Cine y youtubersnuevas audiencias, nuevas experiencias

  1. Berlanga Fernández, Inmaculada 1
  2. Fernández-Ramírez, Laura 1
  1. 1 Universidad Internacional de La Rioja
    info

    Universidad Internacional de La Rioja

    Logroño, España

    ROR https://ror.org/029gnnp81

Journal:
Tsafiqui: Revista científica en ciencias sociales

ISSN: 2602-8069,  1390-5341

Year of publication: 2020

Issue Title: Social Networks, Consumption and Connectivity: Communication in the new virtual scenarios

Issue: 15

Pages: 45-56

Type: Article

DOI: 10.29019/TSAFIQUI.V11I15.806 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Tsafiqui: Revista científica en ciencias sociales

Abstract

The new digital media have achieved, along with the democratization of audiovisual consumption, the democratization of film production. As a result, small fictions generated on the internet have emerged and are being presented at film festivals, with many followers and, therefore, with enormous visibility. It can be said that the liquid modernity preached by the sociologist Bauman has reached the cinematographic medium. We propose to study the convergence of the new forms of producing content (YouTubers) with the film industry and to analyze this emerging phenomenon in its context, as a mirror of a postmodern society. The famous YouTubers attract the attention of producers, and at the same time, they get involved in film production and show a revolution of the traditional parameters of cinema: they move it to new terrain, with hyperactive spectators who demand transmedia stories and immersive experiences. With this research, the aim is to make a scientific-humanist approach of a reflexive nature to the subject of study. A qualitative methodology is used, with an exploratory and descriptive character that defines new formats for the creation of audiovisual content; identifies the convergence between cinema and YouTube, and locates the incursions of YouTubers from the Hispanic environment in the film industry. This exploration draws the framework to understand a not insignificant phenomenon whose methods and narratives evidence a future relevance in the production of fiction.

Bibliographic References

  • Aran-Ramspott, S., Fedele, M. y Tarragó, A. (2018). Funciones sociales de los youtubers y su influencia en la preadolescencia. Comunicar, 57, 71-80. https://doi.org/10.3916/C57-2018-07
  • Atkinson, S., & Kennedy, H. (2017). Live Cinema. Cultures, Economies, Aesthetics. Bloomsbury. Reino Unido
  • Bauman, Z. (2002). Modernidad líquida. Fondo de Cultura Económica. Buenos Aires, Argentina
  • Bonaga, C. y Turiel, H. (2016). Mamá, quiero ser youtuber. Ediciones Temas de Hoy. Barcelona. España
  • Brookey, R. A. (2010). Hollywood Gamers: Digital Convergence in the Film and Video Game Industries. Indiana University Press. Estados Unidos
  • Burgess, J. & Green, J. (2009). Youtube e a revolução digital. Aleph. Brasil
  • De Luca, T. (2016). Slow Time, Visible Cinema: Duration, Experience, and Spectatorship. Cinema Journal, 56, 23-42. doi: 10.1353/cj.2016.0052.
  • Deller, R. A., & Murphy, K. (2019). ‘Zoella hasn’t really written a book, she’s written a cheque’: Mainstream media representations of YouTube celebrities. European journal of cultural studies. doi: 10.1177/1367549419861638
  • Fossen, B. L. & Schweidel, D. A. (2019). Social TV, advertising, and sales: Are social shows good for advertisers? Marketing Science, 38, 274-295. doi: 10.1287/mksc.2018.1139
  • Freberg, K., Graham, K., McGaughy, K. & Freberg, L. (2011). Who are the social media influencers? A study of public perceptions of personality. Public Relations Review, 37(1), 90-92. doi:
  • j.pubrev.2010.11.001
  • Gallego, F. (2013). Social TV Analytics: Nuevas métricas para una nueva forma de ver televisión. Index. Comunicación: Revista científica en el ámbito de la Comunicación Aplicada, 3, 13-39. https://bit.ly/3m8tjPf
  • Gómez, H. (2017). El cine después del cine. Comunicación ampliada y entornos transmedia: videojuegos y cine. Entretextos, 25, 74-86. doi: 10.14201/fjc201817193213
  • Grossman, L. (2006, December 25). You – Yes, You – Are Time’s Person of the Year. Time. https://bit. ly/31tbYJd
  • Gupta S. & Samantaray, S. (2020). Tracing the Evolution of Information and Communication Technologies in Cinema. In: S. Satapathy, V. Bhateja, J. Mohanty & S. Udgata (eds.). Smart Intelligent Computing and Applications. Smart Innovation, Systems and Technologies, 175-183. Springer.
  • Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York University Press.
  • Lijtmaer, L. (1 de marzo de 2017). Entrevista Almodóvar. Eldiario. https://bit.ly/37GRFfl
  • Lipovetsky, G. y Serroy, J. (2009). La pantalla global: Cultura mediática y cine en la era hipermedia. Anagrama. Barcelona.
  • López, A. (2016). Youtubers. Nueva lógica comercial y narrativa en la producción de contenidos para la web. Letra. Imagen. Sonido: ciudad mediatizada, (15), 225–241. Buenos Aires, Argentina.
  • Marrocco, M.C. (2012). El cine y la producción multiplataforma: Expresión y representación de su tiempo. Toma Uno, 1 (1), 153-166. https://bit.ly/3m7GAYu
  • Miller, C. H. (2004). Digital storytelling: A creator’s guide to interactive entertainment. Taylor & Francis. Oxford, Reino Unido.
  • Pérez, M. y Campillo, C. (2016). Influencer engagement, una estrategia de comunicación que conecta
  • con la generación millenial (Degree Dissertation, Universidad de Alicante). Repositorio Institucional de la Universidad de Alicante. https://bit.ly/2xnIC2T
  • Petit, C. (ed.). (2006). Generación tecnocultural. Adolescentes, El uso de los medios audiovisuales y nuevas. tecnologías. Ediciones Encuentro. Córdona, Argentia.
  • Quiles, A. (2018). Nuevos formatos de cine digital. Vídeo interactivo, transmedia y realidad virtual. Redbook Ediciones. Barcelona, España.
  • Scolari, C. A. & Fraticelli, D. (2019). The case of the top Spanish YouTubers: Emerging media sub-
  • jects and discourse practices in the new media ecology. Convergence, 25(3), 496–515. doi: 10.1177/13548565177218072060001&idioma=es
  • Stokel-Walker, C. (2019). YouTubers: How YouTube shook up TV and created a new generation of stars. Canbury Press. Croydon, Reino Unido.
  • Sucari, J. (2020). El documental participativo: visibilidad y experiencia. adComunica, (19), 299-302. doi: 10.6035/2174-0992.2020.19.18
  • Vallés, R. (13 de octubre de 2018). El efecto Wismichu y su bocadillo de trol. La Vanguardia. https:// bit.ly/3jkQhAU
  • Zagalo, N. (2010). Alfabetización creativa en los videojuegos: comunicación interactiva y alfabetización cinematográfica. (Creative Game Literacy. A Study of Inter active Media Based on Film Literacy Experience). Comunicar, 5, 61-68. doi: 10.3916. C35-2010-02-06.
Data source: Dialnet