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

Background. The audiovisual scene has suffered in recent years, an unprecedented mutation because of the universalization of the Internet and an increasing access to broadband, among other factors. Websites based on visual elements and platforms like YouTube, Vimeo and Google Video have changed the way in which audiovisual productionsare distributed, but also how they are created and, of course, the way you watched. Amateur productions compete with professional ones, in every fields, generating a very complex visual map: its is chaotic and difficult to classify. Object of study. Online advertising has not been immune to this context, integrating audiovisual productions in campaigns for the Internet, which are very different from the strategic point of view, in form and content, to traditional advertising productions for television. Aim. The aimof this research is to produce a valid taxonomy for classifying audiovisual advertising on the Internet. Methodology. Based on traditional concepts (creations, production, distribution, exhibition, performance) and developed in response to the specificities of new media (Lister et al, 2009), we created a preliminary taxonomy that has been tested by classifying audiovisual pieces of 80 winning campaigns in 2011 in the section Cyber of the International Festival Cannes Lions.

The search for a minimalist narrative (baptized by some critics and analysts as "essentialist") has become a characteristic feature in works of many authors of contemporary film. This is probably a reaction to accused mannerisms of the audiovisual speech in recent decades due to the excessive influence of television narrative and the generalization of digital tools in production processes. In this return to the essence of filming, audio plays a decisive role. The versatility of the soundtrack, made possible by the progressive emancipation of sound in the audiovisual speech, becomes a main resource to simplify the visual part of the story. In this emancipation, not only technical issues (especially, major advances in multichannel sound) come into play, but also aesthetical issues (directors and sound designers look for a global sound concept for the film). The combination of these factors leads to a diffuse and ambiguous concept that creates a much more evocative sound and a multiplicity of meanings in the story which is quite frequent among cinematic contemporary authors.  

This article parts from the thesis that the modernising project is a self-centred one that has not known how to recognize a state of otherness. It not only places itself as a universal project but it disqualifies non-western cultures by placing them as obstacles to progress as we have conceived it. Paradoxically, in the name of freedom and tolerance it destroys otherness or reduces the other to the anti-illustrated category of “minor.” Modernity carries with it a structural contradiction between the moral principals in which it is sustained itself and the historical achievements to which it has given rise. The solution is not to reject the modernising project altogether but, on the contrary, to radicalize it; that is, to make it coherent and in order to do that, one must begin by making it more inclusive in terms of diversity. This means, in political code, to construct citizenships with differences instead homogenous citizenships, and in order to make that possible it will be necessary to take seriously the need to construct multicultural states that substitute today’s national states that we have inherited from modernity. Only in this way will it be possible to move from tolerance to the recognition of the diversity of public life, from ethnocentric monologues to intercultural dialogue as the guiding principal of coexisting cultures.

At present it is increasingly complicated to set limits between advertising, entertainment and information. This hybridization of genres (Imbert, 2003) is responsible for brand new formats between fiction and entertainment, such as advertainment, or between information and entertainment, such as infotainment. These are hybrid proposals designed to respond the commercial interests of the audiovisual business, on the one hand, and the changing consumers tastes, on the other. This scenario is getting complicated by the penetration of internet and web 2.0 that have made possible both the establishment of communities as well as the interaction between creators and users, between brands and consumers. Thus, halfway between fandom and User Generated Content (UGC), there are narrative productions created by the TV series fandom, who decide to keep the plot generating new narratives linked to the original. In this process of narrative construction, the consumer of television series becomes not only a fictional content producer, but also and specially an advertisement diffuser. The purpose of this paper is to present an overview of the different discursive productions from the TV shows fandom, as well as to analyze if they could be studied from the commercial communication standpoint.

Review of Empresa publicitaria. Administrar y emprender en publicidad. Francisco J. Caro González Jorge David Fernández Gómez Sevilla, Advook, 2016 234 páginas.

Review of  Ideologías políticas en la cultura de masas. Antonio Pineda, Jorge David Fernández Gómez, Adrián Huici (coods.) Madrid, Tecnos, 2018 367 páginas.

Review of Branding the Nation, the Place, the Product. Ulrich Ermann y Klaus-Jürgen Hermanik (eds.) Abingdon, Routledge, 2018 166 páginas.

Review of Branding: el arte de marcar corazones. Ricardo Hoyos Ballesteros Bogotá, Ecoe Ediciones, 2016 153 páginas.

Among the many predictions that seek to describe the current scenario, we find statements about the incorporation of the Internet as a unique media for different media and messages, resetting for television, for example, the possibility of receiving multiple reception support and language. Researchers find premature the identification of a "digital aesthetic"; However, it is already observed changes in habits - from the simple actions to combined actionsin the environments of reception, or even in the media and messages. Anyways, seemingly stable situations are converging multiple possibilities. Although it is not possible to deny differences between medias, it is increasingly necessary to debate on the possibility of extending their repertoire.

A centralidade da telenovela na cena midiática brasileira evidencia seu papel de destaque no entretenimento e lazer cotidianos, bem como na formação de gostos e na consolidação de práticas de consumo. Este trabalho examina a inserção deste universo simbólico nas lógicas e dinâmicas da cibercultura. Tomando como objeto uma telenovela do chamado horário nobre da principal emissora do país, investiga-se o jogo comunicacional que se estabelece entre os capítulos da trama exibidos na TV e o conteúdo disponibilizado no Portal Globo.com. Importa discutir a formação de novos padrões de recepção e consumo de produtos audiovisuais no contexto das narrativas transmidiáticas.