Digital journalism walks towards its third decade of life with the duties of consolidating the field and with renewed challenges, which it faces based on the gained experience, the post-COVID-19 context, the prominence of the technological dimension and the need for solid methodologies to analyse the current complexity. The new stage is built on solid research teams in almost all the Spanish universities with Journalism studies, which have advanced following pioneering studies of small groups led by Ramón Salaverría and Javier Díaz-Noci, more than twenty-five years ago. Now, after gaining positions in the international context, these teams are carrying out an intense activity that brings constant knowledge. This article analyses this evolution and pays particular attention, based on a Systematic Literature Review in the field of Journalism, to the renewed challenges brought by the application of high technologies —artificial intelligence, virtual reality, 5G, technology blockchain, and so on— to the Journalism.
La incorporación de las narrativas inmersivas en medios ha derivado en nuevos modos de producción y distribución. Este trabajo presenta entonces un análisis sobre las estrategias de organización de vídeos 360º seguidas por las radiotelevisiones públicas europeas en sus plataformas. Metodología. Se han observado y recopilado las páginas webs y los canales de YouTube de las radiodifusoras que implementan las narrativas inmersivas en contenidos no ficción para advertir las tácticas seguidas a la hora de organizar e identificar los vídeos 360º, así como su peso en la difusión. Se han empleado técnicas cuantitativas y se ha diseñado una ficha de análisis para examinar un total de 27 webs y 32 canales de YouTube. Resultados y conclusiones. El estudio concluye que las dos plataformas desempeñan un papel fundamental como vías de difusión y que en ambas se observa una planificación estratégica encaminada a destacar y visibilizar dichos vídeos, aunque más en YouTube.
High technology has been one of the main assets used by the media around the world to stand out from the masses and reach an increasingly fragmented audience, including drone journalism, artificial intelligence, and virtual reality. In this regard, the mid-2010s saw a whole phase of experimentation that began with so-called immersive journalism, a new way of producing news content using virtual reality and 360° video, which introduced various novelties in the way stories are both told and consumed/watched. Among these, 360° real-image videos are the most common form, which can be partly explained by factors such as time and cost, although it is also possible to find completely computer-generated (CG) nonfiction experiences. Legacy media such as The New York Times, El País, or the BBC have been experimenting with the possibilities of this immersive storytelling, but what about digital native media? The aim of this paper is to explore the use of 360° video by Spanish digital native media in order to observe the degree of development of immersive storytelling, as well as the quality of the pieces available more than 5 years after the start of this phenomenon known as immersive journalism. For this purpose, a content analysis of 360° videos published during the period 2015-2019 by El español, eldiario.es, El independiente, and El HuffPost has been carried out. The study of these particular cases reveals the absence of a narrative strategy aligned with the immersive format; in general, these are simple videos that provide little added value compared with the conventional format. Furthermore, the results show that the history of immersive journalism by these cybermedia has been limited in terms of both volume and time, with little guarantee that it will continue into the future. Resumen La alta tecnología ha sido uno de los recursos a los que múltiples medios de comunicación en todo el mundo han recurrido para diferenciarse de la masa y llegar a una audiencia cada vez más fragmentada: periodismo dron, inteligencia artificial y realidad virtual. A este respecto, a mediados de la década de 2010 comenzó toda una etapa de experimentación con el llamado periodismo inmersivo, una forma de producir contenido periodístico con realidad virtual y vídeo 360º que introdujo múltiples novedades tanto en el modo de contar las historias como de consumirlas. La forma más común es el vídeo 360º de imagen real, por tiempo y por inversión, aunque también es posible encontrar experiencias de no ficción generadas completamente por ordenador. Medios legacy como The New York Times, El país o la BBC han estado experimentando con las posibilidades del formato inmersivo, pero… ¿qué sucede con los nativos digitales? Este trabajo explora precisamente el uso del vídeo 360º por parte de los cibermedios nativos digitales en España con el fin de observar el grado de desarrollo de la narración inmersiva, así como la calidad de los trabajos disponibles más de cinco años después del inicio del fenómeno. Para ello, se ha llevado a cabo un análisis de contenido de los vídeos 360º publicados entre 2015 y 2019 por El español, eldiario.es, El independiente y El HuffPost. El estudio de estos casos ha permitido advertir la ausencia de una estrategia narrativa acorde con el formato inmersivo, tratándose en general de vídeos simples que apenas aportan valor añadido frente al formato convencional. Además, los resultados permiten concluir que la historia del periodismo inmersivo en estos cibermedios ha sido tanto corta en volumen como breve en periodo de tiempo, sin apenas garantías de una continuidad futura.
Immersive Journalism is a way of non-fiction content production with means like virtual reality and 360-degree images, static (360-degree photograph) or with movement (360-degree video). However, 360-degree videos are the most popular format among media. Although it is possible to find immersive projects since the beginning of XXI century, media experimentation with immersive narratives doesn't become widespread until the end of 2015. But as the production grows, new ethical debates arise around choices, approaches and practices. This document addresses five items in particular: conditioning the source(s) of information; manipulation of the recorded-reality with actions like the digital elimination of the tripod or its shadow/reflection; the absence of the journalist on the scene; juveniles as a source of information; and the user's exposure to sensitive content.
The article analyses 360° video production in international humanitarian aid nonprofit organizations from 2015 to 2019 as 360° video storytelling is one of the latest innovations in organizational digital communication. Through a content analysis and interviews, a specific use of the 360° video format for particular issues or campaigns in order to bring a distant reality to the organization’s audience has been detected. Thus, putting the users in the shoes of “the other” seems to be the objective pursued. NGOs may soon begin to understand long-term interactivity and engagement not just as action and reaction between organization and receiver (almost non-existent to date), but above all as the receiver’s behaviour, which they may strive to orient towards one of the organization’s end goals, depending on the communication strategy set by the organization’s director. With this objective, common to entities from other sectors, they could be moving towards an innovative conceptualization of engagement.
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