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

Television in Latin America continues to be an important medium for the population; politics, history, the market, and especially the culture and its audiences keep television alive. In spite of the fact that millennials enjoy television from a variety of screens, television contents remain as a reference in everybody´s audiovisual experiences. With changes in its reception, production, programming, and business models, television “exploits”, instead of disappearing, amplifying itself into the televisual, keeping itself as a multicultural experience, and as unique opportunity for its audiences’ reinvention of themselves.

En los últimos años hemos padecido una crisis económica que ha intensificado la preocupación de los gobiernos por corroborar la eficacia y eficiencia con la que se utilizan los fondos públicos. Esta situaciónse justifica (Wiesner, 2000), entre otras, por la mayor necesidad de responsabilidad y de transparencia, por el alto coste político que se sufre cuando la opinión pública estima la falta de eficiencia de los programas públicos y por la importancia de que los ajustes o correcciones fiscales sean racionales. Por otra parte, la necesidad de evaluación de los programas de desarrollo empresarial está justificada por la gran cantidad de fondos destinados a su implementación (Awasthi y Sebastián, 1996). El objetivo de este trabajo es evaluar las políticas públicas y constatar cómo, a través de la medición del impacto económico y social de los programas públicos, se puede conocer el retorno de la inversión pública a la sociedad. Tomando como caso de estudio la Junta de Andalucía, se analizará el retorno de la inversión pública en materia de emprendimiento de Andalucía Emprende, Fundación Pública Andaluza en el año 2015. Se ha utilizado la metodología coste-beneficio. Los resultados indican que el retorno a la sociedad supera la inversión realizada.

En los últimos años se han producido cambios rápidos y profundos en la organización del trabajo y el contenido del trabajo, lo que ha contribuido a la aparición de los trabajadores autónomos dependientes, que realizan una nueva forma de trabajo que se encuentra dentro de una "zona gris" entre el trabajo por cuenta ajena y el autoempleo. El concepto de trabajadores autónomos dependientes también se ha utilizado para referirse a diferentes situaciones y, aunque la terminología empleada varía, se trata de una realidad conocida en toda Europa aunque existe poca evidencia empírica sobre sus características. En este trabajo se estudian las principales características de los trabajadores dependientes por cuenta propia comparando su perfil con los empleados por cuenta ajena y los trabajadores por cuenta propia “tradicionales”. Además, se analizan las condiciones de trabajo de los tres grupos para mostrar las diferencias entre ellos. Los datos utilizados se han obtenido a partir de la V Encuesta Europea de Condiciones de Trabajo. Los resultados obtenidos muestran que existe un tronco común en cuanto a los factores que discriminan a los autónomos de los asalariados, pero que existen algunos matices que diferencian y definen a cada grupo de autónomos con respecto a los empleados por cuenta ajena.

“Love” (2012, Austria-Germany-Kenya ), the first film of “Paradise”, Ulrich Seidl ́s trilogy, proposes a perspective which situates the viewer in an uncomfortable dilemma. The film will reveal both the patriarchal and colonial look. Faced with this confrontation, we wonder from the “intersectionality theory”: what is the role that sexuality devices play in relationships of domination according to the film representation. We intend to discern what types of power relationship have been established between the characters, how borders work here and how cultural conflicts are managed. We will analyze some of sex relationships of the protagonist focusing on the courtship moments which reveal diverse linguistic, social boundaries of gender, age and class, where hegemonic concept of romantic love is questioned at the same time, its function as a technique of power is showed. In the same way, we will check if these conflicts are solved or not during sex negotiations, and what is the role that colonial domination plays in the film.

Starting in 2012, Señal Colombia, a public broadcasting channel with national coverage, started international sports transmissions aiming to increase its audience without losing the cultural and educative focus of its programming. After six years of experimenting with sports contents, the ‘Magazín Tour de Francia’ won the ‘India Catalina’ award for best sports program in Colombia in 2015. This research project critically analyzes the narrative and aesthetic resources of this audiovisual piece in order to (1) identify its deep structures of meaning and significance and (2) get to know the perceptions a group of viewers have about its contents. The methods used are the textual analysis applied to the 21 episodes of the magazine that were broadcasted before each of the stages of the ‘Tour de France 2015’ and a survey to two focal groups for the construction of a reception study. Results show that the aesthetic and narrative resources of the ‘Magazín’ contribute more to strengthening identity and motivating different usages of bicycles than it does to guaranteeing a devoted audience to the broadcasting of the ‘Tour de France’ stages.

Using the example of the Federal Republic of Germany, this text reflects on the transformation of contents and programming that television went through in many European countries during the two decades between the mid-1970s and the mid-1990s. Methodologically, the advent of private broadcasting in West Germany in 1984 will be explained firstly taking into consideration a series of legal and political changes from 1975 onwards. In its second part, the text changes its perspective and focuses on some of the changes introduced by the new private stations after 1984. It analyzes the way the contents and programing that modified the main function that television had played in Germany for almost thirty years. This study shows how the emergence of private broadcasting served as catalyst to the three general trends – internationalization, commercialization and the triumph of entertainment – that would prevail as core values of a new television paradigm to the present day.

The present study focuses on theatre programmes, specially Estudio 1, and the study of the work procedure and routines of the television producers. This initial aim serves as a starting point for a further discussion about the circumstances sorrounding the process of mise-enscène of theatre performances on the Spanish Television for the period 1965-75, and we focus on Claudio Guerin. We are interested in the mise-en-scène, more particularly to those closely to theatre, Estudio 1, for the period 1965-75. In spite of making use of the same type of technological resources and mechanisms and having followed the same steps and criteria, the results are varied; some of them turn out pretty similar, meanwhile some others are completely different. To sum up, it is precisely there, in the producer’s responsibility and relevance, this “bridge” and connection between the shooting action in a television set and the final broadcast image, where the real interest of this article dwells.

The arrival of the autonomous channels and, later, of the private channels broke the monopoly of the public television in Spain. Since that, the networks bet by the great spectacular contests as a formula to attract the audience and the advertising. The objective of this article is to analyze the presence of these games contests in the programming of the Spanish channels between 1990-2000 and to evaluate the tendencies of its offer, making a content analysis of the guide and textual analysis of these productions. In addition, the host, the audience and the kind of production are valued. It will be demonstrted that the spectacularization and eroticism of the shows were the two elements that defined the idiosyncrasy of these programs in the analyzed period.

Webs 2.0 and 3.0 have led the transformation in the way to communicate and to interact socially that has meant a greater dynamism in the forms, supports and dynamic of the communication and this is forcing to the institutions to project a speech and an image in accordance with their identity and, at the same time, to try to receive a feedback of their actions, listen to improve or propose contents that interest to the users. The present work identifies and analyses the online positioning and the main parameters of corporate information presents in the web of the public television companies in Spain, Portugal, France, Italy, United Kingdom and Germany. The results from the analysis of corporate and financial information, social responsibility and transparency reports, ethical codes, action guides and communication with the audiences show transparency in the form but an unidirectional communication.

The present article raises an analysis on the night phone calls competitions in the television of Argentina. It develops the emergence of this genre about a decade ago, its main characteristics and its changes over time. For this, a semiotic analysis was developed that addressed the main generic features and their stylistic differences, as well as the media aspect that places this group of programs with features of neotelevision and the so-called “third stage television”, in relation to the new media. The result of this analysis is a classification of these productions from the space of participation that they give the viewer, as well as the type of viewer to which they point, according to the indicated stages.