El uso del podcasting como herramienta de la identidad corporativa en la campaña del 90 aniversario de Iberia. El caso del podcast Aerolínea Momentos

Abstract

La incorporación de las tecnologías de la información y la comunicación en las relaciones públicas es un factor disruptivo que altera las dinámicas entre organizaciones, profesionales y públicos. En este contexto, el podcasting presenta algunas singularidades. No obstante, su uso en las estrategias corporativas es todavía incipiente. Este artículo estudia el caso del podcast Aerolínea Momentos, coproducido por Podium Podcast e Iberia. El objetivo es explicar la integración del podcast en la campaña de celebración del 90 aniversario de la compañía aérea, exponer sus características distintivas y analizar su encaje con la identidad corporativa de la empresa. Se trata de un estudio cualitativo, basado una investigación empírica secundaria a partir de fuentes documentales seleccionadas por su credibilidad, autenticidad y representatividad,<br />y en un análisis de contenido de los nueve episodios del podcast mediante PodCred Framework, marco de análisis contrastado por investigaciones internacionalespara la valoración del potencial e interés de los podcasts. El estudio de caso muestra un buen encaje del podcast en la estrategia de la organización. Paralelamente, Aerolínea Momentos cumple con la mayoría de los indicadores de calidad del PodCred Framework. La especialización de los profesionales que intervienen en la producción resulta clave para un resultado óptimo como branded podcast de ficción. En definitiva, Aerolínea Momentos es un caso de éxito por la confluencia de una sólida estrategia comunicativa desde la dirección de comunicación de Iberia y una producción profesional y atractiva a cargo de especialistas en la ficción sonora en Podium Podcast

The branded podcast as a new brand content strategy. Analysis, trends and classification proposal

“…These podcasts are aimed at broad audiences, but clearly targeted according to the topics they cover. In addition, they are not always related to the products or services of the companies that promote them -results that we have not found in other research on podcasting and corporate communication, where only podcasts with a strong or medium link between commercial activity and the subject matter of the audio files were analyzed (Sellas, 2018; Barbeito-Veloso; Perona-Páez, 2019). This therefore represents another relevant aspect of this work to highlight.…”

“…With respect to the podcast, companies have started to create their own programs with audio content of all kinds in an attempt to connect with their audiences, increase their brand recognition, and generate engagement, something that was already observed, for example, in the work of Sellas (2018). This is how the branded podcast has emerged, whose meaning, features, and history we have examined in this research, in which we, of course, felt it was important to differentiate between podcast sponsorships, corporate podcasts, and branded podcasts themselves.…”

Media Studies, Audiovisual Media Communications, and Generations: The Case of Budding Journalists in Radio Courses in Greece

“…), as educational resources that provide significant aid in learning (Tomyuk et al 2019)-and not because they are fashionable or forced due to the current circumstances (e.g., due the effects of a pandemic), such as, for example, podcasts and vodcasts, which have been in the spotlight for more than a decade (see Ratchma and Zhang 2006;Sprague and Pixley 2008;Aguilar et al 2011) and have gained popularity in the educational environment in the last year (i.e., in 2020) due to the COVID-19 pandemic (see, for example, Geha and Dhaliwal 2020). At this point, we should mention that a podcast is (a) distributed mainly from and through the Internet as a distribution tool (see Bonet and Sellas 2019;Sellas and Solà 2019;Sellas 2018) and (b) may be found in (i) different genres and/or categories and (ii) many forms (see Drew 2017b), as plain sound/audio media and/or enhanced with multimedia content (such as video) and thereby converted into a vodcast (see also Rae and McCarthy 2017;Schmittauer 2017;Dimoulas et al 2019;McNamara and Drew 2019). Academically, it is primarily employed to disseminate course content (see Ballinas-Gonzales et al 2020;Fernandez et al 2015;Temperman and Lièvre 2009) and/or as learner-created content (Struck et al 2011), due to its flexibility and versatility in use (e.g., the development of meta-skills, support for content learning, etc.)…”

“…The new presentation as audiovisual content was adapted to the new trends in radio as interactive radio-for example, (i) podcasts as a distribution tool (see Bonet and Sellas 2019;Sellas and Solà 2019;Sellas 2018) and (ii) use of social networks, social media, and platforms (such as Facebook, Twitter, and Instagram), audiovisual platforms (such as YouTube and Vimeo), and sound platforms (such as Mixcloud and SoundCloud) as promotional tools and/or creative tools for new audiovisual content for a radio show and/or radio music show (see Sellas 2013)-and ethical and copyright issues in music (see Costa 2016, Costa 2017. Jt was also enriched with additional multimodal content and material, such as (a) sound/audio media spots from local radio stations in Thessaloniki ( Greece Appendix E).…”

Characteristics of the Spanish podcast sphere. Between democratization and commercial logic

“…In addition to these formulas, the so-called corporate podcast or branded podcast is booming, being promoted by large companies (Barbeito-Veloso; Perona-Páez, 2019) as an element of audio branding (Piñeiro-Otero, 2015) that they use to promote themselves as a direct way to reach their audience of interest (Lögdberg;Wahlqvist, 2020). Such programs are also being introduced in Spain, as evidenced by the pioneering cases of Aerolínea Momentos, co-produced by Podium Podcast and Iberia (Sellas, 2018), or Blink, produced by the BBVA bank (Barbeito-Veloso; Perona-Páez, 2019). In Latin America and considering only journalistic podcasts belonging to communication groups, Rojas-Torrijos, Caro-González, and González-Alba (2020) identified as many as 16 financing formulas, the most widely used being the creation of content for brands.…”