Introduction. The landscape of the audiovisual market has dramatically changed over the last thirty years, and even more so since the implementation of digital terrestrial television throughout Europe. New suppliers of audiovisual content have appeared and a range of pay-per-view and free-to-air services now compete against one another. Methodology. After all the changes, we wonder if there is still space for pay TV and how the strategy of pay TV operators might be developed. To do so, we will analyse current offerings according to three key factors: business models based on revenue and offering, clients, and competitors. Conclusions. After data analysis, we conclude that in spite of the threats to pay television operators, pay TV will be the engine of change, and the willingness to pay will increase. Most of the popular free-to-air contents, will become premium content.

where he earned his Ph.D. His main areas of research are human resource management and quality management. His research has been published in journals such as

Enrique Guerrero es doctor en comunicación audiovisual (2009) por la Universidad de Navarra y cursó el Certificate in entertainment and media management (2007) de la University of California, Los Ángeles (UCLA). Su investigación se centra en el estudio de los estándares de producción de los contenidos de entretenimiento en televisión y en el impacto de la digitalización en la industria audiovisual. Ha sido investigador visitante de la Bournemouth University (2011) y de la University of Texas en Austin (2013 Cristina Etayo es profesora titular de la Facultad de Comunicación de la Universidad de Navarra (España). Ha desarrollado su investigación en el área de los medios de comunicación, especialmente sobre publicidad en televisión. Trabaja en un proyecto sobre los nuevos hábitos de consumo audiovisual en Europa, donde analiza el impacto de la digitalización en el consumo y en la industria. http://orcid.org/0000-0002-8464-0691Universidad de Navarra, Departamento Empresa Informativa Campus Universitario. Edif. Biblioteca de Humanidades. 31009 Pamplona, España cetayo@unav.es ResumenSe 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 Palabras claveTelevisión; Entretenimiento; Valores de producción; Calidad; Audiencias; Encuestas. AbstractThe aim of this paper is to analyse which production values are more determinant regarding the audience's quality perception with respect to different types of entertainment television genres. In order to develop this study, we have taken into account production values such as the creative and technical quality, the host, the set and the content. The main source of data for this empirical study is an original survey. The target population consisted of the Spanish population and the sample was designed to be representative. The results show that in spite of the emergence of the connected TV -resulting from the convergence of television and the internet-, which is profoundly changing the audiovisual market, the cornerstone of their business remains the same: content quality. KeywordsTelevision; Entertainment; Production values; Quality; Audiences; Surveys.I Guerrero, Enrique; Etayo, Cristina (2015). "Percepción de calidad de los programas de entretenimiento televisivos en España: influencia de los valores de producción". El profesional de la información, v. 24, n. 3, pp. 256-264. http://dx.doi.org/10.3145/epi.2015.may.05 IntroducciónLa televi...

This paper aims at providing new insights about audiences' opinions concerning the role of advertising and its relation with the perceived quality of TV channels. It analyzes Spanish audience's perception of quality of public service broadcasters TVE1 and La 2 before and after the advertising withdrawal in 2010. The goal is identifying if the advertising removal is perceived as an improvement of the quality of TVE. The first conclusion is that a vast majority of the viewers find the channels more attractive now without any advertising than before having it. In addition, gender and age are not significant variables in order to affect this opinion. But the audience educational level does impact their perception: those less educated have a significant better opinion about the advertising withdrawal than others more educated. Both national public service channels (TVE1 and La 2) have improved significantly their quality perception when comparing 2008 and 2012 surveys. They are the only two channels within the Spanish market to obtain a better quality assessment. In fact, all channels tend to maintain or reduce their quality perception in the 2008-2012-time period.

Purpose – The purpose of this paper is to elucidate the relationship between the political orientation of television viewers and their perception of television programming quality. Design/methodology/approach – Information from a sample of 2,843 viewers is used. Ordinary least square models are estimated to test the theoretical hypotheses. Findings – The results suggest that the ideological position of viewers has a significant bearing on their evaluation of the quality of television channels. They also point to the key role played by news programming in the audience’s general assessment of channels quality. Research limitations/implications – There are a number of limitations to this research, which are largely related to the data analyzed, since they are cross-sectional and measures based on a single item are used. Future research in this field ought to take the multidimensional nature of the concepts discussed here into greater consideration. Practical implications – If political orientation colors viewer perception of quality television, it seems worthwhile for television schedulers to have more information about the political-ideological profile of their audience, so as to design a more appealing programming range for their target viewers. Regarding the impact of the perceived quality of news programs on the perceived quality of the whole channel, it would make sense for television managers to invest in news programs not only on the basis of the size of the audience reached, but also as a way to build up a strong brand and to differentiate it from competitors. Originality/value – There is scarce empirical research on the perceptions of quality media and television by viewers. This paper develops and tests hypotheses that contribute to a better knowledge of the mechanisms that generate the perceptions of consumers about the quality of television channels.

Los altos costes de producción de las series de ficción que se emiten en televisión les exigen atraer audiencia desde el primer momento, por lo que es importante que el público disfrute con la serie. El objetivo de este trabajo es identificar las reacciones afectivas de los espectadores susceptibles de influir en su valoración de una serie. Asimismo, se estudia si existen diferencias entre los televidentes en función de algunas características sociodemográficas (sexo, edad, hábitos de consumo de televisión y preferencias por géneros televisivos). Se ha analizado la serie Velvet, mediante la realización de entrevistas personales a 375 espectadores.

Consumer habits in relation to audiovisual products are changing due to the greater range and unlimited access to contents available. This article explores the screens viewers favor in watching films, as well as the screens they actually use. The data are taken from a survey of a sample comprising 1,000 Spanish people aged over 14. The results show that there are differences with regard to preferences for screen-type and frequency of use, which correlate with socio-demographic variables (sex, age and educational background).

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