Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This qualitative research examines the role that the communication strategies used by brands have played from 2009 to 2018 (both years included), to achieve advertising effectiveness and thus achieve their communication and marketing objectives. The analysis of 39 cases of study of the awarded campaigns in the Gold Category, in business communication efficiency, of the Eficiencia awards in the last 10 years, along with the realization of a Delphi panel of 12 experts from the advertising sector, in the field of strategic planning, provide real and novel data about this subject. The conclusions show the relevance of communication strategies in the development of an advertising campaign and to what extent insight is important in this process, since it appears in 23 of the 39 campaigns analyzed, although in ten of them the insight is not evident, but it is possible. The study also provides an insight definition and classification, based on the research results, which differentiates between active and human insight –when the person conducts the action and expresses it through emotions–, and passive and external insight, when the person receives the action that induces him/her to buy the product.

The aim of this paper is to study the notion of cinemadevice in political documentary films. Its definition and effect constitute the problem to be investigated. The way in which this device works is described, considering it a mechanism for the construction of meaning that selects and organizes into a hierarchy the elements of reality expressed in the screen, applying to that end different assessment criteria. The starting point is the premise that political documentary film is a film genre composed around narrative, expressive, stylistic and particular argumentative forms. Considering that approach, it is suggested that the political documentary is a political-ideological practice – based on the idea of promise – that aims either to impose an alternative model of society or to endorse the social dominant paradigm through a process of veridiction. This process is described as an agreement between narrator and recipient of the communication, in which it is defined what is real inside the narrated world. This in turn tenses the true-false relationship, so as to cause adhesion or rejection in the spectator’s conscience.

Discussions about the active character of contemporary audiences tend to be centered on new communication technologies and on the possibilities of content production offered by these technologies. This article, in contrast, proposes that we pay attention to the political character of certain media activities and to non-technological factors that influence the changing relation between audiences and media. Specifically, we focus on promotional culture as an important drive for activities aimed at influencing—and not directly producing—media content. This approach is illustrated through a case study about the relationship between female slum community leaders and the media in Chile. These women interact largely with traditional rather than digital media, motivated by the need to challenge the image of them proposed by those media, and promote their demands. We argue that the study of audience participation in a neoliberal society like Chile must recognize promotional strategies as not exclusive of certain social groups, but as increasingly widespread throughout society.

The purpose of this research is to identify the specific characteristics of the Spanish press photojournalistic coverage of the Israeli-Palestinian conflict when children or teenagers appear in the photographs. In order to achieve this goal we analyzed – using 29 variables – all the pictures published during 2010 (n=26) in six of the most important Spanish newspapers of general press (El País, El Mundo, Abc, La Vanguardia) as well as free press (Qué! and 20 minutos), which compose 56,65% of the universe of readers. For photojournalists, childhood becomes an intentional icon of violence in the imagery of the Israeli-Palestinian conflict. The snapshots – which are usually distributed by international information agencies –, homogenized the vision of the confrontation; most of them violate the children’s right to privacy, and frequently infringe settled principles of professional journalistic ethics.

This study is an analysis of the social uses of a Brazilian soap opera in three Cuban families –specifically from Havana– from different socioeconomic positions (high, medium, and low). It relies on a qualitative perspective and ethnographic approaches. It also uses techniques such as participant observation, in-depth interviews, completion of sentences, and group discussion. In doing so, the study addresses the processes of appropriation and allocation of meanings around the soap opera. In all three families, melodrama rises as a space for entertainment, a way of escaping reality, and communicative interactions. The main differences arise from factors associated with the location of families in the broader context that contains them, as well as subjective processes that generate unique strategies and meanings by different family members.

Does television rating have an impact on Twitter’s tweeting? The emergence of digital social media is changing the television industry practices. In particular, TV channels are explicitly including social media tools to interact with their audience. These efforts are mostly based on intuition rather than on evidence. To contribute to identify the actual effect of TV programming on Twitter’s tweeting, this study analyzes the relationship between TV rating and Twitter’s tweeting during the Teleton 2012, an event that is transmitted by all Chilean channels simultaneously. The results suggest a statistically positive impact of television rating on Twitter’s tweeting. Specifically, during Teleton 2012, a rise of 1 point on television rating per minute increased Twitter’s tweeting by 1.5 tweets per minute on average and 6 tweets per minute during prime time.

The introduction of the digital terrestrial television (DTT) in Chile brings new problems to the television audience measurement process. In a multisignal context, with the emergence of new contents and squarely in front of the contemporary technological convergence, the correct representation of the viewing behaviors faces unprecedented methodological challenges. This creates the conditions for developing new methodologies as a result of professional experience and research in the field itself. Thus, the TV audience measurement in Chile takes a new methodological approach, through the “Audio Matching”. With this, the measurement through audimeters (people meters) enters a new era, facing the dual challenge of analog and digital measurement in a mixed television broadcast. In addition, it does respond effectively to the new realities in the television consumption related to the time shifted television viewing. In turn, this new methodological approach is compatible with future measurement systems for other areas and consumption platforms.

During recent years we have witnessed an increase in the spaces for content elaborated by audiences in the news media, and a growing integration of such content in spaces that had until now been reserved for news professionals. The latter has aroused the interest of researchers, and there are abundant studies on – among other factors – the presence of participatory mechanisms in the online media, the attitude of journalists towards participation, the quality of audience participation and its contribution to the development of a more enriching public sphere. The principal aim of this paper is to offer the state of the art of research in participatory journalism. This work focuses on the main features of this field. A review of literature reveals the evolution of approaches used in the last fifteen years.

Corporate Social Responsibility (CSR) is a voluntary commitment to responsible and measurable behavior of an enterprise beyond the provisions of the laws to meet the expectations of the stakeholders with which it interacts. This management model was created to solve the problems of reputation and credibility of private companies, although recently it was assumed by public owned organizations. The concept spread quickly, but there is still no international consensus on the standardization of its practice and recognition, no state regulations governing it. At the European Union, the state public owned broadcasting corporations in Germany, Ireland and the United Kingdom reported for at least two years of CSR actions, even without following international or state regulations. This trend is poised to consolidate itself as six other corporations have taken the first steps to implement this philosophy.

In this paper, we assess the adaptation of the Colombian soap opera Yo soy Betty, la fea to the US TV series Ugly Betty, and explain the process of symbolic construction of ugliness, based on the ethnic condition of the main character. We examine the discourse built around Betty Suarez, which works as a resource to forge a narrative of national identity on the Latino population in the United States. The resulting series makes possible to point out the televized proposal of a represented society that constitutes an alternative symbolic construction of Latinos as a social group. This narrative analysis explains the reformulation of the symbolic oppositions in both worlds (Latino and Anglo) which shows the gradual acceptance of Betty not only in terms of her physical non-beauty, but also of her ethnic and social condition.