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This article addresses the insertion of ads in Netflix Spain, a streaming content platform pioneer in this model, with the aim of understanding how the Over The Top (OTT) broadcasting service enters the advertising market. The viewing of 205 ads, during the months of October, November and December 2023, has been able to understand how the platform has adapted to the traditional television model through advertising revenue. Through a content analysis methodology, taking into account the spots inserted in five Netflix original premiere series, it is concluded that the insertion of advertising on Netflix follows the traditional model of linear television; conditioned by the consumption calendar, as well as by the target of the series. In that sense, brands related to beauty and personal care are the most advertised on the platform, following the pattern of linear television advertising insertions. Netflix does not take advantage of the personalization characteristic of its catalog since there is no difference with respect to the viewer's gender. However, the basic ad plan does not congest the viewer, since the advertising interruption per chapter is minimal and is mainly at the beginning of the content, avoiding interrupting the audiovisual narration. Likewise, the average duration of the spots is between 5 and 20 seconds, moving away from the advertising saturation of traditional audiovisual media. [ABSTRACT FROM AUTHOR]

The exposure of minors on social media by influencer mothers and fathers is becoming an increasingly common practice, especially on Instagram. Sharenting (a combination of "share" and "parenting"), understood as the sharing of information and photos of children on social media, raises numerous ethical, legal, and advertising-related questions. The digital footprint of minors and its potential effects are intertwined with the practice of influencer parents who use their children's images to promote brands and products. The objective of this study is to contribute to the research on sharenting in connection with influencer marketing, specifically focusing on mothers and fathers who use their children to create advertising content. The study aims to verify the presence of brands targeting minors in their parents' posts, analyze the use of minors' rights to image and privacy by their parents, and determine whether it complies with legal spanish advertising regulations. The presence of minors and brands in a sample of 89 influencer mothers and fathers on Instagram is analyzed through content analysis (363 posts from August 20th to September 20th, 2023, and 295 stories). The results indicate an extremely high presence of minors in posts by influencer mothers and fathers, and they often serve as vehicles for brands (with 96.71% of mothers' posts featuring brands), although fewer than 15% of these are identified as advertisements. The conclusions highlight the misuse of minors' images and privacy on Instagram by their influencer parents for advertising purposes. [ABSTRACT FROM AUTHOR]

In Spain, approximately 75% of toy sales are concentrated at Christmas (Asociación Española de Fabricantes de Juguetes, 2022). Taking into account this data, it is inevitable to talk about the importance of the Three Wise Men. Every year, boys and girls write their letters with the illusion of waking up on January 6 with gifts in their living rooms. In this context, it is opportune to analyze these letters in order to know the nature of the children's requests in their letters to the Three Wise Men. For this reason, the present work offers a content analysis of 417 letters, both at the formal level and an analysis of the gifts requested. The main results of this research reveal that children include the brand of their favorite toys in almost 75% of the cases and their inclusion increases with the age of the children. Likewise, it is determined that not all requests are toys and it is analyzed how the weight of toys and non-toys varies according to the age and gender of the child in their letters. In addition, it is found that children do not only ask for gifts for themselves. [ABSTRACT FROM AUTHOR]

Copyright of Contabilidad y Dirección is the property of ACCID and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Brands constitute the emotional link of companies with their audiences and through communication strategies are created to improve the image and generate positive attitudes towards brands. In the global, digital and information-saturated era, the phenomenon of the humanization of brands through the support of social causes and the approach to the public through the use of storytelling techniques is of great importance. This work delves into how brands connect with the values of their customers by incorporating positive and current concepts that are in line with changes in society. [ABSTRACT FROM AUTHOR]

The concept of storytelling lacks a theoretical corpus that points to the origin of its use in advertising. Therefore, the aim of this research is to know the historical affiliations of the application of storytelling in advertising, finding its most relevant milestones from the creative strategies. The main conclusion is that advertising, as a profession, is aware of the importance of storytelling, thanks to David Ogilvy. It also indicates that advertising, even before being considered a discipline, has had a narrative component inoculated in a natural way, regardless of the medium and the creative strategies used. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Contaduría y Administración is the property of Facultad de Contaduria y Administracion-Universidad Nacional Autonoma de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CPMark: Caderno Profissional de Marketing is the property of Caderno Professional de Marketing Unimep - CPMark and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The brand is an intangible asset for companies and they are aware that they have built them based on emotions, satisfying the aspirations of consumers. And the Guijuelo Iberian Ham brands have Instagram profiles as a strategy because they know that the images are very attractive to consumers. It will be corroborated that, in the Instagram profiles of the Iberian Ham brands, images that allude to emotions predominate and, in addition, that there is a greater link between the brand and the consumer when the images connect through intangible values and not rational ones. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pasos: Revista de Turismo y Patrimonio Cultural is the property of Universidad de La Laguna, Instituto Universitario de Ciencias Politicas y Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For tactical purposes or a strategic vision of the use of native advertising, media and brands must work together to establish indicators to reliably analyze Return on Investment. This qualitative research seeks to define, through in-depth interviews with 16 Branded Content Directors from 15 groups or media, the metrics used by brands to determine the effectiveness of these actions in the media. Understanding how the media and advertisers define KPIs is crucial to delve into the relevance of the phenomenon and its consolidation as an alternative to more intrusive advertising. [ABSTRACT FROM AUTHOR]

This article analyzes the reaction of the audience of the Spanish youtuber Verdeliss, who has the largest community of Spanish followers in the field of parenting and motherhood, to the presence of her underage children in the contents that she publishes on YouTube. A survey made among 1.336 followers of her YouTube channel found that the majority of them feel uncomfortable because of the presence of minors in videos where commercial brands are also promoted. This group rates the youtuber worse in almost all dimensions related to her persuasive ability, and they also buy fewer products recommended by her. Likewise, in a qualitative analysis of 284 comments to open-ended questions, it was observed that there are several arguments within this group of uncomfortable followers, among which stand out their discomfort with the excessive exposure of minors, a frontal rejection to the commodification of their image, and a call on competent authorities to protect the minors. Taking into account the differences in the evaluation of the youtuber, these results suggest that sharenting could produce negative effects in the promotion of brands. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Información y Comunicación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Vínculos de Historia is the property of Vinculos de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

E-sports, an entertainment activity based on eGames competitions, have their core consumer niche in Generation Z. Previous studies (Ströh, 2017; Elasri- Ejjaberi et al., 2020) already pointed out a strong growth, but the outbreak of the pandemic has notably triggered the interest in this ecosystem. This research analyzes the consumption preferences of a sample of young university students, and to explore perceptions of the audiences towards sponsoring brands as well as the dynamics of the brands themselves in the e-sports ecosystem. The methodology combines quantitative and qualitative techniques. A carried out survey has made possible to quantify the consumption and evaluation of the users. Eight in-depth interviews to e-sports managers, sponsors, professionals from different types of advertising agencies and sports experts were held to confirm the data. This study reveals, firstly, that many brands are using e-sports as a test laboratory in their interaction with the generation Z, generally considered to be a native digital community with unique codes and premises. It also unveils the most important advertising challenges for the sector when trying to consolidate itself as a space for dialogue between brands and audiences. Largely, the strategies in this area could be exported to other territories in future studies. [ABSTRACT FROM AUTHOR]

In a hyper-fragmented environment of channels, platforms and content, brands are finding increasingly difficult to reach Generation Alpha in a relevant and differential way. This paper aims to study the variables that determine the choice of brands in the digital context by children between 6 and 12 years old. To study this preference, a survey of 1,357 children was carried out, applying different statistical tests to determine which variables are predictive in the selection of brands. Among the main results when choosing a brand are that the brand must be trendy, famous, that it helps them to meet people and that it is their best toy. Socialisation processes and the need to communicate with their friends are the main reasons for children to incorporate brands into their digital universe. Therefore, companies that want their brands to be part of the life of Generation Alpha in an authentic and unique way, must favour communicative contexts of interaction where the brand is an excuse to socialise. [ABSTRACT FROM AUTHOR]

Copyright of Ciencias Administrativas is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of aDResearch ESIC: International Journal of Communication Research / Revista Internacional de Investigación en Comunicación is the property of ESIC Business & Marketing School and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research analyzes the female stereotypes presented in graphic advertisements for luxury fashion, perfume, and cosmetic brands in Spain. It identifies the beauty stereotypes with which women are portrayed. This empirical work represents a continuation of the studies carried out by Díaz-Soloaga since 2005, to analyze the evolution of the representation of women in graphic advertising. Content analysis of 168 advertisements published in the fashion titles Elle, Glamour, Telva, Vogue, and Woman Madame Figaro was carried out. The main result was the observation of six female profiles that are remarkably similar to those identified in previous studies, thus confirming the permanence of the same beauty stereotypes. Although some progress is observed, advertising of luxury fashion, perfume, and cosmetic brands continues to display stereotypes that contribute to an inaccurate image of women. It is paradoxical that, in the context of current feminine demands, instead of empowering their audience, fashion magazines contribute to their pigeonholing using dependent, narcissistic, and highly sexualized images. [ABSTRACT FROM AUTHOR]

Copyright of Index.Comunicación is the property of Index.comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Austral Comunicacion is the property of Austral Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within the framework of theories of news trustworthiness and selective exposure to media, this research analyzes whether the trust that consumers of digital news in Spain claim to profess towards a news brand is an explanatory factor that directly mediates their consumption of said brand. In addition, and based on a novel association in literature, this work studies whether the individual attributes of political leaning and degree of digital consumption are predictive variables that have a direct effect on the consumption of news brands. Also, it tests the mediation of trust in this process. This research applies the methodology of simple mediation analysis or analysis of direct or indirect effects to data from the online "Digital news report.es 2019" survey (N = 2005). The 15 news brands studied are TVE, Antena 3, La sexta, Telecinco, Cuatro, Cadena SER, COPE, El país, El mundo, ABC, La vanguardia, El periódico, 20 minutos, Eldiario.es, and El confidencial. As a main result, two models of selective consumption of news brands in Spain are identified: a first model that only considers the mediating effect of one or both attributes (type I), and a second that combines both direct and indirect effects (type II). This categorization highlights how users' political leaning moderates or enhances the consumption of some news brands by mediating trust. With the exception of COPE, users who are politically positioned to the right have less trust in brands, thereby moderating their consumption. On the other hand, users who are politically on the left are more loyal consumers of the media they trust most (Eldiario.es, La sexta, and Cadena SER). [ABSTRACT FROM AUTHOR]

This research analyzes the female stereotypes presented in graphic advertisements for luxury fashion, perfume, and cosmetic brands in Spain. It identifies the beauty stereotypes with which women are portrayed. This empirical work represents a continuation of the studies carried out by Díaz-Soloaga since 2005, to analyze the evolution of the representation of women in graphic advertising. Content analysis of 168 advertisements published in the fashion titles Elle, Glamour, Telva, Vogue, and Woman Madame Figaro was carried out. The main result was the observation of six female profiles that are remarkably similar to those identified in previous studies, thus confirming the permanence of the same beauty stereotypes. Although some progress is observed, advertising of luxury fashion, perfume, and cosmetic brands continues to display stereotypes that contribute to an inaccurate image of women. It is paradoxical that, in the context of current feminine demands, instead of empowering their audience, fashion magazines contribute to their pigeonholing using dependent, narcissistic, and highly sexualized images. [ABSTRACT FROM AUTHOR]

The main purpose of this paper is to suggest a consumer-based brand equity (CBBE) model that takes into account new ways of interaction between brands and consumers on social media, to propose its simple, valid and parsimonious measurement scale and to assess if and how differently brands are perceived when consumers are exposed (or not) to their participation on Facebook. The scale was applied to 361 consumers that follow a specific brand on Facebook and consumers that don't, in order to understand if differences can be found on brand equity between consumers. Hence, three groups of consumers of the same brand were considered and their reactions to brand compared: consumers that follow the brand on Facebook; consumers that do not follow the brand on Facebook, although they are Facebook users; and consumers that do not use Facebook. Findings suggest that for brand followers on Facebook the brand had better results on brand image, brand loyalty, and brand relationship than for the other two groups. No statistically significant difference was found on brand image, brand loyalty, and brand relationship between people that do not follow the brand on Facebook (whether or not they use it) in the same variables. [ABSTRACT FROM AUTHOR]

Copyright of Revista El Directivo al Día is the property of Centro de Informacion y Gestion Tecnologica (CIGET) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fonseca: Journal of Communication is the property of Revista Fonseca Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fonseca: Journal of Communication is the property of Revista Fonseca Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bellas Artes is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research shows that consumption correlates with the experience of subjective wellbeing. However, there is little literature on this phenomenon among young people. This exploratory study aims to know how university students perceive that consumption and brands intervene on subjective well-being and identify the elements they consider in their consumption behaviors aimed at obtaining well-being. A qualitative methodology of phenomenological design was used, with university students from the city of Lima. The analysis followed a process of descriptive coding. The experience of consumption and well-being reveals itself as a phenomenon relative to each person, in particular their sense of need and value framework about material goods, factors that seem to be modulated by their family environment. Young people find in purchase practices and brands a conduit to meet their social needs, specifically belonging and acceptance in groups. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aims of this work are to know, which the favorite brands of the university students of Madrid are, how university students of Madrid do relate to his favorite brands, and how the economic crisis has affected them. We have carried out a survey in three public universities of Madrid, for a total of 591 survey respondent students. The results show that the brands related to the digital leisure are the favorites of the university young students of Madrid and that the profile of the conspicuous and inflexible consumers - those who love their favorite brands - has been diminishing as a consequence of the economic crisis. [ABSTRACT FROM AUTHOR]

Copyright of aDResearch ESIC: International Journal of Communication Research / Revista Internacional de Investigación en Comunicación is the property of ESIC Business & Marketing School and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: This article analyses the practices of kid influencers on YouTube and the presence of brands in the videos they generate. Methods: This is an exploratory study based on content analysis performed on a sample of videos collected from the five most-viewed and most-subscribed YouTube channels starring Spanish children in January 2018. To be precise, we selected the five most-viewed videos from each of the selected channels (a total of 25 videos and 400´). The analysis of the engagement strategies is based on the models developed by McRoberts et al. while the analysis of brand presence is based on the model of Smith et al. Results: There is a common typology in the contents, a semi-professional management style and the simultaneous omnipresence of brands. Conclusions: Recommendations are made for the regulation and management of the communication practices of kid influencers on YouTube to ensure they are developed in a secure, positive, fun and responsible environment. [ABSTRACT FROM AUTHOR]

Introduction. Thanks to the YouTube platform, people previously unknown can generate such a large community that many brands can be seduced to collaborate with them through a new form of advertisement and product placement. We focus on Verdeliss' case, a young Spanish mother of six children that has professionalized her activity on YouTube. Methodology. We performed a content analysis of 606 videos published in the Verdeliss' YouTube channel verifying the presence (spontaneous or sponsored) of brands and their evolution. Results. We established 4 differentiated stages in her contents production, each one with different characteristics. The last stage of their production corresponds to the permanent collaboration with commercial brands. Conclusions. This new profile of professional influencer is obliging brands to re-invent their communication to keep connecting with their consumers. [ABSTRACT FROM AUTHOR]

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Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ciencia Administrativa is the property of Universidad Veracruzana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The introduction and consequent consolidation of information technology and telecommunications in audiovisual stories gives the receiver the ability to change from the traditional role of passive spectator to active user. In this scenario it is necessary that brands and creators work together in order to face the challenges of a new era. The creation of fictional characters, like Benito, can be used as a tool to tell stories and represent a brand (Cuétara). This paper uses the results of five work sessions carried out in the I Seminar of transmedia communication (between November 2014 and October 2015) at the Universitat Jaume I (UJI) de Castellón, Spain and the interview with the creative team that participated in the creation of the character Benito to highlight the benefits of this initiative. [ABSTRACT FROM AUTHOR]