Tras las cámaras
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Title
Tras las cámarasAuthor (s)
Tutor/Supervisor; University.Department
Latorre Lázaro, Maria Teresa; Universitat Jaume I. Departament de Ciències de la ComunicacióDate
2021-07-15Publisher
Universitat Jaume IAbstract
Tras las Cámaras was born out of the need to fill an information gap in the
audiovisual production sector. The media that deal with current affairs in this
industry focus their pieces generally, showing particular ... [+]
Tras las Cámaras was born out of the need to fill an information gap in the
audiovisual production sector. The media that deal with current affairs in this
industry focus their pieces generally, showing particular interest in roles such as
the director or the actors starring in the productions. On the other hand, this media
aims to inform in a more specific way, giving a voice to workers with less
recognised roles. It dedicates pieces that focus entirely on their work, their value
within the industry and their functions.
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The cybermedia is organised into five sections. The three main sections -where
the pieces focused on the most invisible positions within the industry- are: El
Rodaje, El Montaje and Prevenidos. Each of them refers to one of the production
phases (pre-production, post-production and production). El Rodaje includes all
the content related to the moment of filming, the film sets themselves and all the
workers involved in this phase. This includes the two audiovisual reports, as one
of them talks about how television filming coexists with COVID-19 and the other
one talks about film and movie locations in Valencia. It also includes information
about filming in the Valencian Community, as it is a very important geographic
point for the media.
The Prevenidos section covers everything related to the pre-production part. It is
one of the main phases since without all the previous planning, the project could
not even be filmed. Despite this, it is one of the most neglected phases. People
outside the film industry hardly value the work of the people who are behind it.
Some of the professions in this phase are even unknown, as is the case of
audiovisual location scouts, who are in charge of finding good locations for filming
and processing all the licences to film on them. This section features two
interviews with experts. One of them is with Elena Gobernado, a scriptwriter who
belongs to the organisation EDAV (Escriptors de l' Audiovisual Valencià). Another
of the interviews deals with the art department within production, more
specifically, the role of the audiovisual localiser, which Fran Marco discusses from
his own personal experience.
El Montaje is the third of the main sections of the magazine. Everything related
to the work carried out after filming is included here; this part is what is known as
the post-production. This includes the radio report, which deals with the situation
of dubbing in Spain, with personal sources such as María Jesús Nieto from
ADOMA.
Of the other two sections, one of them focuses on everything related to
economics, distribution and advertising. It is called Economía del Cine and
includes reports on salaries, subsidies, economic losses in specific areas of the
industry, etc. The last section, entitled Agenda, covers the current news. Above
all, it includes short news talking about current events that encompass different
characteristics of the audiovisual and film industry, so these pieces could not be
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classified in any of the other sections. It also covers different events such as galas
and festivals. Two photo galleries are included here too. One of them looks at the
LABdeseries Festival from the inside, showing some of its screenings and talks
with the speakers. The second gallery portrays an exhibition also related to the
series sector, featuring different frames or scenes from the most iconic series of
recent decades, such as Game of Thrones or BIG Bang Theory.
As for social networks, Twitter, Instagram, and YouTube have been the chosen
ones to disseminate information about the medium and represent it. The first two
are the most frequently used, as they allow to post more instant content and to
have more interaction with followers. These platforms have mainly been used to
publish images and information related to the pieces uploaded in the website in
order to advertise them. Different actions have also been carried out to maintain
feedback with the audience and attract new audience. Among these strategies,
multiple choice or true or false questionnaires were used to interact with the
followers. For example, after publishing a piece about Berlanga on the website,
different true or false questions about the life and work of the Valencian director
were posted on Twitter. Another strategy chosen is interactive games. For
example, on Instagram stories, was posting scene’s frames from movies or
pictures of emblematic places in the city of Valencia. The idea was that the
followers could guess which series or film were these pictures from. An
audiovisual report of film locations from the city of Valencia was published on the
website before this interactive activity was launched.
YouTube, on the other hand, is a social network that does not have as many tools
to publish in a more regular way. Its content is mainly based on videos, so it was
not possible to publish any games or quizzes. Videos produced by the media,
such as television reports, radio reports and recorded interviews, were uploaded
to the platform. The live tool has been used on several occasions to contact
followers and to take advantage by using a game, Kahoot, in which various
participants can play simultaneously. This game consisted of a few questions that
had to be answered as fast as possible by the participants. In each live show the
questionnaire was about a different theme related to the film industry or it was
related to some of the pieces published on the website beforehand.
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As for the elaboration of the different pieces, not everything has been easy.
COVID-19 has affected all sectors, and the implementation of new protocols has
also made the work of journalists more difficult. The press is not allowed to enter
or record images in some places, and some people were not keen to meet in
person for interviews because of the possibility of contagion. Despite these
inconveniences along the way, Tras las Cámaras has adapted to the pandemic
and has been able to get some pieces. Not all the interviews could be face-toface, so tools such as Zoom or Google Meet have been very useful in this special
situation. These tools have also been useful to interview fantastic workers who
are not from the Valencian territory, as has been the case of María Jesús Nieto,
a dubbing actress who belongs to the ADOMA board, or Fran Marco, an
audiovisual localiser.
The pandemic has not only hindered the plans we had for the face-to-face
interviews, some pieces that needed their own shots and scenes recorded by the
media have also been affected. For one of the audiovisual reports, it was
necessary to shoot inside a production company to see by first-hand how the
filming adapted to the pandemic. But due to protocols, no production company
agreed to do it. The reportage had to be rethought and the focus shifted to a shoot
that could be accessed. This led to filming on the set of À Punt, where we
approached how a public television station films, adapting to COVID-19, with
shots of the prior disinfection of the used materials and with personal interviews.
Despite the difficulties imposed by the pandemic, the media has published a wide
variety of journalistic pieces, most of them produced in-house, without using other
press releases or information on different websites. From reports in different
formats (written, audiovisual and radio) to news and in-depth interviews. These
are some of the main highlights of Tras las Cámaras. The wide variety of personal
sources is another positive aspect of the medium. Each piece features interviews
with a variety of specialists in their field, most of them interviewed face-to-face.
Moreover, there is no shortage of documentary sources, with official websites
such as the Generalitat, the Institut Valencià de Cultura (IVC) and the BOE being
some of the most consulted.
Some of the most negative aspects of the medium are to be found on the website.
Due to the limited knowledge of how WordPress works, beyond what has been
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taught in class, it has not been possible to innovate much in its design. It is simple
and basic. It is easy to use and intuitive, so it will not be difficult for any user to
navigate between sections or to search for something specific. Another aspect
that could be improved is the number of pieces published. It is not a low number,
but some of the sections are a bit emptier than others, such as the Agenda
section. This is due to the complexity of the pieces, as most of them are quite
extensive and contain a variety of sources. Therefore, a lot of time has been spent
on contacting specialists and conducting interviews for each of them. Thus, the
number of articles and their publication frequency could have been improved by
not leaving many days without uploading information to the website. [-]
Subject
Description
Treball Final de Grau en Periodisme. Codi: PE0932. Curs acadèmic: 2020/2021
Type
info:eu-repo/semantics/bachelorThesisRights
info:eu-repo/semantics/openAccess
This item appears in the folowing collection(s)
- Grau en Periodisme [581]