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(2020). Mercado Audiovisual Y Comunicación

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(2020). Mercado Audiovisual Y Comunicación 1 Mercado audiovisual y comunicación Aimiris Sosa Valcarcel Laura Ibáñez Castejón José Patricio Pérez Rufí (coordinadores) Claudia Martínez Gallardo, Lidia Mena Gil, Lucía Rodríguez Delgado, Juan Pedro Vera Ureña, Elena Villén Cano, Gonzalo Aranda Delgado, Mara Barnes Martín, Carmen Díaz Domínguez, Álvaro Barrio Villanueva, Jacobo Ulloa Vázquez, Andrea Hermida Carro, Rubén Bravo Matilla, Pablo López de Coca Serrano, Hugo Manjón-Cabeza Taillefer, Alejandro Márquez Rodríguez, Javier Valencia Palacios, Amarino Moisés Lara González, Francisco Fernández Chica, Samuel Gómez López, Cristóbal Ruiz Millán, Marcos Álvarez Lozano, Ángel Díaz de la Torre, Elena Ladrón de Guevara Rodríguez, Manuel Membrilla González, Helena Muñoz Pastor, Cristina Estévez Jiménez, Cristina Gavira Martín, Desiré Gómez Rueda, Patricia Isabel Guerrero García, Alejandro del Arco Salmerón, Pablo Álvarez Serrano, Enrique Camacho Cáceres, Antonio Campos Padilla, Laura Ceballos Zurita. 2 Mercado audiovisual y comunicación Coordinadores: Aimiris Sosa Valcarcel, Laura Ibáñez Castejón y José Patricio Pérez Rufí Autores: Claudia Martínez Gallardo, Lidia Mena Gil, Lucía Rodríguez Delgado, Juan Pedro Vera Ureña, Elena Villén Cano, Gonzalo Aranda Delgado, Mara Barnes Martín, Carmen Díaz Domínguez, Álvaro Barrio Villanueva, Jacobo Ulloa Vázquez, An- drea Hermida Carro, Rubén Bravo Matilla, Pablo López de Coca Serrano, Hugo Manjón-Cabeza Taillefer, Alejandro Márquez Rodríguez, Javier Valencia Palacios, Amarino Moisés Lara González, Francisco Fernández Chica, Samuel Gómez López, Cristóbal Ruiz Millán, Marcos Álvarez Lozano, Ángel Díaz de la Torre, Elena Ladrón de Guevara Rodríguez, Manuel Membrilla González, Helena Muñoz Pas- tor, Cristina Estévez Jiménez, Cristina Gavira Martín, Desiré Gómez Rueda, Patri- cia Isabel Guerrero García, Alejandro del Arco Salmerón, Pablo Álvarez Serrano, Enrique Camacho Cáceres, Antonio Campos Padilla, Laura Ceballos Zurita. Diseño de portada y maquetación: Estudio de diseño y comunicación Temaqueta. (www.temaqueta.es) Edita: Grupo de investigación Eumed.net (SEJ 309), Universidad de Málaga (España) Campus Universitario Teatinos. Bulevar Louis Pasteur, 4 Málaga 29071, España 2020 ISBN-13:978-84-122121-7-4 DESCARGABLE EN EL SITIO WEB: https://www.eumed.net/libros/index.html 3 ÍNDICE Estrella Galicia y el product placement: estudio de caso en La casa de papel Claudia Martínez Gallardo Lidia Mena Gil Lucía Rodríguez Delgado Juan Pedro Vera Ureña 8Elena Villén Cano Mujeres directoras e industria cinematográfica en España: producción y resultados comerciales Gonzalo Aranda Delgado Mara Barnes Martín Carmen Díaz Domínguez Álvaro Barrio Villanueva 28Jacobo Ulloa Vázquez Industria cinematográfica en Andalucía. Producción audiovisual en la pro- vincia de Málaga 47Andrea Hermida Carro Estrategias de viralización de contenidos en YouTube. Un estudio de los vídeos más visualizados en España en el año 2019 Rubén Bravo Matilla Pablo López de Coca Serrano Hugo Manjón-Cabeza Taillefer Alejandro Márquez Rodríguez 67Javier Valencia Palacios 4 Patrones estándares en la viralización de contenidos. Un estudio de los diez videos más visualizados en la historia de YouTube Amarino Moisés Lara González Francisco Fernández Chica Samuel Gómez López 86Cristóbal Ruiz Millán Evaluación de la calidad de los contenidos de Netflix y HBO por sus usua- rios Marcos Álvarez Lozano Ángel Díaz de la Torre Elena Ladrón de Guevara Rodríguez Manuel Membrilla González 105Helena Muñoz Pastor Una alternativa a la publicidad convencional: el emplazamiento de produc- to en las series animadas Cristina Estévez Jiménez Cristina Gavira Martín Desiré Gómez Rueda 122Patricia Isabel Guerrero García Vídeos virales de YouTube Alejandro del Arco Salmerón Pablo Álvarez Serrano Enrique Camacho Cáceres Antonio Campos Padilla 151Laura Ceballos Zurita 5 Prólogo Tras sufrir las consecuencias de una durísima crisis económica, que además se sumaba al cambio en los hábitos de consumo cultural, la industria audiovisual española iniciaba una ligera recuperación a partir del año 2014, más adelante estancada y con potenciales amenazas a la vista. Las expectativas de crecimiento y consolidación de los diversos sectores que conforman el sistema mediático audiovisual se fueron al traste con la crisis provocada por la pandemia del coronavirus Covid-19. La cultura ha hecho todo lo posible por mantenerse ágil ante las nuevas circunstancias y los creadores han producido y divulgado nuevos contenidos, incluso si a través de las redes ya estaba accesible un vasto catálogo de contenidos. Sin embargo, las consecuencias de los meses de confinamiento y las medidas de la llamada “nueva normalidad”, que impiden o condicionan la convocatoria y la asistencia a actos culturales multitudinarios, introducirán al conjunto del audiovisual español e internacional en una crisis de efectos contundentes. Incluso si los usuarios de Internet de España han aceptado los modelos de negocio de pago de las plataformas OTT y las integran en sus rutinas de consumo audiovisual cotidiano, el modelo blockbus- ter que sostiene la industria cinematográfica en sus principales sectores (producción, distribución y consumo) requiere del mantenimiento de la cadena de valor tradicional, de la explotación en ventanas de amortización escalonadas, para mantener el altísimo nivel de las producciones más comerciales. Si como consecuencia de las nuevas rutinas de la “nueva normalidad” falla el primer eslabón de la cadena, la exhibición en salas de cine, los grandes estudios de Hollywood no rentabilizarán sus inver- siones más ambiciosas y el resto de la cadena se irá al traste, arrastrando a los grupos mediático en que se integran las majors. Nos encontramos pues en un momento de cambio cuyos efectos están aún por verse. Esta publicación recoge diversos estudios de casos y análisis de sectores de las industrias culturales justo en el momen- to previo, casi contemporáneo, a la crisis que se advierte. Este volumen de la serie iniciada en el año 2012 a partir de las investigaciones de los estudiantes de la asignatura Estructura del mercado audiovisual del segundo curso del grado en Comunicación Audio- visual de la Universidad de Málaga nos lleva al análisis de la producción y del consumo de diversos sectores dentro de las industrias audiovisuales. En una disciplina en la que no abundan los trabajos académicos actualizados, los autores y autoras de este volumen ofrecen con sus aportaciones estudios de casos significativos y paradigmáticos del estado de dichos sectores. Presentados aquí a modo de capítulos, estos textos suponen la iniciación en la investigación de estu- diantes que combinan su formación académica e investigadora con su formación como profesionales en el área de la Comunicación Audiovisual. Ofrecemos aquí una selección de aquellas investigacio- nes que destacan por su interés, su capacidad analítica y crítica, su actualidad, su pertinencia y su disciplinada adecuación a una metodología de investigación apropiada para unos estudios que forman parte de las Ciencias Sociales. Se tratan pues de estudios de enorme actualidad y vigencia. Este libro arranca con el capítulo titulado “Estrella Galicia y el product placement: estudio de caso en La casa de papel”, de Claudia Martínez Gallardo, Lidia Mena Gil, Lucía Rodríguez Delgado, Juan Pedro Vera Ureña y Elena Villén Cano. Como estrategia dentro de la comunicación publicitaria, el 6 product placement establece una relación simbiótica entre la producción audiovisual y los anuncian- tes. Esta investigación describe el modo de emplazamiento de la marca Estrella Galicia en la serie La casa de papel, categorizándolo y midiendo la presencia de la marca en el discurso. El capítulo “Mujeres directoras e industria cinematográfica en España: producción y resultados co- merciales”, de Gonzalo Aranda Delgado, Mara Barnes Martín, Carmen Díaz Domínguez, Álvaro Barrio Villanueva y Jacobo Ulloa Vázquez, analiza el lugar de las mujeres como realizadoras cine- matográficas en el sector de la producción española, atendiendo tanto a los porcentajes de participa- ción del conjunto de la producción en los últimos años como a los resultados comerciales obtenidos. Se inscribe así en la tendencia dentro de la Teoría Fílmica Feminista que investiga el rol de las mu- jeres en la creación audiovisual. En el capítulo “Industria cinematográfica en Andalucía. Producción audiovisual en la provincia de Málaga”, Andrea Hermida Carro analiza el estado de la producción cinematográfica andaluza para, a continuación, estudiar con detalle la actividad de las productoras malagueñas. Con una importan- cia cada vez más destacadas, estas productoras empiezan a destacar en el conjunto de la producción nacional, muy especialmente en el ámbito de la producción publicitaria. El capítulo “Estrategias de viralización de contenidos en YouTube. Un estudio de los vídeos más visualizados en España en el año 2019”, de Rubén Bravo Matilla, Pablo López de Coca Serrano, Hugo Manjón-Cabeza Taillefer, Alejandro Márquez Rodríguez y Javier Valencia Palacios, tiene por objetivo principal identificar las estrategias responsables de la viralización de un vídeo en YouTube, a través de un análisis de contenido de los nueve vídeos más visualizados en YouTube en el año 2019. La investigación concluye que el clickbait y la presencia de celebridades son determinantes para la viralización del contenido. El siguiente capítulo, firmado por Amarino Moisés Lara González, Francisco Fernández Chica, Samuel Gómez López, Cristóbal Ruiz Millán y titulado “Patrones estándares en la
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