Suchergebnisse

In the EU, the prevailing academic and scientific thought models, as well as communication processes and journalism, are deeply Eurocentric. Martín Oller Alonso critiques these structural issues, focusing on post-communist Central and Eastern Europe's recent EU members. He argues for a decolonization of knowledge and a journalistic-other approach, blending local sensibilities and collective imaginations. Emphasizing deliberative communication, his study offers fresh media and communication theory perspectives, relevant to professionals and researchers in various fields, addressing the challenges and opportunities in the European Union amidst globalization and cultural integration

This article presents the upgraded Organic Multilevel Model 2.0 (OMM2) initially proposed by Oller in 2016. OMM2 underlines organic analysis principles, focusing on dynamic, comparative and diverse perspectives. It offers a methodology tailored for studying communication and media in developing nations, especially those with evolving intermedia journalistic cultures, emerging or fragile democracies, and autocratic governance. Particularly applicable to nations recently joining the EU, like those in Southern, Central, and Eastern Europe (SCEE), OMM2 aids in analyzing journalism, media monitoring, and political communication in these regions. These countries, often characterized by political upheaval and historical events like colonialism (e.g., Eastern Bloc), are the focus of the MEDIADELCOM project. Media assessment entities in these areas are part of a larger network encompassing diverse societal facets. In the SCEE context, deliberative communication signifies collective decision-making through public discourse, recognizing diverse opinions. Utilizing OMM2 for a comparative study of media monitoring is crucial to comprehend deliberative discussions in these EU-associated European democracies.

This paper analyses the pre-professional journalistic culture of Ecuador, Cuba and Venezuela based on the degree of permissiveness held by Journalism students in regard to controversial ethical practices and their views of the media and the journalistic profession. We surveyed a probabilistic sample of 1,273 students from 21 universities enrolled on their first course (Ecuador=500, Venezuela=390, Cuba=383) in 2016. The results show that future journalists are reluctant to accept questionable journalistic practices, and hold a pessimistic view as to the quality and confidence of the media and the profession. We found that the degree of permissiveness is related to the perceived risk-reward analysis in terms of the quality of journalism in Cuba and Ecuador, and that the student perceptions of ethics differ in Venezuela and Ecuador. We conclude that, despite their political similarities in terms of having left-wing Governments, perceptions in the three countries diverge.

La publicidad y el arte son dos sistemas de representación que ocupan, dentro de nuestra escala de valores, dos lugares diametralmente opuestos. A lo largo de la historia se ha considerado a la publicidad como una forma de contaminación por su carácter intrusivo, mientras que el arte ha sido sacralizado. En esta investigación, los autores han tratan de conseguir ir un paso más allá respecto a esta relación de la publicidad y el arte, tratando esta temática con todo el respeto posible, y desde un punto de vista que difiere en su más alto grado de una actitud iconoclasta. Se analiza una parte de la historia de Francia denominada Belle Epoque, donde, de acuerdo con el punto de vista de los autores, la publicidad y el arte se fusionaron y se influyeron mutuamente. Este libro tiene la intención de ilustrar este enfoque descrito en un determinado momento y un lugar preciso en la historia. Donde debido a razones y circunstancias políticas, económicas, culturales y sociales se produjo un cambio de mentalidad que llevó a la "era de la modernidad", que ha influido en todas las sociedades desarrolladas a lo largo del siglo XX. ; In publicity and art are two systems of representation that occupy, within our scale of values, two places diametrically opposed. Throughout history found as advertising is assimilated as a form of pollution while art is sacred. Therefore, in this research authors try to get a step further, address the issue with all possible respect, and from a point of view and an attitude that differs in its highest degree of iconoclasm. It will analyse a part of French history called Belle Epoque where, according to the point of view of the authors, advertising and art were merged. This book intend to illustrate this approach on a particular time and place in history where due to some political reasons, economic, cultural and social circumstances began a change in mentality which led to the "era of modernity" that has influenced on development twentieth century in developed societies.

Interviews of MARCA.com are one of the main forms of online hybrid journalism: users organize an interview with the guests proposed by the online media. Its appeal lies mainly in the low information production costs, the possibility of introducing the concept of Bakhtin's polyphony (quoted by Araújo and Melo, 2003), and the generation of a more flexible speech, as we described in a previous paper (Barredo and Oller, 2013a). The interplay of these characteristics is the cause that in the five matches between Real Madrid and Barcelona in the season 2010-11, 30% of the total words came from coral interviews (Barredo and Oller, 2013b). However, in these previous studies we have noted an arbitrary function of the organization: in addition to the explicit guidelines in the rules of participation, the online newspaper discards or chooses questions based on undisclosed criteria. With this article we offer three management models which explore the concept of online transparency. Those models can avoid, in our opinion, the stagnation of the coral interviews or similar forms linked to direct marketing (advertorials) and not to journalism. ; Las entrevistas corales de MARCA.com son una de las principales formas del ciberperiodismo híbrido: los usuarios organizan una entrevista ante los invitados que propone el cibermedio. Su atractivo radica, fundamentalmente, en los bajos costes de producción informativa, en la posibilidad de introducir el concepto de polifonía de Bakhtine (cit. por Araújo y Melo, 2003), y en la generación de un discurso más flexible, según describíamos en un trabajo anterior (Barredo y Oller, 2013a). La interrelación de estas características ocasiona que, en los cinco enfrentamientos entre el Real Madrid y el Barcelona de la temporada 2010 – 11, el 30% de las palabras totales se produjeran de manera coral (Barredo y Oller, 2013b). Sin embargo en esos estudios previos hemos percibido un funcionamiento arbitrario: el ciberdiario, además de las pautas explícitas de las normas de participación, escoge o ...

Las entrevistas corales de MARCA.com son una de las principales formas del ciberperiodismo híbrido: los usuarios organizan una entrevista ante los invitados que propone el cibermedio. Su atractivo radica, fundamentalmente, en los bajos costes de producción informativa, en la posibilidad de introducir el concepto de polifonía de Bakhtine (cit. por Araújo y Melo, 2003), y en la generación de un discurso más flexible, según describíamos en un trabajo anterior (Barredo y Oller, 2013a). La interrelación de estas características ocasiona que, en los cinco enfrentamientos entre el Real Madrid y el Barcelona de la temporada 2010 – 11, el 30% de las palabras totales se produjeran de manera coral (Barredo y Oller, 2013b). Sin embargo en esos estudios previos hemos percibido un funcionamiento arbitrario: el ciberdiario, además de las pautas explícitas de las normas de participación, escoge o descarta las preguntas en función de criterios no revelados. Con este artículo ofrecemos tres modelos de gestión que profundizan en el concepto de transparencia ciberperiodística, los cuales pueden evitar, en nuestra opinión, la fosilización de las entrevistas corales o su vinculación con formas derivadas del marketing (publientrevista) y no con el periodismo. ; Interviews of MARCA.com are one of the main forms of online hybrid journalism: users organize an interview with the guests proposed by the online media. Its appeal lies mainly in the low information production costs, the possibility of introducing the concept of Bakhtin's polyphony (quoted by Araújo and Melo, 2003), and the generation of a more flexible speech, as we described in a previous paper (Barredo and Oller, 2013a). The interplay of these characteristics is the cause that in the five matches between Real Madrid and Barcelona in the season 2010-11, 30% of the total words came from coral interviews (Barredo and Oller, 2013b). However, in these previous studies we have noted an arbitrary function of the organization: in addition to the explicit guidelines in the rules of participation, the online newspaper discards or chooses questions based on undisclosed criteria. With this article we offer three management models which explore the concept of online transparency. Those models can avoid, in our opinion, the stagnation of the coral interviews or similar forms linked to direct marketing (advertorials) and not to journalism.

The Spanish transition from dictatorship to democracy is often described as an example of negotiation or agreement between the elites (Sánchez Cuenca and Aguilar, 2009: 433). Journalistic and political elites, aware of their important historical role, agreed a consensus on certain issues (democracy, constitution, amnesty) or characters (King Juan Carlos I), in order to ensure the stability of the democratic process (Zugasti, 2007, 2008). Television, which articulates the discourse of the masses, has been one of the basic means used to illustrate the development. Among the highlights of recent major audiovisual content, Cuéntame cómo pasó (2001-present) -a TV-series designed to explain changes with a nostalgic tone in Spanish society since 1968 until today- stands out. By choosing a random sample of episodes for this research we propose to verify the validity of the representation of the political process which contextualizes the series. By analyzing many elements, such as the opinions of the main characters, their personal, political and geographical situations, we try to show the construction of a focal point that sanctifies the official version. We also stress the pacifying and nostalgic tone, which constructs stereotypes and taboos about the process and which characterizes this series as a symbolic culmination of the democratization undertaken by the elites. ; La transición española de la dictadura a la democracia es a menudo descrita como un ejemplo de negociación o acuerdo entre las élites (Sánchez Cuenca and Aguilar, 2009: 433). Las élites periodísticas y políticas, conscientes de su importante papel histórico, establecieron un consenso sobre determinados temas (la democracia, la Constitución, la amnistía) o personajes (Rey Juan Carlos I)con el fin de garantizar la estabilidad del proceso democrático (Zugasti, 2007, 2008). La televisión, que articula el discurso de las masas, ha sido uno de los medios básicos para ilustrar el desarrollo. Entre los principales contenidos audiovisuales mayoritarios destaca ...

En toda configuración la grieta aparece en exteriorización de esquemas negativos del descenso o de la caída. En la Sociedad de los Ideantes –el principal hallazgo de este libro– la grieta es pensada como generadora de creatividad o como la caída hacia arriba de Bachelard (1990) en la que la imaginación, en contacto con el aire, se ultradinamiza. El espacio luminoso impulsado desde las grietas dota de agilidad hasta los confines de lo contaminado, entendiendo como contaminado a toda restricción en pensamiento y acción que se ejerce desde esferas homogéneas y de aplastamiento que ha regido a la masa pensante y ciudadana antes de la irrupción del Sujeto Ideante.

The Spanish transition from dictatorship to democracy is often described as an example of negotiation or agreement between the elites (Sánchez Cuenca and Aguilar, 2009: 433). Journalistic and political elites, aware of their important historical role, agreed a consensus on certain issues (democracy, constitution, amnesty) or characters (King Juan Carlos I), in order to ensure the stability of the democratic process (Zugasti, 2007, 2008). Television, which articulates the discourse of the masses, has been one of the basic means used to illustrate the development. Among the highlights of recent major audiovisual content, Cuéntame cómo pasó (2001-present) -a TV-series designed to explain changes with a nostalgic tone in Spanish society since 1968 until today- stands out. By choosing a random sample of episodes for this research we propose to verify the validity of the representation of the political process which contextualizes the series. By analyzing many elements, such as the opinions of the main characters, their personal, political and geographical situations, we try to show the construction of a focal point that sanctifies the official version. We also stress the pacifying and nostalgic tone, which constructs stereotypes and taboos about the process and which characterizes this series as a symbolic culmination of the democratization undertaken by the elites. ; La transición española de la dictadura a la democracia es a menudo descrita como un ejemplo de negociación o acuerdo entre las élites (Sánchez Cuenca and Aguilar, 2009: 433). Las élites periodísticas y políticas, conscientes de su importante papel histórico, establecieron un consenso sobre determinados temas (la democracia, la Constitución, la amnistía) o personajes (Rey Juan Carlos I)con el fin de garantizar la estabilidad del proceso democrático (Zugasti, 2007, 2008). La televisión, que articula el discurso de las masas, ha sido uno de los medios básicos para ilustrar el desarrollo. Entre los principales contenidos audiovisuales mayoritarios destaca Cuéntame cómo pasó (2001-presente), una serie de televisión diseñada para explicar, con un tono nostálgico, los cambios acontecidos desde 1968 a nuestros días. En este estudio se ha elegido una muestra aleatoria de episodios con la intención de verificar la representación del proceso político que contextualiza a la serie. Para ello se analizan diferentes elementos como: las opiniones de los principales personajes o sus situaciones personales, políticas y geográficas. De este modo intentamos desmontar la construcción del punto de vista que santifica la versión oficial. Asimismo discutimos la escenificación pacificadora y nostálgica, porque construye estereotipos y tabús alrededor del proceso y caracteriza esta serie como una culminación simbólica de la democratización llevada a cabo por las élites.

In a new communication context, factors such as the rise of hate speech, disinformation, or a precarious financial and employment situation in the media have made discursive menaces gain increasing significance. Threats of this kind challenge the legitimacy of institutional news media and professional journalists. This article contributes to the existing literature on the legitimization of journalism and boundary work through a study that seeks to understand the perceptions of Southern European journalists of the threats that they encounter in their work and the factors that help explain them. To this end, a survey of 398 journalists in Spain, Italy, and Greece was conducted to learn what personal or professional factors influenced their views and experiences of discursive and non-discursive menaces. Results show that discursive threats, such as hateful or demeaning speech and public discrediting of one's work, are the most frequent to the safety of journalists, while expressions of physical violence are less common. Younger and more educated journalists tended to perceive themselves as having been victims of discursive menaces more often, although not many significant differences were observed between different groups of journalists. Even though it could show a worrying trend, this finding can also indicate a growing awareness about menaces of this kind.

Mass media have often been described as the "new public space" of the current democratic societies (Ortega, 2003: 61). The increased popularity of New Information and Communication Technologies (NICT) is certainly motivating a change in the paradigm: according to the Society of Devisers, it is linked to the notion of collectiveness, it is demystified and fragmented. That is to say, it is taken out of the journalistic showcases and transformed into something alive, incomplete, accessible and multiple. The new society, fissured and emotionally hyperactive, is crossed by the mirror-neurons. This society of anonymous individuals gives public space triggering bursts of energy and enables, in the multidirectional map of devisers, its own central nervous system, although in close connection with the human body. In the next article of revision, the authors describe some of the characteristics which define the advent of that social emergence.