Audiences

The safeguarding, preservation and valorisation of the cultural heritage has increasingly become associated with the process of making cultural heritage assets available online (“Towards an Integrated Approach”). The process of digitisation of cultural assets, while playing a key role in sharing knowledge, still represents a challenge for European and global heritage. While the focus on audiovisual cultural heritage has been characterised by a limited engagement with film and television as cultural products, cinema audiences and their experiences have been virtually neglected. Looking at the cinemagoing experience shifts the focus from the film, as cultural/commercial product, to the audiences, as citizens. The articles included in this special issue of Alphaville demonstrate that research on cinema audiences has the potential to broaden the scope of cultural heritage by including cinema heritage as a new cultural category, which relates to cinemas and the experience of cinemagoing ...

Talking politics online is not exclusively reserved for those spaces dedicated to politics, particularly the everyday political talk crucial to the public sphere. However, past net-based public sphere research has focused mostly on political spaces thereby neglecting an array of other genres. The aim of this article is to move beyond politically oriented communicative spaces by investigating political talk within the British reality TV discussion forum Wife Swap. The purpose is to see whether a forum dedicated to reality TV provides the communicative space, content, and style for politics that extends the public sphere. The central question is whether it fulfils the requirements of rationality and ‘decent’ deliberation. Moreover, the analysis moved beyond a formal notion by investigating how expressives influence the more traditional elements of deliberation. The findings revealed that Wife Swap participants engaged in political talk that was often deliberative. Moreover, it was a space where the use of expressives played a key role in enhancing such talk.

Introductory. Advertising communication in general. Evolutionary stages. Diagram of flow. Some basic terms of mass media research. The media process in advertising. Definition of media deregulation.
Commodity form. Quantitative terms of the mass media. Basic concepts and structure of an advertising campaign. Transformations of advertising communication. The system of objects. What is a brand? The role of advertising.
About the audience. Transformation of viewers/listeners into audiences and consumers. The role of semiotics in advertising. The convergence of mass media, advertising and consumption-e.g. the Greek example. The content  of TV programmes.
Definition of kitsch & examples from the media. Commercialization levels and the mass media. Transformations of the  mass media content. On marketing.
The system of needs. The advertising agency and mergers. Public & private mass media. Dramatization and the mass media.
Cultural industries. Cultural economy. Concerning audiences and quality of content in the mass media.

This book gives an important place to the controversies surrounding the question of participation in the cultural and artistic fields. This debate gathers researchers who have developed through their work an original and documented point of view on the issue. Then, it brings together those who have been active in the Conference “The Proactive Role of Live Performance Audiences” (Barcelona, November 2016). The publication proposes a dynamic state of the considerations that accompany the Be SpectACTive! project (funded by the EU program Creative Europe). The book is structured in two parts. The first contains an introductory theoretical chapter by the two editors (Lluís Bonet and Emmanuel Négrier) followed by the contributions of researchers who develop their vision of what participation means in culture, each one in his/her field and disciplinary environment. Jean-Louis Fabiani analyzes participation in its historical context and shows the possible resulting sociological and political ambivalence. Franco Bianchini and Alice Borchi highlight the forms that participation policies in contemporary cities can take. Dafne Muntanyola-Saura focuses on ethics and aesthetics of participation in the field of visual arts. These three different contributions enrich our vision and open up a critical perspective. The second part of the book extends this perspective to seven main goals of participation in the cultural sector. Each theme was proposed to be discussed during specific workshops at the Barcelona conference on the proactive role of live performance audiences. We commissioned to the conductors of each session to write their own reflections on the issue. At the same time, the synthesis of the debates was made by a second group of experts. These are the titles of the seven workshop sessions and the names of the authors in order of appearance: "Artistic quality and audience empowerment" by Jaroslava Tomanová and Giada Calvano; "Risks and opportunities of active spectatorship from a management perspective" by Giuliana Ciancio and Ricardo Álvarez; "The interactive role of participatory creative residencies" by Félix Dupin-Meynard, Bruno Maccari and Rafael Valenzuela; "The challenges of artistic programming with active spectators" by Luca Ricci, Ricardo Álvarez and Janina Juárez Pinzón; "Prosumer Experiences in Performing Arts" by Luisella Carnelli, Jaume Colomer, Giada Calvano and Janina Juárez Pinzón; "The organizational challenge of audience development and engagement" by Alessandro Bollo, Bruno Maccari and Kinga Szemessy and, finally, "Real democratization: involving audiences with different cultural capital" by Arturo Rodríguez Morató and Rafael Valenzuela. In conclusion, Ben Walmsley, one of the very first thinkers about participation in the cultural sector, will provide his original contribution to this debate.

This book gives an important place to the controversies surrounding the question of participation in the cultural and artistic fields. This debate gathers researchers who have developed through their work an original and documented point of view on the issue. Then, it brings together those who have been active in the Conference “The Proactive Role of Live Performance Audiences” (Barcelona, November 2016). The publication proposes a dynamic state of the considerations that accompany the Be SpectACTive! project (funded by the EU program Creative Europe). The book is structured in two parts. The first contains an introductory theoretical chapter by the two editors (Lluís Bonet and Emmanuel Négrier) followed by the contributions of researchers who develop their vision of what participation means in culture, each one in his/her field and disciplinary environment. Jean-Louis Fabiani analyzes participation in its historical context and shows the possible resulting sociological and political ambivalence. Franco Bianchini and Alice Borchi highlight the forms that participation policies in contemporary cities can take. Dafne Muntanyola-Saura focuses on ethics and aesthetics of participation in the field of visual arts. These three different contributions enrich our vision and open up a critical perspective. The second part of the book extends this perspective to seven main goals of participation in the cultural sector. Each theme was proposed to be discussed during specific workshops at the Barcelona conference on the proactive role of live performance audiences. We commissioned to the conductors of each session to write their own reflections on the issue. At the same time, the synthesis of the debates was made by a second group of experts. These are the titles of the seven workshop sessions and the names of the authors in order of appearance: "Artistic quality and audience empowerment" by Jaroslava Tomanová and Giada Calvano; "Risks and opportunities of active spectatorship from a management perspective" by Giuliana Ciancio and Ricardo Álvarez; "The interactive role of participatory creative residencies" by Félix Dupin-Meynard, Bruno Maccari and Rafael Valenzuela; "The challenges of artistic programming with active spectators" by Luca Ricci, Ricardo Álvarez and Janina Juárez Pinzón; "Prosumer Experiences in Performing Arts" by Luisella Carnelli, Jaume Colomer, Giada Calvano and Janina Juárez Pinzón; "The organizational challenge of audience development and engagement" by Alessandro Bollo, Bruno Maccari and Kinga Szemessy and, finally, "Real democratization: involving audiences with different cultural capital" by Arturo Rodríguez Morató and Rafael Valenzuela. In conclusion, Ben Walmsley, one of the very first thinkers about participation in the cultural sector, will provide his original contribution to this debate.

"This text was published as a part of the special issue "Marx is Back" (edited by Christian Fuchs and Vincent Mosco) in the journal triple-C: Cognition, Communication, Co-operation (Vol. 10, No. 2, 2012, pp. 274-301).


Abstract

"The commodity-form played an important, if often overlooked, role in the studies of capitalism. Processes of transforming literally anything into a privatized form of (fictitious) commodity that is exchanged in the circulation process are of fundamental importance for the rise and reproduction of capitalism. At the same time the commodity, as the “cell-form of capitalism”, has played a crucial role throughout Marx’s oeuvre. The central aim of the paper is to demonstrate how the commodity-form develops in his works (both as a part of his “global” argument and in the context of historical changes) and what role it plays in some of the key works of critical theory. Furthermore, the aim is to show how this topic was approached in critical communication studies and has been analysed in the political economy of communication. The latter is done principally through a reappraisal of the “blind spot debate” initiated by Dallas W. Smythe and the audience commodity thesis, in which it was raised. This long-lasting debate, which at least indirectly continues to date, can be seen as an invaluable source for practices and ideas connected to both Marxian-inspired critical communication studies and to a serious analysis of the continuing commodification of different spheres of society and its increasing pervasiveness in contemporary life. In the last section, these findings are connected to some of the recent neo-Marxist approaches, especially to the findings of the authors coming from the autonomist (post-operaist) movement. Insights into this intellectual strand can provide an understanding of the ongoing commodification processes, while also offering possibilities of convergence with Smythe’s approach."


Abstrakt

"Abstrakt: Blagovna forma je igrala pomembno, čeprav pogosto spregledano vlogo v študijah kapitalizma. Procesi spreminjanja praktično vsega v privatizirane (fiktivne) oblike blaga, ki so izmenjane v menjalnem procesu, so ključnega pomena za vzpon in obnavljanje kapitalizma. Istočasno je blagovna forma, kot ''celična forma kapitalizma'', igrala pomembno vlogo skozi celoten Marxov opus. Osrednji namen pričujočega prispevka je prikazati, kako se je blagovna forma razvila v Marxovih delih in kakšno vlogo igra v nekaterih pomembnejših delih kritične teorije. Nadalje je namen pričujočega prispevka pokazati, kako so se s to tematiko ukvarjale kritične komunikacijske študije in kako je bila analizirana v politični ekonomiji komuniciranja. Slednje je doseženo z vnovičnim vpogledom v ''debato o slepih pegah'', ki jo je pričel Dallas W. Smythe s tezo o občinstvih kot posebni obliki blaga. Ta obsežna in dolgo trajajoča debata, ki vsaj posredno poteka še danes, s seboj prinaša neprecenljive vire praks in idej povezanih z komunikacijskimi študijami, na katere je imel vpliv marksizem, in k resni analizi nadaljnjih procesov komodifikacije različnih sfer družbe in njenega vztrajnega prodiranja skozi človeška življenja. V zadnjem delu so ugotovitve v prispevku navezane na nekatere nedavno objavljene neo-marksistične analize, predvsem na ugotovitve avtorjev, ki izhajajo iz avtonomističnega (post-operaističnega) gibanja. Vpogledi v ta paradigmatski pristop lahko podajo razumevanje nadaljnjih procesov komodifikacije, pri čemer ponujajo tudi možnosti za konvergenco s Smythovim pristopom."

This thesis, in the field of music composition and performance practice, presents the results of a practice-research project into performance validity and notational reliability in vigilant musical practice. From my initial inquiry into what constitutes a valid performance, three ground principles were observed: non-normative cognitive states (how the performer thinks); embodied multimodal imagery across a full effort scale (the images a performer draws with their presence); and interpersonal communication (the performer’s readiness to react to the audience’s presence) and the performance environment. These three interconnected skills form what I come to call vigilant performance practice. This thesis aims to define a conceptual framework for vigilant music practice, at the stages of composition, rehearsal, and of performance. In support of vigilant practice, a set of developmental tools and activities were constructed that promote each of the three vigilance skills. These tools and activities are developed in practice in a sequence of sixty-four scores entitled Games for Musicians and Non-Musicians. This workbook promotes the development of vigilance skills in the context of improvised music performance in groups. Games for Musicians and Non-Musicians was rehearsed and performed publicly on several occasions. Reports of those events are presented here. Vigilant performance practice has the potential to be of use in music education and professional training, with different age groups (including children), as well as in other types of performance practice. It may be of use outside the performance environment altogether, in personal or community development.

In an examination of how witnessing autobiographical stories through a performance onstage affects audiences, this article considers the function of narrative in public space. Its key focus lies on exploring the concept of witnessing through an analysis of the audience’s reception of two autobiographical storytelling performances in Northern Ireland. Drawing on the affirmative response to the portrayal of suffering, the argument is developed that, in today’s ‘therapeutic culture’ (Furedi 2004: 4), people are used to, prepared and, therefore, keen to hear from personal experiences and emotions but are, at the same time, yearning to return to ‘real’ emotions in an environment of emotional commodification.

La popularización del consumo de contenidos bajo demanda, impulsado por los grandes agentes globales como Netflix, Amazon o HBO, ha provocado una importante disrupción en los hábitos de consumo y ha intensificado el fenómeno de la fragmentación de audiencias. El gran aumento de contenido ofrecido al usuario (que reduce la concentración de espectadores a una selección limitada), su explotación dentro del modelo económico de la suscripción (que elimina la cotización publicitaria del espacio) y la multiplicación de consumos en distintos horarios y a través de distintos receptores, muchos de ellos móviles y fuera del hogar (lo que complica su monitorización), ha generado un nuevo ecosistema. Dentro del mismo, el éxito ya no se puede evaluar en base a los indicadores de la audimetría tradicional. En el presente artículo se aborda cómo se comporta la audiencia en el consumo de contenidos en plataformas de streaming y las nuevas dimensiones con las que se evalúa el éxito de una serie televisiva más allá de los datos que ofrecen las técnicas de medición de audiencias (TAM). Se repasa la transformación del concepto de popularidad y el impacto en el medio que distribuye el contenido de estos nuevos indicadores de audiencia, que añaden a los elementos tradicionales (anunciantes y ventas internacionales) nuevas dimensiones (engagement, retención de clientes, captación de talento, nuevas altas, branding, etc.). El estudio se integra en un marco de investigación más amplio que avanza en la construcción de un nuevo concepto de audiencia en el consumo de video bajo demanda en modelo de suscripción (tomando Netflix como referencia, dada su cuota de mercado) y reflexiona sobre si es posible un concepto de audiencia único aplicable a todos

A través de la presente investigación se evalúa la implementación de la reforma curricular de la Facultad de Comunicación Social y Periodismo de la Universidad de La Sabana, a través del análisis de diferentes variables en el área
de Comunicación Pública. El trabajo se enmarca dentro del diseño conocido como investigación evaluativo, y el
enfoque aplicado es el modelo de enfoque dominante, donde se privilegió el corte cualitativo y de tipo descriptivo. El proyecto comenzó en agosto del 2005, y el trabajo de campo con profesores y alumnos se adelantó en febrero
del 2006. La investigación evidencia información de interés para los educadores, acerca de temas relacionados con
el currículo, la conceptualización de competencias, las strategias de enseñanza, las ayudas didácticas y las estrategias
de evaluación que se muestran en esta entrega parcial del trabajo.

This article argues for an expansion of existing studies on the meaning of metrics in digital environments by evaluating a methodology tested in a pilot study to analyse audience responses to metrics of social media profiles. The pilot study used the software tool Facebook Demetricator by artist Ben Grosser in combination with follow-up interviews. In line with Grosser’s intentions, the software indeed provoked reflection among the users. In this article, we reflect on three kinds of disorientations that users expressed, linked to temporality, sociality and value. Relating these to the history of audience measurement in mass media, we argue that there is merit in using this methodology for further analysis of continuities in audience responses to metrics, in order to better understand the ways in which metrics work to create the ‘audience commodity’.

In an update to my monograph Heritage Film Audiences: Period Films and Contemporary Audiences in the UK (Edinburgh University Press, 2011), this paper explores currently evolving forms of online audience behaviour and participatory fan activity around contemporary period films. Its detailed focus is on the online reception, (re-)appropriation and remixing of key films originally released in the 1980s to 1990s which academic criticism has routinely constructed and denigrated as ‘heritage films’, but most centrally the gay love story Maurice (1987), a film which Web 2.0 activity now reveals to be the object of passionate fan investment, unexpected forms of fan productivity and crossover appropriation, and a growing following among unexpectedly young (female and male, sexually diverse) audiences. The paper outlines the key findings of the original Heritage Film Audiences study about the attitudes and pleasures of two contrasting sections of ‘the’
‘traditional’ UK-based heritage-film audience in the pre-Web 2.0 era. It then maps the very different forms of online (participatory and productive) audience and fan activity around (some) ‘heritage films’ now becoming visible via YouTube, the IMDb, LiveJournal, Tumblr, and beyond, via a central case-study of the distinctive online fan culture visible around Maurice.

The years between 1928 and 1930, when Pirandello was living in Berlin, coincided with the translation into Italian of Evreinov's theoretical essays and with the first production of Brecht's Three Penny Opera. Nikolaj Evreinov (1879-1953), while younger than Pirandello, shared with him a common philosophical and aesthetic background. Bertolt Brecht (1898-1956), who belonged to a different generation, had opposite political views and very different aims for his theatrical practice. However, these three theatre practitioners were all concerned with interrogating the mechanisms of the theatre. They challenged the static view that juxtaposed the stage and the auditorium, defining boundaries between areas for " playing " and " watching, " and they proposed instead a dynamic view based on the interrelation of these spaces and their functions. All three practitioners examined the relation between actor and character and character and spectator. Finally, all three were engaged in drawing attention to the essence of the theatre—to what defined theatre as such—but they were also fascinated with the extension of performance into other domains. Pirandello produced two of Evreinov's plays at the Teatro d'Arte in 1925, but he became acquainted with Evreinov's theatrical theories a few years later, probably in 1929. At this time, Pirandello and Brecht were both living in the same city. Pirandello was exploring the theatrical scene of the Weimar Republic and was busy writing Questa sera si recita a soggetto (Tonight We Improvise), as well as several screenplays for the cinema. Brecht was at a critical point in his career; he was in the process of becoming well known and he was re-envisioning theatrical practice in relation to pedagogy. While numerous scholars have explored the connections between Pirandello and Evreinov, fewer have researched the connections between Pirandello and Brecht, and, to my knowledge, the three figures have never been examined in conjunction. In this paper, I will illustrate how the paths of Pirandello, Evreinov, and Brecht crossed.

How to cite this article: Neira, Elena; Clares-Gavilán, Judith; Sánchez-Navarro, Jordi (2021). "New audience dimensions in streaming platforms: the second life of Money heist on Netflix as a case study". Profesional de la información, v. 30, n. 1, e300113.

Presentamos en este artículo los resultados de una investigación realizada en la Universidad de Salamanca desde el Observatorio de Contenidos Audiovisuales en el año 2014. El objetivo de este estudio es el de analizar los usos y consumos de aplicaciones de los medios de comunicación entre los estudiantes de la Universidad de Salamanca. La investigación realizó entrevistas cara a cara a alumnos de la Universidad de Salamanca seleccionados aleatoriamente mediante la utilización de un cuestionario C-TAPI, Computer or Tablet Assisted Personal Interview. Presentamos un contraste de las hipótesis de investigación, resultados y conclusiones que nos permiten describir los usos y consumos de los estudiantes de la Universidad de Salamanca en su interacción con las aplicaciones de los medios de comunicación. Analizamos la asignación del tiempo y espacios de consumo a la hora de utilizar tabletas y teléfonos inteligentes. Este trabajo nos permite identificar las tendencias más significativas que se consolidan entre los usuarios más jóvenes. Los medios de comunicación se están adaptando progresivamente a la migración que la audiencia está realizando hacia renovados modos y usos del dónde, cuándo y cómo desea consumir contenidos audiovisuales. Gracias a las nuevas pantallas inteligentes los usuarios pueden  consumir televisión-vídeo desde cualquier dispositivo que tenga acceso a la red. Los grupos de comunicación están adaptando la tradicional cadena de valor del audiovisual, de la televisión, de la radio y de la prensa a las nuevas demandas de una audiencia joven multipantalla e hiper-conectada que se encuentra cada vez más vinculada en su ocio y consumo con dispositivos cada vez más interactivos e inteligentes.

This article investigates the development, purpose and value of co-creation in theatre. Through a qualitative analysis of a new work festival at West Yorkshire Playhouse, it explores the levers and barriers to participatory engagement and evaluates the phenomenon of co-creation from the comparative perspective of both producers and audiences of theatre.

The rising trend of co-creation reflects the evolving role of the audience in the creative process and at first sight represents a movement towards democratizing the arts. Co-creation is one of the deepest and most intensive ways audiences can engage with the arts, and this study questions to what extent it can be regarded as an authentic and successful democratization of the creative process, while exploring the contentious relationship between widening participation and artistic excellence.

The study takes a qualitative approach, based on participant observation and twelve depth interviews with a sample drawn from managers, theatre-makers, marketers and audiences. Its key findings are that co-creation attracts a highly niche audience of “theatre people” who are active learners and risk takers, and that while an all-encompassing definition of co-creation remains elusive, the activity is here to stay. Co-creation is ultimately messy, raw, incomplete, contingent and context-dependent. Successful co-creation involves trust, respect, collaboration, playfulness and exchange; it takes participants on an adventurous journey and deepens their engagement with theatre.

The implications of this study are as follows: Producers and artists should engage authentically with participants and explore ways to develop their co-creative skills; marketers should utilize experiential marketing techniques to emphasize the different, fun, risky and edgy aspects of co-creation; and policymakers should not rely on co-creation to widen participation and democratize the arts, but accept that it can deepen engagement for a select few.

Key words: Co-creation; artistic engagement; arts participation; relational art; theatre audiences; cultural value.

The Greek mass media are being transformed towards the direction of an exaggerated promotion of the combination of info(rmation and enter)tainment,  i.e. infotainment, with their audiences giving much larger importance to how things are being said, than what is being said.
This radical change had been already initiated with the advent and the wider acceptance of lifestyle, following  the consolidation and the diffusion of kitsch. What had been finally achieved was the deconstruction of the notion of citizen, along with the emergence and construction of the private individual-as-consumer, being entrenched in his own microcosm. Such a development  detracts meaning from the Greek mass media, which was mainly expressed a) by the fact that the mass media content bordered on the  spectacle and pop-culture, and b) with the gradual transition towards a discourse that enables anybody  to talk  without actually telling anything  ( of some importance) , coupled by the change in  the size of newspapers, particularly since the first years of the 80’s.
These specific conditions were also transferred into the realm of commercial television, when mostly after the 90’s the small-sized (TV) screen had been the main visual link of the audiences with the world out there.

Resumen
Analizamos el estado del arte de los estudios de recepción, audiencias y consumo cultural en Venezuela durante el período 2000-2011. Examinamos enfoques teóricos sobre el campo de la recepción mediática y cultural, desde las propuestas conceptuales de Aguirre, Barrios y Hernández Díaz. Se pudo constatar, en esta revisión documental, que los estudios de recepción en Venezuela abordan cuatro campos de estudio: 1) Educación para la recepción. 2) Influencia de la televisión. 3) Ciber-recepción. 4) Consumo cultural.

Abstract
We offer an analysis on the status of the studies of reception, audiences, and cultural consumption in Venezuela during the years 2000-2011. We examine the theoretical perspectives on the field of mass media and cultural reception following the conceptual proposals of Aguirre, Barrios, and Hernández Díaz. Through this documented review we have validated that the reception studies in Venezuela reach four fields: 1) Education for reception; 2) Influence of television; 3) Cyber-reception; 3) Cultural consumption.

This research aims to portray the way young adult people interact with news and how their consumption is affected by advertising and personal data sharing. 'Digital News Report Spain 2018', a questionnaire on the consumption of digital media undertaken by a national panel of 2,023 Internet users, is used as a main source. Among the users mentioned, there were 293 young people from 25 to 34 years old who belong to the Millennial generation. Data from this report was completed with a qualitative study in which two focus groups were held, featuring people of that age frame residing in Navarre. The paper concludes that young adult people are generally interested in news, which they access mainly via mobile devices. Their interest grows when the content affects them directly, but also if they empathize with the topic. On the other hand, their familiar background and social routines shape the way they receive information. Young adult people still make use of traditional media, alt...

This article reflects on the consequences of digitization for multiplatform television/media production, the ways in which it affects textual expressions, and how this might have a bearing on changing audience roles. It takes its departure empirically from two Swedish examples of multiplatform production: The Truth About Marika and Labyrint, produced by SVT and TV4, respectively. It is argued that multiplatform media texts challenge our conceptions of categories such as work, text, program, etc., and, following from that, also challenge our notions of audience activity and engagement.

El objeto de este capítulo es mostrar el grado de afectación del sector de las artes escénicas con respecto a la transición de la cultura analógica a la digital, tomando como referencia los teatros de titularidad pública en España. También se analiza el grado de modernización de la gestión y la gobernanza de los teatros desde la óptica digital y su implementación en comparación con Francia e Inglaterra. A pesar de una política cultural descoordinada, los teatros públicos han generado ciertas estrategias de comunicación en el digital, pero adolecen de proyectos de generación de públicos a medio y largo plazo a través de las herramientas de las NTIC.

Net-based public sphere researchers have examined online deliberation in numerous ways. However, most studies have focused exclusively on political discussion forums. This article moves beyond such spaces by analyzing political talk from an online forum dedicated to reality television. The purpose is to examine the democratic quality of political talk that emerges in this space in light of a set of normative criteria of the public sphere. The analysis also moved beyond an elite model of deliberation by investigating the use of expressives (humor, emotional comments, and acknowledgments). The findings reveal that participants engaged in political talk that was often deliberative. It was a space where the use of expressives played a significant role in enhancing such talk.

This research aims to portray the way young adult people interact with news and how their consumption is affected by advertising and personal data sharing. 'Digital News Report Spain 2018', a questionnaire on the consumption of digital media undertaken by a national panel of 2,023 Internet users, is used as a main source. Among the users mentioned, there were 293 young people from 25 to 34 years old who belong to the Millennial generation. Data from this report was completed with a qualitative study in which two focus groups were held, featuring people of that age frame residing in Navarre. The paper concludes that young adult people are generally interested in news, which they access mainly via mobile devices. Their interest grows when the content affects them directly, but also if they empathize with the topic. On the other hand, their familiar background and social routines shape the way they receive information. Young adult people still make use of traditional media, alt...

Galego
Preséntase un percurso pola fulcral intervención de Roberto Vidal Bolaño no campo teatral galego desde os momentos refundacionais
de comezos da década de setenta até a transición para o novo século, na multifacetada figura de dramaturgo, actor, encenador, produtor-empresario, iluminador, figurinista ou escenógrafo. Proponse unha viaxe con paraxes nos momentos decisivos dese periplo profesional dedicado aos palcos do país e nas diferentes motivacións que orientaron o seu English
The present paper reviews Roberto Vidal Bolaño’s crucial involvement
in Galician theatre, from its revival in the 1970s to its transitional
period at the turn of the new century. Vidal Bolaño was a multifaceted
figure; a lighting, costume and stage designer, actor, director, playwright
and producer. This account focuses on the most significant periods of his professional life, which was devoted to Galician theatre, and on what motivated and influenced him throughout his career.

n the advent of societal issues surrounding minority groups, this paper investigates a significant such example in history (1992 Los Angeles Riots) to better understand how mainstream news media covered the story with regard to issues pertaining to key minority groups (blacks, Koreans). Utilizing theoretical frameworks such as media framing and the public sphere (Habermas, 1989), this paper examined how the Los Angeles Times framed issues regarding those minority communities before, during, and after the 1992 LA riots. Furthermore, the study analyzed audience discourse (letters to the editor) in the same time period to examine how the frames in news coverage compares with audience framing. Findings suggested that in the months after the riots, LAT significantly altered its coverage in a way that corresponded with the framing by its readers. Findings were then discussed in light of mass communication’s relationship with society, especially for minority representation and framing.
Resumen
En el advenimiento de las cuestiones sociales que rodean a los grupos minoritarios, este artículo investiga un ejemplo significativo en la historia (1992 Disturbios en Los Ángeles) para comprender mejor cómo los principales medios de comunicación cubrieron la historia con respecto a temas pertenecientes a grupos minoritarios clave (negros, coreanos). Utilizando marcos teóricos como el encuadre de los medios de comunicación y la esfera pública (Habermas, 1989), este artículo examinó cómo el periódico Los Ángeles Times enmarca cuestiones sobre las comunidades minoritarias antes, durante y después de los disturbios de 1992 en la ciudad de Los Ángeles. Además, el estudio analizó el discurso de la audiencia (cartas al editor) en el mismo período de tiempo para examinar cómo se comparan los marcos en la cobertura de noticias con el encuadre de la audiencia. Los resultados muestran que en los meses después de los disturbios, el periódico alteró significativamente su cobertura de una manera que hacía juego con el encuadre de sus lectores. Los hallazgos fueron discutidos a la luz de la relación de comunicación de masas con la sociedad, en especial por el encuadre para la representación de minorías.

Este trabajo representa una aproximación
inicial a la presencia de la internet
en una región de México. El estudio
muestra la penetración de la red y los
usos más recurrentes entre los internautas
del estado de Jalisco. El fenómeno
se analiza en el contexto de las
tendencias más amplias de “consumo
mediático” que imperan en la entidad.
El análisis se deriva de los resultados
de una encuesta, elaborada en 2006,
que evalúa el peso de los medios de
comunicación, los usos y las preferencias
de las audiencias en ese estado de
la república mexicana. ------
This article synthesizes the findings of
a survey on internet and mass media
consumption carried out in Jalisco,
a state located in western Mexico. It
describes and discusses the access
and uses of the web among different
sectors of the population and evaluates
the extent to which the phenomenon
of “digital divided” is present
in this particular context. The essay
also brings into consideration the differences
of media consumption patterns
between those who have access
to internet and those who are so far
excluded from this.

El periodismo se está replanteando debido a la transformación de los medios y al impacto de las nuevas tecnologías en cada una de las fases del proceso periodístico. Estos cambios también han impactado al periodismo deportivo. Por tales razones, se traza el objetivo general de analizar cuatro diarios deportivos digitales colombianos de mayor consulta en el país: FutbolRed, Marca, AS y El Periódico Deportivo. Para ello se realiza una investigación cualitativa y cuantitativa descriptiva, analítica, correlacional y prospectiva mediante entrevistas, grupos focales, observación y encuestas.
Los hallazgos identifican que la actualización de información de estos diarios deportivos digitales la realizan en promedio cada tres horas, la interactividad con el usuario es esporádica, la producción de contenidos es por agregación con tinte de espectacularidad y poca profundidad, la agenda noticiosa es repetida, no distinguen lo significativo con lo irrelevante, priman la noticia y opinión, la gestión informativa es similar a la competencia, la suscripción es abierta y la distribución es automatizada en plataformas, redes sociales y correos electrónicos.
Se concluye que estos diarios han modificado la participación con las audiencias, las rutinas periodísticas en las redacciones, el consumo de nuevos contenidos, la circulación y el rating. Por consiguiente, estos medios digitales están implementando una ecología informativa novedosa que está impactando los estilos y prácticas del periodismo deportivo.

With this chapter, I explore the social meanings of embodied ways of listening to North Indian classical music. I focus especially on still, silent listening, a mode of listening that has been neglected in scholarship in this context. This scholarly neglect re ects the fact that most North Indian classical musicians and listeners tend either not to discuss this form of listening or else to cast it in a negative light, preferring instead to celebrate more active, noisy ways of listening to music. However, by not considering the full range of listening practices at North Indian classical performances, scholars have not theorised how competing value systems shape different ways of listening within a single performance environment. Here, I consider how certain North Indian classical musicians and listeners invest still, silent listening with positive signi cance. I argue that embodied modes of attending to music are implicated in social negotiations over prestige and status. Moreover, e...

This article does three things. First, it briefly presents some relevant depictions of the (general) historian by past and present scholars, whilst also touching on the contested role of theory in historians’ practice. Second, it illustrates a few distinct images by which the practice of the intellectual historian has been characterised. It thus argues that these images, which chiefly draw on recent work by Stefan Collini (1947-), provide a specific identity of/for intellectual history as a discipline that should be engaged in attention to audience, essayistic style and cultural criticism. Third, by focusing on the characterisation of the intellectual historian as someone trained in painterly observation put forward by the historian of ideas Duncan Forbes (1922–1994), the last section of the present paper points out some important similarities between Collini and Forbes. In so doing, this contribution also says something tentative about the status of the discipline, its value as well as its future.