Un acercamiento en 2014 a la conformación de la estructura audiovisual en España y el caso de Canal Sur TV

Reig, Ramón; Mancinas-Chávez, Rosalba; Nogales-Bocio, Antonia Isabel

doi:10.4185/rlcs-2014-1026

Cited by 7 publications

(4 citation statements)

References 2 publications

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“…In fact, in 2013 there were 19 broadcasters: among them, four private national ones -Atresmedia, Mediaset, Veo TV and Net TV-and a public one -RTVE-; and there were 14 regional, one was private and the rest were public. All of them own 59 television channels, 33 were public, 26 private, 29 national, and 30 regional ones (Reig et al, 2014).…”

Section: Introductionmentioning

confidence: 99%

The impact of digitalization on the strategies of pay TV in Spain

Medina¹,

Herrero²,

Etayo³

2015

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Introduction. The landscape of the audiovisual market has dramatically changed over the last thirty years, and even more so since the implementation of digital terrestrial television throughout Europe. New suppliers of audiovisual content have appeared and a range of pay-per-view and free-to-air services now compete against one another. Methodology. After all the changes, we wonder if there is still space for pay TV and how the strategy of pay TV operators might be developed. To do so, we will analyse current offerings according to three key factors: business models based on revenue and offering, clients, and competitors. Conclusions. After data analysis, we conclude that in spite of the threats to pay television operators, pay TV will be the engine of change, and the willingness to pay will increase. Most of the popular free-to-air contents, will become premium content.

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Section: Introductionmentioning

confidence: 99%

The impact of digitalization on the strategies of pay TV in Spain

Medina¹,

Herrero²,

Etayo³

2015

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“…En 2013, había diecinueve operadores, de los cuales cuatro eran privados -Atresmedia, Mediaset, Veo TV y Net TV-y uno público -RTVE-; y catorce eran regionales: uno privado, y el resto, públicos. En total, sumaban 59 canales de televisión: 33 públicos, 26 privados; 29 nacionales y 30 regionales (Reig et al, 2014).…”

Section: Introductionunclassified

Impacto de la digitalización en la televisión de pago en España

Medina

Herrero

Etayo

2015

RLCS

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Impacto de la digitalización en la televisión de pago en EspañaThe impact of digitalization on the strategies of pay TV in Spain Abstracts[ES] Introducción. El mercado audiovisual se ha transformado radicalmente en los últimos treinta años, y especialmente tras la implementación de la televisión digital terrestre en Europa. Nuevos competidores están ofreciendo contenidos de pago y ahora operadores tradicionales de televisión en abierto también compiten con ofertas de pago. Metodología. Ante estas amenazas, nos preguntamos por el futuro de la televisión de pago y qué estrategia deberán seguir las compañías actuales. Para investigarlo, analizaremos las ofertas actuales bajo tres aspectos: el modelo de negocio basado en las fuentes de ingresos y la oferta, los clientes y los competidores. Conclusiones. Después de analizar los datos, concluimos que a pesar de las amenazas, la televisión de pago será el motor del cambio, y que los deseos de pagar por ver televisión aumentarán, siempre y cuando se tenga acceso a contenidos populares en exclusiva.[EN] Introduction. The landscape of the audiovisual market has dramatically changed over the last thirty years, and even more so since the implementation of digital terrestrial television throughout Europe. New suppliers of audiovisual content have appeared and a range of pay-per-view and freeto-air services now compete against one another. Methodology. After all the changes, we wonder if there is still space for pay TV and how the strategy of pay TV operators might be developed. To do so, we will analyse current offerings according to three key factors: business models based on revenue and offering, clients, and competitors. Conclusions. After data analysis, we conclude that in spite of the threats to pay television operators, pay TV will be the engine of change, and the willingness to pay will increase. Most of the popular free-to-air contents, will become premium content.

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“…This is the case, for example, of research works like those developed by De la Puente (2015), García Leiva (2011) and Arriaza Ibarra and Berumen (2016). Other works like those developed by Reig, Mancinas-Chávez and Nogales-Bocio (2014) and Coronel-Salas et al (2012) examine the sector from classical approaches to the field of communication structure.…”

Section: Definition Of Cultural and Creative Industriesmentioning

confidence: 99%