Abstract

The evolution of the job market for information professionals within the last several years is categorized into three concentric layers: core, envelope, and horizon. This overview is complemented by the analysis of job offers managed by the Faculty of Library and Information Science's Job Offers Information Service (SIOF) of the University of Barcelona in the 2015-16 academic year and it is also compared with the data of the 2009-2010 academic year. There have been significant variations in the job providers side (evolving from public to private sectors) and in the most demanded profiles (from the traditional library core to new emerging functions). Finally, some implications of these changes for universities, associations, and professionals are explained.

Abstract

A review of various reports and studies reveals the most important aspects and events in 2014 of the library and information science (LIS) profession and academic programs. The economic crisis in Spain has continued to hit hard, although to a lesser extent. In this environment, a general major concern is to demonstrate the social benefits delivered by libraries. The profession is becoming more hybridized with other professional sectors. As for university education, we note a slight improvement in the statistical data, but also an outrageous structural reform of university cycles by the Spanish Ministry of Education. There has also been an unfair tightening of accreditation agency requirements for the approval of six-year research periods for academic researchers in LIS.

Abstract

The current situation in Spain of the professional profiles of community manager and content curator is analyzed by considering the following aspects: established profile versus emerging profile, definitions, core objectives (community and content) and three posible relationship scenarios: assumption of content curator duties by community managers, differentiated profiles and hybrid profiles.

Abstract

Digitization of media archives has improved both news librarians’ and journalists’ work. However, a significant proportion of Spanish journalists prefer searching for information on the Internet rather than in archives. Moreover, the quality of journalists’ work decreases because few journalists receive proper training on information retrieval. Our research is based on ethnographic observation and interviews with more than 70 professionals from several newsrooms carried out between 2001 and 2006, complemented by a survey of the heads of archives at the main channels and newspapers.

Abstract

Professional trends for television programme researchers and opportunities that arise in the labour market due to the widespread media consumption and the increasing number of diverse media (mass media, internet, cultural industries, Digital Terrestrial Television...) are analysed. We present the promotion, projection and creation of virtual enterprises of audiovisual researchers in the international arena using four case studies. These research experts, most of them freelancers, have extensive experience in locating images, negotiating licenses and liquidating rights to third parties as part of the task of documenting multimedia productions. The expanding broadcast horizons, the conquest of heterogeneous customers and the use of digital archives predict new development paths and a bright future for this profession in the digital age.

Abstract

Television archives are engaged in a significant process of transformation involving everyday functions and procedures as well as their overall role in media organizations. The confluence of two elements produces this change: the complete digitization of the flow of production and the fragmentation and decentralization of the audio-visual market. The determining factors are identified, along with the risks and opportunities that media professionals must channel toward the development of a new model of audio-visual content management based on access and the hybridization of tasks and skills.

Abstract

In 2011, Spain’s public radio network, Radio Nacional de España, introduced a new content management system for its documentary archive, called ARCA. This new system allows those in charge of radio programs direct access to documentary content, and places documentalists at the center of the production process. In this article, the impact of the ARCA system on the professional routines of program production is analyzed. The article describes the typology of documentary archive content that can be used to improve programming quality, both in conventional broadcasting and in parallel broadcasting of added value on the radio web. Finally, the new system is analyzed, keeping in mind public radio’s role in maintaining the documentary and sound archive of the Spanish State and its autonomic territorial organization.

Abstract

This research studies the professional profiles of journalists in the three main news agencies in Catalonia by comparing the multitasking of the Catalan News Agency (ACN) to the specialization of Catalan offices of the Spanish EFE and Europa Press (EP). Although still controversial, the ACN has a more cost efficient organization working with multiskilled employees, i.e. journalists that have to carry out different tasks simultaneously, in comparison to EFE and EP that employ journalists, photographers and cameras giving more priority to the quality of the final product.

Abstract

TVE (Spanish public TV) news services have undergone a great changeover to a digital production system. The current situation after five years of experience is described, along with the evolution of tools, procedures and professional profiles during this time. The new design of content management is described, understood as the control of media from the point of entry to the production system to recovery from the digital file for reuse. In the center of this cooperative and integrated approach to content management is the content manager, that structures the system and the articulation between the different components. At the beginning of 2009, 100% of the Archive material came from videotape recordings. In 2012, only 18%: the other 82% were restorations from digital Archive.