This paper analyzes the representation of children’s gender in toy advertising on television during three different periods. To achieve our purpose, this study examines seven variables: Toy typologies, Gender, Values, Voiceovers, Period, Actions depicted and Interaction between characters. These variables are taken from previous works that have studied the uses and preferences in toy selection according to gender, and research that studies the ways in which advertising represents children and toys. The sample comprises 595 toy commercials broadcast on the TVE1, TVE2, Telecinco, Antena 3, Cuatro, La Sexta, Boing and Disney Channel television channels. The period of study is October to January 200910, 201011 and 201112. The choice of this period is because most toy commercials are broadcast for Christmas. The most important results are: the percentage of male characters is higher than female characters; the advertising of vehicles and action figures is associated with male characters; the values associated with vehicles and action figures are: competition, individualism, ability, physical development, creativity, power and strength, and the values associated with dolls and accessories are beauty and motherhood. Este trabajo analiza la representación de los géneros en la publicidad infantil española mediante el estudio de siete variables: tipos de productos, género representado, mensajesvalores, voz en off, periodo, acciones representadas e interacción entre personajes. Estas variables se recogen de trabajos que estudian los usos y las preferencias de selección de los juguetes según el género del niño y de estudios que analizan los modos y formas de la publicidad para representar a los niños y a los juguetes. El universo de la muestra lo constituyen 595 anuncios de juguetes emitidos en los canales de televisión: TVE1, TVE2, Telecinco, Antena 3, Cuatro, La Sexta, Boing y Disney Channel durante tres periodos de tiempo: Navidades de 2009, 2010 y 2011. Se ha escogido la Navidad ya que durante este periodo se emiten la gran mayoría de los anuncios de juguetes. Los resultados demuestran que, aunque hay paridad en la representación de género en la publicidad infantil de la muestra analizada, existen claras diferencias en las tipologías de los juguetes más anunciados. La publicidad de figuras de acción alberga mayor porcentaje de personajes masculinos asociados a valores como competencia, individualismo, habilidad y desarrollo físico, creatividad, poder y fuerza. Sin embargo, los anuncios de muñecas tiene mayor porcentaje de personajes infantiles femeninos y estos se asocian a los valores belleza y maternidad.

This study analyses toy advertising broadcast in Spain over the 2014/15 Christmas period. The goal is to begin a quantitative review of how family is represented in commercials. Initially, it reviews the concepts of childhood, relates them to the concept of socialisation and offers a short analysis of the advertising phenomenon. The results evaluate the presence of types of emotions, values and actions associated with the gender of the characters featured, and the frequency of parent –and grandparent– character appearances in toy ads targeting children is quantified. The limited presence of these characters establishes a basis for discussion about the role of said characters as necessary figures of reference and authority in child development. A final reflection is also proposed regarding the homogeneity of the representations of gender associated with the characters’ roles, for both adults and children. Lastly, this paper justifies interest in widening the study to international level, to make it possible to check the degree of similarity and of contrast in said representations as a way to contribute to understanding and viewing the family in advertising discourses.

Death is common in video games and one of the key elements to achieve bestseller status. From an anthropological perspective, near-death experience in video games enables the player to encounter familiarity with this uncharted phenomenon through interaction–which is necessary to understand and include it naturally in life from a metaphysical point of view–given the recreationalcommunicative nature of video games and their capacity for creating culture and horizons of meaning– not just the video game as a device, but also the full transmedia promotional narrative in which players participate first-hand. In this article, we analyze the anthropological and metaphysical components of the representation of death in video games following the German philosopher Hans Blumenberg’s theory of the absolutism of reality, as well as the case of Blasphemous and its promotional storytelling to determine how death appears as a sales concept in the publicity due to its place in the players’ common symbolic consciousness.

The new roles acquired by consumers have accelerated the transformation of advertising. Some consumers become producers of advertising products useful for advertisers. Some consumers interact with advertising motivated by the fun, self-projection and visibility. To show our theories we have discussed the case study "Singing in McAuto order." This case is an analysis of audiovisual advertising in favor of the mark and produced by consumers.

El objeto de esta investigación es analizar el humor como modalidad semántica en las campañas publicitarias de la Dirección General de Tráfico de España (DGT) e identificar las emociones expresadas en los anuncios que utilizan este recurso. Metodología: Una aproximación metodológica interdisciplinar recoge las investigaciones antecedentes para comprender el estudio del humor como recurso para la elaboración del contenido y la forma de los mensajes publicitarios. Una revisión histórica de la publicidad gráfica de esta institución permite conocer cuándo y cómo el humor ha contribuido a codificar los mensajes publicitarios de la DGT. El universo estudiado está formado por toda la publicidad gráfica de la institución desde el año 1959 al 2009, un total de 246 anuncios. Resultados y conclusiones: Los resultados validan  y clasifican la presencia del humor como recurso semántico por décadas estudiadas. A su vez, identifican los objetivos de comunicación de los anuncios analizados y los relaciona con el recurso humorístico utilizado, con los tipos de emociones proyectadas y con el mensaje de cada anuncio