Abstract

Audiovisual production has an important role to play in Media Literacy, even if it isn’t as developed as critical reading. Any dialogic process of communication includes expression and creation, which is crucial to help youngters to become competent in our societies. To emphasize this, we analysed the contents of 44 audiovisual productions made by teenagers in different educational and social frameworks. These videos have been produced during practical workshops where participants could choose the subjects to deal with. The most popular issues chosen were: teenagers’ self-image and conflicts, with more or less violence. These subjects allow us to learn about the big influence of TV and cinema in the teenagers’ imaginary.

Abstract

Mitjans is an association of Communication and Education professionals, persons and collectives worried about and interested in Media Literacy and its incidence in the society. Nowadays, Mitjans is working on two related projects: Barcelona Film Diverse and YEFF! (Young European Film Forum for cultural diversity). On one hand, both encourage young people to learn film language and aesthetic principals of film and television while encouraging them to develop their voice. On the other hand, both ask the entrants to reflect on the experiences and perception of the issues of cultural diversity from their individual point of view.

Abstract

One of the ways to include the audiovisual teaching within the compulsory education system is perhaps to provide arguments consistent with the theoretical framework used by the authorities which draw up educational policies. Lately, the valuation of the teaching process has turned on the notion of competence. This work aims to reflect on some of the competences which are developed through the teaching of audiovisual production.

Abstract

Building and expanding from the classic methods of audiovisual education, this article proposes strategies to achieve a global audiovisual literacy and a full citizenship. Critical reading is supplemented with a high-quality systematic audiovisual production on ordinary subjects and raises awareness of the role the media play in a cultural democratization and in a more equalitarian society. In a genuine democracy there is no education, culture, or high-quality television without the full participation of the citizens.

Abstract

The new definition of the professional profile of information managers in the digital era cannot be uniformly considered, but will be determined by particular variations in each sector. The specific field of audiovisual production, defined by the ever increasing consumption of image-based digital content and a fragmented market of providers, will require a multi-skill profile that is not always compatible with the former monographic identity of information managers in some organizations. This change will not be viable without the provision of appropriate training opportunities that cover all the main new skills requested by this sector, which are identified in this paper.

Abstract

Although many analogic audiovisual archives are still awaiting a digitization project that guarantees their preservation and public access, a massive generation of audiovisual content is taking place, once the source has completed the transition to digital production and distribution. The demand for an increasingly diversified production at TV stations is leading to the need to prioritize image retrieval from the archives for reuse. Efficient alternatives for automatic metadata extraction, indexing and searching are sought, and text information to describe images continues to be necessary. The documentary image processing is extremely costly in human resources, with dedication times of two, three or even more times the length of the treated material. In parallel, part of the audiovisual production is indexed during the production process by people other than archivists, librarians or information scientists. Therefore, a transformation of the traditional tasks carried out by the above mentioned professionals is becoming more evident; on the other hand, these professionals continue to be isolated and less hybridized than expected with other labor profiles.

Abstract

This article attempts to mitigate the absence of data and empirical research on the different types of production of Spanish television fiction, from the initial predominance of in-house production to the near complete industry wide trend of outsourcing. The sample includes 490 productions aired on national networks between 1990 and 2017 across 234 production houses. The research reveals that more than 60% of independent producers have partaken in only one production, while 10 studios (including the three major national networks) are responsible for more than half of the productions. The analysis highlights the paradoxical nature of a sector whose growing specialization and vertical concentration coexists with the atomization of independent producers.

Abstract

Fan communities are increasingly important to television fiction series. The department of time television series (TVE) is examined in relation to this trend, with a focus on social networks. A sample of approximately 3,600 people calling themselves “ministerics” participated in the study. The analysis is carried out in the context of the convergence of media and transmedia, where the Net exerts particular influence on their program strategies and their contents, an it is focused to the production and promotion of audiovisual creations aimed at a general audience. This research is of special interest within the field of fan studies because it confirms the intensity and diversity of fans and shows the relevance that it has in national television, particularly in public television.