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Traditionally, the field of politics, while influencing television shows, did so in a few genres' news and political information programs' whose conventions acted as a break on its treatment as a spectacle or reality show. But recent years have seen quite a transformation which is the focus of this paper. This is the takeover of the realm of politics by the spectacle of the real with no limits on the hyping of topics, characters and political conflicts. This paper conducts both a quantitative and qualitative investigation of this topic. More specifically, we carry out a test for such a transformation via textual analysis of a Spanish TV program: El objetivo [The Target/Lens] on La Sexta Spanish TV channel. The results of the analysis confirm a fundamental transformation of the interview format in which the presenter acquires a more prominent role than the interviewee in terms of both her continual visual presence and of imposing the rules of the game. In this new format, she constantly interrupts the interviewee and demands headline-grabbing responses. Finally, the results confirm how this rise of the interview as spectacle involves an emphasis of the issues aiming to the trivialization of political content and attitudes. [ABSTRACT FROM AUTHOR]

Introduction: The electoral debates on television are consistent with previously agreed conditions, within the legal canons established by the LOREG. However, in the current communicative environment, there exists a parallel debate on the second screen which is not subjected to any control. This paper analyzes the conversation generated on Twitter during eight debates, broadcasted by the regional television corporations during the campaign of May 26, 2019. Methodology: Using the hashtag provided for each TV entity, an analysis of the main nodes interaction and the activity of the official Twitter profiles of televisions during the meetings has been performed. Results and conclusions: The results indicate that only in some cases televisions manage to be relevant in the parallel debate on Twitter and that they hardly use the potential of the social network to generate conversation. On the other hand, equity from TV corporations is subjected to their own deontology, when they mention to different political parties on Twitter. [ABSTRACT FROM AUTHOR]

Introduction: This work analyzes the introduction in Spain of the first systems of production and television broadcasting based on computer files technology, also known as MAM (Media Asset Management). The establishment of the different MAM systems as a digitization, has meant the replacement of the technology based on video tapes, due to the obsolescence of this system. Methodology: This work also establishes a parallelism in the MAM digitization between CNN (Atlanta, USA), Telecinco-Spain and Telemadrid-Spain. Results: this study seeks to gather information on the consequences of the change in the workflow on television that MAM digitization carries with it. Discussion: Implementation of MAM technology has meant a profound transformation of the basic processes of the production system in television. Conclusions: this paper deepens on the labor transformations of the different jobs that involved the adoption of the first MAM systems in the three television stations analyzed CNN (Atlanta-USA), Telecinco-Spain and Telemadrid-Spain. [ABSTRACT FROM AUTHOR]

Introduction: Audience fragmentation, accompanied by other factors, has caused viewing figures to drop across most television networks. In a new context where what is a good audience share needs to be reconsidered, sport content stands out as arguably the last antidote against audience fragmentation. Methodology: This paper examines the role of sport content in Spanish television by compiling the most watched television programs each year from 1989 to 2016. Sport content in television is further discussed through focused interviews with eight professionals from media agencies, networks, media right holders and sponsors. Results and conclusions: The results suggest that networks have systematically capitalized on premium sport content (fundamentally football) to ameliorate the effects of audience fragmentation, and that, given the uncertainty concerning television business models, will continue to do so in the near future. [ABSTRACT FROM AUTHOR]