Abstract

It is easy to embed a Youtube video in your presentation. You just need to copy the URL of your video, edit the section of your presentation and insert the following code. 

{| style="font-size:75%; color: #222222; border: 1px solid darkgray; background: #f3f3f3; table-layout: fixed; width:100%;"
|- 
| {{#evt:service=youtube|id=[Youtube link https://youtube_link]|alignment=center}}
|- style="text-align: center;" 
| Video 1. Caption. 
|}

Finally, overwrite the text "youtube_link" with the URL of your video, and replace the text "Video 1. Caption." with the caption of your video. 

The result will be similar to that shown in section 5.1.2 of the following document:

 https://www.scipedia.com/public/Servan_Camas_et_al_2016a

Abstract

As a mechanism for social participation and integration and for the purpose of building their identity, teens make and share videos on platforms such as YouTube of which they are also content consumers. The vulnerability conditions that occur and the risks to which adolescents are exposed, both as creators and consumers of videos, are the focus of this study. The methodology used is content analysis, applied to 400 videos. This research has worked with manifest variables (such as the scene) and latent variables (such as genre or structure). The results show that there are notable differences in style among the videos according to the producer of the message, and indicate that the most consumed videos are located around four thematic axes (sex, bullying, pregnancy and drugs) and that the referents as audiovisual content creators are the YouTubers. Everything points to problems in using the same language, including audiovisual language, as adolescents. This paper provides evidences of the convenience of using their codes so that this sector of the population see risks and conditions of vulnerability that they seem not to perceive according to their audiovisual creations in which they do not protect their identity, among other features.

Abstract

Making the work of security organizations known to school children is a means of mitigating feelings of insecurity provoked by the diffusion of information on terrorist attacks in communications media and through social media. Whilst there is a longer tradition of projects to educate school children on the police and the armed forces, no comparable projects have been found on the intelligence services. With the objective of filling this gap, the authors designed and produced two animated educational videos for Spanish school children on the Spanish intelligence service: The National Intelligence Center (CNI). In this paper, the impact of the videos is measured in relation to the knowledge, the stereotypes, and the attitudes of school children towards the CNI. To do so, two questionnaires were administered to 1,092 school children aged 8 and 12, before and after viewing the videos. The results of the questionnaire prior to screening the videos showed that the school children held no knowledge of the intelligence services, and expressed highly developed stereotypes, and moderately negative attitudes towards them. Student-t tests for related samples were used to confirm the responses, on the basis of which it was found that the videos modified both knowledge and stereotyping, as well as attitudes towards the CNI. Specifically, following the screenings the knowledge of the school children improved, stereotyping diminished, and positive attitudes increased.

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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.

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