<p>En España, desde el año 2008, las decisiones políticas que están afectando a la industria cinematográfica se han justificado con frecuencia por la situación general de crisis económica. Una de estas decisiones ha sido la reforma de la Ley del Cine, que entró en vigor a comienzos de 2016. El objetivo de este trabajo es reflexionar sobre aquellos aspectos de la reforma que pueden tener mayor repercusión en el fomento de la cinematografía; y aportar argumentos para valorar si estas reformas se han debido a la crisis económica o a las decisiones de política cultural. Los resultados indican que las reformas con mayor repercusión podrían ser: las características de las nuevas ayudas para la producción de largometrajes; las obligaciones de gasto en el territorio nacional; la intensidad máxima permitida para las ayudas; la obligación de reembolso de las ayudas en algunos casos; y la regulación de las producciones que pueden ser consideradas obras difíciles.</p><p>Since 2008, the financial crisis has often been cited as justification for certain political decisions affecting the film industry in Spain. One of these decisions was the reform of the Cinema Act, which came into effect in early 2016. The aim of this work is, firstly, to reflect on those aspects of the reform that are likely to have the greatest impact on the promotion of filmmaking, and secondly, to provide some arguments to assess whether these reforms can be put down to the financial crisis or to cultural policy decisions. The results show that the reforms likely to have the greatest impact are the characteristics of new subsidies for feature film production, the obligations to spend on national territory, the maximum permitted subsidy intensity, the obligations to reimburse subsidies in some cases, and the regulation of productions that could be considered difficult works.</p>
Method. The activity of six Twitter accounts that promoted the TV programme was monitored for two weeks: the one prior to the broadcast and the one after. Results. The activity of these accounts was very uneven; the accounts of TV Presenter Évole and the TV programme stood out as the most active. Discussion and conclusions. Although Twitter could be used to establish a dialogue between the programme and its public, the analysis allows us to conclude that, with the exception of Évole's account, most accounts did not establish this dialogue with their Twitter followers. Moreover, these accounts contributed to the confusion of the audience during the promotion of the mockumentary.
Cómo citar este artículo / Referencia normalizada N Quintas-Froufe, A González-Neira, MJ Díaz-González (2015): "La construcción de la estrategia comunicativa en Twitter de un falso documental: Operación Palace". Revista Latina de Comunicación Social, 70, pp. 28 Se registró la actividad de las seis cuentas emisoras haciendo un seguimiento del flujo de todos los tuits durante la semana previa y posterior a la emisión. Resultados. La actividad de sus cuentas ha sido muy desigual, destacando a Évole y la cuenta oficial del programa como las más activas. Discusión y conclusiones: Aunque Twitter permite establecer un diálogo entre el público y el programa, del análisis realizado se concluye que la mayor parte de las cuentas no entablan ese contacto con sus seguidores en esta red, excepto Évole. Asimismo, desde esas cuentas se favoreció la confusión de la audiencia durante la promoción del falso documental[EN] Introduction. This article analyses the strategy developed on Twitter to promote the primetime premiere in the Spanish TV network La Sexta of the controversial TV programme El especial 23F: Operación Palace on 23 February 2014. Method. The activity of six Twitter accounts that promoted the TV programme was monitored for two weeks: the one prior to the broadcast and the one after. Results. The activity of these accounts was very uneven; the accounts of TV Presenter Évole and the TV programme stood out as the most active. Discussion and conclusions. Although Twitter could be used to establish a dialogue between the programme and its public, the analysis allows us to conclude that, with the exception of Évole's account, most accounts did not establish this dialogue with their Twitter followers. Moreover, these accounts contributed to the confusion of the audience during the promotion of the mockumentary. Revista Latina de Comunicación Social # 070 -Páginas 28 a 48Investigación |
Recibido: 5 de diciembre de 2014 Aceptado: 8 de mayo de 2015 ResumenLa implantación de la televisión digital terrestre en España, a partir de abril de 2010 introdujo cambios importantes en el sistema televisivo estatal. El objetivo de este artículo es analizar las principales con secuencias que ha tenido la implantación de la televisión digital terrestre en el pluralismo externo y en el pluralismo interno informativo. Hemos tomado en consideración tres tipos de indicadores de pluralismo externo (propiedad, cuotas de audiencia e inversión publicitaria) desde 2010 hasta 2013 y dos tipos de indicadores del pluralismo interno (índices de correlación entre las cadenas según el orden de relevan cia de la información y distribución de los temas por cadenas, en ambos casos aplicados a los titulares) en 2012 y 2013. Se discute la correspondencia entre ambos tipos de pluralismo y se concluye que no existe una relación determinante del pluralismo externo sobre el interno en el período analizado. Palabras clave: pluralismo externo, pluralismo interno, concentración, comercialización. Pluralism in Spain's Digital Terrestrial Television (20102013) AbstractThe introduction of digital terrestrial television (DTT) in Spain in April 2010 was a major change in the state broadcasting system. The aim of this article is to analyze the main consequences that the intro duction of DTT has had on external pluralism and the internal pluralism of the news. External plural ism -the plurality of suppliers -was analyzed using three indicators (ownership, market share and advertising revenues) over the period 2010 -2013. Internal pluralism -diversity reflected in media con tent -was analyzed using two indicators (crosschannel correlation of newsworthiness and the distribu tion of subjects across the channels), which were applied to the headline stories in 2012 and 2013. The article discusses the correlation between the two forms of pluralism and reaches the conclusion that ex ternal pluralism has no determining influence on internal pluralism during the period covered.
This article discusses the most significant aspects of DTT's evolution in Spain since the analogue switch-off in April 2010. It underscores the severe cutbacks affecting publicservice television broadcasters and their impact, as well as a return to government control over the Spanish Broadcasting Corporation (RTVE) in particular. It also emphasises the major tendency towards concentration in the national private DTT market and the inviability of most regional and local broadcasters. All of these issues are analysed from the perspective of their worrying impact on pluralism.
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