DSpace Collection:
https://hdl.handle.net/10171/58822
2024-03-29T10:05:23ZClaudia Mellado (Ed.), Beyond Journalistic Norms: Role Performance and News in Comparative Perspective. Published by Routledge, London, 2021, 299 pp. [RECENSIÓN]
https://hdl.handle.net/10171/62233
Title: Claudia Mellado (Ed.), Beyond Journalistic Norms: Role Performance and News in Comparative Perspective. Published by Routledge, London, 2021, 299 pp. [RECENSIÓN]
Abstract:
2021-01-01T00:00:00ZStreaming Minority Languages: The Case of Basque Language Cinema on Netflix
https://hdl.handle.net/10171/62221
Title: Streaming Minority Languages: The Case of Basque Language Cinema on Netflix
Abstract: This article explores the way Basque language cinema is adapting to streaming platforms, focusing on the case of the three Basque language films that have made it to Netflix: <em>Loreak</em> (2014), <em>Handia</em> (2017) and <em>Errementari </em>(2018). Firstly, it explains Netflix particularities and its emphasis on diversity, among other reasons that could explain the platform’s interest in these particular films. Secondly, it describes the way these aforementioned films have landed on Netflix and the impact this exhibition has had. I base my research on in-depth interviews with directors Jon Garaño and Paul Urkijo as well as producer Xabi Berzosa to know the insights of the process. More broadly, the article discusses the impact that becoming available on Netflix and other SVOD platforms might have for Basque cinema, especially when it comes to production and transnational distribution. On the other hand, I will also point at the challenges that this new landscape poses for the Basque audiovisual industry, and non-hegemonic languages in general. The streaming revolution, of which Netflix is currently the epitome, is changing the production, distribution, exhibition and consumption model globally, and policy makers and Basque institutions should take this transformation seriously. <em>Loreak</em>, <em>Handia</em> and <em>Errementari</em> should not just become happy exceptions.; El presente artículo se centra en cómo el nuevo cine en euskera se está adaptando a las plataformas de <em>streaming</em>, tomando el caso de las tres películas presentes en Netflix hoy en día: <em>Loreak</em> (2014), <em>Handia</em> (2017) y <em>Errementari </em>(2018). Primero se analiza Netflix y su estrategia de <em>branding</em> en torno a la diversidad, y cómo esta puede también entenderse como diversidad cultural y lingüística. Después se analiza el proceso por el que estos tres films en euskera han llegado a la plataforma de <em>streaming</em>. Mediante entrevistas a los actores implicados (los directores Jon Garaño y Paul Urkijo, y el productor Xabi Berzosa) y el seguimiento de las películas, se concluye que, aun siendo notables las oportunidades ofrecidas por Netflix a este cine (en cuanto a financiación y distribución), los desafíos son inmensos en un panorama cambiante y volátil. La revolución del <em>streaming</em> debería tomarse en serio por las corporaciones públicas responsables de producir contenidos y otras alternativas al gigante Netflix (hoy epítome de la OTT) deberían ser tenidas en cuenta para que este caso de tres films no se convierta en mera anécdota.2021-01-01T00:00:00ZIn-depth study of Netflix’s original content of fictional series. Forms, styles and trends in the new streaming scene
https://hdl.handle.net/10171/62222
Title: In-depth study of Netflix’s original content of fictional series. Forms, styles and trends in the new streaming scene
Abstract: This article presents an analysis of the original content of fictional series created by one of the leading companies in the streaming television market, Netflix. This work aims at offering an in-depth study of the original series of the company Netflix, which will allow to classify these contents according to their strategic nature and, secondly, to offer a formal taxonomic overview on them. In addition, their forms, formats, languages, genres and thematic descriptors are analysed in order to establish a taxonomy for the classification of Netflix’s original content. To this end, this article is based on a quantitative method with qualitative contributions, adopting a descriptive but also exploratory approach. Its sample is made up of 490 series available on the Spanish version of the platform from its beginning in 2013 to 2019. The results lead to find a commitment to the production of fictional series with a global nature, but also focused on the local through alliances and productive methods with local businesses. Furthermore, the importance of in-house production as a present and medium-term future strategy is highlighted, together with the commitment to the division of production languages, considering local languages as a resource for the acceptance of the products. As for the predominant formats, a new trend marks how new audiovisual products are created by focusing, among other things, on reducing the duration and longevity of the series broadcast by the company.; El presente artículo analiza los contenidos originales de ficción seriada de una de las compañías líder en el mercado de la televisión <em>in streaming</em> como es Netflix. El objetivo general del trabajo es ofrecer una radiografía sobre las series originales de la compañía Netflix, que permita clasificar dichos contenidos según su naturaleza estratégica y, en segundo lugar, que ofrezca un panorama taxonómico formal sobre ellos. Además, se analizan las formas, formatos, idiomas, géneros y descriptores temáticos para establecer una taxonomía que permita clasificar dichos contenidos originales de Netflix. Para ello, el artículo se sustenta en un método cuantitativo con aportes cualitativos, basado en un enfoque descriptivo pero también exploratorio, y su muestra está formada por las 490 series emitidas en la versión española de la plataforma Netflix desde sus inicios en 2013 hasta 2019. Los resultados permiten detectar una apuesta por una producción de ficción seriada de corte global, pero con la mirada puesta en lo local, mediante las alianzas y fórmulas productivas con empresas locales. Además, se pone de manifiesto la importancia de la producción propia como estrategia presente y a medio plazo, unida a la apuesta por la bifurcación de los idiomas de producción, considerando los idiomas locales como recursos de aceptación de los productos emitidos. En cuanto a los formatos predominantes, se detecta una nueva tendencia que marca la forma de crear los nuevos productos audiovisuales, enfocándose, entre otros, en la reducción de la duración y la propia longevidad de las series emitidas por la compañía.2021-01-01T00:00:00ZRadio, music and podcast in the consumption agenda of Colombian adolescents and youth in the digital sonosphere
https://hdl.handle.net/10171/62220
Title: Radio, music and podcast in the consumption agenda of Colombian adolescents and youth in the digital sonosphere
Abstract: This article identifies the peculiarities of audio consumption (radio, music and podcast) by Colombian adolescents and youth on their screen devices, especially the smartphone. The irruption in the digital ecosystem of radio and sound platforms redefines the industry’s relationship with new audiences. The body of research, classified into three age groups (puberty –10 to 14 years–, middle –15 to 19 years–, and full –20 to 24 years–), is made up of students in basic secondary education and university students who were consulted through a quantitative methodology (700 surveys) and a qualitative one (8 focus groups with 48 participants), which made it possible to recognize the routines and the sound agenda of the subjects of study. The results of the research outline the profile of the Colombian audio consumer, whose habits of listening to the radio alternate times of attention to the broadcast on air with the consumption of apps, websites and music distribution platforms, which evidences their digital skills and the creation of a menu that combines music, sports and entertainment content. It is a media diet built on the mediation of technological devices and the influence of family and virtual communities. The sound component is the backbone of the relationship between industry and listener, but visual and iconographic elements are added to reinforce the bonds with brand, media and producer, regardless of where audio meets audience.2021-01-01T00:00:00Z