Comunicación Audiovisual

"In a moment of transformation of media as a result of ongoing processes of digitalization and convergence, television broadcasters are increasingly betting on tools that allow the public to assume a more active role in the production of contents. Emergent phenomena such as participatory journalism, user-generated content or the integration of social networking websites are becoming more and more relevant in the online public sphere.

This paper compares the models for online news websites participation developed by RTVE (Spain) and BBC (England). The analysis focuses on the different participative resources, the access protocols, the technical mediations and the restrictions of the content produced by the audience in these two influential broadcasters.

The concept of participation is articulated from the perspective of studies that understand it as new feedback opportunities provided by digital technology. Particular obstacles and requirements are detected in each media. Although television broadcasters seem to offer a large variety of tools that would allow the public to assume a more active role, it is still peripheral and complementary."

This article analyses public service broadcasting in Europe, looking at public broadcasters' role as promoters of participative processes. Computer-mediated communication and studies rooted in mediated human interactivity are used to explore participative elements provided by digital technology, and how these can be incorporated into the news websites, through an empirical study of 5 case studies in the European market. The analysis is based on the methodology of content analysis with the goal of outlining the particularities of the participative elements implemented by each broadcaster and revealing the most common participative strategies. The findings suggest that although public service broadcasters offer a wide variety of possibilities, encouraging audiences to take on more active roles, their role is still peripheral and complementary.

Increasingly, audiences are invited to interact with television shows. Although television broadcasters have sought any kind of audience participation since the first days of the medium (be that, for instance, through getting members of the public to appear on screen), changes in the last few years -prompted mainly by new technologies, convergence culture or the cross- platform scenario- have provided producers the opportunity to set up a repertoire of participatory possibilities and processes to retain viewers by creating a more intense relationship between the audience and the programme. While before the public’s involvement with the programmes could probably not be described as meaningful participation, today’s new participatory invitations seem to be less constrained. Nowadays, the possibilities of ordinary people gaining access to the programmes is less limited than it was. How does the mainstream television industry invite viewers to participate in the production of its shows ...

De un tiempo a esta parte, diferentes procesos han caracterizado la evolución de la televisión en España. El presente trabajo se enmarca dentro de dos de ellos para explorar con más detenimiento la participación de la audiencia en televisión, que sin ser un fenómeno nuevo en el medio (Hibberd et al., 2000; Prado et al., 2006), sí está recuperando cierto protagonismo en los últimos años. Por un lado, la convergencia digital supone uno de los grandes retos para la televisión (Prado, 2009) y por el otro, la aparición de programas de tele-realidad y el progresivo aumento de emisiones de tipo infotainment o infoshow, no sólo han significado una revolución de las parrillas de televisión y un éxito de audiencia, sino que también han sido pioneros en el desarrollo de fórmulas que combinan los contenidos del programa con las emergentes plataformas digitales bajo el paraguas de una misma marca (Ytreberg, 2009). En este contexto, se ha otorgado a la audiencia un papel central en las produccion...

On May 24th 2015, the political party Ahora Madrid won the local elections in Madrid against odds. Ahora Madrid was founded just four months before the elections and its candidate, Manuela Carmena, a retired judge, wasn't a known politician. By the rules of the Electoral Board, the party had no right to broadcast political advertising on public service media and private broadcasters were not an option due to the low budget of the party. However, Carmena benefited from a campaign developed by leading professionals in the Spanish advertising and communication industry, who decided to actively participate in the social media movement #MadridconManuela (Madrid with Manuela). This paper analyzes this case study and explains how the community of professionals collaboratively designed the campaing on its own initiative. Results point out how this kind of practice makes a change in the traditional advertising communication models.

Este artículo presenta los resultados de una investigación comparativa sobre las invitaciones a la participación que las principales televisiones generalistas en España ofrecieron a la audiencia en 2010 y en 2014 durante su franja de prime time y noche. Se trata de un análisis de contenido que se aproxima al objeto de estudio desde el reconocimiento de la complejidad de su conceptualización y con el objetivo de describir la relación que existe entre la titularidad del canal o el género televisivo del programa y la naturaleza de la participación emitida.

This article presents the results of comparative research into the participation invitations that the main general interest television channels in Spain made to their audiences in 2010 and in 2014 during prime time and at night. It is content analysis which approaches the subject matter of study based on recognition of the complexity of its conceptualisation and with the aim of describing the relationship between the ownership of the channel and the television genre of the programme and the nature of the participation broadcast.

Aquest article presenta els resultats d’una recerca comparativa sobre les invitacions a la participació que les principals televisions generalistes a Espanya van oferir a l’audiència el 2010 i el 2014 durant la seva franja de màxima audiència i nit. Es tracta d’una anàlisi de contingut que s’aproxima a l’objecte d’estudi des del reconeixement de la complexitat que comporta conceptualitzar-lo i amb la finalitat de descriure la relació que existeix entre la titularitat del canal o el gènere televisiu del programa i la naturalesa de la participació emesa.

Este texto presenta las principales disciplinas y aproximaciones teóricas que estudian el engagement en medios y adopta una comprensión interdisciplinar del término. A través de una extensa revisión bibliográfica se trata de problematizar el engagement atendiendo a los matices que aportan otros conceptos vinculados a él, como la interactividad, la economía afectiva, el compromiso y, fundamentalmente, la participación. Se apunta finalmente a la necesidad de interpretar los complejos fenómenos comunicativos que involucran a las audiencias partiendo de la base de una relación de confianza y respeto mutuo que reconozca sus desequilibrios de poder y sus implicaciones morales y afectivas.

This short article focuses on the interrelation of two seemingly invisible phenomena that have a growing influence on our daily lives: on the one hand, our intimate relationship with devices and practices mediated by technology, which make up our media life, and on the other, the great impact that our way of life has on the planet that we inhabit, which invites us to think about our role in the Anthropocene, a new geological era in which human activity is the main agent of change in the Earth's ecosystems. Regarding these key trends as closely connected gives us the opportunity to find accessible solutions to our daily concerns on environmental issues. In other words, considering our media life in the Anthropocene means to be aware of the challenges that we face while asking ourselves how to claim a responsible use of technology that-in line with our humanity-will help us to confront them. Recognizing invisible technologies in our media life Our media life increasingly shapes our daily activities, our social agreements and the use we make of technological devices. Several indicators confirm this upward trend: more than half of the world's population regularly uses the Internet and two out of every three people have a mobile phone. In addition , 30 billion devices and sensors will be connected in the coming years to KEYWORDS media life anthropocene digital technology digital culture sustainability media IGNACIO BERGILLOS CeSAG-Universidad Pontificia Comillas

Even if participation has been a key word in many research areas within Communication and Media Studies, there are still theoretical disagreements about its definition. The inevitable coexistence of different approaches to the concept has hindered the development of a unique theoretical framework. However, the efforts to conceptualise participation and to understand the increasing participatory practices in/through media in the last years has nourished the field of participatory communication and participatory culture with insightful ideas that serve as common ground for future research. Most of these ideas, while apparently contradictory, follow similar patterns and interests that could potentially lead to a shared understanding of what participation is or should be. This article tries to contribute to the objective of rescuing participation by theoretically reviewing the conceptual apparatus of participation in Communication and Media Studies and introducing the idea that participation can be conceptualized through the metaphor of the talisman. Following Lakoff and Johnson (1980), this article argues that the way we conceptualize phenomena has an influence on how we perceive our practices. If we assume to rescue as an act to save from danger or evil, we should reclaim an understanding of participation as a powerful amulet. In that sense, the theoretical review of the conceptualizations of participation in the field of Media and Communication Studies that this article offers, will argue that participation can, at least partially, be structured, understood, defined and used in terms of a talisman. Specifically , the text will discuss four aspects that structure this metaphorical concept: participation as a fantasy, the authenticity of participation, the ritual of participation, and its (aesthetic) value. A participação enquanto talismã: uma reflexão metafórica e teórica sobre a conceptualização da participação Resumo Ainda que a participação tenha sido uma palavra chave para muitas áreas de investigação no âmbito da investigação no âmbito da Comunicação e dos Média, não existe ainda um con-senso sobre a sua definição. A coexistência inevitável entre diferentes abordagens ao conceito tem travado o desenvolvimento de uma estrutura teórica única. No entanto, os esforços para conceptualizar a participação e para compreender as crescentes práticas participativas nos/atra-vés dos média, nos últimos anos, têm alimentado a área da comunicação e cultura participativas com ideias elucidativas que servem de denominadores comuns para investigações futuras. A maior parte dessas ideias, embora aparentemente contraditórias, seguem padrões e interesses

In line with recent research from political economy of communication that has dealt with alternatives to dominant corporations and power structures, this chapter approaches resistance in local cinema and presents the case study of CineCiutat in Mallorca, Spain. It illustrates the role of community theatres in local cinema. As exhibitors of independent art-house films, as headquarters of film festivals or as promoters of local talent, but also as sites for meaningful participation and opposition to the commercial logics of the media industries. Through observation, document review and interviews with the management team, volunteers and members of the community, this text explains the early success of this unexpected project. The pioneering initiative of CineCiutat represents an alternative to the established norms and practices of film exhibitors. The challenges and opportunities set by digitalization raise contradictions and ambivalences of an industry in transition. This case study introduces some of the tensions and participatory initiatives that shape the practices of the community of volunteers and professionals that manage the cinema and advances some issues for the future of this participatory theatre, a key agent of local cinema in Mallorca.