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Ficha técnica: Tomás Atarama-Rojas Eunsa y Universidad de Piura Pamplona, 2023 164 pp. ISBN: 978-84-313-3850-3

Hatred is distinguished from the expression of democratic opinion by its harmful intent. Dissemination of hate speech on social media is characterised by its virulence (Zamora-Medina et al., 2021), especially when directed towards the political class, and particularly at women, who are challenged in a different way to their male counterparts (Soriano, 2019). This violence triggers an anti-feminist reaction (Wilhelm & Joeckel, 2018) characterised by extreme misogyny, reaction, and a tendency towards personal attacks. Thus, the aggression exerted by haters against this vulnerable group contaminates the public sphere and negatively affects the quality of democracies. On the basis of this state of affairs, this research seeks, through content analysis, to identify and analyse expressions of hatred directed towards the five female candidates for the presidency of the Community of Madrid (Isabel Díaz of the Partido Popular, Mónica García of Más Madrid, Rocío Monasterio of Vox, Alejandra Jacinto of Podemos, Izquierda Unida, and Alianza Verde, and Aruca Gómez of Ciudadanos) in the comments made on their official Instagram accounts during the May 2023 election campaign. In addition, it aims to examine hate discourses that may be related to both a female gender bias and other vulnerable groups through issues such as aporophobia or xenophobia, among others. The results show that hatred is directed towards female politicians with great intensity. [ABSTRACT FROM AUTHOR]

El odio se distingue de la opinión democrática por su intención dañina. La difusión del hate speech (Paz-Rebollo et al., 2020) a través de las redes sociales se caracteriza por su virulencia (Zamora-Medina et al., 2021; Moreno & Morales, 2022), especialmente cuando se dirige hacia la clase política y, en particular, hacia las mujeres que son cuestionadas en clave diferente a sus homólogos masculinos (Soriano, 2019). Esta violencia desencadena una reacción antifeminista (Wilhelm & Joeckel, 2018) caracterizada por su misoginia extrema, reactividad y tendencia a los ataques personales (Bonet-Martín, 2020). De este modo, la agresividad ejercida por los haters contra este colectivo considerado vulnerable está contaminando la esfera pública y afectando negativamente la calidad de las democracias. Partiendo de esta realidad, la presente investigación tratará de identificar y analizar las expresiones de odio dirigidas hacia las cinco mujeres candidatas a la presidencia de la Comunidad de Madrid (Isabel Díaz del Partido Popular, Mónica García de Más Madrid, Rocío Monasterio de Vox, Alejandra Jacinto de Podemos, IU y Alianza Verde, y Aruca Gómez de Ciudadanos) en los comentarios realizados en sus cuentas oficiales de Instagram durante la campaña electoral de mayo de 2023. Además, pretende examinar los discursos de odio que pueden estar relacionados tanto con un sesgo de género femenino como con otros colectivos vulnerables a través de temas como la aporofobia o la xenofobia, entre otros. Los resultados revelan el hecho de que la política desvía el odio hacia las mujeres políticas con gran intensidad (Lacalle et al., 2023).

Introduction: On February 24, 2022, the Russian invasion of Ukraine began. The conflict has also spread on social networks, where both the invader and the invaded are responsible for building their own story. Objectives: To carry out a comparative analysis of the social audience on Twitter of the profiles o f t he Government o f t he Russian Federation (@GovernmentRF) and t he Office of the President of Ukraine (@APUkraine). Methodology: Two social analytics tools based on the application of audience intelligence algorithms have been used, with a double objective: on the one hand, to carry out an analysis of the composition of the social audience of the chosen profiles; and on the other hand, through the choice of keywords, identify which profiles achieve greater reach and authority. Discussion and results: The applications have allowed us to study the audiences of the two selected profiles, providing a detailed description of the segments or communities that shape that audience, their demographic and psychographic data, while allowing segments to be connected. of audiences with other social listening and analytics platforms, influencer marketing tools, digital advertising platforms and other social analytics applications. Conclusions: The analysis carried out is of great importance to know the profile and interests of the Twitter audience of the followers of the official accounts of Russia and Ukraine, showing that words such as "no war" or "reject" are among the most repeated. in the tweets published between March 18 and April 17, 2022, as well as Hashtags about cities hit by war are the most used in these publications. [ABSTRACT FROM AUTHOR]

Desde finales del siglo XX, el politainment o conjunción de información política y entretenimiento se ha intensificado en los medios de comunicación, especialmente en televisión. Simultáneamente, en un contexto de convergencia mediática, las redes sociales han transformado el comportamiento de los espectadores televisivos, de forma que cada vez más es una audiencia social que comparte, comenta y genera contenidos en redes. Esta investigación describe el trabajo que realizan los gestores de las redes sociales de los programas de politainment en Twitter para comprobar hasta qué punto sus rutinas favorecen este fenómeno y examina la respuesta de los prosumidores. Entre las conclusiones, destacan que varios de los criterios que aplican los community managers al tuitear están vinculados al infoentretenimiento político ponderando la polémica y el humor. La audiencia social, participa también del fenómeno emitiendo contenidos críticos, a menudo agresivos, y muy polarizados, que contribuyen a simplificar y extremar el mensaje.

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Content shared on social media platforms is increasingly centred on images and conversations discussing television on digital platforms are also influenced by this trend. This article examines the visual data posted by viewers while watching the 2019 edition of the Spanish and British adaptations of the international Reality Show ‘The Voice’. With the sample including images posted by viewers on Twitter during the broadcast of the episodes, the production formats, the type of content, the purpose of the images and the connection between the visual data and the text in the tweet have been analysed. The results highlight three different trends: the parallel visual narrative created by viewers on Twitter through the use of digital culture, the showcasing of their private sphere and the appropriation of images from the television episodes altering the discourse presented by the broadcasters. [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 Digital Education Review is the property of University of Barcelona, Virtual Teaching & Learning Research Group 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 television debate represents a decisive factor in political communication campaigns, and even more so if we consider that the television channels arbitrate social audience strategies that cause the message to be transmedia. The candidate, a television political leader, is able to impact on an audience that is larger than the one exposed to the propagandistic tools, and they can obtain an advantageous position in the distribution of votes. The political debate, understood as informative and live content, is potentially attractive to the traditional and social audiences and hence, the television channels structure programming strategies and social media to compete for the largest number of viewers. This research analyzes the transmedia proposal of La 1 of TVE, Antena 3, Telecinco and La Sexta before the pre-electoral debate of June 13th, 2016. All television channels benefit from the social impact of debate to a greater or lesser extent, achieving an accumulate audience of 47% and 1.8 million of tweets. Conversations were channeled through hashtags, and there was participation from official broadcasters, including political leaders, and screen integration.

El objetivo principal de esta investigación se centra en la interacción de la industria televisiva en abierto con su audiencia social a través de Twitter. Con este propósito, presentamos los resultados del análisis de contenido de las cuentas oficiales de los programas de mayor audiencia de un total de 26 canales generalistas en abierto en los cinco mayores mercados europeos (Alemania, Italia, UK, Francia y España). Los tuits publicados en las cuentas de dichos programas televisivos han sido recopilados a través del API y software específico. Los objetivos del estudio se concretan en el conocimiento de las formas, contenido, estrategias de activación de la audiencia social y tipologías de las publicaciones en las cuentas de estos programas pertenecientes a los tres principales pilares de la programación televisiva (ficción, info-show e información) y también en las divergencias y similitudes que existen entre las televisiones generalistas en función del país, la titularidad de las cadenas y el género programático. De nuestros resultados se desprende un interés bajo, aunque desigual entre países, por parte de los programas más populares por interactuar con su audiencia social en Twitter.

Traditional television coexists with formats that originated on the internet, as well as on-demand consumption, paid television, and other audio-visual content distribution platforms. Audience data reveal a steady decline in television viewership, and digital technologies now allow any citizen to produce audio-visual content and distribute it for mass consumption through the internet. Given this new audio-visual ecosystem, the aim of this research is to ascertain whether there are any signs of a crisis regarding the dominance of television as a means of disseminating the products of the culture industry. Disinterest or indifference toward conventional programming by users would reveal a danger to the broadcast industry. In contrast, the consumption of television products through other channels would imply the retention of television audiences through the internet. This study analyzes perceptions regarding television through five online discussion groups. Three conclusions can be drawn: Firstly, television holds a prominent place in the daily lives of those who use it, including the youngest participants, despite the fact that audiences have declined in recent years. The second conclusion states that the perception of television is positive and associated with disengagement, relaxation, and family gatherings, which can be combined with individual consumption at other times of the day. As a third conclusion, this study reveals the high degree of compatibility between the internet and television screens, as new forms of consumption are emerging, yet there is still a predominant interest in content on television and from the mass culture industry. [ABSTRACT FROM AUTHOR]

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The televised electoral debate, far from losing prominence in favor of social media, is confirmed to be a key instrument for political communication. The two televised events prior to the general elections of 28 April in Spain, which were broadcast 24 hours apart (by RTVE and Atresmedia), raised great expectations and prioritized a conflictive atmosphere. The objectives of this study are to determine the issues, strategies, and discursive ploys of the leader-influencers and to analyze the rhetorical features of the political language on Twitter. In the context of these two electoral debates (22 and 23 April, 2019), a comparative quantitative, qualitative, and discursive content analysis methodology is applied to a general sample of messages on TV (n1 = 2,892) and a specific sample of tweets published on the accounts of the political parties (n2 = 190). The issues debated (issue frame), the candidates' strategies (game frame), and the level of influence on Twitter are analyzed through propaganda and fallacy mechanisms. The results confirm that both debates covered homogeneous themes with an active response from the audience and a trend towards fake spectacularized discourse. [ABSTRACT FROM AUTHOR]

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Television electoral debates are considered one of the most relevant events during the election period due to their high audience and also because of the power they generate to direct the media agendas. The present research examines the transmission of this format in front the proliferation of screens, diffusion on the social networks, introduction of on demand services, and on the go consumption together with the emergence of new television performers. This quantitative study analyses the debates issued during the parliamentary elections in Spain, which took place on the 28th of April 2019, in order to learn about their impact further than traditional television consumption and the engagement achieved. The methodology employed combined the monitoring of different platforms. The conclusions obtained support that the emission of this kind of debates takes place through new distribution channels, generating a high tracking rate on Twitter. The broadcasting strategies of the television chains differ. [ABSTRACT FROM AUTHOR]

The social audience emerges with the simultaneous exposure to television and social networks. Through them the audience voices its opinions or interests about the contents in real time. This information is of great value for the advertising strategy. By analyzing the presence of social audiences in the most effective commercial communication campaigns, this study makes evident the common elements and variables used by them. The 23 campaigns awarded in the Efficacy Awards, granted by the Asociación Española de Anunciantes, in the category of media and tactical action, from 2014 to 2018 are examined. Social conversation is detected in 15 cases, although only four campaigns link television content to social media, including social audience in their public strategies. Accordingly, the use of the social audience is scarce but a favorable progression in the strategies is observed, since they gain in transmediality and agents' participation. Engagement is pursued and branded content, gamification or multiplication of official transmitters is used. The latest cases reveal how they take advantage of these audiences. [ABSTRACT FROM AUTHOR]

La tecnología digital proporciona posibilidades narrativas y de interacción con la audiencia que han comenzado ya a ser aprovechadas por las televisiones. Una de las más recientes es Facebook Live, por la que a través de Facebook se pueden realizar emisiones en directo o streaming desde un dispositivo móvil. El grupo Atresmedia adoptó esta herramienta a finales de 2016, tanto en Antena 3 como en laSexta, incorporándola a determinados perfiles de estas cadenas en la mencionada red social. Estos directos buscan un contacto estrecho con los seguidores de los distintos espacios televisivos y forman parte de una estrategia digital más amplia, en la que la audiencia social y la tradicional aparecen relacionadas. La presente investigación se centra en analizar cómo utiliza Atresmedia estas conexiones en directo y si existe una estrategia con unas pautas y objetivos definidos en las cuentas de Facebook analizadas, tanto en Antena 3 como en laSexta.

Copyright of Revista de Comunicación 'Vivat Academia' is the property of Facultad de Ciencias de las Informacion de la Universidad Complutense (Espana) 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.)

La introducción de nuevas formas de consumo televisivo lleva consigo cambios en las audiencias. En un contexto de televisión líquida se hace cada vez más necesario analizar nuevos tipos de consumo como el que se realiza en las redes sociales (audiencia social) o el visionado de productos televisivos fuera del horario de programación (audiencia en diferido). En este artículo, a través del estudio de caso, se analizan tres tipos de audiencia (lineal, social y en diferido) de tres productos de ficción emitidos en las televisiones generalistas españolas durante el último trimestre de 2015. De la investigación se concluye que el éxito en la audiencia lineal no asegura la superioridad en la audiencia social, si bien los datos de las tres se complementan y nos acerca al nuevo televidente.

En este trabajo se analiza la aparición de un nuevo modelo de radiodifusión en España, basado en la narración transmedia. El caso de "Víctor Ros" es una de la primera series transmedia, en el que los medios sociales participan en la trama, y no sólo en la promoción de la emisión de televisión. TVE ha diseñado una esta estrategia transmedia con el fin de restaurar la originalidad de esta serie, emitida previamente por Movistar TV. A lo largo de esta investigación nos preguntamos cuál es el papel de la televisión en los contenidos transmedia, cómo afecta esta narración en la audiencia social, y, finalmente, de qué manera se puede introducir un narrativa transmedia en una serie de ficción.

Las nuevas tecnologías han abierto la puerta a la incorporación de nuevos actores a la difusión masiva de contenidos que pugnan con los medios de comunicación de masas tradicionales por ganar un espacio en los marcos de referencia que la ciudadanía utiliza para interpretar la realidad. Sin embargo, lejos de ser dos fuerzas antagónicas, existe complementariedad entre ellas. El objetivo de este trabajo es estudiar la relación existente entre los asuntos que se generan en un debate político de televisión y las conversaciones que circulan a su alrededor por la red social Twitter. Para ello, se analiza el alcance del hashtag #L6Nrajoyyrivera utilizado por el programa La Sexta Noche en su edición del 20 de agosto de 2015, coincidiendo con un momento de amplia actividad política como consecuencia de la incertidumbre sobre la formación de Gobierno en España tras dos procesos electorales en un periodo de seis meses. Los resultados evidencian la importancia de Twitter como segunda pantalla y como canal para ampliar la difusión de los contenidos televisivos, especialmente cuando los protagonistas del programa participan directamente en la conversación social. Ahora bien, esta actividad en el entorno digital no supone un aumento de la calidad en el debate.

El artículo explora la opinión de la audiencia social sobre los programas de ficción de producción española estrenados en 2011 y 2012, periodo en el que se afianza la sinergia entre televisión e internet en España. La investigación analiza el buzz social generado por fans, community managers y, eventualmente, otros miembros del equipo del programa (p. ej. actores) tras la emisión del último episodio de 72 ficciones (44 series y seriales televisivos y 28 webseries). De los 8103 comentarios recogidos, el 62.6 % (5073 posts) hacen referencia al relato de la ficción compuesto por las tramas, los personajes, los actores y los escenarios. El contenido de los mensajes ha sido diseccionado a través de un libro de códigos diseñado para el software Atlas. ti. Los resultados confirman la inclinación de los fans por el humor, la sorpresa y los personajes que representan valores positivos, mientras que los juicios negativos se concentran en los finales mal orquestados. Por último, el discurso que emerge del entorno oficial persigue la promoción y construcción de una imagen de calidad del programa que evita cualquier comentario de carácter crítico.

New and multiple access devices and distribution channels to audiovisual content has led to the emergence of the phenomenon known as ‘second screen’ and the existence of more proactive and participatory consumption of audiovisual products by consumers. We make a bibliographic review on the concepts of social television and audience, transmedia storytelling and the new roles of audiovisual archivists on the generation of added value on audiovisual products, especially in social audiences deferred in time. To this end we have analized the television serie The Ministry of Time, premiered the public Spanish television La 1 - TVE. We collected and analyzed more than 30,000 tweets sent with some of the hashtags used by producers and consumers of the television serie. The results show a high dispersion in the number of authors, a concentration of a few authors that send many tweets and a vast majority who just send one or two tweets but represent over 90% of all the tweets sent. We also conducted an analysis of both, hashtags and content analysis of the messages showing some terms and words that show the degree of consumer satisfaction with the serie and the positive sentiment to some of the characters.

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.)

The article explores the opinion of social audiences on the fiction programs that premiered in Spain over the period between 2011 and 2012, when the synergy between television and the internet in Spain was strengthened. The investigation analyzes the social buzz created by fans, community managers and, eventually, by other members of the program's team (e.g., actors) after the last episode of 72 fiction programs (44 series and TV series and 28 web series) aired. Of the 8103 comments gathered, 62.6% (5073 posts) refer to the fiction story consisting of plots, characters, actors, and scenarios. The content of the messages has been dissected through a codebook designed for the Atlas.ti software. The results confirm the fans' inclination towards humor, surprise, and characters representing positive values, while negative judgments focus on badly orchestrated endings. Finally, the discourse that emerges from the official environment pursues the promotion and construction of a quality image of the program that avoids any critical comments. [ABSTRACT FROM AUTHOR]

Communication industries have become powerful instruments for dominion and submission by locating themselves strategically in economy, politics and culture. All these aspects of human representation are influenced by the entertaining industries, thus achieving their goal of subduing their manipulated audience towards passivity. Methodology. Through a mixed methodology and the triangulation of obtained data, the study yields significant results concerning the influence of entertaining industries, as reflected in the statements of the subjects interviewed. Conclusions and discussion. Our analysis and reflections lead us to conclude that mainstream culture has had an impact on the popular culture, not to make the public the true protagonist though, but to impose messages phrased by the hegemonic class. [ABSTRACT FROM AUTHOR]

Introduction. Digital age brings to television fiction viewers a variety of spaces where they can disclose their self-identity and emotions generated by the texts consumed. Methodology. This article analyses 7,849 comments posted by female fans and community managers on 122 sites (forums and social networks) dedicated to the Spanish TV fiction. The 22,301 items generated from the comments analysed explore the emotions aroused by television fiction, such as joy, enthusiasm, sadness, anger, disappointment and nostalgia. Conclusions and discussion. The research confirms the potential of TV fiction to encourage self-reflection on the self-identity of fans. It also identifies forums as the platforms that encourage deeper debates about TV series, despite the popularity of social networks such as Facebook or Twitter. Finally, community managers' comments, which focus on the promotion of TV programmes, disregard the strengthening of the feeling of collective identity. [ABSTRACT FROM AUTHOR]

Digital technologies allow new actors' participation into to the massive diffusion of contents that struggle with the traditional mass media to gain space in the framing that citizens use to understand the reality. However, far from being two antagonistic forces, there is certain complementarity. This work studies the relationship between the contents generated in a political television debate and the conversations that circulate around it by Twitter. The scope of the hashtag #L6Nrajoyrivera used in the program La Sexta Noche in its edition of August 20, 2016 is analyzed. The result highlights Twitter is relevance as a second screen and as a channel to expand content television, especially when the main actors of the program participate directly in the social conversation. Nevertheless, this greater activity in the digital environment does not suppose a higher quality in the debate. [ABSTRACT FROM AUTHOR]

Copyright of Trípodos is the property of Universitat Ramon Llull, Facultat de Comunicacio Blanquerna 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.)

Reseña del libro: Quintas-Froufe, N. y González-Neira, A.(coords.) (2015). La participación de la audiencia en latelevisión: de la audiencia activa a la social.Madrid: Asociación para la Investigación de Medios deComunicación (AIMC) Judith Clares-Gavilán DOI: 10.5294/pacla.2016.19.3.11

El presente trabajo de investigación aborda el concepto de audiencia social, nuevo espacio narrativo nacido de la convergencia de la audiencia televisiva y las conversaciones de usuarios en Twitter, analizando las estrategias de los programas de la televisión española con mayor impacto social. Entender qué es exactamente la audiencia social, cómo funciona o qué tipo de mediciones se realizan de la misma se hace más necesario que nunca para ahondar en los usos y oportunidades que supone tanto para el medio televisivo como para los anunciantes, que deciden invertir en un espacio determinado. A través del estudio de casos exitosos ya implantados se pretende establecer fórmulas de éxito que logren una participación aún más activa de los usuarios, el trasvase de audiencia social a la audiencia tradicional y la inclusión ventajosa de las marcas en este nuevo escenario comunicacional cargado de posibilidades.

Today's TV context is defined by new services like view-on-demand, "extra" content, and conversations with the audience. The public has more power to decide what to view and can influence the programming with their comments. Because of this, TV channels have created strategies to improve the online products and encourage public participation. Success also depends on social TV and VoD. The objective of this study was to analyze how Spanish prime time has adapted to new media and how programs are managing interactions with the audience. In order to do the analysis, the three main TV groups -RTVE, Atresmedia, Mediaset- were chosen and all the programs were categorized into three genres. The results revealed a weakness in the interactivity strategy of television programs, especially in the informative genres. [ABSTRACT FROM AUTHOR]

Copyright of F@ro: Revista Teórica del Departamento de Ciencias de la Comunicación y de la Información is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

El proceso de radiomorfosis ha conllevado la ampliación del universo de la radiofonía a nuevas plataformas web como las redes sociales. Cadenas, emisoras, espacios o comunicadores radiofónicos han creado sus propios perfiles en estas plataformas, mayoritariamente en Twitter y Facebook. Estos perfiles constituyen una expansión de los contenidos de la radio convencional para una audiencia que, cada vez más, acude a Internet para ampliar la información de los medios tradicionales. Si en un primer momento la creación de perfiles sociales por las marcas radiofónicas respondía a una tendencia, en el contexto actual la apropiación de dichos canales constituye una necesidad, especialmente desde aspectos como la personalización de contenidos, la participación de los oyentes-usuarios o la consolidación de comunidades online. El presente trabajo analiza la presencia y utilización que los principales programas de la radio española dan a sus canales en Twitter. Especialmente se ha prestado atención al grado de adaptación de los espacios radiofónicos a esta plataforma atendiendo a aspectos como la frecuencia de actualización y de publicación de links, hashtags, menciones y retuits, así como a otras variables relacionadas con la influencia de estos perfiles en la red de microblogging. DOI: 10.5294/pacla.2015.18.3.8

Este artículo presenta las conclusiones de una investigación sobre la audiencia social y la audiencia creativa en Twitter en España. El objetivo del proyecto es entender el nuevo comportamiento de la comunidad de usuarios de este espacio de microblogging durante la emisión de contenidos televisivos. Se trata, por tanto, de un estudio del manejo de dos, o más, pantallas simultáneamente (Twitter y Televisión o cualquier otro dispositivo que permita contemplar los programas de la TV). Se afronta con una metodología dual con técnicas cualitativas y cuantitativas procedentes de diversas áreas de conocimiento y se trata de una propuesta multidisciplinar. Entre los objetivos del proyecto se encuentra mostrar si es posible medir el número total de telespectadores por medio del flujo de tweets y describir cuáles son los líderes del debate de la televisión social.

The morphosis radio process has led the expansion of the universe of radio to new web platforms such as social networks. Chains, stations, spaces or radio journalists have created their own profiles on these platforms, mainly on Twitter and Facebook. These profiles are an expansion of the content of the conventional radio to an audience that increasingly turn to Internet to expand the information of traditional media. If at first the creation of social profiles by radio brands responding to a trend in the current ownership of these channels is a necessity, especially since aspects such as customizing content, audience participation-users or consolidation of online communities. This paper analyzes the presence and use that the main Spanish radio programs give their channels in Twitter. Particular attention has been paid to the degree of adaptation of radio programs to this platform considering aspects such as the frequency of updating and publishing links, hashtags, mentions and retweets, as well as other variables related to the influence of these profiles in the microblogging network. [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.)

This research presents the concept of social audience, as a new narrative space born in the convergence of the TV audience and the user's conversations in Twitter, and examine strategies of TV programs in Spain with higher social audience. Understand what exactly the social audience is, how does it works or what kind of metrics are made for it, becomes more necessary than ever to deepen into the uses and opportunities facing both the television media and advertisers who choose to invest in a TV space. Through the study of successful cases already implemented is to establish formulas for success that achieve a more active participation of users, transfer from social to traditional audience and the profitable inclusion of brands in this full of possibilities new communication scenario. [ABSTRACT FROM AUTHOR]