Revista de Comunicación de la SEECI (Sociedad Española de Estudios de la Comunicación Iberoamericana)
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La evolución de la relación entre marcas e influencers españolas de moda tras la pandemia.
Full text linkIn March 2020, the new SARS-CoV-2 virus arrived to stay amongst us, bringing the most important global pandemic known up to now. The entire world was affected by a health crisis that spread to all sectors of society, leading to company clousures, rises in unemployment rates and many changes in ordinary lifestyle. This pandemic has also had an impact on changes in society's consumption habits and a relevant increase in the use of social networks due to the months of lockdown, which has leaded to important changes in various areas and, specifically, in the fashion and influencers sector. In addition to the pandemic problem, there is the trouble of adapting to the new Spanish regulation, code of conduct on social networks, from January 2021. This research aims to analyze, using a mixed methodology, the changes produced in fashion influencers jobs before, during and after the pandemic, the evolution of fashion brands in digital media and new trends in influencer marketing that have been caused by this new situation. To do so, we have performed a content analysis and interviews with professionals from the fashion sector. Conclusions show a greater control of content, an increase in number of followers and a closer link with brands. Comparisons with the dynamic in other international markets, as well as the future adaptation of the professional activity to current regulations, are the most relevant questions to be addressed in order to be able to expand the study in the future.In March 2020, the new SARS-CoV-2 virus arrived to stay amongst us, bringing the most important global pandemic known up to now. The entire world was affected by a health crisis that spread to all sectors of society, leading to company clousures, rises in unemployment rates and many changes in ordinary lifestyle. This pandemic has also had an impact on changes in society's consumption habits and a relevant increase in the use of social networks due to the months of lockdown, which has leaded to important changes in various areas and, specifically, in the fashion and influencers sector. In addition to the pandemic problem, there is the trouble of adapting to the new Spanish regulation, code of conduct on social networks, from January 2021. This research aims to analyze, using a mixed methodology, the changes produced in fashion influencers jobs before, during and after the pandemic, the evolution of fashion brands in digital media and new trends in influencer marketing that have been caused by this new situation. To do so, we have performed a content analysis and interviews with professionals from the fashion sector. Conclusions show a greater control of content, an increase in number of followers and a closer link with brands. Comparisons with the dynamic in other international markets, as well as the future adaptation of the professional activity to current regulations, are the most relevant questions to be addressed in order to be able to expand the study in the future.La llegada del virus SARS-CoV-2 trajo consigo una pandemia mundial y una crisis sanitaria que iba a extenderse a todos los ámbitos de la sociedad, desembocando en cierre de empresas, pérdidas de millones de empleos y numerosas alteraciones en el estilo de vida de los individuos, además de provocar cambios de consumo en la sociedad y un aumento del uso de las redes sociales debido a los meses de confinamiento, lo que supuso un punto de inflexión en diversos ámbitos y, concretamente, en el sector de la moda y de las influencers. Con la presente investigación se pretende analizar, mediante metodología mixta, los cambios producidos antes, durante y después de la pandemia en el trabajo de las influencers de moda, la evolución de las marcas de este sector en los medios digitales y las nuevas tendencias en el marketing de influencia que se han generado a raíz de esta nueva situación. Para ello, se realizará un análisis de contenido y una entrevista a profesionales del sector
El VODCASTING EN ESPAÑA. ‘CONFINADOS’ DE EUROSPORT, EL CAMINO INVERSO
Full text linkWith the advent of the Internet and multiscreen, audio and video content producers have had to generate new formats to be heard and seen in a timeless way, in order to respond to new consumer demands. This is the context in which audio podcasting (podcasting) and video podcasting (vodcasting) appear, which have gained popularity in recent times. The pandemic caused by COVID-19 was a turning point for these new audiovisual formats, when some channels opted to include them in part of their programming. This is the case of Eurosport’s ‘Confinados’ vodcast, which we analyse in this research. The main objective of this article is to analyse this vodcast, to know how it is structured and to examine the contents developed. The methodology used is the content analysis of its different episodes, broadcast during the first state of alarm in Spain, from March 2020. We highlight the peculiar case of ‘Confinados’, which has taken the reverse path to the podcasts that appeared as radio or television on Demand, since it emerged as a vodcast that later became a television programme. We highlight the step taken by Eurosport towards a new way of reporting, in the midst of a pandemic, to adapt to the needs of the audience, as well as the contribution to specialisation in sports journalism, with experts and journalists in this field, specificity and brevity in their topics and a wide range of audiovisual journalistic genres.With the advent of the Internet and multiscreen, audio and video content producers have had to generate new formats to be heard and seen in a timeless way, in order to respond to new consumer demands. This is the context in which audio podcasting (podcasting) and video podcasting (vodcasting) appear, which have gained popularity in recent times. The pandemic caused by COVID-19 was a turning point for these new audiovisual formats, when some channels opted to include them in part of their programming. This is the case of Eurosport’s ‘Confinados’ vodcast, which we analyse in this research. The main objective of this article is to analyse this vodcast, to know how it is structured and to examine the contents developed. The methodology used is the content analysis of its different episodes, broadcast during the first state of alarm in Spain, from March 2020. We highlight the peculiar case of ‘Confinados’, which has taken the reverse path to the podcasts that appeared as radio or television on Demand, since it emerged as a vodcast that later became a television programme. We highlight the step taken by Eurosport towards a new way of reporting, in the midst of a pandemic, to adapt to the needs of the audience, as well as the contribution to specialisation in sports journalism, with experts and journalists in this field, specificity and brevity in their topics and a wide range of audiovisual journalistic genres.Con la llegada de Internet y la multipantalla, los productores de contenido de audio y de vídeo han tenido que generar nuevos formatos para ser escuchados y vistos de forma atemporal, y así dar respuesta a las nuevas demandas de los consumidores. En este contexto aparecen el podcasting de audio (podcasting) y vídeo (vodcasting), que han ganado popularidad en los últimos tiempos. La pandemia provocada por la COVID-19 supuso un punto de inflexión para estos nuevos formatos audiovisuales, cuando algunas cadenas optaron por incluirlos en una parte de su programación. Tal es el caso del vódcast ‘Confinados’ de Eurosport, que contemplamos en esta investigación. El objetivo principal de este artículo es analizar este vódcast, conocer cómo es su estructura y examinar los contenidos desarrollados. La metodología usada es el análisis de contenido de sus distintos episodios, emitidos durante el primer estado de alarma en España, a partir de marzo de 2020. Resaltamos el peculiar caso de ‘Confinados’, que ha realizado el camino inverso a los pódcast que aparecieron como radio o televisión a la carta, puesto que surgió como un vódcast y se convirtió en un programa de televisión. Destacamos el paso realizado por Eurosport hacia una nueva forma de informar, en plena pandemia, para adaptarse a las necesidades de los receptores, así como la contribución a la especialización en periodismo deportivo, al contar con expertos y periodistas de este campo, con especificidad y brevedad en sus temas y amplitud de géneros periodísticos audiovisuales
Cómo son los personajes inmigrantes en las series españolas emitidas en plataformas de streaming
Full text linkIntroduction. The number of fiction series has increased considerably with the development of streaming platforms. At the same time, in recent years Spanish society has been transformed towards multiculturalism, as a result of new migratory processes. However, this new audiovisual scenario has hardly been the subject of research studies, since the representation on platforms constitutes an area scarcely explored in the Spanish academic context. Therefore, the main objective of this research is to analyze the current representation of immigration in television series broadcast on the main streaming platforms. Methodology: For this purpose, a content analysis was carried out on 38 Spanish-created series, broadcast between 2017 and 2020, and on a total of 1509 characters (n=1509). Results: Among the main results of this work, it was found that immigrant characters are underrepresented and, when present, they hardly occupy leading roles. Together with the scarce presence of these types of characters, stereotypical features and characteristics in their forms of representation are appreciated. Discussion: Despite the presence of foreign/immigrant characters in Spanish production series, they are still a minority and their representation is biased and often stereotypical, as reflected, for example, by the significant relationship between the nationality of the character and the socioeconomic level with which he/she is represented. For all these reasons, the new sphere of Spanish fiction series does not seem to reflect the Spanish socio-cultural reality through its plots and characters.Introduction. The number of fiction series has increased considerably with the development of streaming platforms. At the same time, in recent years Spanish society has been transformed towards multiculturalism, as a result of new migratory processes. However, this new audiovisual scenario has hardly been the subject of research studies, since the representation on platforms constitutes an area scarcely explored in the Spanish academic context. Therefore, the main objective of this research is to analyze the current representation of immigration in television series broadcast on the main streaming platforms. Methodology: For this purpose, a content analysis was carried out on 38 Spanish-created series, broadcast between 2017 and 2020, and on a total of 1509 characters (n=1509). Results: Among the main results of this work, it was found that immigrant characters are underrepresented and, when present, they hardly occupy leading roles. Together with the scarce presence of this type of characters, stereotypical features and characteristics in their forms of representation are appreciated. Discussion: Despite the presence of foreign/immigrant characters in Spanish production series, they are still a minority and their representation is biased and often stereotypical, as reflected, for example, by the significant relationship between the nationality of the character and the socioeconomic level with which he/she is represented. For all these reasons, the new sphere of Spanish fiction series does not seem to reflect the Spanish sociocultural reality through its plots and characters.Introducción: La oferta de series de ficción ha aumentado de forma considerable con la entrada en escena de las plataformas de streaming. Al mismo tiempo, en los últimos años la sociedad española ha vivido una importante transformación hacia la multiculturalidad, fruto de nuevos procesos migratorios. Sin embargo, este nuevo escenario audiovisual apenas ha sido objeto de estudios de investigación, pues la representación en plataformas constituye un área escasamente explorada en el contexto académico español. Por eso, esta investigación tiene como principal objetivo analizar la representación actual de la inmigración en las series de televisión emitidas en las principales plataformas de streaming. Metodología: Para ello, se ha efectuado un análisis de contenido a 38 series de creación española, emitidas entre los años 2017 y 2020, y a un total de 1509 personajes (n=1509). Resultados: Entre los principales resultados de este trabajo se ha comprobado que los personajes inmigrantes están infrarrepresentados y, cuando están presentes, apenas ocupan papeles protagonistas. Junto con la escasa presencia de este tipo de personajes se aprecian rasgos y características estereotípicas en sus formas de representación. Discusión: La presencia de personajes extranjeros/inmigrantes en las series de producción española sigue siendo minoritaria y su representación está sesgada y es, a menudo, estereotípica, como refleja, por ejemplo, la relación significativa entre la nacionalidad del personaje y el nivel socioeconómico con el que se representa. Por todo ello, la nueva esfera de series de ficción españolas no parece reflejar la realidad sociocultural española a través de sus tramas y personajes
El auge de Vox y el populismo en Youtube antes y durante la pandemia del Covid-19
Full text linkYouTube is one of the platforms most used by young people for viewing audiovisual content on the Internet. Although several recent studies analyze the trends in searches for political videos on YouTube, there is no study that analyzes the evolution of the popularity of Spanish political parties on this social network. For this research we will use a quantitative and qualitative methodology based on data from the Google Trends platform in order to find out the evolution of the popularity of these parties on YouTube before and during the pandemic. The results place Vox (7.6) as the most searched party on YouTube over the last ten years, followed by United We Can (6.3), PSOE (4.4) and PP (3.5). In the period of the pandemic, Vox increased its popularity (15.3) and the Popular Party came in second place (4.2). We performed a statistical analysis to compare the most searched match on YouTube with the rest of the matches in both periods. The regression analysis of searches between “Vox” and “PP” during the last decade was R² = 0.51 and during the period of the pandemic R² = 0.15. The correlation of “Vox” with the other parties in was R <0.06 in both periods. We conclude that Vox has become the most sought after match on YouTube during the Covid-19 pandemic, a social network used mainly by young people. Factor that determines the recent success of a party that some authors associate with a populist discourse.YouTube is one of the platforms most used by young people for viewing audiovisual content on the Internet. Although several recent studies analyze the trends in searches for political videos on YouTube, there is no study that analyzes the evolution of the popularity of Spanish political parties on this social network. For this research we will use a quantitative and qualitative methodology based on data from the Google Trends platform in order to find out the evolution of the popularity of these parties on YouTube before and during the pandemic. The results place Vox (7.6) as the most searched party on YouTube over the last ten years, followed by United We Can (6.3), PSOE (4.4) and PP (3.5). In the period of the pandemic, Vox increased its popularity (15.3) and the Popular Party came in second place (4.2). We performed a statistical analysis to compare the most searched match on YouTube with the rest of the matches in both periods. The regression analysis of searches between “Vox” and “PP” during the last decade was R² = 0.51 and during the period of the pandemic R² = 0.15. The correlation of “Vox” with the other parties in was R <0.06 in both periods. We conclude that Vox has become the most sought after match on YouTube during the Covid-19 pandemic, a social network used mainly by young people. Factor that determines the recent success of a party that some authors associate with a populist discourse.YouTube es una de las plataformas más empleadas por los jóvenes para el visionado de contenido audiovisual en Internet. Aunque varios estudios recientes analizan las tendencias de las búsquedas de vídeos políticos en YouTube no hay ningún estudio que analice la evolución de la popularidad de los partidos políticos españoles en dicha red social. Para esta investigación emplearemos una metodología cuantitativa y cualitativa basada en datos de la plataforma Google Trends con el objetivo de averiguar la evolución de la popularidad de estos partidos en YouTube antes y durante la pandemia. Los resultados sitúan a Vox (7,6) como el partido más buscado en YouTube durante los últimos diez años, seguido de Unidas Podemos (6,3), PSOE (4,4) y PP (3,5). En el periodo de la pandemia, Vox aumenta su popularidad (15,3) y Partido Popular queda en segundo lugar (4,2). Realizamos un análisis estadístico para comparar el partido más buscado en YouTube con el resto de los partidos en ambos periodos. El análisis de regresión de las búsquedas entre “Vox” y “PP” durante la última década fue de R² = 0,51 y durante el periodo de la pandemia de R² = 0,15. La correlación de “Vox” con los demás partidos en fue de R <0,06 ambos periodos. Concluimos que Vox se ha convertido en el partido más buscado en YouTube durante la pandemia del Covid-19, una red social usada principalmente por jóvenes. Factor que determina el reciente éxito de un partido que algunos autores relacionan con un discurso populista
No tan transmedia: canales y cultura participativa en las audiencias de Skam España
Full text linkThe media and entertainment ecosystem have been increasingly incorporating content based on transmedia narrative models, because of the multiplication of channels, the evolution of ICT, and the adoption by audiences of a more active role within the creative processes. The generalization of the multiplatform distribution of these new narratives facilitates the leading role of the public, which is organized in communities that have emerged and grouped around the content. The Skam Spain series, the object of study of this research, is framed within these parameters, following the model of the original series of Norwegian origin. This fiction is an example that could seem representative of the use of transmedia to expand its narrative possibilities and at the same time get closer to its followers. Among the objectives that are proposed are the identification of the transmedia aspects of the series in its fourth season, defining the role of the broadcast channels, identifying the content that generates the greatest interaction, and valuing the role of the fan community as generators and participants. of the expansion of the narrative world. A mixed methodology is applied, focused on a quantitative and qualitative content analysis of eight episodes of the fourth season of the series Skam in Spain. After developing this study where the expansion of the narrative channels and the interaction with their fan communities can be observed, having as a strong point the breaking of paradigms in the use of the channels to promote engagement with the audiences, the results obtained point to the application of a timid transmedia narrative of the channels used by the series, as well as the metafictional resources that allow crossing that line between fiction and reality, also defined by the concept of the fifth wall.The media and entertainment ecosystem have been increasingly incorporating content based on transmedia narrative models, because of the multiplication of channels, the evolution of ICT, and the adoption by audiences of a more active role within the creative processes. The generalization of the multiplatform distribution of these new narratives facilitates the leading role of the public, which is organized in communities that have emerged and grouped around the content. The Skam Spain series, the object of study of this research, is framed within these parameters, following the model of the original series of Norwegian origin. This fiction is an example that could seem representative of the use of transmedia to expand its narrative possibilities and at the same time get closer to its followers. Among the objectives that are proposed are the identification of the transmedia aspects of the series in its fourth season, defining the role of the broadcast channels, identifying the content that generates the greatest interaction, and valuing the role of the fan community as generators and participants. of the expansion of the narrative world. A mixed methodology is applied, focused on a quantitative and qualitative content analysis of eight episodes of the fourth season of the series Skam in Spain. After developing this study where the expansion of the narrative channels and the interaction with their fan communities can be observed, having as a strong point the breaking of paradigms in the use of the channels to promote engagement with the audiences, the results obtained point to the application of a timid transmedia narrative of the channels used by the series, as well as the metafictional resources that allow crossing that line between fiction and reality, also defined by the concept of the fifth wall.El ecosistema mediático y del entretenimiento han ido incorporando cada vez con más frecuencia contenidos basados en modelos narrativos transmedia, como consecuencia de la multiplicación de los canales, la evolución de las TIC y la adopción por parte de las audiencias de un papel más activo dentro los procesos creativos. La generalización de la distribución multiplataforma de estas nuevas narrativas facilita el rol protagónico del público que se organiza en comunidades surgidas y agrupadas en torno a sus contenidos. La serie Skam España, objeto de estudio de la presente investigación, se enmarca en estos parámetros, siguiendo el modelo de la serie original de origen noruego. Esta ficción supone un ejemplo que podría parecer representativo en el uso del transmedia para ampliar sus posibilidades narrativas y al mismo tiempo acercarse a sus seguidores. Entre los objetivos que se plantean está la identificación de los aspectos transmedia de la serie en su cuarta temporada, delimitar el papel de los canales de difusión, identificar los contenidos que generan mayor interacción y valorar el papel de la comunidad de fans como generadores y participantes de la expansión del mundo narrativo. Se aplica una metodología mixta, centrada en un análisis de contenido cuantitativo y cualitativo de ocho episodios de la cuarta temporada de la serie Skam en España. Tras desarrollar este estudio donde puede observarse la expansión de los canales narrativos y la interacción con sus comunidades de fans, teniendo como punto fuerte la ruptura de paradigmas en el uso de los canales para impulsar el engagement con las audiencias, los resultados obtenidos apuntan a la aplicación de una tímida narrativa transmedia de los canales que utiliza la serie, así como los recursos metaficcionales que permiten cruzar esa línea entre la ficción y la realidad, también definida por el concepto de la quinta pared
Modalidades de reconocimiento, trayectoria profesional y posición política en el campo periodístico argentino
Full text linkThe article studies different acknowledgment modalities in which Argentine journalists validate media and colleagues as more important ones. A characterization of the journalist’s field is developed in terms of the professional trajectory and political positioning, considering correspondences between social space positions and the definition of hierarchical social places. A quantitative methodology was applied. Surveys made on journalists led to the confection of a taxonomy in which their social field could be illustrated. It is considered that the professional space is able to translate a series of asymmetrical references from established positions to the “newcomers”. This references are not politically neutral; they tend to favour conservative media. On the contrary, the acknowledgment of colleagues as consecrated involves a political segmentation, in which those superior positions in the social space are validated, but on the bases of a political differentiation between proximity to the Frente de Todos or to Juntos por el Cambio, Argentina’s two principal political forces. The analysis describes the superposition between media and journalists mentioned in the survey and the taxonomy. In this way, the mapping of the social space seeks to find correspondences between the actor’s representations –which symbolically consecrate both media and colleagues- and their places in the professional’s field structure.The article studies different acknowledgment modalities in which Argentine journalists validate media and colleagues as more important ones. A characterization of the journalist’s field is developed in terms of the professional trajectory and political positioning, considering correspondences between social space positions and the definition of hierarchical social places. A quantitative methodology was applied. Surveys made on journalists led to the confection of a taxonomy in which their social field could be illustrated. It is considered that the professional space is able to translate a series of asymmetrical references from established positions to the “newcomers”. This references are not politically neutral; they tend to favour conservative media. On the contrary, the acknowledgment of colleagues as consecrated involves a political segmentation, in which those superior positions in the social space are validated, but on the bases of a political differentiation between proximity to the Frente de Todos or to Juntos por el Cambio, Argentina’s two principal political forces. The analysis describes the superposition between media and journalists mentioned in the survey and the taxonomy. In this way, the mapping of the social space seeks to find correspondences between the actor’s representations –which symbolically consecrate both media and colleagues- and their places in the professional’s field structure.El artículo indaga diferentes modalidades de reconocimiento a través de las cuales periodistas argentinos validan diferencialmente a medios y colegas como los más importantes. Se desarrolla una caracterización del campo periodístico en términos de la trayectoria profesional y el posicionamiento político, estudiando correspondencias entre las ubicaciones en el espacio social y la definición de quienes ocupan las posiciones jerárquicas. Se implementó una metodología cuantitativa, de encuestas a periodistas, que permitió elaborar una taxonomía en la que ilustrar la composición de su campo. Se sostiene que el espacio profesional consigue trasladar una serie de referencias asimétricas desde las posiciones establecidas a los “recién llegados” que no son políticamente neutras sino que favorecen a medios de postura política conservadora. En cambio, el reconocimiento de los colegas consagrados tendería a una segmentación política, en la que aquellas posiciones superiores en el espacio social son validadas, pero bajo diferenciaciones según la cercanía al Frente de Todos o a Juntos por el Cambio, las dos principales fuerzas políticas argentinas. De esta manera, el mapeo del espacio social busca ubicar correspondencias entre las representaciones de los actores -que consagran simbólicamente a colegas y a medios- y su ubicación en la estructura de su campo profesional
Servicio público vs. autonomía, el dilema de la cultura periodística cubana
Full text linkIntroduction: During the presidency of Raúl Castro (2006-2018), the Cuban media system has lost the state-partisan monopoly and has suffered the decentralization of communication production and distribution. In this context of changes, the relationships between the media system components that define journalistic professionalism are analyzed based on the links identified between the journalistic culture and the projection of media policy. Methodology: The critical review of research on media systems allowed us to observe this case study contextualized. A qualitative methodology was applied, based on an in-depth interview with 21 experts in Political and Communication Sciences about Cuba, and qualitative content analysis to political programs, laws, scientific publications, research theses, and other interviews with Cuban journalists registered in previous studies. Results: The central dilemma of Cuban journalism is delineated in the interaction between the journalistic roles and the definition of public service and between journalistic autonomy and the functions of the media aimed at reinforcing nationalism and national defense. Discussion: The meaning of Cuban journalistic professionalism seems to be more associated with the ideals of social justice, citizen participation, political commitment, and national sovereignty, and with a formative model of a humanist and critical journalist; than to the autonomy or the consistency of media system rules. Conclusions: However, tension coexists between media-political instrumentalization and professionalization -constituted by journalism with a strong vocation for public service and journalists who develop strategies to explore greater conceptual and structural autonomy-.Introduction: During the presidency of Raúl Castro (2006-2018), the Cuban media system has lost the state-partisan monopoly and has suffered the decentralization of communication production and distribution. In this context of changes, the relationships between the media system components that define journalistic professionalism are analyzed based on the links identified between the journalistic culture and the projection of media policy. Methodology: The critical review of research on media systems allowed us to observe this case study contextualized. A qualitative methodology was applied, based on an in-depth interview with 21 experts in Political and Communication Sciences about Cuba, and qualitative content analysis to political programs, laws, scientific publications, research theses, and other interviews with Cuban journalists registered in previous studies. Results: The central dilemma of Cuban journalism is delineated in the interaction between the journalistic roles and the definition of public service and between journalistic autonomy and the functions of the media aimed at reinforcing nationalism and national defense. Discussion: The meaning of Cuban journalistic professionalism seems to be more associated with the ideals of social justice, citizen participation, political commitment, and national sovereignty, and with a formative model of a humanist and critical journalist; than to the autonomy or the consistency of media system rules. Conclusions: However, tension coexists between media-political instrumentalization and professionalization -constituted by journalism with a strong vocation for public service and journalists who develop strategies to explore greater conceptual and structural autonomy-.Introducción: El sistema de medios cubano durante la presidencia de Raúl Castro (2006-2018) se ha caracterizado por la pérdida del monopolio estatal-partidista y el descentramiento en la producción y distribución de comunicación. En este contexto de cambios, se analizan las relaciones entre los componentes del sistema mediático que definen la profesionalidad periodística, a partir de los vínculos identificados entre cultura periodística y proyección de la política de medios. Metodología: Se aplicó una metodología cualitativa, con base en la entrevista en profundidad a 21 expertos en Ciencias Políticas y de la Comunicación sobre Cuba, y el análisis de contenido cualitativo a programas políticos, leyes, publicaciones científicas, tesis y otras entrevistas a periodistas cubanos registras en estudios previos. Resultados: El dilema central del periodismo cubano se delinea en la interacción entre roles periodísticos y definición de servicio público; y entre la autonomía periodística y las funciones de los medios orientadas a reforzar el nacionalismo y la defensa nacional. Discusión: El significado de la profesionalidad periodística cubana parece estar más asociado con ideales de justicia social, participación ciudadana, compromiso político y soberanía nacional, y a un modelo formativo de un periodista humanista y crítico; que a la autonomía o a la consistencia de las reglas con las que opera el sistema mediático. Conclusiones: No obstante, coexiste una tensión entre la instrumentalización política -y económica-, y la profesionalización, constituida por un periodismo con fuerte vocación de servicio público y por periodistas que desarrollan estrategias orientadas a la búsqueda de mayor autonomía conceptual y estructural
Comunicación y política en clave feminista: Planificación y gestión de la comunicación popular con perspectiva de género
Full text linkEl papel de la comunicación interna en la gestión del teletrabajo durante la crisis de la COVID-19
Full text linkAmong the changes brought about by the COVID-19 crisis, many of them affect the management of organizations. This is the case of the sudden implementation of teleworking policies, which, together with social distancing measures and periods of confinement, became widespread in the worst period of the pandemic. This research studies the role of internal communication in the management of telework during the Covid-19 crisis through document review and expert interviews. The results indicate that internal communication is a very important element for these policies and that during the pandemic its relevance in keeping employees aligned with the interests of the brands has been highlighted. To execute these policies, organizations have developed new channels, enhanced team cohesion, and fostered empathy from leaders and the separation of work and personal life. Communication with employees is the cornerstone of these telework policies, which require the implementation of strategies and tools to facilitate the well-being and happiness of remote workforces. This paper also incorporates recommendations for internal communication management concerning the new organizational needs arising during this period.Among the changes brought about by the COVID-19 crisis, many affect the management of organisations. This is the case of the sudden implementation of teleworking policies, which, together with social distancing measures and periods of confinement, became widespread in the worst period of the pandemic. This research studies the role of internal communication in the management of telework during the Covid-19 crisis through document review and expert interviews. The results indicate that internal communication is a very important element for these policies and that during the pandemic its relevance in keeping employees aligned with the interests of the brands has been highlighted. To execute these policies, organisations have developed new channels, enhanced team cohesion and fostered empathy from leaders and the separation of work and personal life. Communication with employees is the cornerstone of these telework policies, which require the implementation of strategies and tools to facilitate the well-being and happiness of remote workforces. This paper also incorporates recommendations for internal communication management in relation to the new organisational needs arising during this period.Entre los cambios que ha traído consigo la crisis de la COVID-19 muchos afectan a la gestión de las organizaciones. Es el caso de la repentina implantación de las políticas de teletrabajo, que con las medidas de distanciamiento social y los periodos de confinamiento se generalizaron en el periodo más crudo de la pandemia. Esta investigación estudia el papel de la comunicación interna en la gestión del teletrabajo durante la crisis de la Covid-19 a través de la revisión documental y de entrevistas a expertos. Los resultados indican que la comunicación interna es un elemento de gran importancia para estas políticas y que durante la pandemia se ha puesto de manifiesto su relevancia para mantener alineados a los trabajadores con los intereses de las marcas. Para ejecutarlas, las organizaciones han desarrollado nuevos canales, potenciado la cohesión de los equipos y fomentado la empatía de los líderes y la separación del tiempo laboral y la vida personal. La comunicación con los empleados resulta la piedra angular de estas políticas de teletrabajo, que requieren de la implementación de estrategias y herramientas para facilitar el bienestar y la felicidad de las plantillas que trabajan en remoto. Este trabajo también incorpora recomendaciones para la gestión de la comunicación interna en relación a las nuevas necesidades organizativas surgidas durante este periodo
Comunicación cultural y experiencial de una marca: Caso de Rutas Comuneras en España
Full text linkPublic bodies in the tourism sector are providers of essential services, equipment, and infrastructure for its correct development. However, they must also be promoters of the tourist destination at a global level. In this aspect, communication tools play a fundamental role in informing and giving visibility to a region of interest to its audiences. To achieve this purpose, coordination and collaboration between the public and private sectors are essential. Institutional advertising messages often coexist with advertising messages for private products and services. In the latter, the marketing of the destination and the obtaining of profits prevail, while institutional advertising is more oriented towards offering attractive destinations for potential tourists, that is, it is the one that participates to a greater extent in the creation of the image of a destination.
In this context, the territorial brand Rutas Comuneras de Castilla y León has a series of tourist products and services that must be marketed and promoted, so this article analyzes the most used means and formats to make themselves known and, also with the strategic objective of carrying out new actions that can correct possible communicative incidents and improve the image of strategic audiences.
With this intention, a review of the advertising content most used by the Rutas Comuneras brand is carried out and thus understand its cultural and experiential communication.
In this context, the territorial brand Rutas Comuneras de Castilla y León has a series of tourist products and services that must be marketed and promoted, so that this article analyzes the most used means and formats to make themselves known and, also with the strategic objective of carrying out new actions that can correct possible communicative incidents and improve the image of strategic audiences.
With this intention, a review of the advertising content most used by the Rutas Comuneras brand is carried out and thus understand its cultural and experiential communication.Los organismos públicos en el sector del turismo son proveedores de servicios, equipamientos e infraestructuras imprescindibles para su correcto desarrollo. Sin embargo, también deben ser impulsores del destino turístico a nivel global. En este aspecto las herramientas de comunicación juegan un papel fundamental para informar y dar visibilidad a una comarca de interés hacia sus públicos. Para lograr este propósito es esencial la coordinación y colaboración entre el sector público y el privado. Los mensajes de publicidad institucional conviven a menudo con los mensajes publicitarios de productos y servicios privados. En estos últimos, prima la comercialización del destino y la obtención de beneficios, mientras que la publicidad institucional está más orientada a ofrecer destinos atractivos para los potenciales turistas, es decir, es la que participa en mayor medida en la creación de imagen de un destino.
En este contexto la marca territorial Rutas Comuneras de Castilla y León cuenta con una serie de productos y servicios turísticos que deben ser comercializados y promocionados, de modo que en este artículo se analizan los medios y formatos más empleados para darse a conocer y, también con el objetivo estratégico de realizar nuevas acciones que puedan corregir posibles incidencias comunicativas y mejorar la imagen sobre los públicos estratégicos.
Con esta intención, se realiza una revisión de los contenidos publicitarios más empleados por la marca Rutas Comuneras y así comprender la comunicación cultural y experiencial de la misma.
En este contexto la marca territorial Rutas Comuneras de Castilla y León cuenta con una serie de productos y servicios turísticos que deben ser comercializados y promocionados, de modo que en este artículo se analizan los medios y formatos más empleados para darse a conocer y, también con el objetivo estratégico de realizar nuevas acciones que puedan corregir posibles incidencias comunicativas y mejorar la imagen sobre los públicos estratégicos.
Con esta intención, se realiza una revisión de los contenidos publicitarios más empleados por la marca Rutas Comuneras y así comprender la comunicación cultural y experiencial de la misma