Book Reviews by José M . Alvarez-Monzoncillo
The expectation that television would be distributed predominantly over the Internet rather than ... more The expectation that television would be distributed predominantly over the Internet rather than through the air has been mooted along with the rise of the Internet itself, and now the mobile Internet. Broadband infrastructures being rolled out around the world are premised on this assumption. The business reality of television is that Internet TV has emerged from the early 2000s as a competing delivery infrastructure to HD terrestrial, satellite, cable and mobile TV systems. Delivery systems include Internet protocol (IPTV) and videoon-demand (VoD) variants over managed network infrastructures.
Papers by José M . Alvarez-Monzoncillo
Fundesco: Boletín de la Fundación para el Desarrollo de la Función Social de las Comunicaciones, 1993
Routledge eBooks, Aug 1, 2022
Routledge eBooks, Aug 1, 2022
Información del libro Presente y futuro de la televisión digital.
The Dynamics of Influencer Marketing, Aug 1, 2022
The transformation, as brought about by the development of the Internet and digitalization of pro... more The transformation, as brought about by the development of the Internet and digitalization of production and post-production in the media industry, has triggered the rupture of the value chain, forcing the industry to reinvent itself. This transformation has empowered users and even allowed them, on occasion, to become content creators who dare question the traditional power of large media players. "In recent decades there has been a marked shift from consumer electronics to information technology as the most powerful sectoral force shaping how media content gets produced, distributed, and experienced" (Deuze & Prenger, 2019: 14). These new means of production, distribution and consumption have affected the whole of the media industry at different levels. Some media have had to reinvent their business model drastically, redefining their engagement with their audience, favoring multi-platform distribution. This has been a difficult process which not only seeks to capture audiences on a one-off basis but, especially, to generate new opportunities by interacting and creating a community. This is an uncertain process of adaptation to the digital media environment in which competition among all players is tough. The new ways of communicating which have emerged on the net have made it possible not only to produce and distribute, but also to interact emotionally with followers. This empowerment has, perhaps, been one of the most important innovations in the field of communication. User activity not only adds traffic-which is beneficial to telecommunication companies-but the fact that it also allows them to empathize with a large public is of great interest to brands. This ability to work with a community of fans of cultural products, with a mix of genres and reinterpreting a new "acquisition" of others' work, has been studied thoroughly (Jenkins, 2006; Jenkins, Ford & Green, 2018). The value is not solely in the production and distribution of the product but in the consumption, itself, given that valuable information is obtained from the interaction.
Academia Revista Del Cine Espanol, 2004
The Great Recession has had devastating consequences on the audiovisual industry in Spain. Since ... more The Great Recession has had devastating consequences on the audiovisual industry in Spain. Since 2008, direct investment in production has fallen by almost 30%: television advertising investment has plummeted and public/government funding for public TV channels has only been enough to cover structural overheads. Production and television companies have cut costs considerably. Television companies have attempted to reduce risk by cutting down on the number of new programmes they make, favouring internationally-tested formats with a proven track record, re-adjusting the programmes being broadcast, and producing fiction series. Production companies in turn have had to undergo considerable adjustment in the reduction of their assignments for television channels. Despite the cuts in public funding for Spanish cinema, the level of production has been sustained, and the market share in cinemas has risen for several years thanks to the success of many films. The traditional challenge of int...
Recent changes in the economic, social, and technological environment have impacted the careers o... more Recent changes in the economic, social, and technological environment have impacted the careers of information professionals. On one hand, new jobs and opportunities have appeared, and on the other hand, layoffs in mainstream media companies indicate that the net impact has been negative. This article attempts to analyze the most important changes in the media environment, the main forces affecting supply and demand, and the impact of changes on the careers of information professionals. Finally, we propose that some of the new radical paradigms in the world of information professionals are not conceptually new.
Revista ICONO14. Revista científica de Comunicación y Tecnologías emergentes, 2016
Los medios de comunicación de masas en España han realizado un ajuste importante en los últimos a... more Los medios de comunicación de masas en España han realizado un ajuste importante en los últimos años para adaptarse a la Gran Recesión y a una tecnología disruptiva como ha sido, en muchos casos, Internet. Esto se ha traducido en la caída de los ingresos publicitarios y de las subvenciones públicas, más una bajada de ventas y suscripciones. En los años de bonanza, las promesas de Internet y el fácil acceso a los mercados financieros internacionales a intereses bajos por debajo de la inflación hicieron posible que los grupos diseñaran estrategias de expansión verticales y horizontales para tomar posición en el mercado nacional y expandirse hacia los mercados internacionales, fundamentalmente hacia América Latina y Europa. Además, los consumidores han podido acceder más fácilmente y a un menor precio a los contenidos a través de la red y con multitud de dispositivos. La mala situación económica de los medios clásicos (provocada, sobre todo, por su alto endeudamiento) no permite afront...
El Profesional de la Información, 2016
is professor of audiovisual communication and vice chancellor of continuing education, degrees, g... more is professor of audiovisual communication and vice chancellor of continuing education, degrees, graduate studies, and international relations at Universidad Rey Juan Carlos (URJC). Director of the Master on television journalism (URJC-RTVE) and of the research group Infocent. Coordinator of the University master on film, television and interactive media. Author or coauthor of thirty-eight books and over thirty articles in scientific journals on the economy of communication, cultural industries, and information technology.
adComunica, 2015
In recent years the Spanish film industry has had a level of production that has amply surpassed ... more In recent years the Spanish film industry has had a level of production that has amply surpassed one hundred films, with a market share of around 15 percent of the main amortisation windows. During the so-called "Spanish Miracle" investments in production increased substantially (reaching nearly EUR 300 million per annum to the beat of the explosion in supply and consumption of television), both on the exhibition side and in domestic equipment aimed at adapting to the new digital scenario (screens, DTT, and connected TVs). The "Great Recession" and Internet caused the sector's endemic and structural problems to resurface: a minimal presence in international markets, fragmentation of production preventing the creation of strong industrial structures, an absence of global strategies and low budgets. The problem is that this type of production affects the business life of all amortisation windows. Nevertheless, Internet and globalisation open the doors to some commercial possibilities with the appearance of productive audiences.
This paper analyses the Spanish population’s cinema consumption in 2014. New windows and new elec... more This paper analyses the Spanish population’s cinema consumption in 2014. New windows and new electronic devices are beginning to change film consumption habits. Internet is beginning to be a new way to watch films, particularly for young people. This research is relevant given the inexistence of disaggregated data regarding cinema consumption in Spain. Some statistics are available regarding certain windows, such as movie theatres and television, but only gross data is provided and the consumption of films on the Internet is disregarding. For example, official statistics only quantify the number of spectators and box office sales, without crossing other variables. Our findings are also significant because film distributors are beginning to refocus their businesses towards the Internet, as the cinema industry’s value chain is changing. Thus far, whilst awaiting the arrival of Netflix, on-line stores have pretty much failed from an economic success point of view. The Internet also cha...
El Profesional de la Información, 2020
The instability in the newspaper business model since the emergence of the Internet disrupted the... more The instability in the newspaper business model since the emergence of the Internet disrupted the value chain and has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind contract imposed by YouTube's algorithm. Advertising income from this source is still scarce and depends on engagement, previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864 videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the YouTube channels of six Spanish newspapers are discussed.
Las Imagenes Del Cambio Medios Audiovisuales En Las Transiciones a La Democracia 2013 Isbn 978 84 9940 523 0 Pags 15 34, 2013
Economia della Cultura Anno XXV, Nº 2, 2015 Pags. 211-22, 2015
The Great Recession has had devastating consequences for the audiovisual industry in Spain. Since... more The Great Recession has had devastating consequences for the audiovisual industry in Spain. Since 2008, direct investment in production has fallen by almost 30% - television advertising investment has plummeted and public/government funding for public TV channels has only been enough to cover structural overheads. Production and television companies have cut costs considerably. Television companies have attempted to reduce risk by cutting down on the number of new programmes, favouring internationally-tested formats with a proven track record, re-adjusting the programmes being broadcast and producing fiction series. The production companies have carried out a considerable adjustment by reducing the assignments for the television channels. Despite the cuts in public funding for Spanish cinema, the level of production has been sustained and the market share in cinemas rose several years thanks to the success of several films. The traditional challenge of internationalising the production sector is becoming more and more difficult as costs are reduced to make it possible to compete. The recent tendency in television programmes is a shift towards reality shows and talk-shows, whilst for films and series, comedy has become the common denominator
El profesional de la Información , 2020
The instability in the newspaper business model since the emergence of the Internet disrupted the... more The instability in the newspaper business model since the emergence of the Internet disrupted the value chain and
has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution
channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind
contract imposed by YouTube’s algorithm. Advertising income from this source is still scarce and depends on engagement,
previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864
videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the
YouTube channels of six Spanish newspapers are discussed.
Spanish media in a new digital world: The great bonfire of the vanities | 9 Spanish media in a ne... more Spanish media in a new digital world: The great bonfire of the vanities | 9 Spanish media in a new digital world: The great bonfire of the vanities Los medios españoles ante el nuevo mundo digital: La gran hoguera de las vanidades José María Álvarez-Monzoncillo
Spanish media in a new digital world: The great bonfire of the vanities | 9 Spanish media in a ne... more Spanish media in a new digital world: The great bonfire of the vanities | 9 Spanish media in a new digital world: The great bonfire of the vanities Los medios españoles ante el nuevo mundo digital: La gran hoguera de las vanidades José María Álvarez-Monzoncillo
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Book Reviews by José M . Alvarez-Monzoncillo
Papers by José M . Alvarez-Monzoncillo
has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution
channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind
contract imposed by YouTube’s algorithm. Advertising income from this source is still scarce and depends on engagement,
previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864
videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the
YouTube channels of six Spanish newspapers are discussed.
has led newspapers to turn to videos as an additional source of revenue. YouTube has become the content distribution
channel of choice for most newspapers, which benefit from the ability to generate greater traffic in exchange for a blind
contract imposed by YouTube’s algorithm. Advertising income from this source is still scarce and depends on engagement,
previous user experience, video quality, video reputation and numerous other factors. Based on an analysis of 864
videos over three randomly selected weeks, conclusions are reached, and the consequences of the management of the
YouTube channels of six Spanish newspapers are discussed.
What influence capacity do they have? Why are intimate or personal aspects shared with unknown people? Who are the big beneficiaries? How much is vanity and how much altruism? What business is behind these social networks? What dangers do they contain? What volume of business can we estimate they generate? How are they transforming cultural industries? What legislation is applied? How does the legislation affect these communications when they are sponsored? Is the privacy of users violated with the data obtained? Who is the owner of the content? Are they to blame for “fake news”? In this changing, challenging and intriguing environment, The Dynamics of Influencer Marketing discusses all of these questions and more.
Considering this complexity from different perspectives: technological, economic, sociological, psychological and legal, the book combines the visions of several experts from the academic world and provides a structured framework with a wide approach to understand the new era of influencing, including the dark sides of it. It will be of direct interest to marketing scholars and researchers while also relevant to many other areas affected by the phenomenon of social media influence.
Como colofón se incluye una entrevista con Henry Jenkins, que ofrece una perspectiva más internacional de una generación que entra en su madurez y que será de vital importancia para entender la evolución del presente siglo.
Además, se pone especial énfasis en la revisión de las debilidades y fortalezas de las televisiones públicas y privadas de carácter nacional, autonómico y local, así como en el estado actual del marco regulatorio europeo y la evolución del espectro radioeléctrico.
Por último, se analiza su complementariedad con los nuevos modelos de televisión y su valor social añadido al garantizar una mayor pluralidad de medios, que da cabida a la diversidad cultural y territorial de la UE actuando como motor de la industria europea, española, regional y local de producción de contenidos impulsora de la creación de puestos de trabajo de alto valor añadido.