Abstract

This article arises from some conclusions of the «Wise´s Report » and examines the difficulties to obtain a quality TV at the moment. Data demonstrate that the audiences consume a lot of popular entertainment This fact proves that the way towards a quality TV is very difficult, after years of television channels modelling the audience´s tastes. It is necessary to start from the TV current reality to obtain a formative and cultural TV that includes the experience of «telephiles» generations. If these generations prefer entertainment formats, these formats must be used for an education in values.

Abstract

In this work, we reflect on the presence of the television in people’s lives and the need to promote the regularization of television programmes, as well as the literacy of our children and youth so that they acquire the necessary competences to develop an intelligent, active and critical consumption of the television. The role of the administrations, families, educators and TV viewers themselves is also outlined.

Abstract

This paper describes the main contributions of the TV broadcasters in Spain to the study of the relationships be­tween television and childhood. It is justified by the need of compile and organise these contributions. Quality contents broadcasted for children, children consumption of television and the role of TV channels to transfer a positive image of the childhood have been the mainstays of this text. The information that we report is the result of the study carried out from Observatorio Comunicación y Sociedad. Methodologically, consulting scientific bibliography about television and childhood has made possible to put our study into context. After that, the use of questionnaire to people responsible of contents broadcasted for children by the main Spanish TV channels, and the analysis of the different experiences and work papers prepared by televisions, have allowed to create a setting with the broadcasters’ main contributions to a new paradigm which improves the relationship between minors and television. The conclusion from the analysis and the consultation to experts point that, except in the case of the public state television and some regional televisions, the research and the redesign of the childhood/television relationship is not one of the channels priorities. In fact, only TVE has an important scientific production in this field.

Abstract

A review of software applications for managing digital repositories is presented. Information managers have at their disposal several alternatives beyond those that have achieved greater popularity in the area of academic repositories: DSpace and EPrints. Existing alternatives have evolved and implemented mayor improvements in their more recent versions, with the aim of adopting the latest standards for the semantic web and linked data. This paper provides a description of the new features incorporated into the latest versions of the most popular open-source products. The selection has been made using as a reference the information offered by the Digital Preservation Coalition (DPC), Digital Curation Center (DCC), National Digital Stewardship Alliance (NDSA), and Open Preservation Foundation. The conclusions of the study indicate that the combined use of different tools is needed to support a complete archive and digital preservation program, as no single application seems to be able to provide the features required for an effective strategy.

Abstract

  This article describes the most comprehensive study of the relationship between Generation Z and radio carried out in Spain to date, broadening the focus beyond data known from previous research and offering a structural view of the market from the perspective of media economics. An in-depth analysis of data previously unused in academic research, as well as interviews with the managers of various private radio companies (Ábside Media, Atresmedia Radio, Podium Podcast-Prisa Radio, and Grup Flaix), reveals the gradual loss of contact of Generation Z with this medium and highlights the characteristics of the low radio consumption by this cohort in Spain. Among other conclusions, the study identifies some of the factors which may prove relevant to attract this generation to content produced by radio companies, since there is the conviction that there is still time to reverse this situation. Examples include the development of exclusive digital content, brand maximization and community building, content designed and produced by Generation Z for Generation Z, the combination of paid and free access, and media literacy as a transversal public–private factor. This is a need that the sector must address as a whole.

Abstract

Infotainment comedy is the branch of infotainment that mixes current affairs content with comedy. “Infotainment” is a relatively new term, first cited by Krüger (1988); as a television trend, academics agree that it must have existed much earlier, with English-language examples such as Saturday Night Live (NBC, 1975) or That was the week that was (BBC, 1962). In Spain, the roots of infotainment lie in Caiga quien caiga (Telecinco, 1996), a precursor to satirical pseudojournalism (García-Avilés, 1999). Nowadays, there are programs that present current affairs with comedy, as in the case of El intermedio (La Sexta, 2006) or Todo es mentira (Cuatro, 2019). Owing to the continuous evolution of formats and their complex definition and classification by academics and professionals, it is worth considering whether audiences also interpret the different programs in different ways depending on their elements, given that they depend on an “intuitive understanding” (Reinemann et al., 2011; Otto et al., 2017) that stems from the habit of repeated consumption. This article presents the results of a reception study contrasting Spanish infotainment comedy professionals and their audiences to assess whether their impressions of these shows are similar or if, on the contrary, their hybrid nature is so changeable that they have come to interpret them in a very different way. The methodology involved ten discussion groups with a total of 87 viewers and 13 interviews with professionals from four programs: El intermedio, Todo es mentira, Ese programa del que usted me habla (La 2, 2019), and La resistencia (Movistar+, 2018). According to the statements collected, the results revealed that audiences and content creators show more points of divergence than concurrences, which means that the messages are interpreted differently from how they were intended.