Abstract

This paper reports the results derived from the research project, entitled “eDCINEMA: Towards the European Digital Space. The role of small cinemas in original version” (CSO2012-35784), which focused on the analysis of the role of movies in OV/OVS in achieving diversity of languages and cultures (as viewed from the European Digital Agenda) as well as Community policies on the promotion of small cinemas in the European digital space. The current study is based on a methodological triangulation, a transnational exchange of information between 62 European experts and a multistage organization, which included: a critical review of the scarce essay writing and profuse Community rules, in-depth interviews with international experts and a design and implementation of a prospective Delphi questionnaire. One of the most remarkable research results is summarized as an indicator of the conflict between the clearly demonstrated OV influences to make progress towards achieving the ideal of a real language diversity, and Community-wide application of packages of random measures, which often leads to lack of expected results. Consequently, the study suggests a strategic reorientation of the European Audiovisual Model toward further exploitation of its 24 languages, on the role of vernacular and not just as vehicular languages, and eventually as guarantors in the process of reliable access to cultural and scientific repertoires.

Abstract

Quality TV is immersed in a cultural context which is yet to be clarified. In this sense, this paper contemplates the concept of culture from an anthropological and journalistic perspective. Then it offers some data that show how a debate about quality television has developed lately. This debate has faced (and kept busy) public administrations, TV networks and audiences. However we are at a decisive moment due to the fact thatnew mindsets have been acting upon the human beings with the subsequent risk. Finally, a discussion is presented in which a reflection is synthesized with the conclusion given along with the facts.

Abstract

In the last decade, the music industry has become the paradigm of the transformations that has carried the development of the productive system towards Informational Capitalism. Of the hand of a quick technological innovation, not always produced by companies, new forms of production and consumption of music have been developed. This new environment has dragged the phonographic companies to a crisis of sales that has forced a radical transformation for the sake of survival. One of these business transformations has been the intensification of the management of copyright. This intensification occurs mainly in two areas: the extension of the protection deadlines and the expansion of the fields and rights management companies-driven activities. This article is intended to answer the question that lies behind the ambitions to modify the productive system: how create cultural industries capable, at the time, to maintain a common and democratic culture and also to develop initiatives to generate capital gains to musicians, songwriters, and other music professionals. We will use data from a research that have conducted three group interviews segmented by age. The aim is to cross the views and experiences of consumers with the analysis of the evolution of music industry organization. From the observation that the younger generations are installed in a culture of free music, we explore what new business opportunities appear and how are received from the conflicting positions already referred.

Abstract

  The podcast has expanded as a consumer product within the online audio ecosystem. The term has become popular, and its fame is increasing in the public sphere, whereas its definition and distinct identity, especially with respect to radio, are still being constructed. While different players, including large platforms and multimedia companies, are positioning themselves in this environment, a podcasting culture distinct from the original amateurism is also taking root. The aim of this paper is to explore the extent to which and in what way the routines and practices of creation, production, and distribution have been formalized to determine whether these processes are fostering a specific professional podcasting culture in Spain. Using semistructured in-depth interviews conducted with professionals linked to the podcasting sector, we aim to determine some of the practices that these players are starting to see as well-established within and unique to the industry, as well as those practices that have yet to become established. On the one hand, thanks to the increase in business volume and investment from production and distribution companies, the space for professionalization has been consolidated. The production standards and perceived quality of this audio content have been affirmed. On the other hand, definitions and categories related to this medium’s identity; the requirements with respect to understanding an audience, especially in its qualitative dimension; and the professional profiles and dynamics that must be established remain to be explored.