Raúl Rodríguez Ferrándiz

Transmedia contents created around Spanish television series in 2013: typology, analysis, overview and trends

This article analyses the transmedia contents created around 33 Spanish television series broadcast in 2013 by national and regional TV networks. The article reviews the TV series’ official websites, in which the transmedia contents are made available, and organises the wide variety of transmedia formats created around the sample of TV series, based on the different touchpoint categories, which refer to any content or strategy that allow viewers to engage with a television brand through other media and platforms. The results indicate that there is an overwhelming presence of TV contents that are repackaged or adapted to the new medium or platform and that there is still a lack of transmedia expansion through contents that are actually new, differentiated across media, and narratively relevant.

De industrias culturales a industrias del ocio y creativas: los límites del «campo» cultural

article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the tech- nological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries bet- ween culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boun- daries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El articulo analiza la tendencia actual a la dilucion del concepto de «industrias culturales» en formulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografia reciente especializada, acotamos el alcance y los solapamientos entre los terminos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», intimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnologicas de los productos culturales, a cambios en la titularidad de sus proveedores, asi como de los roles de autor, actor y espectador. Para entender esta mutacion recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clasico a la maleabilidad y convertibilidad que permiten las nuevas tecnologias, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentacion participante, en constante circulacion, mancomunada y ludica; 3) de una aspiracion a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones mas ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomia de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (mas placentero que el primero y mas trascendente y esforzado que el segundo), tambien alcanza a borrar los limites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).