Info-show in European television: searching for the social engagement of the audience

Calvet, Rosa Franquet i; Bernal, Gemma Gómez; Coromina, Òscar; Rojas, Sheila Guerrero

doi:10.6035/2174-0992.2018.15.8

Cited by 5 publications

(7 citation statements)

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“…This research supports the results of recent work in which it is observed that the social audience does not behave as creatively, actively, and interactively as might be expected (Lin & Chiang, 2019;Rodríguez et al, 2017), in this sense, no political consequences were perceived given the low activity of the social audience. In the same way, in the action of the profiles of the programmes examined, inconsistent and not very innovative production, promotion, and communication strategies are also observed (Coromina et al, 2020;Franquet et al, 2018;Sequera, 2013). These actions are not adapted to the platform's characteristics, and the resources it offers are not used productively, nor is engaging content created to generate a greater interaction with users.…”

Section: Discussionmentioning

confidence: 77%

Politainment on Twitter: Engagement in the Spanish Legislative Elections of April 2019

Gonzalo

Zamora-Martínez

González-Neira

2023

MaC

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The mediatisation of politics is based on the logic of spectacle. Politainment defines the phenomenon in which political information is trivialised by the hybrid narratives in which it is included and its anecdotal tone, with the aim of reaching an audience that seeks entertainment rather than information. This phenomenon has reached the digital sphere; the media, political parties, and prosumers are interested in using the new communicative context to expand their audience or become producers of new narrative formulas that act as a loudspeaker for online infotainment policies or discourses. This research examines the engagement obtained by politainment producers on Twitter, a network where debates about television content are concentrated. The article examines the tweets issued by Spanish television programmes that carry out politainment. The research focuses on the Spanish general elections held in April 2019 to establish whether this social network acted as a sounding board for television broadcasts and how it contributed to fixing ideas and content. The researchers conducted a content analysis on a sample of 7,059 tweets and 2,771 comments. The results show that the production, promotion, and communication strategies of programmes on Twitter are still scarce and unoriginal. The behaviour of prosumers is not very creative, active, or interactive, preventing the creation of a debate on Twitter or the construction of a horizontal (user–user) or vertical (user–programme) interaction on the content published.

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Section: Discussionmentioning

confidence: 77%

Politainment on Twitter: Engagement in the Spanish Legislative Elections of April 2019

Gonzalo

Zamora-Martínez

González-Neira

2023

MaC

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“…Real-time conversations allow viewers to use this platform while watching linear television. This activity has promoted a change in the behaviour of audiences, feeding the concept of prosumers (Toffler, 1980;Jenkins, 2006;García-Galera & Valdivia, 2014) and enhancing the increasingly active role of audiovisual consumption (Franquet et al, 2018).…”

Section: Television and Social Media Imagesmentioning

confidence: 99%

“…Previous studies have already noted on the interest of The Voice for the study of social television due to their methods of promoting the linear programme on social media and blending of social media platforms with the use of official hashtags, the presence of users messages on screen or the posting of tweets by the broadcaster, the profile of the programme and other people related to the talent show such as the host, the judges or the contestants (Ellis, 2014;Franquet, et al, 2018;van Es, 2016;Yao, 2017).…”

Section: Television and Social Media Imagesmentioning

confidence: 99%

“…Several studies have analysed the responses of viewers on different social networks, mainly Twitter, on genres such as fiction (Ji & Raney, 2015;Auverset & Billings, 2016) or political shows (Anstead & O'Loughlin, 2011;Trilling, 2015). However, the genre that has been analysed in most of the studies due to its high levels of audience interaction is reality shows (Franquet, Gómez, Coromina & Guerrero, 2018;van Es, 2016).…”

Section: Introductionmentioning

confidence: 99%

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The image choices of social television audiences: The narrative of The Voice UK and La Voz (Spain) viewers on Twitter

Navarro

Muñoz

Delgado

2022

(OBS*)

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Content shared on social media platforms is increasingly centred on images and conversations discussing television on digital platforms are also influenced by this trend. This article examines the visual data posted by viewers while watching the 2019 edition of the Spanish and British adaptations of the international Reality Show ‘The Voice’. With the sample including images posted by viewers on Twitter during the broadcast of the episodes, the production formats, the type of content, the purpose of the images and the connection between the visual data and the text in the tweet have been analysed. The results highlight three different trends: the parallel visual narrative created by viewers on Twitter through the use of digital culture, the showcasing of their private sphere and the appropriation of images from the television episodes altering the discourse presented by the broadcasters.

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“…La información se ha ido trivializando y toda pieza informativa es interesante para ser mostrada al espectador. Surge el nuevo concepto de «hipervisibilidad», relativo a la posibilidad de consumir información alcanzable mediante la mirada (i- Calvet et al, 2018). Según Imbert (1999, p. 6), este nuevo concepto se define como «una hipertrofia visual: un mostrar todo, de manera recurrente y al modo espectacular, con una tendencia a la dramatización».…”

Section: Estado De La Cuestiónunclassified

La televisión sensacionalista y hábitos de consumo en España e Italia

de-Casas-Moreno

Vizcaíno-Verdú

Aguaded

2020

Estud. Mensaje Period.

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La televisión, como medio de comunicación de masas por excelencia, es considerada como un instrumento de socialización, modelador de conciencias e incitador de la opinión pública. Esta investigación se enmarca en la sociedad de la información y el espectáculo. El objetivo es analizar los tipos de audiencia y hábitos de consumo de los programas de carácter sensacionalista, además de la recepción de los mensajes. Mediante un análisis cuantitativo, consistente en un cuestionario, se ha analizado una muestra significativa de 544 sujetos, repartidos entre España e Italia. Los resultados obtenidos demuestran que la población española consume con mayor frecuencia este tipo de programas. Además, el progresivo incremento de estos espacios ha provocado que existan diferencias estadísticamente significativas. Las conclusiones demuestran la falta de calidad informativa en los programas de tipo sensacionalista, convirtiéndose en un tema relevante para los estudios científicos, justificando la falta de códigos deontológicos que apoyen e incentiven una televisión de calidad.

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Info-show in European television: searching for the social engagement of the audience

Cited by 5 publications

References 0 publications

Politainment on Twitter: Engagement in the Spanish Legislative Elections of April 2019

Politainment on Twitter: Engagement in the Spanish Legislative Elections of April 2019

The image choices of social television audiences: The narrative of The Voice UK and La Voz (Spain) viewers on Twitter

La televisión sensacionalista y hábitos de consumo en España e Italia

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