Search

The rise of open access (OA) publishing has been followed by the expansion of the Article Publishing Charges (APC) that moves the financial burden of scholarly journal publishing from libraries and readers to authors. We introduce the results of an international randomly selected sampled survey (N = 3,422) that explores attitudes towards this pay to-publish or Gold OA model among scholars. We test the predictor role of age, professional position, discipline, and income-level country in this regard. We found that APCs are perceived more as a global threat to Science than a deterrent to personal professional careers. Academics in low and lower-middle income level countries hold the most unfavourable opinions about the APC system. The less experimental disciplines held more negative perceptions of APC compared to STEM and the Life Sciences. Age and access to external funding stood as negative predictors of refusal to pay to publish. Commitment to OA self-archiving predicted the negative global perception of the APC. We conclude that access to external research funds influences the acceptance and the particular perception of the pay to publish model, remarking the economic dimension of the problem and warning about issues in the inequality between centre and periphery.

The launch of Disney+ in Spain in March 2020 coincided with the Covid-19 pandemic and a period of home confinement for many Spaniards. This study examines the advertising and engagement strategy used by Disney+ on Twitter and Instagram, analyzing 2,268 messages. The platform’s social media use is similar to that of its competitors, with Twitter used for user engagement and Instagram used for content promotion. However, the study finds that the platform missed the opportunity to emphasize its unique qualities and appeal to the brand’s values. Despite this, Disney+ generated significant engagement during its launch month, reflecting high levels of user anticipation. Popular original productions such as The Mandalorian and Aladdin, as well as acquired content like The Simpsons, indicate the brand’s focus on a family or broad-spectrum target audience, in contrast to the younger and niche audiences favored by its competitors. La llegada de Disney+ a España en marzo de 2020 estuvo marcada por la pandemia del Covid-19. El periodo de confinamiento domiciliario entre la población española coincidió con la irrupción del nuevo servicio streaming de una de las marcas más conocidas y queridas a nivel mundial. Este estudio analiza la estrategia publicitaria y de engagement empleada por Disney+ en Twitter e Instagram. El análisis de contenido incluye 2.268 mensajes. Se aprecia un uso de las redes sociales similar a marcas competidoras como Netflix con un uso de Twitter para informar y responder a los comentarios de los usuarios; mientras que de Instagram se promueven nuevos contenidos, en especial películas. Se observa que en el intento de destacar sus elementos diferenciales como servicio bajo demanda, se pierde la oportunidad de apelar a los valores propios de la marca del ratón. La plataforma consiguió un mejor engagement durante el mes de lanzamiento, lo que muestra la alta expectativa de los usuarios. Entre las publicaciones más virales se encuentran producciones originales como The Mandalorian o Aladdín, pero también productos adquiridos como Los Simpson, y que apuntan al interés de la marca por un target familiar o de amplio espectro, frente a audiencias más jóvenes y de nicho valoradas por la competencia.

The Covid-19 pandemic and the arrival of Disney + marked the second quarter of 2020 in the Spanish audiovisual market. Thus, the period of home confinement among the Spanish population coincided with the irruption of the new streaming service of one of the best-known and most loved brands worldwide. However, Netflix was the most consumed SVoD during this period. The objective of this research is to find out what the Californian company has done in communicative terms as a market leader and in the face of the need to adapt to the new circumstances of its audiences. The results show how Netflix Spain has integrated COVID-19 in its social media strategy in the pass between the lockdown and maximum consumption to a progressive lessening of social restrictions. The content analysis of Twitter and Instagram found 121 messages regarding pandemic (from a total of 1380). Netflix employed Twitter to connect with its audiences with humor, proximity and information, using taboos in the hardest moments, and an increased frequency of publications as the health situation improved. On the contrary, on Instagram there was no specific strategy, but imitation of the practices on Twitter and scarce references to COVID. Besides, there has been an evolution of the messages more or less parallel to the public health changes, choosing a strategy of proximity with the users, and with a communication closer to an influencer rather than a company.

This article explores the process carried out by Spain’s state radio station -Radio Nacional de Espana- to devise the figure of Francisco Franco, first as a war hero, supreme chief of the rebel sid...

Introducción: Esta investigación explora el impacto de la crisis de la COVID-19 en el ecosistema de las aplicaciones móviles. Metodología: Se parte de la búsqueda y localización de apps sobre COVID19 en las plataformas Google Play y Apple Store para seleccionar aquellas de mayor impacto y difusión a las que se practicó un análisis cuantitativo. Resultados: La investigación se ha centrado en cuatro aspectos: (1) la aparición de estas aplicaciones y su evolución a tenor de la actualidad durante los primeros meses del año 2020; (2) las características, propósitos y rasgos del discurso; (3) qué rasgos identificaron a los emisores y, por último, (4) la recepción que hicieron los usuarios sobre las apps. Discusión: los dos grandes tipos de desarrolladores (entidades gubernamentales e iniciativas privadas) se centraron en aplicaciones de control y diagnóstico de la enfermedad junto a otras que trataban de paliar la creciente demanda de información.

The measurement and control of research activity in universities is increasingly more relevant and conditions its institutional image, as international proliferation of rankings proves it. The aim of this paper is to analyse the support actions that Spanish universities are offering to the scientific community to achieve research excellence, categorize them, and afterwards compare if there is a correlation between these internal services and the position of Spanish universities in the SIR ranking, which is based primarily on external results. This methodology is based on content analysis. The results obtained show some similarity, in spite of the discordant cases that allow us to conclude that the research activity responds to individual initiatives and finds synergies from collaborative work between different institutions. Also, public universities show higher levels of support to research, than private ones. © 2020, Universidad Nacional Autonoma de Mexico. All rights reserved. La medición y control de la actividad universitaria es cada vez más relevante y condiciona la imagen institucional. La proliferación de rankings internacionales así lo evidencia. El objetivo de esta investigación es analizar las acciones de apoyo que las universidades en España ofrecen a la comunidad científica para alcanzar la excelencia investigadora, categorizarlas y comparar, después, si existe una correlación entre estos servicios internos y la posición de las universidades españolas en el ranking SIR, con base en resultados externos. La metodología se fundamenta en el análisis de contenido. Los resultados obtenidos evidencian cierta similitud, aunque hay casos discordantes que permiten inferir que la actividad investigadora responde a iniciativas individuales y encuentra sinergias a partir del trabajo colaborativo entre diferentes instituciones. Además, se perciben niveles más elevados de fomento de la investigación en el caso de las universidades públicas.

Producción Científica, Este artículo analiza Radio Nacional de España en la inmediata posguerra. Con una gran carestía material y humana, y una legislación en desarrollo, el franquismo se vio obligado a redefinir una radio que se había planteado para la Guerra Civil y adaptarla para una nueva etapa. Ello obligó a actuar sobre dos ejes: por un lado, el desarrollo de una administración centralizada que permitiera gestionar los escasos y dispersos recursos de la forma más eficiente posible, en lo que tuvo un papel muy destacado REDERA. Por otro, la planificación y construcción de una infraestructura, particularmente a través del complejo de Arganda, que permitiera una apropiada cobertura nacional e internacional., This article analyzes the role of Radio Nacional de España in the early francoism. In a context of great material and human scarcity, and with a legislation still in development, the Franco regime was forced to redefine a radio created to respond to the needs of the Civil War and adapt it for a new stage. This forced to act on two axes: First, the development of a centralized administration that would allow to manage the scarce and dispersed resources in the most efficient way, in which REDERA had a prominent role. Second, the planning and construction of an infrastructure, particularly through the Arganda complex, which would allow appropriate national and international coverage.

The advent of private television in Spain from 1990 posed two key crises for public television: an acute funding crisis, due to a fall in advertising revenues, and an identity crisis, since the exact meaning of public service television had not been clarified. These issues were discussed at length by the RTVE Parliamentary Control Committee from 1990 to 2010. The year 2010 saw the entry into force of the law that established the new model of TVE, which stipulated the removal of advertising and defined the broadcaster as a public service. There was a political reluctance of successive governments to undertake real changes, which would imply a high political price, while the parliamentary opposition was intent more on damaging the reputation of the sitting government than on reaching an agreement on a model of public television. In fact, the reforms were eventually imposed by external factors, namely, European directives and the advertising market crisis. This condemned TVE to a complementary, non-competitive role in the Spanish television panorama.

Despite the advance of the Open Access (OA) movement, most scholarly production can only be accessed through a paywall. We conduct an international survey among researchers (N = 3304) to measure the willingness and motivations to use (or not use) scholarly piracy sites, and other alternatives to overcome a paywall such as paying with their own money, institutional loans, just reading the abstract, asking the corresponding author for a copy of the document, asking a colleague to get the document for them, or searching for an OA version of the paper. We also explore differences in terms of age, professional position, country income level, discipline, and commitment to OA. The results show that researchers most frequently look for OA versions of the documents. However, more than 50% of the participants have used a scholarly piracy site at least once. This is less common in high-income countries, and among older and better-established scholars. Regarding disciplines, such services were less used in Life & Health Sciences and Social Sciences. Those who have never used a pirate library highlighted ethical and legal objections or pointed out that they were not aware of the existence of such libraries.

The apparition of the television’s second channels in the sixties caused a scenario in Europe with many differences, with roughly two main models: a liberal model, frequent in Northern Europe, and a Mediterranean model, in which televisions were more State-dependent. However, both models had common problems, such as attracting people’s interest about a more cultural programming. This research aims to show this situation through a comparative analysis between TVE’s Second Channel and BBC-2, paradigm for public service televisions, and the Portuguese RTP-2, also a public broadcaster from an authoritarian regime. La aparición de las segundas cadenas de televisión a mediados de los 60 propició un escenario en Europa con grandes diferencias, en el que se distinguía, a grandes rasgos, un modelo liberal, habitual en el norte del continente, y un modelo mediterrá-neo, más dependiente del Estado. Sin embargo, ambos modelos, pese a partir de situaciones legales y económicas muy diferentes, tuvieron algunos problemas comunes, como la dificultad de lograr despertar el interés de la población hacia una programación más cultural. Esta investigación se propone poner esta situación de manifiesto a través de un análisis comparativo de la Segunda Cadena de TVE con la BBC-2, paradigma de las televisiones públicas liberales del norte de Europa, y la portuguesa RTP-2, de un régimen similar al español.

Social media have become useful tools for audiovisual promotion, especially to reach niche audiences. Twitter promotional strategies have been widely studied, yet other growing platforms such as Instagram have been less analyzed. This paper examines the Instagram promotional strategies of two pay-per-view platforms (HBO and Netflix) in two markets (the United States and Spain). A total of 731 messages, posted between May and November 2017, were analyzed to identify their formal features, objectives, and their content’s emotional and cognitive elements posted on HBO and Netflix’s Spanish and U.S. accounts. The results showed acute differences between how HBO and Netflix use their Instagram accounts in the two markets (Spain and the United States). The Spanish accounts mostly provided information, while the American accounts both provided information and promoted program content. Posts from U.S. accounts more frequently included links to social media, particularly to celebrity accounts. Spanish accounts relied more on diegetic images, whereas U.S. accounts emphasized non-diegetic and off-set images. Netflix used humor more than HBO did, and a stronger focus on celebrities. Humor and positive tone were found to be linked to higher engagement.

This study analyzes the resources and strategies used by the US and Spanish profiles of HBO and Netflix on Instagram. For this, the year 2017 is taken as a reference because it is a period marked by the arrival of HBO in Spain. The content analysis of the 731 messages collected reflects a high internal consistency on the part of Netflix, while on HBO both channels differ significantly. An effort is appreciated by the Spanish profiles to adapt to the Spanish social reality by resorting to social causes or by emphasizing the dimension of the conflict. Este estudio analiza los recursos y estrategias utilizados por los perfiles estadounidense y español de HBO y Netflix en Instagram. Para ello se toma como referencia el año 2017, período marcado por la llegada de HBO a España. El análisis de contenido de los 731 mensajes recogidos refleja una alta coherencia interna por parte de Netflix, mientras que en HBO ambos canales se diferencian notablemente. Se aprecia un esfuerzo por parte de los perfiles españoles para adaptarse a la realidad social española recurriendo a las causas sociales o a poner el acento en la dimensión del conflicto.

Between 1945 and 1970, the educative laws of Francoism highlighted as special importance subjects Religion and Formación del Espíritu Nacional -Nationalist Spirit Formation-, which were present in all levels of education. The importance inside the schools was complemented with support in publics audiovisual media, with the broadcasting of contents that supported the syllabus of both subjects. This research gathers all registers of the broadcasts in TVE's First Channel between 1958 and 1975 and analyses them, focusing on contents related to these subjects. The aim was to ascertain how many hours were dedicated to these programmes, the daytime in which they were aired and the evolution of the contents in the studied timeframe. The authors conclude that, even while both types of content had a great presence in the screens, religion had the pre-eminence, both in minutes broadcasted and in the time bands chosen. Moreover, religion was important in television until Franco's death, while the contents linked to Falange's ideology tended to disappear or to be transformed in entertainment programmes that, albeit while they still had political charge, were subtler. In addition, there is an effort by TVE to program the contents in a time band according to their target public, although more often than not these strategies were based on stereotypes more than in any real knowledge of the audience's interests. Entre 1945 y 1970, las leyes educativas del franquismo identificaron como asignaturas de especial importancia Religión y Formación del Espíritu Nacional, presentes en todos los niveles de la enseñanza. A la importancia concedida dentro de las aulas le acompañó un apoyo en los medios audiovisuales estatales, con contenidos que complementaban los currículos de estas materias. Esta investigación recupera y analiza todos los contenidos emitidos en el Primer Canal de Televisión Española entre 1958 y 1975 relacionados con estas asignaturas. Se concluye que, aunque ambos contenidos tuvieron una gran presencia, los contenidos religiosos gozaron de una especial preeminencia, tanto en minutos emitidos como en importancia de los horarios escogidos. Además, mantuvieron su importancia hasta la muerte de Franco, mientras que los espacios relacionados con el ideario de Falange fueron desapareciendo o transformándose en espacios de entretenimiento que tenían una misma función de politización y transmisión del ideario franquista, pero lo hacían de forma más sutil. Además, se aprecia un esfuerzo de TVE, dentro de las limitaciones de la época, por llegar a los públicos objetivo de cada programa a través de una elección de los horarios en que se programan los espacios, si bien en la práctica las estrategias se mueven más por estereotipos que por un conocimiento real de los intereses de la audiencia.

Producción Científica, Aunque España no entró en la Segunda Guerra Mundial, su postura osciló de la neutralidad a la no beligerancia a favor del Eje, y, de nuevo, a la neutralidad, cuando Alemania empezó a perder la guerra y fue conveniente alejarse. Esto se manifestó en la cobertura que los medios, y especialmente Radio Nacional de España -que tenía el monopolio informativo radiofónico- hizo tanto de la guerra como de la iniciativa política más comprometida del régimen: el envío de la División Azul. La cobertura de RNE también evolucionó, junto con la del resto de la guerra, de la glorificación de los divisionarios al silenciamiento., Even though Spain did not enter Second World War, it’s official politic changed from neutrality to non-belligerant, favouring the Axis, and once more to neutrality, when Germany began to lose the war and it was convenient to take distances. This manifested in the coverage that media, and especially Radio Nacional de España -which was the only radio allowed to give news- of the war and of the most politically commited initiative of the Regime: sending the Blue Division. War coverage -and of the Blue Division- of RNE evolved, from the glorification of the divisionaries to the silencing.

The streaming platform Netflix began to offer on-demand content in Spain in 2015. This study offers an analysis of the Twitter strategy the company implemented during its initial year in this marke...

Se analiza la percepción que poseen los editores de revistas académica españolas acerca de los principales cambios producidos por las tecnologías digitales y los medios sociales en la comunicación científica. Concretamente se abordan las ventajas y desventajas atribuidas al acceso abierto, a la revisión abierta por pares y a las altmetrics. Para ello se ha llevado a cabo una entrevista a 15 directores de revistas indexadas en Web of Science o en Scopus, pertenecientes tanto al área de Ciencias como de Ciencias Sociales y Humanidades. Los resultados obtenidos apuntan a una percepción negativa de todas estas herramientas debido al temor al posible daño de la reputación de la revista. Tan solo el acceso abierto es percibido de manera positiva.

This paper aims to gain a better understanding of the perspectives of contributors to Spanish academic journals regarding open access, open peer review, and altmetrics. It also explores how age, gender, professional experience, career history, and perception and use of social media influence authors’ opinions toward these developments in scholarly publishing. A sample of contributors (n = 1254) to Spanish academic journals was invited to participate in a survey about the aforementioned topics. The response rate was 24 per cent (n = 295). Contributors to Spanish scholarly journals hold a favourable opinion of open access but were more cautious about open peer review and altmetrics. Younger and female scholars were more reluctant to accept open peer review practices. A positive attitude toward social networks did not necessarily translate into enthusiasm for emerging trends in scholarly publishing. Despite this, ResearchGate users were more aware of altmetrics.

Introducción. Los estudios sobre historia de la televisión en España durante el franquismo no recurren a las fuentes directas. Objetivos. El objetivo de esta investigación es analizar desde datos nuevos y concretos, los telediarios de TVE en el periodo franquista. Método. Para el desarrollo de esta investigación se han empleado de manera exhaustiva, no como mero ejemplo, las parrillas de programación recuperadas de La Vanguardia, Abc y Tele Radio, y los partes de emisión de TVE. Conclusiones. Con el manejo de estas fuentes se pretende mostrar la existencia de una amplia gama de recursos de información accesibles, desde las que es preciso abordar nuevos estudios críticos de historia de la televisión en España.

Esta investigacion analiza como la plataforma de television en streaming Netflix consigue generar comunidad en la red social Twitter. A traves de un analisis de contenido (N=1.048 tweets, n=100 tweets) se responde a las caracteristicas que presentan aquellos mensajes que mas conversacion generan, mas se comparten y mas gustan. Los resultados reflejan lo que la audiencia social valora de una marca audiovisual para relacionarse con la misma. Se concluye que contar con una estrategia de creacion propia, promocionar e informar sobre series y emplear el lenguaje propio de la red –como el hashtag acompanado de recursos visuales- incrementa la participacion de los seguidores. Ademas, plantear preguntas para estimular la participacion, recurrir al humor o al suspense ayuda en este cometido.

El objetivo de esta investigación es analizar la cobertura de la crisis económica realizada por las dos principales televisiones privadas en España en uno de sus años de mayor intensidad informativa, 2012, por un lado, y buscar los rasgos propios del infoentretenimiento que han podido tener los telediarios a la hora de abordarla. Para ello se ha llevado a cabo un análisis de contenido de los informativos de prime time de Antena 3 y Telecinco. El artículo estudia cuáles son los temas, fuentes, actores y enfoques presentes en las piezas informativas del medio más consumido en este país. The aim of this study is analyze the coverage of the economical crisis by the two most important Spanish private televisions in one of its key years, 2012, in one hand, and to seek out for markers of infotainment in the news about the topic. For this purpose, we have performed a content analysis of prime time Current Affairs programmes of Antena 3 and Telecinco. The paper focuses on which topics, sources, actors and framings were present in the most widely consumed media in this country.

The Blue Division, Spain’s most notable military contribution to the Second World War, has been examined from many different perspectives, though the role of communication has not featured among them. This study aims to analyse the role played by Spanish state radio in the creation and maintenance of Spain’s war effort in that period. In order to achieve this, we used documentary sources, and more specifically, reconstructed the radio programming schedules, mainly using the press, due to the lack of audio recordings from the era. Finally, this work explores the role of radio from the Blue Division’s inception through to its official disbandment; or, put another way, the transition from commitment to the Axis powers to gradual estrangement from them. A dual transition process occurred on Radio Nacional de España: firstly, from zealous glorification to the silencing of the divisionaries by official order. The second transition was from a radio station that, since the Civil War, had lost its persuasive power, to a new perception of propaganda based on the familiar and the emotional.

Producción Científica, Este artículo plantea un análisis de Radio Nacional de España como medio oficial del franquismo en un periodo histórico determinado: los años de cambio en la dirección entre una Falange con posiciones cercanas a la órbita de los países del eje y su paso a posiciones menos beligerantes a medida que la suerte de la II Guerra Mundial cambiaba de dirección. En ese proceso, Radio Nacional de España fue un testigo sonoro de excepción y en este trabajo se analizan el proceso de construcción de la radiodifusión estatal desde una perspectiva institucional, los cambios sufridos como institución y algunos hitos de su programación dentro de un contexto histórico específico., This paper offers an analysis about Radio Nacional de España like official médium of the francoism in a specific historical period: the years of change in the direction by Falange with positions near the orbit of the countries of the axis and their passage enters less belligerent positions as the luck of II the World war changed. In that process, National Radio of Spain was a witness of exception and -in this paper- we analyze the process of construction of the state broadcasting from an institutional perspective, Radio nacional changes and its broadcasts in a specific historical context.