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

Political parties, aware of the importance that the younger audiences have as potential voters, have directed their communication strategies to TikTok, one of the most attractive social networks for children between 12 and 17 years old. Through content analysis of the 50 short videos with the most views of each of the official TikTok accounts of Podemos and VOX (@ahorapodemos and @vox_espana), this research proposes to examine the use that both political parties make of this network, analyzing whether they adapt their communication strategy to the particularities of this platform and comparing whether there are differences in the type of content that is disseminated on it according to the different ideological sign of each formation. The results show that, although the political formations analyzed use some typical styles of TikTok, such as the short duration or the sound library, the preponderant propaganda character of the contents clash with the casual and playful tone that characterizes the popular short video platform and which has made it popular among young audiences. Although strategic differences are detected depending on ideological polarity, in general, the political communication developed by Podemos and VOX on this social network is still in an embryonic phase, waiting to develop its potential through lighter content that connects more easily with the young majority users on TikTok.

Fact-checking accounts created by fact-checkers on social networks such as TikTok contribute to responding to two of the main challenges that journalistic activity currently encounters: the phenomenon of disinformation and the influence of social media in spreading fake news. This article analyzes the narratives built by fact-checking journalism on TikTok social network, characterized by short videos in vertical format. The main objective of the research is to understand the multimedia characteristics of the verifiers’ discourses on the social network, as well as the identification of the main challenges and opportunities that narratives of verification face on TikTok. A content analysis is applied that combines qualitative techniques with descriptive statistics. In order to process the analysis, discursive multimedia storytelling categories are established. The results show that the decisions regarding the focus on the topics and the use of multimedia and interactive language configure differentiated fact-checker profiles. The research concludes that the alliance of forces between fact-checking journalism and TikTok social network can be an instrument of great value for the digital literacy of society.

The World Cup 2022, held in Qatar, was the first major global sporting event open to the public in the post-pandemic period. The event, which had great media coverage, was also one of the first, in the sports universe, to be held in an era marked by the expansion of coverage on digital social networks. In this context, an increase in the production of vertical audiovisual content stands out, resulting from the influence of platforms that have stood out in recent years, such as Instagram or TikTok. Considering this growth, but also the data that point to a weak bet by the media in some of these new platforms, in this research we consider it important to explore how the Portuguese media used TikTok to report the events of the largest global soccer competition. To achieve this goal we chose twelve profiles from media organizations and made a detailed analysis of the publications, in order to understand if there is a native production of content on the platform or just a content adaptation, which do not allow the use of all the platform’s resources and, thus, alienate users. The results point to the use of the platform in the coverage of the World Cup, although through a production adapted and mainly oriented to the dissemination of opinionated content, which ultimately reflects a weak bet on one of the platforms that has grown the most and where many users are part of the audience that has moved away from the media.

This article proposes a comparative study of the clipping of images from the Social Facebook network of presidential candidates in Brazil and Spain. In Brazil, in 2022, specifically candidates Luiz Inácio Lula da Silva (Workers’ Party) and Jair Bolsonaro (Liberal Party), and Spain, in 2018, Pedro Sánchez (PSOE) and Pablo Casado (Popular Party). We’ll try to see how each country creates the images of its candidates for their personal pages. The corpus of this study consists of the section of the main image of Facebook of presidential candidates created in Brazil and Spain. We have, in this article, two objectives, very clear and specific: (i) make a semiotic analysis of the content plane (narrative, discursive and fundamental levels) of the image clipping; and (ii) analyze the expression plan from the chromatic and topological categories, in order to verify how each candidate creates his image on the social network for election campaigns. As a theoretical framework we rely on discursive semiotics, mainly in the research of Greimas and Courtés (2008), Floch (1985, 1995a, 1995b), Oliveira (2004), Oliveira & Teixeira (2009), Barros (2002), Fiorin (1999; 2000; 2002) and Fontanille & Zilberberg (2001). The methodology used will be descriptive, as predicted by French semiotics, and the method employed is hypothetical-deductive. The expected results aim to demonstrate that the verbal and visual elements make the social network page of presidential candidates more meaningful to their voter/recipient (enunciator/recipient), who is influenced to choose and vote for a particular candidate.

TikTok has emerged in recent years as the fastest growing social network. Entertainment content, the consumption of short videos, the proliferation of content creators and interaction are the main reasons that attract the Z generation, the main users of this network, but also other generations who are also looking to be entertained. Sport as a whole, and sportsmen and women in particular, have found in the platform a way to contact and converse in a more intimate and personal way. This paper studies in an exploratory way the use of TikTok as a communication channel of Spanish athletes who have competed in the Tokyo 2020 Olympic Games. The aim is to categorize and understand the communications issued by athletes on TikTok. The methodological design consists of a content analysis of the profiles of 12 Olympic athletes in the stage before, during and after the Tokyo Olympic Games, analysing a total of 431 publications, and eight in-depth interviews to professionals from the world of sport (managers, athletes and communicators). That contrast the previous phase. The results show the sportsmen and sportswomen assumption of the network’s codes, the use of Olympic symbols as the backdrop for their dynamics and the extent of greater interaction and engagement with their followers depending on the type of content. This study expands knowledge about athletes and personal brands in a little explored area and provides conceptual and management keys for communication and social media managers.

Presentación del número

En este artículo se explora, desde la especificidad de la historia de las artes gráficas en México y el rastreo de indicios técnicos, cómo fue que José Guadalupe Posada se posicionó respecto a los viejos y nuevos procedimientos de su oficio. Esto lleva a proponer que la primera técnica fotomecánica aplicada en su obra temprana en la Ciudad de México fue una novedosa modalidad de la fotolitografía; pero esta técnica no sería ejecutada por él, sino por un taller de origen francés que procesó ilustraciones para publicaciones diversas, entre ellas los semanarios La Patria Ilustrada, La Juventud Literaria y Revista de México, para los que trabajaron el propio Posada y otros de sus colegas. Asimismo, se muestra que él y quienes medraron del oficio de la imagen impresa en la capital vivieron en el fin de siglo una gradual transición; por una parte, las innovaciones técnicas en las artes gráficas, que eran también parte del discurso de calidad y modernidad de las publicaciones mexicanas que aspiraban a ponerse a la altura de sus prestigiadas congéneres extranjeras. Por otra parte, la permanencia de técnicas como la litografía tradicional, que continuaba utilizándose en el ámbito editorial en la última década del siglo XIX, y de la cual Posada siguió haciendo usufructo en su pequeño establecimiento, dos cuestiones que habían sido puestas en duda desde el supuesto de que por entonces, al igual que en Europa y Estados Unidos, la litografía era una técnica obsoleta en las publicaciones de México.

El Libro de cargo y descargo del Imperial Colegio de Tlatelolco fue sustraído del Museo Nacional a principios del siglo XX y después pasó desapercibido en la historiografía. Fue en la década de 1990 cuando salió a la luz pública y se vendió a un bibliófilo mexicano, pero en el proceso se pudo fotocopiar. Después de un análisis del manuscrito se localizaron las cuentas referentes a la construcción del caño que surtió agua al Imperial Colegio de Tlatelolco desde Tacuba. Esta etapa constructiva de 1581 a 1582 es desconocida, sin embargo, la información contenida en las cuentas permite conocer los nombres del maestro de obra, mer-caderes y comerciantes que proveyeron los materiales. Por las descripciones en las cuentas, se puede identificar que el sistema hidráulico se realizó por la superficie y de manera subterránea. Fueron fray Bernardino de Sahagún, fray Pedro de Oroz y fray Pedro Serrano quienes supervisaron la obra.