2014
DOI: 10.3916/c43-2014-08
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Abstract: The combination of social networks, second screens and TV has given rise to a new relationship between viewers and their televisions, and the traditional roles in the communication paradigm have been altered irrevocably. Social television has spawned the social audience, a fragmentation of the real audience based on how they interact with social networks. This study is an attempt to analyze the factors which contribute to the success or failure of programs with a similar format in relation to their social audi… Show more

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Cited by 54 publications
(16 citation statements)
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References 8 publications
(3 reference statements)
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“…As Quintás and González (2014) point out, the concept of "Social TV" derives from the combination of social networking, second screens and television. Scolari has called it "hyper-television" (2008), while others call it, due to its capacity to adapt, as "TV morphosis" (Orozco, 2012).…”
Section: Transmedia Culture In the Context Of Audiovisual Archivesmentioning
confidence: 99%
“…As Quintás and González (2014) point out, the concept of "Social TV" derives from the combination of social networking, second screens and television. Scolari has called it "hyper-television" (2008), while others call it, due to its capacity to adapt, as "TV morphosis" (Orozco, 2012).…”
Section: Transmedia Culture In the Context Of Audiovisual Archivesmentioning
confidence: 99%
“…Carpentier (2011) suggested further examination is needed of ‘author–audience’ convergence, a concept that centers on how the audience affects content. Other scholars have studied the concepts of ‘active audiences’ (Fuente-Cobo et al, 2014; Sundet and Ytreberg, 2009) and ‘social audiences’ (Quintas-Froufe and Gonzalez-Neira, 2014). Both of the latter concepts focus on the ongoing movement away from a system of delivering products, news, and entertainment to one centered on creating interaction and conversation.…”
Section: Audience Convergencementioning
confidence: 99%
“…La industria audiovisual se enfrenta a nuevos modelos de distribución y de procesos comunicativos con sus públicos en los que debe potenciar la multidireccionalidad de la comunicación (Atarama-Rojas & Requena Zapata, 2018;Piñeiro-Otero, 2020;Ramos Méndez & Ortega-Mohedano, 2017). En consecuencia, Netflix y el resto de empresas del sector deben incentivar el papel de sus stakeholders como adprosumers (Monserrat-Gauchi et al, 2017;Monserrat-Gauchi & Martínez-Sala, 2016) porque bajo el modelo web 2.0 los comentarios de los usuarios ejercen mayor influencia que los de las propias organizaciones, favoreciendo la fidelización a través de la creación de comunidades (Atarama-Rojas & Requena Zapata, 2018;Barrientos-Bueno, 2015;Fernández-Gómez & Martín-Quevedo, 2018b;Miranda Galbe & Figuero Espadas, 2016;Quintas-Froufe & González-Neira, 2014). Esto implica ciertas dificultades ya que las audiencias actuales son fieles a los Revista de Comunicación de la SEECI.…”
Section: Introductionunclassified
“…A este respecto, las plataformas de distribución de contenidos audiovisuales no son una excepción ya que las redes sociales se han convertido en referentes de acceso a este tipo de contenidos (Bellón Sánchez de la Blanca, 2012;Fernández-Gómez & Martín-Quevedo, 2018b;Lacalle & Castro, 2018;Ramos Méndez & Ortega-Mohedano, 2017). Bajo el nuevo modelo de televisión, denominado "televisión social" (Herrero Subías & Urgellés Molina, 2018;Lacalle & Castro, 2018;Quintas-Froufe & González-Neira, 2014), por su carácter participativo (Jenkins, 2010;Navar-Gill, 2018), estos canales han adquirido un papel fundamental en las estrategias de marketing y comunicación de las compañías de este sector (Armírola Garcés et al, 2020;Fernández-Gómez & Martín-Quevedo, 2018b, 2018aNavar-Gill, 2018), siendo un objetivo prioritario lograr un alto índice de engagement online (Fernández-Gómez & Martín-Quevedo, 2018b, 2018aNeira, 2018;Quintas-Froufe & González-Neira, 2014).…”
Section: Introductionunclassified