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Industrias Audiovisuales Y Mercado: Estudios De Caso

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Industrias Audiovisuales Y Mercado: Estudios De Caso INDUSTRIAS AUDIOVISUALES Y MERCADO: ESTUDIOS DE CASO Aimiris Sosa Valcarcel Cristina Hernández-Carrillo de la Higuera José Patricio Pérez Rufí (coordinadores) Sara El Kadioui Fresneda, Alejandro Cáceres Gutiérrez, Esther María Camacho Pa- checo, Marta Guerrero Moyano, Sara López García, Eva Navas González, Celia Moreno Hernández, Elena Morgado Fernández, Candela Nogales García-Moliní, Eleonora Poggesi, Alejandro Cabrera Martos, Alejandro Clotet García, Hugo Chapon Guilbaud, Jairo Fernández Navarro, Inés Lozano Garnica, Juan Diego Martínez Fernández, José Luis Dago Quijano, Paula del Alcázar Cabrera Pablo Fernández Asencio, María Gahete Naranjo, Ana Montenegro Casaus INDUSTRIAS AUDIOVISUALES Y MERCADO: ESTUDIOS DE CASO Coordinadores Aimiris Sosa Valcarcel, Cristina Hernández-Carrillo de la Higuera y José Patricio Pérez Rufí Autores Sara El Kadioui Fresneda, Alejandro Cáceres Gutiérrez, Esther María Camacho Pacheco, Marta Guerrero Moyano, Sara López García, Eva Navas González, Celia Moreno Hernández, Elena Morgado Fernández, Candela Nogales García-Moliní, Eleonora Poggesi, Alejandro Cabrera Martos, Alejandro Clotet García, Hugo Chapon Guilbaud, Jairo Fernández Navarro, Inés Lozano Garnica, Juan Diego Martínez Fer- nández, José Luis Dago Quijano, Paula del Alcázar Cabrera, Pablo Fernández Asen- cio, María Gahete Naranjo, Ana Montenegro Casaus Diseño de portada y maquetación: Jose Manuel Lamela Rey josete.es Estructura del mercado audiovisual. Universidad de Málaga RIUMA. Repositorio Institucional de la Universidad de Málaga 2021 ISBN: 978-84-09-32560-3 PRÓLOGO....................................................................................................................................................................................................................4 1. EL PRODUCT PLACEMENT EN LA CONSTRUCCIÓN DE PERSONAJES: ESTUDIO DE CASO DE LA SERIE ÉLITE (NETFLIX)............................................................................................6 Sara El Kadioui Fresneda 2. PERFIL DE LA AUDIENCIA DE TDT EN ESPAÑA: ESTUDIO DE CASO DE TELECINCO, ANTENA 3 Y LA 1...................................................................................................................................................27 Alejandro Cáceres Gutiérrez Esther María Camacho Pacheco Marta Guerrero Moyano Sara López García 3. NIKE MAG Y REGRESO AL FUTURO: ANÁLISIS DE PRODUCT PLACEMENT...............42 Eva Navas González Celia Moreno Hernández Elena Morgado Fernández Candela Nogales García-Moliní 4. MUJERES DIRECTORAS DE CINE EN ITALIA.................................................................................................54 Eleonora Poggesi 5. TENDENCIAS DE CONSUMO EN YOUTUBE EN 2021: EL ALGORITMO DE LA SECCIÓN TENDENCIAS DE YOUTUBE..............................................................................................................................72 Alejandro Cabrera Martos 6. YOUTUBERS HISPANOHABLANTES DE LA SECCIÓN GAMING: PROSPECTIVA DE SEGUIMIENTO DE SUSCRIPTORES Y VISUALIZACIONES ENTRE 2021- 2025..................................................................................................................................................................................................................................90 Alejandro Clotet García Hugo Chapon Guilbaud Jairo Fernández Navarro Inés Lozano Garnica Juan Diego Martínez Fernández 7. CONSUMO DE LAS PLATAFORMAS VOD DURANTE EL CONFINAMIENTO POR LOS ESTUDIANTES DE LA UNIVERSIDAD DE MÁLAGA....................................................................108 José Luis Dago Quijano Paula del Alcázar Cabrera Pablo Fernández Asencio María Gahete Naranjo Ana Montenegro Casaus Prólogo José Patricio Pérez Rufí En el año 2021 las industrias audiovisuales iniciaban una extraña nueva normalidad en la que se retomaba el pulso de la actividad en todos los sectores culturales, con la experien- cia adquirida durante los meses de pandemia y con el inesperado impulso tomado por las plataformas de vídeo bajo demanda, pero también obligando al conjunto a reformular sus planes a medio plazo y a introducir un creciente factor de incertidumbre en la planifica- ción de acciones y en los resultados esperados. En este contexto, la actividad de producción de contenidos audiovisuales ha tomado visos heroicos y la comercialización de aquellos ha sido, como poco, arriesgada. Una vez que los planes de las diferentes industrias culturales se fueron al traste con la pan- demia de coronavirus, el obligado reseteo y los meses de pausa (y, en algunos casos, de reflexión) han procurado un escenario lleno de interrogantes en el que solo las plataformas de vídeo online han dado un paso al frente y han puesto las cartas sobre la mesa: Netflix intenta disimular la mediocridad de su catálogo confiando en mejores oportunidades en el “mercado del prestigio” (o de los premios) para 2022; Disney+ se ha lanzado a exprimir aún más sus marcas de éxito, con Star Wars y el universo Marvel al frente; Amazon compró el catálogo de MGM y se la juega reciclando los descartes de los estudios para salas de cine; HBO busca la osadía de las producciones que dos décadas atrás le dio las llaves de la edad de oro de la televisión, osadía esta vez calculada al milímetro; en España, Atresplayer intenta llegar a una generación que no ve televisión y Mediaset apuesta por la continuidad de sus fórmulas de éxito (online y lineal), mientras los grupos mediáticos que se apoyaron en la prensa redefinen su posicionamiento en el audiovisual, conscientes de los problemas para rentabilizar su inversión en la producción de información (por no decir evitando el pánico ante un posible mundo sin compradores de periódicos ni suscriptores de periódicos online). En este contexto de enormes transformaciones dentro del sector y de consolidación de ini- ciativas (startups) surgidas en las dos últimas dos décadas, ofrecemos en esta publicación una colección de estudios de caso representativos del momento contemporáneo, tremen- damente ilustrativos de la situación actual del mercado audiovisual y de su estructura. No podemos decir, como hacíamos el año pasado, que estos estudios se integran en un con- texto de crisis porque la crisis permanente se ha convertido en la variable constante de to- das las industrias culturales, muy especialmente en el sector audiovisual. Esta publicación forma parte de la serie iniciada en el año 2012 a partir de los trabajos de investigación de los estudiantes de la asignatura Estructura del mercado audiovisual, del segundo curso del grado en Comunicación Audiovisual de la Universidad de Málaga. En ella se toman metodologías académicas para analizar la producción y el consumo de diversos sectores dentro de las industrias audiovisuales. En una disciplina en la que no abundan los trabajos académicos actualizados, los autores y las autoras de este volumen ofrecen con sus aportaciones estudios de casos significativos y paradigmáticos del estado de dichos secto- res. Estos textos, presentados aquí a modo de capítulos y con una enorme carga de trabajo a sus espaldas, suponen la iniciación en la investigación de estudiantes que combinan su for- mación académica e investigadora con su formación como profesionales en el área de la Comunicación Audiovisual. Ofrecemos aquí una selección de aquellas investigaciones que destacan por su interés, su capacidad analítica y crítica, su actualidad, su pertinencia y su disciplinada adecuación a una metodología de investigación apropiada dentro de las Cien- cias Sociales. El primer capítulo de esta publicación tiene por título “El product placement en la cons- trucción de personajes: estudio de caso de la serie Élite (Netflix)” y está firmado por Sara El Kadioui Fresneda. En él se toma una producción española de ficción seriada de Netflix 4 para analizar la relación entre una estrategia de financiación (el product placement) con la articulación narrativa del discurso, llegando a conclusiones interesantes acerca de la marca como símbolo de estatus social en el relato. El capítulo “Perfil de la audiencia de TDT en España: estudio de caso de Telecinco, Antena 3 y La 1”, de Alejandro Cáceres Gutiérrez, Esther María Camacho Pacheco, Marta Guerrero Moyano y Sara López García, profundiza en el consumo de televisión por parte de la audien- cia española con el objetivo de identificar perfiles sociales en cada una de las cadenas, al tiempo que contrastar las posibles diferencias de consumo entre las diversas comunidades autónomas españolas. El capítulo “Nike MAG y Regreso al Futuro: análisis de product placement”, de Eva Navas González, Celia Moreno Hernández, Elena Morgado Fernández y Candela Nogales Gar- cía-Moliní, toma como caso de estudio las zapatillas que Nike proyectó para el episodio fu- turista de la saga de viajes en el tiempo y relaciona su presencia en el filme con las acciones de la marca para reflexionar sobre la repercusión de dichas actuaciones. El capítulo “Mujeres directoras de cine en Italia en España”, de la estudiante de la Università degli Studi di Firenze Eleonora Poggesi, analiza el lugar de las mujeres como realizadoras cinematográficas en el sector de la producción italiana para, en un segundo paso, contras- tar los resultados comerciales de los filmes dirigidos por mujeres en Italia y comparar su situación con la de las mujeres directoras en España. Esta investigación denuncia el rol se- cundario de las mujeres en los puestos más destacados de las industrias cinematográficas italiana y española. En el capítulo titulado “Tendencias de consumo en YouTube en 2021:
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