Vol 20, No 40 (2022): Enero-Junio

The article discusses the results of an investigation around the new generational activisms, which
can be observed in the various protest cycles associated with the Chilean student movement
of the first part of the 21st century, specifically the Chilean Feminist Student Movement (FSM) of
2018. The general objective of the research is to know and describe the main perceptions and
visions of the students of the University of Concepción about the FSM, in order to problematize
the emergence of a political subjectivity with a strong generational imprint in a context of
deep collective malaise of the Chilean society. Methodologically, it has a quantitative approach
carried out through the application of online questionnaires and their subsequent analysis
with bivariate descriptive statistics and Chi Square statistical tests. Among the findings, a
general delegitimization of the media treatment of the traditional press on the political action
of the MEF stands out, which is worse in the case of women, as well as a growing approval of
the media treatment of alternative media regarding the same topics. The article concludes,
by way of hypothesis, that we are in the presence of a crisis of hegemony in the construction
of meaning by the dominant elites associated with an erosion of narratives based on the
neoliberal ethos and politics understood as expert management, giving way to new mechanisms of
social communication proposed by new subjectivities and generational activisms.

With its emergence at the beginning of this century, free press convulsed the media landscape and thus forced the conventional press to undergo editorial changes. Based on seven in-depth interviews with 20 Minutos responsible at the time, this paper describes the organization and contents of 20 Minutos, the first Spanish newspaper to merge paper and web press, even before the advent of social networks. 20 Minutos can be better understood as a news organizer than as a traditional mass-media. Its agenda-setting, with cross-sections, can be seen today on native digital newspapers home. The level of interaction increases with the gestation of dialogic genres: chats, surveys, or live online interviews. The results also show the absence of an ideology or that the company owner is an important communication group of Norway. The possibility, for the first time, of instantly knowing the traffic of each news on the web press determines the newspaper. Its pioneering nature brought formal and structural changes to journalism that were transferred to the web press and endured over time, such as the power of clicks, the engagement or a more extensive agenda-setting, and more dialogic spaces that arouses interest in participation by the reader.

This article seeks to propose strategic guidelines for the use of hypermediality, multimediality and interactivity in community journalism mediated by social networks, specifically Facebook, taking as a reference the case of the Colombian Community Reporters Network. Methodologically, three phases were carried out that linked the following: analysis of digital resources from the journalistic practice of the RRC, use of Fondevila’s measurement scales (2014) to categorize the contents of the platform, a diagnosis of the tools used in the publications and a strategic proposal to improve the use of social media in community media. The findings highlight that community media should enrich and integrate various resources and genres of journalistic language to enhance their content. Also, they should establish a permanent dialogue with the community, expand the use of links to deepen contents, validate the standards of online writing, and rely on infographic contents that provide context, as aspects associated with the generation of traffic, audience segmentation, enrichment of social dialogue and independence from the spheres of State power.

This article collects the partial results of an investigation that proposes to understand the relationship between social groups in the territories and the manifestation of urban art as agents of identity construction, in Medellin, Colombia. The methodology implemented was qualitative, phenomenological, whose scope was descriptive. A content analysis was carried out based on the manifestations of urban art identified and their relationship with the construction of identity based on aesthetic coexistence. Semi-structured interviews were conducted with members of various urban art collectives in the center, west and south of the city, traced from visual ethnography. These territories comprise Comuna 13, the Ayacucho Tramway Corridor and the central and southern zones as an aesthetic unit. Based on this, a historical reconstruction of urban art in Medellín was proposed and the comparative analysis of two types of artistic intervention in the city: the one that arise from local and independent social organizations and the one that is implemented from the institutional framework. As a result, it was found that the urban art of the city has its origins in the independent sociocultural dynamics, which would later be institutionalized, dynamizing historical, social, aesthetic and economic transformation in the intervened environments. Collective identities arise from this process, which are derived from inhabiting the aesthetic, urban and public space, either as an inhabitant and/or as the protagonist of artistic intervention.

This article, framed within a qualitative methodology and its nature is descriptive, has the objective of socializing the imaginaries around the post-conflict as an urban phenomenon in the inhabitants of the Andean municipalities of the Department of Quindío, which can be configured based on an analysis of content prepared for a medium with a recognizable national trajectory such as Revista Semana. For this, in a first stage, 104 issues of the magazine in printed format are taken into account as a universe related to the peace process between the FARC guerrillas and the Colombian state during 2015-2016. In the second stage, these articles are selected and related to five general categories, these being: peace, the actors in the process, violence, politics and public opinion; obtaining a sample of 23 journalistic articles. In the third stage, the information collected from the sample, especially in the body of the text of the articles, is submitted
to the NVivo 10 software to be able to identify the most frequent words in each text. The fourth and last stage is based on three elements of the structure of the argument, such as the point of view or conclusion, the foundation, and the guarantor allowing to inquire, know, and expose, the citizen’s gaze as a form of appropriation of knowledge, which from the environment, in contrast to social reality and in relation to the peace process during the post-agreement period, could have helped to the polarization that occurred in Colombia around the peace process.

Journalism is being rethought due to the transformation of the media and the impact of new technologies in each of the phases of the journalistic process. These changes have also impacted sports journalism, for these reasons, the general objective of analyzing four Colombian digital sports newspapers with the highest consultation in the country is outlined: FutbolRed, Marca, AS and El Periódico Deportivo. To do this, qualitative and quantitative descriptive, analytical, correlational, and prospective research is carried out through interviews, focus groups, observation and surveys. The findings identify that the information update of these digital sports newspapers is carried out on average every three hours, the interactivity with the user is sporadic, the production of content is by aggregation with a tint of spectacularism and little depth, the news agenda is repeated, they do not distinguish what is significant from what is irrelevant, news and opinion prevail, information management is similar to that of the competition, subscription is open and distribution is automated on platforms, social networks and emails. It is concluded that these newspapers have modified the participation with the audiences, the journalistic routines in the newsrooms, the consumption of new contents, the circulation, and the rating; consequently, these digital media are implementing a novel informational ecology that is impacting the styles and practices of sports journalism.

This paper aims to characterize the academic literature on corporate social responsibility communication (Corsc), as a basis for mapping theoretical trends and practical challenges in this academic and professional field. This research is of special interest to organizations that communicate their social responsibility practices in order to convince their consumers and engage their employees. Also, for interest groups such as civil society organizations, which aspire to a more dialogical construction of the meaning and fines of corporate social responsibility. Both fronts of reflection fit under an integrative approach of the Corsc (model 4I), which allows organizing and understanding how multiple theories related to what it is, what it is for and how this communication process works complement each other. This utility is highlighted by the scarcity of
systematic reviews on Corsc based on integrative approaches. Through a systematic bibliographic review from a quantitative and qualitative approach, the need to carry out research that studies the four dimensions of the Corsc in parallel was confirmed: identity, integration, interpretation, and image. The foregoing, from an ethical perspective that recognizes the constructive role of design in the study and practice of communication of corporate social responsibility.

Obituary as a journalistic genre acquires special relevance within the current panorama of narratives that would help to weave the inseparability of individual and social history, in the foundation of the genres of life and in the treatment of the present, a statement that forces us to explore the origin of the representations that converge in the genres of life and infer that relationship in a particular way in the obituary. This article explores aspects of that individual and social order that circumscribes the consciousness of finitude, in the life and work of the sociologist Alfredo Molano (1944-2019), Commissioner of Truth for the clarification of the facts of war in Colombia and the construction of the truth (Truth Commission, 2020), who in life contributed to the construction of a culture of peace.
The genres of life have developed in various areas and the stories of death that appear in the obituary genre are not timeless and have their place in history. It is among the funereal origins as a “certain look at life.” It reveals the little-known forms of an event and understood, many times, as a process, whose course and change also transforms the work and the individual.
The various journalistic representations analyzed from the realizations of the genre (typification, serial / individualized portraits, personalization of information, treatment of reality through its actors, descriptive effect, aspectualization, evocation, the appearance in an informative genre or of opinion, interpretation or narrative and section), are focused on finitude (obituaries, obituaries, tributes, biographies), and have been collected with the qualitative saturation technique.

The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demand platforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.