diferenciarse dentro de la amplia oferta de eventos musicales, los organizadores diseñan sus acontecimientos en forma de experiencia que cada año se renueva, pero que a la vez perdura como cultura de festival, la cual es difundida a través del audiovisual digital. El presente trabajo, de carácter exploratorio, parte de estudios previos que definen a los festivales como espacios cíclicos y experienciales, de naturaleza multidimensional y comunicacional. Pretende determinar el rol del vídeo y la imagen digital para construir, mantener y redefinir dicha experiencia. Se emplea una metodología mixta mediante una revisión documental, un análisis de caso múltiple de tres de los festivales más importantes de España y entrevistas a expertos y expertas. Los resultados demuestran la relevante función de las narrativas audiovisuales en la definición y fijación de dichas experiencias, así como en su memorabilidad y creación de expectación para la siguiente edición. Se describen igualmente las principales características y elementos que la componen. Por último, destaca el papel de los aftermovies como marcadores de la pauta expresiva y narrativa de la comunicación digital de estos eventos.The current spread of music festivals in Spain - prominent players in the music industry - has increased competitiveness in this sector. To differentiate themselves from the wide range of musical events, the organisers design their festivals as an experience renewed every year but which, at the same time, lives on as a festival culture disseminated by way of digital audiovisuals. This exploratory paper builds on previous studies that define festivals as cyclical and experiential, multi-dimensional and communicational spaces. It aims to determine the role of video and digital images in constructing, maintaining and redefining this experience. A mixed methodology is employed through a documentary review, a multi-case analysis of three of the most important festivals in Spain and interviews with experts. The results show the relevant role of audiovisual narratives in defining and fixing these experiences, as well as in their memorability and the creation of expectations for the next edition. The main characteristics and elements that compose it are also detailed. Finally, it highlights the role of after-movies as markers of the graphic and narrative pattern of the storytelling of these events.La investigación de la que se deriva este artículo ha contado con la financiación del Grupo de Investigación de la Universidad de Málaga PAIDI SEJ-435 “Contenidos Audiovisuales Avanzados”

La televisión móvil: el estado de la cuestión

El presente artículo recoge el estado de la cuestión de la investigación realizada sobre televisión en movilidad. Aunque la televisión para móvil es ahora mismo un objeto sobre-investigado, en el fondo sabemos poco acerca de ella. Sobre todo, desconocemos en qué medida podría desencadenarse la apertura de un nuevo abanico de hábitos socioculturales en torno a la experiencia televisiva en movilidad. Y desconocemos cómo podría ayudar a desempeñar un papel en la promoción de la ciudadanía. Ello mercería un programa de investigación.The present article shows “the state of art” of the research on mobile television. A lot of research has been done and it certainly shed some light; but we still do not know if mobile television is more than a small handheld devise and if it could open up a new market for the content specifically tailored for it, unleash new socio-cultural habits and promote citenzenship among their users. This would deserve a research programme