Distributing Audiovisual Contents in the New Digital Scenario: Multiplatform Strategies of the Main Spanish TV Networks

  • Enrique Guerrero
  • Patricia Diego
  • Alejandro Pardo
Chapter
Part of the Media Business and Innovation book series (MEDIA)

Abstract

The audiovisual entertainment business is undergoing a key moment due to several reasons: the Internet boom, its convergence with television, the prominence of the user as well as the digitalization of the production and distribution processes. Although this phenomenon was initially originated by technological factors, its consequences affect to the whole audiovisual industry and, more specifically, to the very core of the business—contents.

In this context, fiction and entertainment contents must be developed since its first stage for a multimedia and interactive consumption in order to be enjoyed by the audience on a wide range of platforms. From this perspective, successful contents demands capability to be multi-platform distributed and customized by the consumer. In this regard, its interactive options, its potential to create a prestigious brand and a profitable business model, and, last but not least, its power to tell an original transmedia story.

This chapter tries to figure out the most innovative trends in production, distribution and commercialization of multi-platform contents in the case of the main television networks in Spain. In this sense, we are presenting a comparative analysis of their different multi-platform strategies following a two-step methodology: firstly, a descriptive study of their respective websites, online players, mobile apps and social networks’ profiles; secondly, questionnaires to the multimedia managers of the chief networks together with some personal interviews.

The preliminary results of this research prove that, in the Spanish case, the convergence of television and the Internet is revolutionizing the production and commercialization of audiovisual contents, although it is also clear that is still in a challenging first stage.

References

  1. Adams, M. (2009). Bullpen: Implementing multiplatform TV. Communications Technology, 26(12), 3.Google Scholar
  2. Alonso, J. F. [online] (2011, July16). RTV E, Telecinco y Telefónica ensayan la futura “television conectada”. ABC. Available at: http://www.abc.es/20110716/television/abcp-rtve-telecinco-telefonica-ensayan-20110716.html
  3. Álvarez Monzoncillo, J. M., & Menor, J. (2010). Previsiones sobre los recursos del audiovisual. La televisión, entre la gratuidad y el pago. Telos, 85, 36–44.Google Scholar
  4. Anderson, C. (2006). The long tail: Why the future of business is selling less of more. New York: Hyperion.Google Scholar
  5. Arrojo, M. J. (2010). Nuevas estrategias para rentabilizar los contenidos. Distribución y financiación de formatos audiovisuales en Internet. Telos, 85, 117–128.Google Scholar
  6. Artero, J. P. (2010). Online video business models: YouTube vs. Hulu. Palabra Clave, 13(1), 111–123.Google Scholar
  7. Bloowfiald, M. (2010, July). Slow start for Spanish Online TV. Screen Digest, p. 204.Google Scholar
  8. Blumenthal, H. J. & Goodenough, O. R. (2006). This business of television. New York: BillBoard Books.Google Scholar
  9. Bolin, G. (2010). Digitization, multiplatform texts, and audience reception. Popular Communication, 8(1), 72–83.CrossRefGoogle Scholar
  10. Cebrián, M. (2003). Estrategia multimedia de la televisión en Operación Triunfo. Madrid: Editorial Ciencia 3 Distribución.Google Scholar
  11. Cerezo, J. M. (2010). Smartphone. Toda la información al alcance de tu mano. Telos, 83, 97–99.Google Scholar
  12. Diego, P. (2010). La ficción en la pequeña pantalla. Cincuenta años de series en España. Pamplona: Eunsa.Google Scholar
  13. Diego, P., & Herrero, M. (2010). Desarrollo de series online producidas por el usuario final: el caso del videoblog de ficción. Palabra Clave, 13(2), 325–336.Google Scholar
  14. Doyle, G. (2010). From television to multi-platform: Less from more or more for less? Convergence, 16(4), 431–449. ISSN 1354-8565.CrossRefGoogle Scholar
  15. El Mundo. [online] (2011, February 11). Los piratas de Pilar Rubio abordan la red. Available at: http://www.elmundo.es/elmundo/2011/05/10/television/1305021405.html
  16. Englert, M., & Bürger, B. (2003). KirchMedia – Synergies by maintaining cross-media balance. In A. Vizjak & M. J. Ringlstetter (Eds.), Media management: Leveraging content for profitable growth. Berlin: Springer.Google Scholar
  17. European Audiovisual Observatory. (2010). Yearbook 2010. Film, television, video and multimedia in Europe. Strasburg: Council of Europe.Google Scholar
  18. Forrester, C. (2000). The business of digital television. Boston: Focal.Google Scholar
  19. Francés, M., Gavaldá, J., Llorca, G., & Peris, A. (2010). La calidad de los contenidos audiovisuals en la multidifusión digital. Barcelona: Editorial UOC.Google Scholar
  20. Gaten, T. (2010, August). Better conditions for mobile video. Screen Digest, p. 227. ISSN 1475-017.Google Scholar
  21. GECA. (2004). El anuario de la televisión 2004. Madrid: GECA.Google Scholar
  22. Gershon, R. A. (2009). Telecommunications and business strategy. New York: Routledge.Google Scholar
  23. Griffiths, A. (2003). Digital television strategies: Business challenges and opportunities. Hampshire: Palgrave Macmillan.Google Scholar
  24. Guerrero, E. (2008). En busca del elixir de la alquimia televisiva: el contenido transversal y las alianzas estratégicas como claves del negocio. La televisión en España. Informe 2008 (UTECA) (pp. 295–309). Barcelona: Ediciones Deusto.Google Scholar
  25. Guerrero, E. (2011a). El ecosistema de los grupos televisivos españoles: los formatos de entretenimiento. Comunicación y Hombre, 7, 85–103.Google Scholar
  26. Guerrero, E. (2011b). Aplicaciones móviles para la televisión multiplataforma. La televisión en España. Informe 2011 (UTECA) (pp. 237–254). Madrid: CIEC.Google Scholar
  27. Gunter, B. (2010). Television versus the Internet: Will TV prosper or perish as the world movies online? Oxford: Chandos.CrossRefGoogle Scholar
  28. Halliday, J. [online] (2011, May). YouTube to expand movie-rental service. The Guardian. Available at: http://www.guardian.co.uk/technology/2011/may/10/youtube-movie-rental-itunes
  29. Hoskins, C., McFadyen, S., & Finn, A. (1997). Global television and film: An introduction to the economics of the business. Oxford: Oxford University Press.Google Scholar
  30. Hoskins, C., McFadyen, S., & Finn, A. (2004). Media economics: Applying economics to new and traditional media. Thousand Oaks: Sage.Google Scholar
  31. Instituto Nacional de Estadísitca. (2010). Encuesta sobre equipamiento y uso de tecnologías de la información y comunicación en los hogares 2010. Google Scholar
  32. Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York: New York University Press.Google Scholar
  33. Kent, J. (2010, December). Free content drives mobile apps. Screen Digest, pp. 369–372.Google Scholar
  34. Leonhard, G. (2010, August). The future of content in a connected economy. Ideas Magazine, pp. 5–8.Google Scholar
  35. Létang, V. (2010, July). TV viewing still growing globally. Screen Digest, p. 195.Google Scholar
  36. Medina, M. & Ojer, T. (2011). La transformación de las televisiones públicas en servicio digitales en la BBC y RTVE. Comunicar, 36, 87–94Google Scholar
  37. Negroponte, N. (1995). Being digital. New York: Knopf.Google Scholar
  38. Nielsen. [online] (2010, March 16). Facebook, Google and Yahoo! are top sites while watching big TV events. Available at: http://blog.nielsen.com/nielsenwire/online_mobile/facebook-google-and-yahoo-are-top-sites-while-watching-big-tv-events/
  39. Nielsen. [online] (2011, May 19). In the U.S., Tablets are TV Buddies while eReaders Make Great. Available at: http://blog.nielsen.com/nielsenwire/?p=27702
  40. ONTSI. [online] (2011). Informe anual de los contenidos digitales en España. Madrid: red.es. Available at: http://www.red.es/media/registrados/2011-11/1322643299698.pdf?aceptacion=90137b79eeab82bead3056cf098f3558
  41. Palmer, S. (2006). Television disrupted: The transition from network to networked TV. Amsterdam: Focal.Google Scholar
  42. Pardo, A. (2009). Hollywood at the digital crossroad: New challenges, new opportunities. In A. Albarran, P. Faustino, & R. Santos (Eds.), The media as a driver of the information society: Economics, management, policies and technologies (pp. 67–97). Lisbon: MediaXXI/Formalpress and Universidade Católica Editora, Unipessoal Lda.Google Scholar
  43. Pavlik, J. V. (1996). New media technology: Cultural and commercial perspectives. Boston: Allyn & Bacon.Google Scholar
  44. Pavlik, J. V., & McIntosh, S. (2011). Converging media: A new introduction to mass communication. New York: Oxford University Press.Google Scholar
  45. Saló, G. (2003). ¿Qué es eso del formato? Cómo nace y se desarrolla un programa de televisión. Barcelona: Gedisa.Google Scholar
  46. Sánchez-Tabernero, A. (2008). Los contenidos de los medios de comunicación. Calidad, rentabilidad y competencia. Barcelona: Ediciones Deusto.Google Scholar
  47. Tapscott, D. (2009). Grown up digital: How the net generation is changing your world. New York: MacGraw-Hill.Google Scholar
  48. The Cocktail Analysis. (2010, June). Televidente 2.0.Google Scholar
  49. Tsekleves, E., Whitham, R., Kondo, K., & Hill, A. (2011). Investigating media use and the television user experience in the home. Entertainment Computing, 2(3), 151–161.CrossRefGoogle Scholar
  50. Ulin, J. C. (2009). The business of media distribution: Monetizing film, TV and video content in an online world. Burlington: Focal.Google Scholar
  51. Vizjak, A., & Ringlstetter, M. J. (2003). Media management: Leveraging content for profitable growth. Berlin: Springer.Google Scholar
  52. Vogel, H. (2011). Entertainment industry economics: A guide for financial analysis (8th ed.). New York: Cambridge University Press.Google Scholar
  53. Vukanovic, Z. (2009). Television and digital media in the 21st century: New business, economic and technological paradigm. Novi Sad: Media Art Service International.Google Scholar
  54. Williams, R. (1974). Television: Technology and cultural form. London: Fontana-Collins.CrossRefGoogle Scholar
  55. Ytreberg, E. (2009). Extended liveness and eventfulness in multiplatform reality formats. New Media Society, 11(4), 467–485.CrossRefGoogle Scholar

Other Resources

  1. Interview with Jesús Moreno, Deputy Director of Antena 3 Multimedia, 11/02/2011.Google Scholar
  2. Interview with Sandra Vicente, Supervisor of Telecinco.es, 11/02/2011.Google Scholar
  3. Questionnaire completed by the multimedia managers at TVE, Antena 3, Telecinco, Cuatro and La Sexta in November 2010.Google Scholar

Copyright information

© Springer-Verlag Berlin Heidelberg 2013

Authors and Affiliations

  • Enrique Guerrero
    • 1
  • Patricia Diego
    • 1
  • Alejandro Pardo
    • 1
  1. 1.University of NavarraPamplonaSpain

Personalised recommendations