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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]

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: 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]

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]

In this paper the results of research about the quality of the Spanish national channels' offer is presented. Although these kinds of studies are not very numerous in the field study of the relationship between children and television in Spain, there exist some approximations that suggest models for evaluating children's content quality. Using the indications of the main national and international studies about this topic, we have enumerated and described a list of fourteen items to valuate children's programming quality. Afterwards, we verified the degree of compliance and non compliance of each of them. [ABSTRACT FROM AUTHOR]

The current article aims at describing and analyzing non profitable media background and future expectations as well as regulations when facing digitalization in Spain. The research is carried out from an inductive perspective which implies using the documentary analysis, consultations to several sources and, eventually, interviews. Additionally, this paper aims at contributing to reflect on media social role. [ABSTRACT FROM AUTHOR]

From the start historical fiction had been functioning as a worldwide resource for television programming and contents. Concerning to dynamics and diachronic ways of development a couple of trends can be observed in reconstructions of the past of this sort. On a hand, visual resources tend to be represented by characters and scenes in the form of a diverse but affluent model that prevails in universal television products. On the other, formats show a clear confluence in terms of specific social and cultural treatment, local or national. This paper explores two representative examples of historical family television series: the American The Wonder Years (1988-1993), and the more recent Spanish one Cuéntame como pasó (2001…-). In the pages that follow contents and profiles of each fiction will be analyzed from a theoretical point of view and a methodology that remarks proper issues and topics in order to establish historical events in which narrative is supported. Both sharing nostalgia and empathy as key forms of identification in television evocative stories and ways of approaching to different audiences, each one refered to distant geographical and social contexts [ABSTRACT FROM AUTHOR]

This paper investigates the key elements of the audiovisual policy of the International Organization of la Francophonie (OIF). The hypothesis to be tested is that the audiovisual policy of la Francophonie presents a fundamental concept of the audiovisual. This study is exploratory in nature and considers only the last ten years of la Francophonie. The research presents a mixed methodological approach that combines quantitative and qualitative data collection and analysis. Many items have been analyzed: frameworks for action and declarations, the structure of the organization in the audiovisual area and programs and major projects. One of the most important conclusions of this study is that audiovisual policy of the OIF is characterized by diversity, as well as by its link with culture. However, the OIF tries to ensure the presence of the French universe, ignoring the voices of the rest of the organization. [ABSTRACT FROM AUTHOR]

This paper shows the most relevant conclusions of the research: "The informative image in online media: newspaper, radio and television". Firstly, the author presents the theory and methodology employed and them she describes how they are applied to a sample collected in 2004. This consisted of 311 images from online editions of newspaper La Vanguardia, El País and El Mundo; the radio stations Cadena Ser, Onda Cero, COPE, as well as broadcasters Antena 3 and Telecinco. Finally it explores how the object of study has changed and developed until 2008 and its possible lines of research. One of the main conclusions is that the modular design of the pages undermines the visual message. The presentation is homogeneous and the edition of the images is sharp to adjust them to fixed sizes. Authors have become anonymous, whereas news agencies have become the main suppliers of images. [ABSTRACT FROM AUTHOR]