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Zasloni postajajo nepogrešljiv del življenja otrok, ki v stik z njimi stopajo pri vedno nižji starosti. Otroci začnejo zaslone praviloma spoznavati znotraj družine in preko različnih otroških oddaj. V raziskavi so nas tako zanimale gledalne navade malčkov in otrok v zgodnjem otroštvu ter pogled njihovih staršev o pomenu kakovostne otroške oddaje za otrokov razvoj in učenje. V vzorec je bilo vključenih 239 staršev malčkov in otrok v zgodnjem otroštvu, starih od 22 do 52 let (M = 34,90, SD = 5,24), ki so izpolnili vprašalnike o gledalnih navadah otroka kriterijih, ki po njihovem mnenju opredeljujejo kakovostno otroško oddajo in o načinih starševskega posredovanja pri gledanju otroških oddaj. Dodatno so izpolnili še vprašanja o demografskih značilnostih in odgovorili na pet odprtih vprašanj o oddajah, ki jih njihov otroka gleda, in ki bi mu jih priporočili, ter o njihovem mnenju glede možnih negativnih in pozitivnih vplivih oddaj na otroka. Rezultati so pokazali, da slovenski malčki in otroci v zgodnjem otroštvu v povprečju otroške oddaje gledajo približno eno uro na dan in so zaslonom izpostavljeni že pred 2. letom starosti. Pri usmerjanju otroka ob gledanju otroških oddaj starši najpogosteje uporabljajo strategije omejevanja, večina staršev pa ni vedno prisotnih, ko otrok gleda otroške oddaje. Za kakovostno otroško oddajo je staršem najbolj pomembno, da je zabavna, sproščujoča, razumljiva, vključuje otroke kot glavne junake in aktivnosti, ki jih lahko otroci sami izkusijo. Pri otroških oddajah starše najbolj skrbijo nasilne vsebine in neprimerno vedenje junakov, po drugi strani pa so kot pozitivne učinke gledanja otroških oddaj najpogosteje izpostavili učenje otroka, spodbujanje domišljije in radovednosti. Povzamemo lahko, da so se pokazali tako pozitivni kot negativni vidiki gledalnih navad slovenskih malčkov in otrok ter da je pomembno še naprej skrbeti za ozaveščanje in opolnomočenje staršev o razvoju zdravih gledalnih navad. Screens are becoming an important part of children's lives, and children have been starting to use them more and more early in their lives. Generally, children start to get to know screens within their family circle and through various children's shows. In our research, we were interested in the viewing habits of toddlers and children in early childhood, and in the perspective of their parents on the importance of quality children's shows for their child’s development and learning. Our sample included 239 parents of toddlers and children in early childhood aged from 22 to 52 years (M = 34.90, SD = 5.24), who completed questionnaires about their child's viewing habits, their criteria for quality children's shows, and the way they regulate their child’s viewing of children’s shows. In addition, parents answered questions about demographic characteristics and answered five open-ended questions about the shows which their child watches and which they would recommend to the child they also answered questions about their views on the possible negative and positive impact of shows on children. The results showed that on average Slovenian toddlers and children in early childhood watch children's shows for approximately one hour a day, and they are exposed to screens before the age of two. When guiding their child through the process of watching children's shows, parents most often use restrictive mediation, and most parents are not always present when their child watches these shows. Parents believe that a quality children's show should primarily be fun, relaxing and understandable, it should include children as the main characters and activities that children can experience for themselves. Parents are most concerned about violent content of children’s shows and inappropriate behaviour of the show’s characters on the other hand, they most often point out their child's learning and stimulation of their child’s imagination and curiosity as the positive effects of watching children's shows. We can summarize that both positive and negative aspects of Slovenian toddler's and children's viewing habits have been shown, and that it is important to continue to take care of empowering parents and raising their awareness about the development of healthy viewing habits.

Text in Turkish ; Abstract: English and Turkish Includes bibliographical references (leaves 73-79) xi, 85 leaves Television has changed the world drastically since its invention. It has served people in many ways ranging from informing, entertaining, and creating public opinion and has managed to become one of the most widely used mass media tools for more than a century. Recently, as the digitalization is gaining more and more power in the world, new information and entertainment sources and ways have been developed. With the proliferation and acceleration of the Internet, new broadcasting channels have emerged that offer online or offline viewing via the Internet with devices such as smart mobile phones, tablets and portable computers. These digital platforms, which challenge traditional broadcasting routines, offer lower cost broadcasting opportunities. They also aim to reach more people on the internet. Therefore, they have managed to become a strong alternative to television and continue to be accepted and proliferated day by day. Television broadcasting, which is in mutual interaction with societies, continues to take steps to provide a more individual and even interactive experience while maintaining this function. The interest toward these digital broadcasting channels, which have managed to become a global phenomenon, may vary among people of different age groups and educational and economic status. This study shows how and in what direction traditional television viewing habits and the preferences of viewers have changed with new broadcast media such as YouTube, Netflix, Amazon Prime, IPTV, and what kind of similarities or differences we observe in the preferences and habits of Generation X, Generation Y and Generation Z toward digital media. In order to reveal these, here I present a survey study. Televizyon icat edildiği günden bugüne dünyayı değiştiren bir cihaz olmayı başarmıştır. Bilgi edinme, eğlendirme, haberdar etme, kamuoyu oluşturma gibi birçok rolü üstlenmiş yüz seneyi aşkın zamandır toplumunun en yaygın kullandığı kitle iletişim araçlarından biri olmuştur. Karasal yayıncılık, kablolu yayıncılık, uydulu yayıncılık teknolojiye entegre olarak teknik olarak sürekli dönüşen televizyon yayıncılığının şekli dijitalleşmenin egemen olduğu son yıllarda internet yayıncılığı ile yeni bir form daha elde etmiştir. İnternetin yaygınlaşması ve hızlanması, internet aracılığı ile akıllı cep telefonu, tablet ve taşınabilir bilgisayar gibi cihazlar ile yine internet üzerinden çevrimiçi (online) ya da çevrimdışı (offline) izleme imkanları sunan yeni dijital yayın mecraları ortaya çıkmıştır. Geleneksel yayıncılık ezberlerini bozan, daha düşük maliyetli yayıncılık fırsatı sunan, internet üzerinden daha fazla insana ulaşılmasını hedefleyen bu dijital platformlar televizyona kuvvetli bir alternatif olmayı başarmıştır ve dünya genelinde gün geçtikçe daha fazla kabul görmeye ve çoğalmaya devam etmektedir. Toplumlarla karşılıklı etkileşim içerisinde olan televizyon yayıncılığı bir yandan bu işlevini sürdürürken öte yandan daha bireysel hatta interaktif bir deneyim sunma yönünde adımlar atmaya devam etmektedir. Küresel birer fenomen olmayı başarmış bu dijital yayın mecralarına gösterilen ilgi farklı yaş gruplarında, farklı eğitim ve ekonomik koşullarda yaşayan insanlarda çeşitlilik gösterebilmektedir. Bu çalışma geleneksel televizyon izleme alışkanlıkları ve izleyicilerin tercihlerinin YouTube, Netflix, Amazon Prime, IPTV gibi yeni yayın mecraları ile nasıl, ne yönde değiştiğini, X kuşağı, Y kuşağı ve Z kuşağı özelinde tercih ve alışkanlıkların ne gibi benzerlik ya da farklılıklar gösterdiğini, dijital platformlardan ve geleneksel televizyon yayını yapan yayıncılardan beklentilerin neler olduğunu katılımcılara internet ortamında sunulan anket çalışması ile tespit etmeyi amaçlamaktadır. Televizyon Yayıncılığı ve Tarihsel Süreç Karasal Televizyon Yayıncılığı Kablolu Televizyon Yayıncılığı Uydulu Televizyon Yayıncılığı Dijitalleşme (Sayısallaşma) ve Dijital (Sayısal) Yayıncılığa Geçiş İnternet Yayıncılığı IPTV (Internet Protocol) VoD (Video on Demand) İsteğe Bağlı Video ve Türleri SvoD (Subscription Video on Demand) Talep Üzerine Abonelik Videosu AVoD (Advertising Based Video on Demand) Netflix Amazon Prime Video Hulu İnternet Üzerinden Televizyon Yayıncılığının Türkiye’deki Durumu Dijitalleşmenin Etkileri Kültür, Dijitalleşme Süreci ile Dijital Kültüre Geçiş Dijital Eşitsizlik (Digital Divide) Dijitalleşme Süreci ile Dönüşen Kimlik Dijitalleşmenin Tüketime ve Kuşaklara Etkisi: Kuşak Tanımı ve Türleri Yeni Medya ile Değişen Toplumsal Yapı DİJİTAL PLATFORMLAR VE İZLEYİCİ ALIŞKANLIKLARININ KUŞAKLARA GÖRE DEĞERLENDİRİLMESİ Araştırma Metodu Evren ve Örneklem Sınırlılıklar Bulgular Katılımcıların Demografik Bilgileri Katılımcıların Televizyon İzleme Alışkanlıkları Katılımcıların Dijital Platformlardaki Alışkanlıkları X, Y, Z kuşaklarının Televizyon izleme alışkanlıkları X, Y, Z kuşaklarının Dijital Platform Alışkanlıkları Dijital Platformlarda Dijitalleşme Sürecinde İzleyici Alışkanlıklarının Değerlendirilmesi Dijital Platformlarda Dijitalleşme Sürecinde İzleyici Alışkanlıklarının Kuşaklara Göre Değerlendirilmesi

El ecosistema audiovisual actual está evolucionando a un ritmo vertiginoso. Las nuevas formas de interacción narrativa a través de las redes sociales (RRSS) han generado una revolución en los medios de comunicación en general y en la televisión en particular, concediendo la posibilidad de acceder a los contenidos a través de diferentes formatos y canales. En este sentido, el presente trabajo analiza los hábitos de consumo de la población adolescente ante los nuevos formatos narrativos y su función como prosumidores frente a las RRSS. Para ello, se ha seleccionado la serie de ficción “Élite” como parte de la muestra de estudio. De este modo, se ha llevado a cabo una metodología mixta por medio del análisis de contenido de la serie en busca de las temáticas emergentes, y de encuestas con la colaboración de una muestra de 505 jóvenes españoles de entre 12-18 años. Los resultados apuntan hacia una preferencia por ver series de televisión, siendo las plataformas de pago el medio más frecuente de uso; además, los jóvenes muestran un interés en temáticas relacionadas con los adolescentes. Por último, los encuestados registran una participación constante a través de las diferentes cuentas de RRSS, afirmando indagar sobre la serie de ficción., Today’s audiovisual ecosystem is evolving at a dizzying pace. The new forms of interactive storytelling through social networking sites (SNS) have generated a revolution within the communication media in general, and particularly within television, making it possible to access content through different formats and channels. In this respect, the present study analyses the viewing habits of the adolescents faced with the new storytelling formats and their role as prospective consumers with regard to the SNS. To understand this process, we selected the fictional series called “Elite” as the sample. We performed a mixed methodology through content analysis of the series in search of emerging themes, and we also conducted a survey where participated 505 Spanish young people between the ages of 12-18 years. The results showed a preference for viewing television series, where payed television platforms were the most frequently used media; the young people also expressed an interest in themes relating to adolescents. Finally, respondents evidenced a continuous involvement through different SNS profiles, expressing that they used to look for information on fiction series.

Just as many other Millennial traits, media consumption habits of Generations Y (and Z) are widely examined and partially blamed for the decline of traditional media. In this paper, based on uses and generation research perspective, authors provide data of video viewing and news consuming habits of the tech savvy and digitally native generations and cross tabulate their results with their gender identity in order to see if there are any differences in content consummation of Gen Y and Gen Z cohorts considering the respondents’ gender identity. The purposely chosen sample consisted of 126 technologically knowledgeable and oriented members of the surveyed generations, whose responses are compared to the previous gender-related research results. Our results show that technology acceptance does not significantly differ concerning the respondents’ gender identity, but that there is a significant difference in gender- oriented appeal of consumed content.

This research examines Subscription Video On-Demand (SVOD) using Netflix as one of the main examples that has seen a dramatic increase in usage in recent years compared to the traditional way of viewing content through television. Using focus group sessions and an online survey, a qualitative analysis approach is used by way of a thematic analysis to elaborate and gain insight into the phenomenon of SVOD within our society which has allowed viewers to alter time shifting and self-scheduling habits. Watching online film and television over the internet, forces the breakdown of the traditional value chain of viewing methods as well as consumption of it. This research aims to narrow this research gap surrounding SVOD. The results will be used to add value to the research area of this growing and changing phenomenon of online TV consumption with SVOD. Aquesta recerca estudia el vídeo a la carta de pagament (SVOD, en anglès) a partir de l'exemple de Netflix, el qual ha vist un increment considerable de consum al llarg dels últims anys, especialment comparat amb els mitjans de comunicació tradicionals. A través de focus group i una enquesta en línia, es fa una anàlisi qualitativa que parteix d'un estudi temàtic, a fi d'elaborar i obtenir una idea del fenomen de l'SVOD dintre de la nostra societat. Aquest fenomen ha permès als espectadors alterar els hàbits d'horari d'ús i d'autoprogramació. Veure pel·licules i televisió a través d'internet força a trencar la cadena tradicional de valor dels mètodes de visionat així com el consum dels mateixos.

The availability to stream movies and series online has increased immensely throughout this decade, being reliant on freeing up time during your day to be able to watch your favorite tv-show has become less necessary due to the fact that you’re able to stream it whenever you want or can, once it’s been released. Reality television has been a big part of the tv tabloid for almost two decades now and it had it’s peak in audience during the years 2009-2012 and has been reportedly decreasing the following years. There has been little to none research regarding reality tv’s progression and audience recently, which has made us curious as to its current state. This article aims to research whether or not the interest in watching romantically themed reality tv has had a continued decline these recent years due to its lack of content variation and if its audience has gradually gone over to streaming it online rather than watching it on tv. We have studied three different reality shows views online and on television per episode during the years of 2015-2018. This way, we could add the views online and on television together to see if the view count in total has increased or decreased each year, as well as being able to compare the difference in views online versus views on television each year to see if the quota who streams has increased. Our hypotheses were met with matching results from our rese

Los profundos cambios acaecidos en la configuración del contexto mediático en los últimos tiempos, han generado cambios tanto en el medio televisivo como en las relaciones establecidas con él. Es por ello que, resulta necesario conocer cómo consumen la televisión los jóvenes actuales en aras de crear estrategias que ayuden a capacitarlos en la utilización de este medio. Con este fin, en esta investigación se han estudiado las pautas de consumo televisivo de 553 adolescentes (267 chicos y 286 chicas) de Irlanda, España y México, de edades comprendidas entre 14 y 19 años. Mediante la aplicación de dos cuestionarios (CH-TV 0.2 y VAL-TV 0.2), se han podido detectar cuatro pautas de consumo generalizables a todos los contextos estudiados. Dos de estas pautas, diferencian el consumo entre hombres (Crítico-Cultural) y mujeres (Social-Conversacional), siendo ellos los que realizan un consumo más cultural e informativo y ellas, más dirigido a entablar conversación con sus amistades. En lo que a las otras dos pautas se refiere, la percepción de un clima conflictivo (consumo Conflictivo-Pasivo) o la de una mediación responsable (consumo Comprometido-Positivo) son algunas de las variables que marcan las diferencias. Además, se han detectado aquellos factores que presentan mayor poder discriminativo en la configuración de estas pautas, siendo la preferencia mostrada hacia los géneros televisivos el factor más discriminante entre los estudiados. Sin embargo, la permanencia, el realismo percibido y el contexto cultural no han resultado ser determinantes, The deep-rooted changes that have taken place in the media world over recent years have brought about changes in both television itself and in the relationships established with this medium. Consequently, it is important to understand how young people watch television today, in order to design strategies to help them develop the capacities they require to ensure responsible use. With this aim, the present study analyzes the television viewing habits of 553 adolescents (267 boys and 286 girls), aged between 14 and 19, from Ireland, Spain and Mexico. Through the implementation of two questionnaires (CH-TV 0.2 and VAL-TV 0.2), four viewing patterns were detected that can be generalized to all the contexts studied. Two of these patterns clearly distinguish between boys (critical-cultural) and girls (social-conversational), with boys viewing more cultural and information-oriented programs, and girls tending to watch shows with a view to talking about them later with their friends. Two of the variables which best distinguish between the other two patterns identified are the perception of a conflictive climate (conflictive-passive viewing) and the perception of responsible parental mediation (committed-positive viewing). Moreover, preferred television genre was found to be the factor with the greatest discriminatory power in relation to these patterns, while time spent watching television, perceived realism and cultural context were not found to be significant

La televisión vive una etapa de transformación sin precedentes debido a la naturaleza disruptiva de las innovaciones tecnológicas derivadas de la digitalización y la convergencia del medio con internet. De un modelo televisivo lineal se ha pasado a una televisión conectada, multipantalla, interactiva y personalizada, en la que se han modificado radicalmente los procesos de producción, comercialización y visionado de los contenidos audiovisuales. Estos procesos se han visto potenciados por la irrupción de los usuarios mileniales, el público joven adulto, para quienes estos cambios son naturales. El presente artículo analiza el impacto sobre el sector televisivo de los cambios en los hábitos de visionado generados por este grupo. Para ello, además de realizar una revisión bibliográfica, se ha recurrido a la encuesta como herramienta metodológica principal para conocer los nuevos hábitos de visionado. De este modo, se ha aplicado un cuestionario en línea a un panel de consumidores representativo de la población internauta española con edades comprendidas entre los 18 y los 35 años (mileniales), del que se ha obtenido una alta tasa de respuesta —cercana al 60 %, porcentaje correspondiente a 518 encuestados—, con un error muestral del 3,1 % considerando una varianza máxima y un 95 % de confianza. Se concluye que la competencia de las plataformas audiovisuales en línea disminuye el tiempo dedicado al consumo televisivo convencional, especialmente entre los sectores más jóvenes de la población, y que esto ha obligado a los operadores de televisión tradicionales a renovar su modelo y a apostar por nuevas estrategias y contenidos que cambian sustancialmente su propia identidad. The TV industry is undergoing an unprecedented transformation due to the disruptive nature of technological innovations derived from the digitalization and convergence of the medium with the Internet. The traditional linear television model has evolved into a connected, multiscreen, interactive and personalized television, radically transforming the production, distribution and viewing of audiovisual content. These processes have been intensified by the emergence of millennial users, the young adult audience for whom these changes are natural. This research analyzes how millennials’ viewing habits are affecting the television industry. In addition to a literature review, the main source of data for this empirical study is a survey carried out online with a representative sample of 518 Spanish Internet users aged 18 to 35 years old. The overall response rate was nearly 60%, with a 3. 1% sampling error at a 95% confidence level and maximum variance. Our research shows that the competitive forces of online audiovisual platforms have a negative impact on conventional television consumption, especially among younger populations. This has forced traditional television networks to renovate their model by applying new strategies which significantly change their own identity. La televisió viu una etapa de transformació sense precedents a causa de la naturalesa disruptiva de les innovacions tecnològiques derivades de la digitalització i la convergència del mitjà amb internet. D’un model televisiu lineal s’ha passat a una televisió connectada, multipantalla, interactiva i personalitzada, en la qual s’han modificat radicalment els processos de producció, comercialització i visionament dels continguts audiovisuals. Aquests processos s’han vist potenciats per la irrupció dels usuaris mil·lennistes, el públic jove adult, per als quals aquests canvis són naturals. Aquest article analitza l’impacte sobre el sector televisiu dels canvis en els hàbits de visionament generats per aquest grup. Per fer-ho, a més de realitzar una revisió bibliogràfica, s’ha recorregut a l’enquesta com a eina metodològica principal per conèixer els nous hàbits de visionament. Així, s’ha aplicat un qüestionari en línia a un panel de consumidors representatiu de la població internauta espanyola amb edats compreses entre els 18 i els 35 anys (mil·lennistes), del qual s’ha obtingut una alta taxa de resposta —propera al 60 %, percentatge corresponent a 518 enquestats—, amb un error mostral del 3,1 % considerant una variància màxima i un 95 % de confiança. Es conclou que la competència de les plataformes audiovisuals en línia disminueix el temps dedicat al consum televisiu convencional, especialment entre els sectors més joves de la població, i que això ha obligat els operadors de televisió tradicionals a renovar el seu model i a apostar per noves estratègies i continguts que canvien substancialment la seva pròpia identitat.

Los profundos cambios acaecidos en la configuración del contexto mediático en los últimos tiempos, han generado cambios tanto en el medio televisivo como en las relaciones establecidas con él. Es por ello que, resulta necesario conocer cómo consumen la televisión los jóvenes actuales en aras de crear estrategias que ayuden a capacitarlos en la utilización de este medio. Con este fin, en esta investigación se han estudiado las pautas de consumo televisivo de 553 adolescentes (267 chicos y 286 chicas) de Irlanda, España y México, de edades comprendidas entre 14 y 19 años. Mediante la aplicación de dos cuestionarios (CH-TV 0.2 y VAL-TV 0.2), se han podido detectar cuatro pautas de consumo generalizables a todos los contextos estudiados. Dos de estas pautas, diferencian el consumo entre hombres (Crítico-Cultural) y mujeres (Social-Conversacional), siendo ellos los que realizan un consumo más cultural e informativo y ellas, más dirigido a entablar conversación con sus amistades. En lo que a las otras dos pautas se refiere, la percepción de un clima conflictivo (consumo Conflictivo-Pasivo) o la de una mediación responsable (consumo Comprometido-Positivo) son algunas de las variables que marcan las diferencias. Además, se han detectado aquellos factores que presentan mayor poder discriminativo en la configuración de estas pautas, siendo la preferencia mostrada hacia los géneros televisivos el factor más discriminante entre los estudiados. Sin embargo, la permanencia, el realismo percibido y el contexto cultural no han resultado ser determinantes The deep-rooted changes that have taken place in the media world over recent years have brought about changes in both television itself and in the relationships established with this medium. Consequently, it is important to understand how young people watch television today, in order to design strategies to help them develop the capacities they require to ensure responsible use. With this aim, the present study analyzes the television viewing habits of 553 adolescents (267 boys and 286 girls), aged between 14 and 19, from Ireland, Spain and Mexico. Through the implementation of two questionnaires (CH-TV 0.2 and VAL-TV 0.2), four viewing patterns were detected that can be generalized to all the contexts studied. Two of these patterns clearly distinguish between boys (critical-cultural) and girls (social-conversational), with boys viewing more cultural and information-oriented programs, and girls tending to watch shows with a view to talking about them later with their friends. Two of the variables which best distinguish between the other two patterns identified are the perception of a conflictive climate (conflictive-passive viewing) and the perception of responsible parental mediation (committed-positive viewing). Moreover, preferred television genre was found to be the factor with the greatest discriminatory power in relation to these patterns, while time spent watching television, perceived realism and cultural context were not found to be significant

La televisió viu una etapa de transformació sense precedents a causa de la naturalesa disruptiva de les innovacions tecnològiques derivades de la digitalització i la convergència del mitjà amb internet. D’un model televisiu lineal s’ha passat a una televisió connectada, multipantalla, interactiva i personalitzada, en la qual s’han modificat radicalment els processos de producció, comercialització i visionament dels continguts audiovisuals.Aquests processos s’han vist potenciats per la irrupció dels usuaris mil·lennistes, el públic jove adult, per als quals aquests canvis són naturals. Aquest article analitza l’impacte sobre el sector televisiu dels canvis en els hàbits de visionament generats per aquest grup. Per fer-ho, a més de realitzar una revisió bibliogràfica, s’ha recorregut a l’enquesta com a eina metodològica principal per conèixer els nous hàbits de visionament. Així, s’ha aplicat un qüestionari en línia a un panel de consumidors representatiu de la població internauta espanyola amb edats compreses entre els 18 i els 35 anys (mil·lennistes), del qual s’ha obtingut una alta taxa de resposta —propera al 60 %, percentatge corresponent a 518 enquestats—, amb un error mostral del 3,1 % considerant una variància màxima i un 95 % de confiança. Es conclou que la competència de les plataformes audiovisuals en línia disminueix el temps dedicat al consum televisiu convencional, especialment entre els sectors més joves de la població, i que això ha obligat els operadors de televisió tradicionals a renovar el seu model i a apostar per noves estratègies i continguts que canvien substancialment la seva pròpia identitat., The TV industry is undergoing an unprecedented transformation due to the disruptive nature of technological innovations derived from the digitalization and convergence of the medium with the Internet. The traditional linear television model has evolved into a connected, multiscreen, interactive and personalized television, radically transforming the production, distribution and viewing of audiovisual content. These processes have been intensified by the emergence of millennial users, the young adult audience for whom these changes are natural. This research analyzes how millennials’ viewing habits are affecting the television industry. In addition to a literature review, the main source of data for this empirical study is a survey carried out online with a representative sample of 518 Spanish Internet users aged 18 to 35 years old. The overall response rate was nearly 60%, with a 3.1% sampling error at a 95% confidence level and maximum variance. Our research shows that the competitive forces of online audiovisual platforms have a negative impact on conventional television consumption, especially among younger populations. This has forced traditional television networks to renovate their model by applying new strategies which significantly change their own identity., La televisión vive una etapa de transformación sin precedentes debido a la naturaleza disruptiva de las innovaciones tecnológicas derivadas de la digitalización y la convergencia del medio con internet. De un modelo televisivo lineal se ha pasado a una televisión conectada, multipantalla, interactiva y personalizada, en la que se han modificado radicalmente los procesos de producción, comercialización y visionado de los contenidos audiovisuales.Estos procesos se han visto potenciados por la irrupción de los usuarios mileniales, el público joven adulto, para quienes estos cambios son naturales. El presente artículo analiza el impacto sobre el sector televisivo de los cambios en los hábitos de visionado generados por este grupo. Para ello, además de realizar una revisión bibliográfica, se ha recurrido a la encuesta como herramienta metodológica principal para conocer los nuevos hábitos de visionado. De este modo, se ha aplicado un cuestionario en línea a un panel de consumidores representativo de la población internauta española con edades comprendidas entre los 18 y los 35 años (mileniales), del que se ha obtenido una alta tasa de respuesta —cercana al 60 %, porcentaje correspondiente a 518 encuestados—, con un error muestral del 3,1 % considerando una varianza máxima y un 95 % de confianza. Se concluye que la competencia de las plataformas audiovisuales en línea disminuye el tiempo dedicado al consumo televisivo convencional, especialmente entre los sectores más jóvenes de la población, y que esto ha obligado a los operadores de televisión tradicionales a renovar su modelo y a apostar por nuevas estrategias y contenidos que cambian sustancialmente su propia identidad.

This paper analyzes the information needs and interests of young viewers in order to design an IPTV University, Internet TV mode, to incorporate the advantages of the Internet and journalistic tools innovative audiovisual content preferred by the target audience, with emphasis on culture and education, especially produced for the web. The study used quantitative methodology, a survey, conducted on stratified probability sample (college students, young professionals, without higher education). Young people agree that the new medium will prevail and that it can contribute to the acquisition of knowledge, procedures and devices for use in their daily lives and that increase scientific literacy and active citizenship. Diseñar nuevos modelos de televisión en el contexto de la sociedad digital se convierte en una necesidad desde el ámbito de la investigación y la academia. El presente trabajo analiza los intereses y necesidades de información expresados por jóvenes espectadores chilenos, con el objeto de diseñar una IPTV universitaria, modalidad de TV por Internet, que incorpora, mediante las múltiples interacciones que genera Internet los contenidos audiovisuales preferidos por dicho público meta, con énfasis en lo cultural y educativo. Los jóvenes chilenos están de acuerdo en que el nuevo medio prevalecerá sobre los demás y contribuirá a la adquisición de nuevos saberes, procedimientos y utilidades para ser utilizados en la vida cotidiana, así como al incremento de la cultura científica y su participación ciudadana activa.

Diseñar nuevos modelos de televisión en el contexto de la sociedad digital se convierte en una necesidad desde el ámbito de la investigación y la academia. El presente trabajo analiza los intereses y necesidades de información expresados por jóvenes espectadores chilenos, con el objeto de diseñar una IPTV universitaria, modalidad de TV por Internet, que incorpora, mediante las múltiples interacciones que genera Internet los contenidos audiovisuales preferidos por dicho público meta, con énfasis en lo cultural y educativo. Los jóvenes chilenos están de acuerdo en que el nuevo medio prevalecerá sobre los demás y contribuirá a la adquisición de nuevos saberes, procedimientos y utilidades para ser utilizados en la vida cotidiana, así como al incremento de la cultura científica y su participación ciudadana activa., This paper analyzes the information needs and interests of young viewers in order to design an IPTV University, Internet TV mode, to incorporate the advantages of the Internet and journalistic tools innovative audiovisual content preferred by the target audience, with emphasis on culture and education, especially produced for the web. The study used quantitative methodology, a survey, conducted on stratified probability sample (college students, young professionals, without higher education). Young people agree that the new medium will prevail and that it can contribute to the acquisition of knowledge, procedures and devices for use in their daily lives and that increase scientific literacy and active citizenship.