Abstract

The understanding of democracy as a political organization form, has in many scenarios the debate on how pure is in a representative form and how effective is when is “pure” or direct democracy, as well as thought for the “polis” or places with an specific geographic location, contrary to the Saskia Sassen concept of “global cities”. From this discussion, we can address the television as a twentieth century mass media, funded and operated by governments or private companies, exercising symbolic power in a nation, as seen by the John B. Thompson power forms in modern societies, and as an organizational form that clearly exemplifies a representative democracy from the choice of themes, characters, speech and even workflow technology.

The Web 2.0 TV not only allows this massmediatic TV to migrate to a ubiquitous environment, flexible and powerful (that of cloud computing and mobility) but invites the audience to be part of as a production crew of this new television, which workflow is similar to the TV of the twentieth century, and to the new workflows purposed by major Internet players in the second decade of the XXI century. In Externado University this phenomena has been investigated thorough an empirical and intense way the migrated to Internet television, with a workflow similar to the 20th century massive TV, but with the intervention of actors (prosumer-students) in a more flexible and open way than the “representative” television. In addition of this, the arrival of Google Hangouts, which advocates for an opening to the end user with web skills, and social networks as a potential audience, which may also be involved in the production, the future of the TV in this century becomes by definition not only democratic, but also “direct” about this political organization form.

Abstract

Since TV became popular and with the introduction of Video players and DVD Players the key question was how and in which areas we can use TV in our daily teaching. The USA is the world leader in this field, as not only all public and private schools all over the country count with a TV set in each classroom, but lots of channels and companies produce audiovisual material and TV programmes with educational purposes. In Europe, it has been the British BBC the clear referent when talking about educational TV channels, followed in the last years by educational TV stations in Sweden, France and the Netherlands.

Abstract

Business communication in general, and advertising in particular, is in need of more targeted and effective approaches. This article introduces mobile advertising and its differential features, including the role of contextual advertising and customized relationship with mobile devices. It analyses future potential, identifying essential economic, technological and social forces that will shape mobile advertising in the short and middle term.

Abstract

The main goal of the analysis summarized in this paper is to identify essential economic, technological, social and legal forces that are currently shaping the mobile content sector. Illustrating the nature of their impact should inform subsequent research and provide policy-makers with a coherent and comprehensive picture of the sector’s current state and future evolution.

Abstract

The opera industry wants to renew its audience and has undertaken several strategies based on digitalization and audiovisual broadcasting to achieve it. In order to attract and create a stronger bond with new audiences, it is exploring different ways to update its information policy and modernize its image. By means of Internet, it has managed to get the opera show offstage, bringing it closer to the daily lives of its spectators thanks to video on demand (VOD) and to live streaming broadcastings. It has made the most of mobile devices to enhance their shareable presence, imitating the audiovisual commercial trends to arouse enthusiasm among its viewers and creating social networks to offer the audience a referential background. Finally, the opera industry looks upon its current state and its social integration as a means of regaining its relevance.

Abstract

The introduction and consequent consolidation of information technology and telecommunications in audiovisual stories gives the receiver the ability to change from the traditional role of passive spectator to active user. In this scenario it is necessary that brands and creators work together in order to face the challenges of a new era. The creation of fictional characters, like Benito, can be used as a tool to tell stories and represent a brand (Cuétara). This paper uses the results of five work sessions carried out in the I Seminar of transmedia communication (between November 2014 and October 2015) at the Universitat Jaume I (UJI) de Castellón, Spain and the interview with the creative team that participated in the creation of the character Benito to highlight the benefits of this initiative.

Abstract

The present article offers a proposal of deconstruction of the news to adapt it to the new media placing the focus in the audiovisual -up of the textual-, incorporating the key ingredients of the digital environment (multimediality, hypertextuality, interactivity) and fixing paths through links and comments that allow both personalization with different levels of deepening as the integration of readers-users in the new communication paradigm of the digital world. Thus, we propose to change the inverted pyramid that has marked the rules of Journalism in the last century for a Rubik’s Cube that still use the 5W as a gateway to the transmedia news, in which each question can work as a hook and activate the multimedia and interactive itinerary that guides us inside the renewed information cube

Abstract

Over the past few years, two new audiovisual products have arrived to the Web: documentary web (webdoc) and interactive music video. The emergence of these new subgenres is due to three related conversion factors: the evolution of online audience participation, the arrival of new web standards and codes html5, and the interest of the media and authors in the innovation of online narratives. From the study of the technical qualities of two case studies –the interactive documentary One Million Tower  and the interactive music video The Wilderness Downtown - this article asserts a new typology for the study and analysis of these interactive audiovisual productions.

Abstract

The instability in the newspaper business model since the emergence of the Internet disrupted the value chain and has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind contract imposed by YouTube’s algorithm. Advertising income from this source is still scarce and depends on engagement, previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864 videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the YouTube channels of six Spanish newspapers are discussed.

Abstract

The instability in the newspaper business model since the emergence of the Internet disrupted the value chain and has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind contract imposed by YouTube’s algorithm. Advertising income from this source is still scarce and depends on engagement, previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864 videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the YouTube channels of six Spanish newspapers are discussed.