Discussion and mediation of social outrage on Twitter : the reaction to the judicial sentence of "La Manada"

In recent years, digital feminism has been prominent in the international public sphere and the massive release of individual testimonies of violence against women has had an important presence on social media. In Spain, the reaction to the judicial sentence of the La Manada case, which only convicted the five men accused of abuse, rather than rape, provoked a public outrage that was negotiated on social networks and was later displayed in mass demonstrations across the country. The aim of this study is to analyze the reaction that took place on Twitter on the day of the ruling of the sentence (26 April 2018) and how the dominant frames were initiated and stabilized on Twitter. With a sample of almost 500.000 tweets, the posts achieving most retweets per hour and the most salient media objects (including hashtags, visual content and links) have been analyzed based on the framing theory. Media objects have been explored through flowcharts allowing the visualization of the evolution of the dominant messages. The results show a hegemonic conversation on Twitter against the ruling of the court with a high presence of feminist demands. Furthermore, the analysis of the evolution of the main frames shows that the different Twitter affordances allow rapidity in the negotiation of the dominant messages. This paper contributes to the understanding of the articulation of framing from a complex perspective including media objects such as images and URLs that broaden the layers of meaning of the Twitter discourse on collective actions

The image choices of social television audiences : the narrative of The Voice UK and La Voz (Spain) viewers on Twitter

Content shared on social media platforms is increasingly centred on images and conversations discussing television on digital platforms are also influenced by this trend. This article examines the visual data posted by viewers while watching the 2019 edition of the Spanish and British adaptations of the international Reality Show 'The Voice'. With the sample including images posted by viewers on Twitter during the broadcast of the episodes, the production formats, the type of content, the purpose of the images and the connection between the visual data and the text in the tweet have been analysed. The results highlight three different trends: the parallel visual narrative created by viewers on Twitter through the use of digital culture, the showcasing of their private sphere and the appropriation of images from the television episodes altering the discourse presented by the broadcasters.El contenido compartido en las redes sociales se focalizacada vez más en las imágenes y las conversaciones sobre televisión en las plataformas digitales también se han vistoinfluenciadas por esta tendencia. Este artículo examina los datos visuales publicados por los espectadores mientras ven la edición de 2019 de las adaptaciones española y británica del reality show internacional 'The Voice'. Con la muestra de imágenes publicadas por los espectadores en Twitter durante la emisión de los episodios, se han analizado los formatos de producción, el tipo de contenido, la finalidad de las imágenes y la conexión entre los datos visuales y el texto del tuit. Los resultados destacan tres tendencias diferentes: la narrativa visual paralela creada por los espectadores en Twitter a través del uso de la cultura digital, la exhibición de su esfera privada y laapropiación de imágenes de los episodios televisivos alterando el discurso presentado por los canales de televisió

Discussió i mediació de la indignació social a Twitter

Les xarxes socials s'han convertit en espais públics d'expressió personal i col·lectiva on la visibilització de la violència sexual vers les dones ha tingut un rol rellevant en els últims anys. Un estudi realitzat per dos investigadors del Grup de Recerca en Imatge, So i Síntesi (GRISS) de la Universitat Autònoma de Barcelona (UAB) analitza l'articulació i mediació dels discursos dominants a Twitter en casos d'indignació col·lectiva. En concret, la investigació se centra en la resposta a la polèmica sentència de La Manada.Las redes sociales se han convertido en espacios públicos de expresión personal y colectiva donde la visibilización de la violencia sexual hacia las mujeres ha tenido un rol relevante en los últimos años. Un estudio realizado por dos investigadores del Grup de Recerca en Imatge, So i Síntesi (GRISS) de la Universitat Autònoma de Barcelona (UAB) analiza la articulación y mediación de los discursos dominantes en Twitter en casos de indignación colectiva. En concreto, la investigación se centra en la respuesta a la polémica sentencia de La Manada.Social networks have become public spaces for personal and collective expression where the visualization of sexual violence against women has played a significant role in recent years. A study conducted by two UAB professors from the Image, Sound and Synthesis Research Group (GRISS) examines the articulation and mediation of predominant messages on Twitter in cases of collective outrage. Specifically, the research focuses on the response to the controversial La Manada sentence

Audiències i streamers a Twitch : patrons de consum i producció en l'àmbit hispanoparlant

En un context de pugna per l'atenció de les audiències, Twitch s'ha consolidat proposant l'emissió en directe de continguts generats pels usuaris mateixos. Aquest article dimensiona la plataforma esmentada centrant-se en la comunitat hispanoparlant i posa el focus sobre els patrons d'emissió dels streamers, el repartiment d'audiències i els cicles de consum. Els resultats mostren audiències massives, consolidades i amb patrons cíclics, així com diferències clares entre creadors amateurs i professionals, els quals concentren la gran part de l'audiència i han generat rutines de producció homologables a la indústria televisiva.In the context of the struggle for audience attention, Twitch has gained ground by offering live broadcasts of user-generated content. This article quantifies this platform by focusing on the Spanish-speaking community, specifically by analysing the broadcast patterns of streamers, audience distribution and consumption cycles. The results show massive, consolidated audiences with cyclical patterns, as well as clear differences between amateur and professional creators; the latter capture the majority of the audience and have generated production routines comparable those in the TV industry

Organización laboral y perfiles profesionales de los nuevos medios digitales españoles creados por periodistas en tiempos de crisis

La transformación digital de la prensa española se ha desarrollado en paralelo a una profunda crisis económica y propiciando el principio de nuevas formas de hacer periodismo y redefiniendo los perfiles profesionales. El cierre de 375 medios españoles desde el inicio de la crisis económica en 2008 ha favoreciendo la creación de medios digitales creados y/o dirigidos por los propios periodistas. En este estudio se han analizado 298 nuevos medios digitales para conocer si existen cambios estructurales respecto a los medios tradicionales y saber si incluyen nuevos roles profesionales adaptados a las posibilidades que ofrece internet. Los resultados indican que la mayoría de los nuevos medios han optado por una organización piramidal reflejando las dinámicas de los medios tradicionales y no incluyen perfiles profesionales acordes a su naturaleza digital. No obstante, nuestros resultados no indican que estas funciones no se realicen sino que quizá son realizadas por los mismos redactores.The digital transformation of the Spanish press has developed in parallel to a deep economic crisis leading to new ways of practicing journalism and redefining the professional profiles. The closure of 375 Spanish media since the beginning of the economic crisis in 2008 has favoured the creation of digital media created and/or directed by the journalists themselves. In this study, 298 new digital media have been analysed to know if there are structural changes with respect to traditional media and whether they include new professional roles adapted to the possibilities offered by digitalization. The results indicate that most of the new media have opted for a pyramid organization reflecting the dynamics of traditional media and do not include professional profiles according to their digital nature. However, our results do not indicate that these functions are not performed, but perhaps the journalists with a traditional profile carry them out

Ficción televisiva en Europa (EU5) : origen, circulación de productos y puesta en parrilla

circulación de contenidos de ficción entre países y mercados televisivos se ha diversificado gracias a la multiplicación de canales y formas de acceso y consumo. A pesar de la facilidad, la ubicuidad y la universalidad de acceso, la televisión lineal en abierto sigue siendo el medio hegemónico en los grandes mercados europeos. Los procesos cambiantes de consumo de televisión coinciden con el auge de la ficción seriada televisiva que se inició en Estados Unidos, pero que se ha extendido a otros mercados internacionales y, con especial énfasis, al mercado europeo. En esta investigación se observan los flujos de contenidos de ficción en los cinco grandes mercados europeos de Alemania, España, Francia, Italia y el Reino Unido, y se analizan en qué forma el entorno cambiante afecta a las estrategias programáticas de la ficción. Se realiza un análisis de contenido de 26 canales generalistas.The circulation of scripted television shows across countries and markets has diversified due to the proliferation of chan-nels and forms of consumption and access. Despite ubiquity and universal access, open linear TV remains the dominant medium in the major European markets. TV consumption is shifting and the process coincides with the rise of the scripted television series which started in the United States but has spread to other international markets, particularly in Europe. In this research, scripted television flows are observed in five major European markets: France, Germany, Italy, Spain, and the United Kingdom. It is discussed how the changing environment affects the scripted television scheduling strategies. Content of 26 general interest channels are analyze

Características de los periodistas online españoles : consolidación de una profesión en un contexto de crisis económica

Introducción. La crisis del sector periodístico español ha cambiado el ecosistema de los medios españoles con la aparición de nuevos medios independientes online creados en su mayoría por los propios periodistas. Metodología. A través de una metodología cuantitativa y cualitativa esta investigación analiza los perfiles profesionales del colectivo de periodistas que trabajan en los nuevos medios digitales españoles. Se realizó una encuesta a periodistas que trabajan en 301 medios distintos y 6 entrevistas semiestructuradas. Resultados. Los resultados indican que el periodista digital es polivalente y no hay diferencias significativas entre las actividades que realizan los periodistas de diferentes edades. No obstante, los hombres dan más prioridad a las actividades tecnológicas que las mujeres. Discusión y conclusiones. La precariedad del sector periodístico dificulta la explotación de características potenciales de los medios digitales y la inestabilidad laboral no permite desarrollar en condiciones su presencia online.Introduction. The crisis of the Spanish newspaper industry has transformed the media ecosystem in Spain and has led to the emergence of new independent online news media, which have been mostly launched by journalists themselves. Methods. A mixed methods approach has been used to analyse the professional profiles of journalists working in the new Spanish digital news media outlets. The research involved a survey questionnaire applied to a sample of journalists working in 301 different media outlets and six semi-structured interviews. Results. The digital journalist is versatile and multi-skilled and there are no significant differences between the activities carried out by journalists across age groups. However, male journalists give more importance to technological tasks than their female counterparts do. Conclusions. This study shows that the precariousness of the Spanish journalistic sector makes it difficult to exploit the potential that digital media afford, while job insecurity does not allow journalists to develop their online presence

TV news and social audience in Europe (EU5) : on-screen and twitter strategies

Social networks have altered how viewers watch television and consume information. This new context has obliged broadcasters to adapt their practices to reach viewers in all platforms. In this article, we focus on how the evening news programmes from the general-interest DTT channels in the five main European markets (France, Germany, Italy, Spain, and the United Kingdom) appeal to their social audience. This concept, although ambiguous, refers to the activity of viewers on social networks in relation to the contents broadcast by the television industry in its multiple forms. We analyse both the screen strategies and their activity on their official Twitter accounts. Although the evening news is the anchor of the prime time and one of the main assets to instil the channels with prestige and influence, the conclusions point to a certain neglect of the social audience from the industry in these key programmes. But mostly, our research reveals how the specificities of the format and the nature of the content distinguish the evening news from other live TV show

General-television programming in Europe (UE5) : public versus commercial channels

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.El acceso y el consumo de la televisión generalista ha variado tras la convergencia tecnológica. El diseño de las programaciones de la televisión lineal generalista es clave para entender las políticas que los operadores están aplicando en la oferta de géneros y formatos, y observar las divergencias y similitudes entre cadenas de titularidad pública o privada. Este artículo analiza la oferta televisiva de 25 cadenas generalistas, públicas y privadas, que operan en Alemania, España, Francia, Italia y el Reino Unido. Algunos de los hallazgos de esta investigación muestran: a) escasa diversidad de géneros, b) la política editorial de las emisoras públicas se diferencia nítidamente de las privadas privilegiando la oferta de información, la ficción de producción nacional, y los info-shows de tipo documental, y c) apuestas de géneros diferenciadas por titularidades según los países

"Hair for freedom" movement in Iran : interreligious dialogue in social media activism?

After the death of Masha Amini at the hands of the Iranian Morality Police for not wearing the hijab, in accordance with what they considered appropriate in September 2022, a social media campaign called "Hair for Freedom" was sparked on different platforms, with videos of women cutting their hair in protest over Iranian women's rights and Amini's death. This paper analyzes whether this digital feminist movement enacted an interreligious dialogue (IRD). Based on content analysis and topic modeling of the publications retrieved from three major platforms, Twitter, Instagram, and TikTok, the results indicate that this was mainly a Western movement focused on women's bodies as a political symbol in authoritarian Islamic regimes and has not achieved an IRD since most social media posts reproduced the hashtag #HairForFredom without opening a religious discussion. As observed in other digital movements, conclusions indicate that social media activism does not offer an opportunity to engage in dialogues to enlightenthe public sphere. On the contrary, the focus appears to provide users with the opportunity to enhance their reputation by engaging in popular social media campaigns that promote social change