Abstract

The variety of revolutions in human communication history goes from the Roman roadway to the printing, radio, TV and Internet. At present, the only global media is the TV due to audience, quality, globalization, world presence, impact, sets duplication. Anyway, we cannot forget that is the TV communication ecosystem a series of facts have changed the initial ideas that we had. These facts are a bigger knowledge of its working, privatizacions and media clubs creation, the audience participation and the convergence of technologies.Finally, the paper claims for a new viewer, more critical and analytic, who could decode the messages transmitte by media.

Abstract

The Spanish televising scene is, at the present time, the center of a social and cultural discussion.Before the critic carried out towards as daily means as it is it the television, are many, (including the hearing), those that demand a reform that structures all the televising scene with the purpose of constructing an educative television and of quality. But, what it is happening from the point of view of the own television networks before the critical panorama which they face?. Which is its reaction, its strategies and their techniques to create a positive image of the own means and, most important, to transmit it to the spectator and to seduce to him?. The television networks have chosen to reframe their identity to reform the image that grant to the hearing. They have begun to be unmarked, to create a differentiating positioning before a hearing that every day is more demanding due to the supply that the technology offers to him. One of the most effective instruments fortify a position, to consolidate a position of the television companies before a heterogenous and more and more complex hearing, is the development of the televising continuity, with peculiar discursivas forms like cardboards of continuity, self-promotions, heads of programs, syntonies, bursts, etc., that contribute to fix the image of mark of the different companies, before the eyes of the spectator. This communication will be placed in the plane of the televisions like organizations to reflect from the side of televising means before the emergent problems, and to analyze the methods that are carrying out the different chains to create that positioning that differentiates from the others, centering to us in the autopromociones like the used advertising tool more, nowadays, by the television networks. The transmitted values, the corporative image and communicative identity and, really, all those aspects that in the autopromociones are expressed, will be analyzed to be able to understand the reactions caused by the chains of the Spanish televising panorama. In sum: 20 seconds of publicity of self-promotion so that a chain can transmit a new image, full of positive values for a society that, nowadays, questions own televising means, that is to say, to analyze how the televising means make use of its own channel to trasmitir and to create value of mark.

Abstract

Television is the archetype of all mass media. As sight is the sense which provides us with the most direct experience of things, television makes us feel that what we see is in fact real, and in this way contributes powerfully to the forming of public opinion. Most of the new forms of behaviour are imposed by television. The image overpowers our thinking and converts everything that doesn’t appear on the screen as irrelevant. It seems to be impossible to imagine our world without television, the most powerful provider of audiovisual messages ever to exist. Our eyes receive in just a few hours more images than those received by tens of generations previous to ours. The power of these images is taken advantage of by advertising, which by means of short, dynamic images is capable of seducing the TV viewer, enticing him or her to consume products which, in reality, are far from having the «marvellous» characteristics which television provides them with. Television has favoured consumerism. The consumer society, born in The United States in the 1920s and extended thirty years later to the rest of the developed countries has been strengthened by the growth of television and the enormous amount of time that people spend opposite a TV screen, more than three hours on average. The abundance of material goods shown for the first time to be available to all citizens concorded with their possibility of purchasing them and enjoying them. Consumerism is stimulated by advertisements which appear on television and satisfies the individual’s hunger to buy. This percentage is greater among young people and teenagers, the majority of whom dedicate less time to reading, show little interest in school material, watch a lot of television, play videogames, etc. There are a lot of studies offering information which shows that the abuse of audiovisual material leads to a type of passive learning, causing the children to be less creative and imaginative, and many even lose their curiosity to learn. But not everything which appears on television is damaging to the learning of good habits and behaviour. From schools, educational campaigns orientated towards the positive use of the media should be carried out in order to convert them into a tool for learning; at the same time, parents should tech their children that everything that they see or hear on the media doesn’t always correspond to reality. The present study intends to analyse how the associations of TV viewers defend the television audiences and try to regulate the contents which appear on the screen, with the main objective of regulating the television contents which directly reach the consumer. The concept of associations of TV viewers in Spain is a new one and still doesn’t have any real weight in the choice of contents or in the control of what type of programmes appear on television. The power of television in the forming of opinions, fashions and consumerism in the viewer, as well as the role which the Associations of TV viewers perform, are the core of what it has based this study on.

Abstract

The present statement comes from the need to give answers to a conflict that I have come across along my professional career in the audiovisual sector in Málaga: The low level of professional performance and lack of organisation and resources in fiction production in the audiovisual sector of Málaga. Low budgets, lack of public financial help and subventions, deficiency of professional TV crew and equipment are some of the reasons why our fiction productions do not get to grow as serious productions that could compete with good TV products, as it is the case of other Spanish cities like Madrid, which has not only got to consolidate the TV series as a profitable audiovisual product, but also has been able to connect with the needs of the audience. Nonetheless, It has to be pointed out, that although to develop a good professional performance in this field, the finance is a big conditioning; it is not the only impediment to carry out a good quality production. The lack of creativity is in may cases, together with bad organization are some of the problems that we come across in Malaga and equally in the rest of the cities in Andalusia, which is delaying the take off of the audiovisual production companies in Andalusia. This report is based in the conclusions before mentioned, and in trying to satisfy the vital understanding and explain the points of action in the developing of fiction projects within the Malaga TV production companies, and which are the reasons why they go on following the wrong working attitudes that lead us to make the same mistakes again and again. It is all about understanding the group of elements that compose the fiction TV productions in Malaga and the roots of the deficiencies that this sector is suffering not only in Malaga , but also in the rest of the cities of Andalusia.