Nuestros investigadores

Television is undergoing a historical transformation due to its convergence with the Internet and the disruptiveness of technological innovation. Methods. This article analyses the evolution of linear television consumption by the so-called millennial generation, in comparison to the general audience, and how it is affected by online viewing. This research also addresses millennials¿ audience profile and affinity in relation to the main commercial television channels in Spain. To this end, quantitative and qualitative instruments are used: Kantar Media viewership data and an original online survey about audiovisual consumption habits applied to a representative sample of Spanish Internet users and, on the other hand, semi-structured interviews with the digital strategists of the major private television companies and a multichannel network. Results and conclusions. The results confirm the leak of young audiences ¿and the associated revenues¿ and their move towards more personalised and interactive audiovisual entertainment services. In response to this, television operators are imp

The aim of this article is to trace new audiovisual consumption habits, analyzing which screens are preferred by people in Spain when watching different types of content online. In addition, we study the use of second screens, an increasingly common phenomenon. The main sources of data for this empirical study are two original surveys carried out online in May 2012 and in December 2016. The sample size was 1,200 in both cases, and interviews were conducted via the Internet. The target population consisted of Internet users in Spain and the sample distribution was designed to be representative of this population. Our results show that audiovisual consumption habits are changing dramatically, especially when looking at younger users, whose loyalty and attention is even more difficult to attract due to their disruptive practices. In this sense, great uncertainties and risks have emerged in the entertainment industry, although valuable opportunities may also arise.

Se analiza qué valores de producción tienen mayor impacto en la percepción de calidad que la audiencia tiene respecto a los diferentes géneros de entretenimiento televisivos. Para ello se han seleccionado los siguientes valores de producción: contenido, presentador/a, decorado y calidad creativa y técnica. La principal fuente de información ha sido una encuesta telefónica propia dirigida a una muestra representativa de la población española. Los resultados confirman que, a pesar de los cambios radicales vividos por el sector y el boom de la televisión conectada (como resultado de la convergencia entre televisión e internet), la clave del negocio es la misma de siempre: la calidad del contenido.

Abstract In recent years, the number and range of screens used to watch audiovisual contents has risen, from the traditional television set to Internet-enabled devices. This fact has profoundly changed audiovisual consumption habits in Spain. Firstly, viewing-times have increased across every platform. For example, in the case of conventional television, the average Spanish person watches four hours per day. Secondly, at the same time, younger audiences in particular are increasingly likely to use Internet-enabled screens. The aim of this article is to analyze which screens are preferred by Spanish Internet users, as well as their reasons for doing so when watching different types of TV contents online, such as fiction series, entertainment shows, films, news and sports. In order to carry out this research, the following screens have been taken into account: smart TV, mobile phones, tablets, computers and video consoles. Of the main findings, two in particular may be highlighted in advance: almost half of Internet users watch TV online, and the most frequently used device to do so is the computer ¿including laptops and netbooks. A further clear conclusion is that users choose different program genres depending on the screen. The results of this study, based on an original survey carried out online, may prove especially significant in order to discover new consumption habits of the Spanish population on the Internet. Resumen En los ultimos años, se ha multiplicado el númer

After years of stable oligopoly, the main television broadcasters in Spain began to note changes in the market in the middle of the last decade. The emergence of new networks, the re-launch of digital terrestrial television (DTT), the boom in specialized channels and the proliferation of platforms such as online and mobile TV, which allow the broadcast of audiovisual contents, forced broadcast managers to change their strategy in relation to business models and production companies. The analysis in this article centres on two main points: on one hand, the transformation effected in the television industry by the advent of digitalization; and on the other hand, the role of networks in the new media environment. In April 2010, the Spanish broadcast system completed its transition from analogue to digital broadcasting and a new digital age dawned, marked by disruptive technologies and multimedia policies.

En el año 2000, tras un periodo de auge de las series de ficción nacionales, los contenidos de entretenimiento volvieron a copar el prime time de las cadenas de televisión y los primeros puestos en el ranking de audiencias. La irrupción de un nuevo género híbrido, el reality game o docu show, tuvo importantes consecuencias para el mercado televisivo español tanto desde la perspectiva de la producción como de la programación. Debido al considerable componente de juego y competición que integra este contenido, el concurso fue el género de entretenimiento que en mayor medida sufrió la competencia del reality game en las parrillas de programación. Este artículo analiza la oferta de ambos contenidos en la televisión española durante los primeros cinco años de convivencia, así como las consecuencias derivadas del nacimiento de un nuevo género.

In recent years, the number and range of screens used to watch audiovisual contents has risen, from the traditional television set to interactive Internet-enabled devices. This fact has profoundly changed audiovisual consumption habits in Spain. Firstly, viewing-times have increased across every platform. For example, in the case of conventional television, the average Spanish person watches four hours per day. Secondly, at the same time, younger audiences in particular are increasingly likely to use connected screens. The aim of this article is to analyze which screens are preferred by Spanish Internet users, as well as their reasons for doing so when watching different types of TV contents online, such as fiction series, entertainment shows, films, news and sports. In order to carry out this research, the following screens have been taken into account: smart TV, mobile phones, tablets, computers and video consoles. Of the main findings, two in particular may be highlighted in advance: almost half of Internet users watch TV online, and the most frequently used device to do so is the computer¿including laptops and netbooks. A further clear conclusion is that users choose different program genres depending on the screen. The results of this study, based on an original survey carried out online, may prove especially significant in order to discover new audiovisual consumption habits of the Spanish population on the Internet.

Digitization and Web 2.0 have brought about continuous change from traditional media management to new strategic, operative and normative management options. Social media management is on the agenda of every media company, and requires a new set of specialized expertise on digital products and communication. At the same time, social media has become a vibrant field of research for media economists and media management researchers. In this handbook, international experts present a comprehensive account of the latest developments in social media research and management, consistently linking classical media management with social media. The articles discuss new theoretical approaches as well as empirical findings and applications, yielding an interesting overview of interdisciplinary and international approaches. The book¿s main sections address forms and content of social media; impact and users; management with social media; and a new value chain with social media. The book will serve as a valuable reference work for researchers, students and professionals working in media and public relations.

La historia de la televisión está repleta de títulos de entretenimiento que han encandilado a audiencias de muy diversas culturas. Programas como ¿Quién quiere ser millonario?, La ruleta de la suerte, El precio justo o La Voz destacan como formatos que han sido producidos con éxito por canales de televisión de todo el mundo. Estos títulos son de sobra conocidos por millones de telespectadores, sin embargo, su proceso de producción permanece como un misterio para la inmensa mayoría. ¿Cómo se idea un formato de entretenimiento para televisión?, ¿cómo se producen los programas?, ¿cómo se escribe el guión? El autor intenta dar respuesta a estas y otras preguntas relacionadas con la producción de programas televisivos, a la vez que ofrece un proceso creativo estandarizado aplicable a contenidos de entretenimiento tan diversos como los concursos, los reality shows o los programas de humor. Este libro va dirigido a todos aquellos profesionales del entretenimiento audiovisual con ilusión por dignificar el oficio. Aspira a convertirse en un manual de buenas prácticas para productores, directores, realizadores y guionistas innovadores. Además, debido a su tono divulgativo, está al alcance de cualquier persona interesada en conocer cómo funciona el apasionante universo de la televisión.

En este libro se aborda la producción de programas de entretenimiento en la televisión española desde una triple perspectiva: en primer lugar, Enrique Guerrero realiza un repaso histórico de más de medio siglo a través de los títulos más populares; a continuación, analiza la industria televisiva centrándose en las principales cadenas y productoras; y, por último, ofrece una aproximación al mercado de los contenidos audiovisuales desde enfoques tan variados como la producción, la programación y los índices de audiencia. Así, en El entretenimiento en la televisión española, el autor ofrece un completo estudio sobre el pasado y el presente de contenidos como el concurso o el reality show, sin olvidar dirigir la mirada hacia el prometedor futuro que le depara a la industria del entretenimiento multimedia.