Social media have become key in political communication, playing a crucial role in election campaigns due to their fast, ubiquitous communication. This paper focuses on the comparison of the use of the social network Twitter in Spanish and French public and commercial television stations, during the last televised debates held during their general elections (2019 and 2022). It seeks to find whether conversation and interaction with their audiences take place, and whether these meet the dialogic principles set forth by Kent and Taylor adapted to Twitter by Ribalko and Seltzer to include usefulness of information, generation of return visits and dialogic loop preservation. To do this, the content of the general Twitter profiles of two French television stations, together with their profiles focused on informative content, were analyzed before, during and after the televised election debate held on 20 April. Likewise, the Twitter profiles corresponding to two Spanish television stations, together with the profiles corresponding to their news programs, were studied before, during and after the televised election debates held on 22 and 23 April. After screening all their posts, those referring to the debate and generating the largest engagement figures were selected, in order to compare the topics covered in the televised debates with those covered in Twitter. The results reveal that the information-focused accounts originate more posts whose content is linked to the televised debates, in contrast with the general accounts. Furthermore, both the unidirectionality of their content, and the lack of dialogue and interaction between these accounts and their audiences, become apparent, in addition to the minimal occurrence of “debate about the debate” flow among users.
Disinformation and the proliferation of fake news are global problems that affect the stability of democracies throughout the world. The capacity of distorted information to interfere in election processes or in political agendas has led different actors to create verification initiatives, which operate in partnership with the mass media. Recently, during the 2020 health crisis, false information has proved to have damaging power not only at the levels of politics or communication, but also at a health level. Therefore, the social need to access reliable and quality information, as well as verified information aimed at eradicating hoaxes, becomes evident. This paper focuses on the European context, analyzing the relationship between active verifiers and television stations that are members of the CIRCOM Network, considering their strategies and verification programs. Using a qualitative methodology an exploratory study has been carried out, mapping initiatives and stations by assessing their contribution of verified information to society.
The recent COVID-19 health crisis has shone a spotlight on disinformation as the circulation of false information became more and more prominent. What the World Health Organization (WHO) has defined as an ‘infodemic’ poses a great risk for democracies and for society in general. In this context, public television channels, with their regional scope, actively participate in the fight against misinformation. This research aims to identify and classify the different verification initiatives and technological tools, as well as the different strategies and codes used in fact-checking tasks by European broadcasters belonging to the CIRCOM network. The methodology undertakes an exploratory approach and employs a questionnaire that is applied to a sample of the members of the network. Managers and professionals with executive profiles were asked about the management, operation and strategies used in the verification process. In light of the results obtained, it can be concluded that the current verification processes are based on human efforts, rather than technological tools, amounting to a total dependence on content curation by the writing teams in the newsroom. Thus, it is evidenced that in most cases, there is neither a specific department for verification, nor sufficient resources, despite the fact that all those surveyed regard disinformation as a priority issue, a threat to democratic integrity and a responsibility of public service media.
Resumen: En el año 2020 se inició la crisis sanitaria de la Covid19 en todo el mundo, acompañada de una amplia difusión de noticias, fake news y contenidos humorísticos que tratan diferentes aspectos del suceso. Esta investigación analiza la proliferación de los memes y publicaciones cómicas de contenido político durante la tercera ola de la pandemia, con la hipótesis de que este tipo de contenidos son un reflejo de la actualidad y materializan la crítica social. A partir de un análisis cuantitativo y de contenido de las principales cuentas, se han seleccionado memes y publicaciones de perfiles destacables de usuarios de Twitter e Instagram. Esta información se ha codificado en función de su diseño, discurso y distribución, con la intención de identificar las publicaciones de mayor alcance sobre sobre la pandemia y con mayor índice de engagement. En conclusión, se puede afirmar que los contenidos meme y humorísticos constituyen una válvula de escape de la ciudadanía ante las crisis mediatizadas y catalizan las emociones, aportando un sentimiento de comunidad, expresado a través de un lenguaje común y universal. Los discursos representados en los memes responden a los temas de mayor preocupación de la sociedad, siendo en este caso las medidas gubernamentales restrictivas.
La identidad corporativa en televisión como forma de transmitir los valores que representa un canal determinado se configura a través de diferentes elementos comunicativos que construyen esta imagen. La evolución constante del sistema mediático promovido por Internet, los entornos digitales y las plataformas VOD suponen una transformación de la estrategia comunicativa de la identidad corporativa de la televisión. La presente investigación realiza un análisis exploratorio y descriptivo para determinar si la organización de contenidos en las plataformas televisivas de Atresmedia y RTVE, Atresplayer y RTVE Play respectivamente, difunden los valores con los que las corporaciones mediáticas se identifican y quieren transmitir a su audiencia. A través de una metodología basada en el análisis de contenido se han mapeado las secciones y subsecciones de las plataformas y se han analizado cualitativamente sus contenidos y categorización para luego establecer una relación entre estas estructuras y los valores con los que se representa cada corporación. Los resultados apuntan que la organización de contenidos refleja la naturaleza estructural de cada televisión. La plataforma de la televisión pública se centra ofrecer contenido generalista y plural que atiende a los valores sociales que contempla su identidad. Por su parte, la plataforma de Atremesdia refleja un interés por promover los contenidos propios buscando un alcance promocional en la organización de contenidos sin apenas encontrar una relación con los valores que representa.
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