El vodcasting en España. ‘Confinados’ de Eurosport, el camino inverso

57 Revista de Comunicación de la SEECI (2022) ISSN: 1576-3420 Received: 06/02/2022 - Accepted: 21/03/2022 - Published: 04/04/2022 VODCASTING IN SPAIN. ‘CONFINADOS’ OF EUROSPORT, THE REVERSE PATH EL VODCASTING EN ESPAÑA. ‘CONFINADOS’ DE EUROSPORT , EL CAMINO INVERSO Aránzazu Román-San-Miguel: Universidad de Sevilla. Spain. [email protected] Manuel J. Cartes-Barroso: Universidad de Sevilla. Spain. cartesbarro[email protected] How to cite the article: Román-San-Miguel, A., & Cartes-Barroso, M. J. (2022). Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. Revista de Comunicación de la SEECI, 55, 57-74. http://doi.org/10.15198/seeci.2022.55.e765 ABSTRACT With the advent of the Internet and multiscreen, producers of audio and video content have had to generate new formats to be listened to and watched timelessly, to respond to new consumer demands. In this context, audio podcasting (podcasting) and video podcasting (vodcasting) have become increasingly popular in recent times. The pandemic caused by COVID-19 was a turning point for these new audiovisual formats when some channels opted to include them in part of their programming. Such is the case of the Eurosport vodcast 'Confinados', which is the subject of this research. The main objective of this article is to find out what its structure is like and to examine the contents developed through the analysis of this vodcast. The methodology used, specifically, is the content analysis of its different episodes, broadcasted during the first state of alarm in Spain, from March 2020. We highlight the peculiar case of 'Confinados', which has taken the opposite path to the podcasts that appeared as radio or television on demand since it emerged as a vodcast and became a television show. We highlight the step taken by Eurosport towards a new way of informing, in the middle of a pandemic, to adapt to the needs of the receivers, as well as the contribution to specialization in sports journalism, by having experts and journalists in this field, with specificity and brevity in their topics and a wide range of audiovisual journalistic genres. Keywords: Vodcasting; New forms of journalistic production; Sports journalism; Digital journalism; New journalistic narratives; Audiovisual journalism; New media. Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 58 Revista de Comunicación de la SEECI (2022) RESUMEN Con la llegada de Internet y la multipantalla, los productores de contenido de audio y de vídeo han tenido que generar nuevos formatos para ser escuchados y vistos de forma atemporal, y así dar respuesta a las nuevas demandas de los consumidores. En este contexto aparecen el podcasting de audio ( podcasting ) y vídeo ( vodcasting ), que han ganado popularidad en los últimos tiempos. La pandemia provocada por la COVID-19 supuso un punto de inflexión para estos nuevos formatos audiovisuales, cuando algunas cadenas optaron por incluirlos en una parte de su programación. Tal es el caso del vodcast ‘Confinados’ de Eurosport , que contemplamos en esta investigación. El objetivo principal de este artículo es conocer cómo es su estructura y examinar los contenidos desarrollados, a través del análisis de este vodcast . La metodología usada, concretamente, es el análisis de contenido de sus distintos episodios, emitidos durante el primer estado de alarma en España, a partir de marzo de 2020. Resaltamos el peculiar caso de ‘Confinados’, que ha realizado el camino inverso a los pódcast que aparecieron como radio o televisión a la carta, puesto que surgió como un vodcast y se convirtió en un programa de televisión. Destacamos el paso realizado por Eurosport hacia una nueva forma de informar, en plena pandemia, para adaptarse a las necesidades de los receptores, así como la contribución a la especialización en periodismo deportivo, al contar con expertos y periodistas de este campo, con especificidad y brevedad en sus temas y amplitud de géneros periodísticos audiovisuales. Palabras clave: Vodcasting; Nuevas formas de producción periodística; Periodismo deportivo; Periodismo digital; Nuevas narrativas periodísticas; Periodismo audiovisual; Nuevos medios. VODCASTING NA ESPANHA. 'CONFINADO' DO EUROSPORT, O CAMINHO INVERSO RESUMO Com a chegada da Internet e das multitelas, os produtores de conteúdo de áudio e vídeo tiveram que gerar novos formatos para serem ouvidos e vistos de forma atemporal e, assim, responder às novas demandas dos consumidores. Nesse contexto, surgem os podcasts de áudio (podcasting) e vídeo (vodcasting), que ganharam popularidade nos últimos tempos. A pandemia causada pelo COVID-19 foi um divisor de águas para esses novos formatos audiovisuais, quando algumas redes optaram por incluílos em parte de sua programação. É o caso do vodcast 'Confinados' do Eurosport, que contemplamos nesta pesquisa. O objetivo principal deste artigo é conhecer como é sua estrutura e examinar os conteúdos desenvolvidos, por meio da análise desse vodcast. A metodologia utilizada, especificamente, é a análise de conteúdo dos seus diferentes episódios, transmitidos durante o primeiro estado de alarme na Espanha, a partir de março de 2020. Destacamos o caso peculiar de 'Confinados', que seguiu o caminho oposto aos podcasts que apareceram como rádio ou televisão sob demanda, uma vez que surgiu como um vodcast e se tornou um programa de televisão. Destacamos o passo dado pelo Eurosport para uma nova forma de noticiar, em plena pandemia, para se Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 59 Revista de Comunicación de la SEECI (2022) adaptar às necessidades dos receptores, bem como a contribuiçao para a especialização em jornalismo desportivo, ao contar com especialistas e jornalistas nesta área, com especificidade e brevidade em seus temas e amplitude de gêneros jornalísticos audiovisuais. PALAVRAS-CHAVE: Vodcasting; Novas formas de produção jornalística; Jornalismo esportivo; Jornalismo digital; Novas narrativas jornalísticas; Jornalismo audiovisual; Novas mídias Translation by Paula González (Universidad Católica Andrés Bello, Venezuela) 1. INTRODUCTION Just as the term audio podcast is widely used in radio journalism, to the point that all the major Spanish stations have a podcast section in the menus of their web pages —although it is often radio on-demand—; in the case of video podcasts (vodcast) this has not been the case. In fact, in the field of research, we find several studies on podcasting in the media (Legorburu et al., 2021; Moreno-Espinosa and Román-San- Miguel, 2020; García-Marín, 2019; Moreno, 2017); while on vodcasting, studies are limited to its use in the educational field and there is an extensive bibliography of different experiences in this environment (Dupagne and Grinfeder, 2009; Cann, 2007; Pagadigorria et al., 2017; Parson et al., 2009). Some manuals have even been published on how to make audio and video podcasts (Geoghegan and Klass, 2007; Brown and Green, 2007). Although some works have been published on podcasting, several of them do not differentiate between this format and radio on-demand. Such is the case, for example, of Pascual (2019) who, despite trying to establish a difference between one format and the other and even speaks of the "creation of podcasts", referring to differentiated products of radio on-demand, continuously refers to radio programming in a new format, and this is radio on-demand. This does not happen in the research works mentioned above in which vodcasting is addressed as an educational tool since the native format is being talked about at all times, despite having nothing to do with information and the media. It should be noted that, while on-demand radio and television are still fragments cut from the traditional broadcast of these media, podcasting and vodcasting are formats expressly created to be broadcast over the Internet and consumed on different screens and even diverse apps (Moreno-Espinosa and Román-San-Miguel, 2021). Among the screens, mobile phones and tablets stand out, although they can also be consumed on Smart TVs and computers. When referring to broadcast apps, we are talking about platforms such as Spotify or iVoox, in the case of podcasting, and YouTube, Twitch, or Vimeo to broadcast vodcast, to mention some of the most known. In the last decade, the forms of use and consumption of media have been changing (McCarthy, 2020; Bergström et al., 2019; Jiménez-Marín et al., 2018; Doyle, 2016; D'heer and Courtois, 2014), amid an era of mobility and mobile media and journalism (López-García et al., 2019; Westlund, 2013), especially among the younger population. Those young television consumers whom González-Oñate et al. (2020: 3) Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 60 Revista de Comunicación de la SEECI (2022) call: “multiscreen consumers”, “light TV viewers”, and “television millennials”. In the first case, due to the use of different screens, even at the same time: television or computer screen, mobile phones, tablets, etc.; the second term refers to the preference of young people for media other than television for information, and the third concept refers to the constant search for new personalized communication experiences whose contents are original and with which they identify and even interact. The concept of multiscreen emanates from that of multiplatform, which has been coined for more than a decade to refer to the different screens and formats for which it is necessary to create specific content, taking into account and taking advantage of all the possibilities offered by each of them, so that the user experience is as complete as possible (Liendo and Servet, 2010). From this need to adapt to new forms of consumption, new formats arise, such as vodcasting. The new users of television are no longer satisfied with seeing the content produced for traditional broadcasting through on-demand television, which Rafael Díaz (2017: 89) referred to as "free access (...) offered by the conventional television channels to their shows or fragments of shows”. Now viewers want to see something else, new content and new narratives for a new format, even generating new journalism that Spinelli and Dann (2019) talk about and it seems that formats such as Eurosport's ‘Confinados’ are achieving it. Vodcasting requires a careful narrative script but, above all, quality planning and technical production since the image is a priority in visual formats, just as it is in conventional television. Behind the production, direction, and editing of a vodcast, there needs to be a great technical team that produces a quality product that is capable of attracting the public not only because of what is said but also because of how it is said. An intellectual but also visual attraction is so necessary for this type of format. Video call platforms can be great allies for this type of format but not everything works. The lighting must be careful and the resource images must have a high quality to offer a product worthy of positioning itself in the market. The multiscreen concept is increasingly linked to interactivity; It is increasingly common for all screens to be connected to the Internet —Smart TV, tablets, mobile phones, etc.—, which is known as hybrid broadcast broadband TV (HbbTV), which “provides selective interactivity (VoD), dialogic interactivity— you can answer surveys, vote, comment—and a limited narrative interactivity to the extent that you can select a point of view of an event broadcast live” (Díaz, 2017). Furthermore, if one takes into account that 95.4% of Spanish households have Internet access and 93.2% of the population in this country that is between 16 and 74 years old browses the Internet, with 66.4% of these citizens also having a connected Smart TV device (National Institute of Statistics, 2020), the media must adapt to new forms of consumption. The fact is that the television media that have joined broadcasting through the Internet have done so, in most cases, with ondemand television and not producing and developing new formats such as vodcast. A fact that we consider a mistake when 95% of the population between 16 and 64 Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 61 Revista de Comunicación de la SEECI (2022) years of age in Spain has a mobile phone connected to the Internet (Kemp, 2020), from which to consume audiovisual journalistic products. In fact, mobile telephony represents a revolution in terms of the forms of access and dissemination of information and, in this context, digital journalism is consolidating itself as a medium in the communicative landscape (Aroldi and Vittadini, 2015), with extensive experience and research in this regard (Salaverría, 2019). The confinement decreed in Spain in March 2020 due to the expansion of the pandemic caused by COVID-19 was a particularly important moment in terms of television consumption, since it broke records in the country, as published by Expansión (Juste and Galera, 2020). However, some media outlets did not stay with traditional programming, deciding to leap into new forms of reporting. Such is the case of Eurosport, which during confinement launched the ‘Confinados’ show. A show that did the opposite path to other programming. In other words, instead of going from the traditional screen to the app, in this case, the vodcast first emerged to later become a television show. In fact, in this period Eurosport increased its audience, a fact that can be extracted from the third wave of the General Media Study (EGM) of 2020 —only two were published that year, one in April and another in December, since the second wave was suspended—, when Eurosport had an audience of 940,000 and Eurosport 2 704,000 (2020b), while in the first wave the first channel had an audience of 920,000 and the second did not appear in the study (2020a). All this, bearing in mind that Eurosport is a thematic paid channel, for which we cannot obtain real audience data such as those offered by Kantar Media, for example. To get real data, the channel itself would have to provide it and it is not easy to obtain. However, statistical data such as those published by the EGM can be consulted. The same problem arises when it comes to obtaining real data on the audience, traffic, permanence, etc. of its website. 2. OBJECTIVES If you search through the scientific literature, you can see that very little has been written about vodcasting applied to the dissemination of information, and, in no case, has the structure and use of new narratives been analyzed for this new format. Therefore, in this research, the main objective is to know what the structure of the vodcast 'Confinados' is like. For this, this show has been analyzed and the contents produced have been examined. In this way, the main objective has been achieved with other auxiliaries such as: - Analyze the production, direction, and edition of the episodes. - Examine this new way of doing audiovisual journalism in the sports field. - Evaluate the journalistic specialization of this format through the journalistic sources and the genres used. 3. METHODOLOGY The methodology that has been used to achieve the proposed objectives is content analysis, which has been applied in this work to study the vodcasts broadcast during the state of alarm. For the analysis, a file was used that includes the parameters: image, graphics, text, hypertext, content, and information sources. Furthermore, the Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 62 Revista de Comunicación de la SEECI (2022) structure that the format follows has been detailed so that it can be used as a guide in subsequent studies since there is no bibliography in this regard so far. The analyzed variables are the following: 1. Contents. The number of issues addressed and central topic in the different episodes. 2. Journalistic genres. It is indicated if there are monologue or dialogue audiovisual journalistic genres, and what they are. 3. Image and sound. Image quality, sound, and lighting; types of shots and environment; screen presentation. 4. Graphic resources. Images used, graphics, and audiovisual production. 5. Text. It indicates if there is a textual component in the episodes and what they are like. 6. Sources. The number of participants in the episodes and their professional profile (journalists/commentators, athletes/sports directors, and others). 7. Structure. Composition of each episode and minutes. The vodcast ‘Confinados’, available on the Eurosport website and podcast platforms such as Apple Podcasts or iVoox, was presented by Miguel Ángel Méndez, journalist and editorial coordinator of the sports channel. In total, the 17 shows that were broadcast only over the Internet between March 17th and April 13th, 2020 have been viewed and analyzed since the vodcast was later broadcast on conventional television through Digital Terrestrial Television (DTT), becoming a Eurosport show, as an evening magazine, specifically from April 21st —with broadcast on Tuesdays and Fridays at 7:00 p.m. on Eurosport 2 and at 10:00 p.m. on Eurosport 1 — and until days before the end of the first state of alarm, in June 2020. A situation that occurred after the successful response and reception by followers and fans through the network's digital platforms, which made the format be subsequently exported to France, Poland, Italy, and the Netherlands (Eurosport, 2020). Table 1. Topics and other aspects of the episodes of ‘Confinados’ Nº Date Title Central topic Duration 1 17/03/2020 Tennis, cycling,... how will sport come out of the coronavirus crisis Sports situation with the pandemic 00:21:24 2 18/03/2020 How an athlete trains during confinement Life of athletes in confinement 00:24:13 3 19/03/2020 Roland-Garros and the rush to find a place on the calendar Tennis. Postponement of the Roland Garros tournament and ATP schedule 00:19:58 4 20/03/2020 This is how the coronavirus is affecting the world of cycling Cycling. coronavirus impact 00:25:09 5 23/03/2020 The uncertainty of the Tokyo Olympics Possibility of postponement of the Tokyo 2020 Olympic Games 00:26:07 6 24/03/2020 The future of football… Fewer games and more attractive? Soccer. Possible change and reduction of the schedule 00:24:11 7 25/03/2020 Basketball, more wish than reality Basketball situation and perspective 00:27:28 Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 63 Revista de Comunicación de la SEECI (2022) 8 26/03/2020 Snooker, the first sport to return to action? The future of snooker 00:28:12 9 27/03/2020 The complexity of the engine calendar Motor. Impact of the coronavirus on the calendar 00:22:29 10 30/03/2020 Why does football accept the ERTE? Various. Possible cancellation of the Wimbledon Championships 00:27:54 11 31/03/2020 Sport behind closed doors, an inevitable solution Various. Sports competitions without an audience 00:38:14 12 01/04/2020 The football business will not be the same after the coronavirus Various. The situation of football after the pandemic crisis 00:37:57 13 02/04/2020 When can cycling return to the roads? Calendar of competitions with the coronavirus 00:30:34 14 06/04/2020 The effort that footballers must make in their wallets Various. Salary reduction for soccer players 00:33:05 15 07/04/2020 Vintage football, remembering the losses suffered: Antic, Sanz, Benito... Athletes, technicians, and managers who died during confinement 00:29:02 16 09/04/2020 Football is not clarified, the conflict between LIGA, AFE, and RFEF Various. Football conflict between LIGA, AFE, and RFEF 00:39:09 17 13/04/2020 Three legends analyze how athletes will get out of confinement mentally Various. Psychological situation of athletes after confinement 00:25:32 Source: Own elaboration from Eurosport . According to the table above, the analyzed vodcast episodes were broadcast daily starting on Tuesday, March 17th. That periodicity would be broken only on April 3rd, 8th, and 10th when they were not published. In general, these episodes last between 20 and 40 minutes —they can still be viewed—, increasing in length as the episodes progress. The shortest video podcast ran on March 19th — 19 minutes and 58 seconds — while the longest, on April 9th, was 39 minutes and 9 seconds long. 4. RESULTS 4.1. Journalistic content and genres Each episode is dedicated either to a particular sport —cycling, soccer, basketball, etc.— or to topics related to them, such as the suspension of sports competitions, the cancellation of the Tokyo Olympics that were to be held in 2020, the situation of athletes in confinement, etc.; although in most of the episodes, several subjects are approached. More in-depth, it is observed that sports content is related to the effects caused by COVID-19. For example, already in the first two episodes of 'Confinados', the sports situation and the life of athletes during confinement are addressed. Another issue of interest is what the new calendar of sports competitions would be like, without an audience, as well as the psychological state in which the athletes will emerge from that situation. Furthermore, a tribute is paid to technicians, managers, and athletes who died during the days of the first state of alarm in Spain. Although on some occasions different issues are addressed —especially from episode 10, when the structure of 'Confinados' is expanded—, there is generally a central Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 64 Revista de Comunicación de la SEECI (2022) topic in each episode, which is the one that is debated in the talk show, an audiovisual journalistic genre present in all episodes. A fact that is fully reflected in Table 1, where the central topics of the 17 analyzed episodes of this sports vodcast are collected. As the most addressed sports disciplines, soccer—the possibility of reducing the match schedule, its situation after the pandemic, the ERTE for soccer players and the reduction of salaries, and the conflict between LIGA, AFE, and RFEF—; tennis —the postponement of championships and the new ATP calendar—; the impact of the coronavirus on cycling; the basketball situation; the future of snooker; the impact of COVID-19 on the motor world; as well as the possibility of postponing the 2020 Tokyo Olympics, as it finally happened, stand out. As for the journalistic genres that can be seen in the vodcast, besides the talk show —or virtual newsroom, as the presenter of the show prefers to call it— there is room for other audiovisual journalistic genres such as interviews and current commentaries, where different or complementary topics are addressed. Thus, from episode 10, other content appears in the new vodcast blocks and spaces: ERTEs in football and how Olympic athletes see the future —episode 10—; the changes in the Giro d'Italia and the new date of the Olympic Games —episode 11—; the football business after the pandemic —episode 12—; what will happen to cycling competitions such as the Giro d'Italia or the Tour de France —episode 13—; football, basketball, and cycling news —episode 14—; the cancellation of the Italian basketball league and news from the motor world —episode 16—; soccer teams training and news about the Olympic Games —episode 17—. 4.2. Image and sound In the first place, it is observed that the images and sound of the different episodes of this vodcast are of very good quality, especially concerning the visual plane. Indeed, on occasions, the image of one of the collaborators and the sound of their microphone —whether in a headset or on the computer or other electronic device used for the recording— are momentarily paralyzed or reproduced with difficulty for some seconds, due to Internet connection problems. But, in any case, good execution and editing should be highlighted. Regarding the image, the appearance of the face of the presenter and the vodcast collaborators stands out, who are always shown in front of the webcam of their computer or digital device, in the foreground, revealing behind them the interior of their homes or offices since confinement prohibited leaving homes except for jobs considered essential. Thus, the recording of these people was made in living rooms, bedrooms, kitchens, personal offices, and other rooms in the home or workplace. In any case, they always appear in short-medium shots and close-ups, looking approximately from mid-torso to the head. Román-San-Miguel, A., & Cartes-Barroso, M. J. Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 65 Revista de Comunicación de la SEECI (2022) Figure 1 Screenshot from episode 5 of ‘Confinados’. Source: Eurosport. Screenshot. The audiovisual production is correct. The presenter and the collaborators appear on the screen both in 'gallery' view mode, fundamentally, and in full screen, according to the possibilities of Zoom, which is the video chat platform on which the vodcast was recorded, such as is stated in one of the episodes. When up to four people appear in the gallery, as shown in image 1, the show logo is inserted between them and, in the upper right corner, the channel label. If there are fewer people, a background image of the show appears behind them, with the Eurosport label. Another important aspect to take into account on the visual level is the lighting, which is also good, especially that of the presenter, although in some episodes when introducing the content, there is some darkness. As for the sound, as noted above, it's good, although sometimes it fails on one of the collaborators due to connection problems. Furthermore, some ambient sound from homes is collected, as well as notifications of receiving emails, for example. 4.3. Graphic resources Related to the previous subsection, and beyond the quality of the visual aspect, besides the images of the presenter and the collaborators, there are video fragments and still or moving images alluding to sports topics, specifically on the sports discipline or the subject that is being discussed. They are, in any case, archive images, for example of tennis tournaments, bicycle races, football matches, or the Olympic Games, among others. 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Vodcasting in Spain. ‘Confinados’ of Eurosport, the reverse path. 73 Revista de Comunicación de la SEECI (2022) AUTHOR CONTRIBUTIONS, FUNDING, AND ACKNOWLEDGMENTS Author contributions: Conceptualization: Cartes-Barroso, Manuel J. and Román-San-Miguel, Aránzazu; Methodology: Cartes-Barroso, Manuel J. and Román-San-Miguel, Aránzazu; Software: not applicable; validation, Cartes-Barroso, Manuel J. and Román-San- Miguel, Aránzazu; Formal analysis: Román-San-Miguel, Aránzazu; research, Cartes-Barroso, Manuel J.; memories, not applicable; Data curation: Cartes- Barroso, Manuel J.; Writing -preparation of the original draft: Román-San- Miguel, Aránzazu and Cartes-Barroso, Manuel J.; Writing-revision and editing: Román-San-Miguel, Aránzazu and Cartes-Barroso, Manuel J.; Visualization: Cartes- Barroso, Manuel J.; Supervision: Román-San-Miguel, Aránzazu; Project management: not applicable. All authors have read and accepted the published version of the manuscript. Funding: This research received no external funding. AUTHOR/S: Aránzazu Román-San-Miguel Assistant Professor in the Department of Journalism II of the Universidad de Sevilla and assistant director of the Master’s Degree in Sports Journalism of the Universidad de Sevilla, she is also a member of the Research Group: Communication Strategies. She has a Ph.D. in Journalism; a degree in Journalism, and a University Expert in Institutional Communication and Political Marketing. She has been co-coordinator and professor of the Master’s Degree in Institutional and Political Communication at the Universidad de Sevilla. She has written several books, book chapters, and journal articles on journalism, journalistic specialization, protocol, and institutional communication. She has carried out research stays at the Universidad Complutense de Madrid, at the Universidad de Castilla La Mancha, and at the Salesian Pontifical University of Rome. Orcid ID: https://orcid.org/0000-0002-9131-2629 Google Scholar: https://scholar.google.com/citations?user=KQIS_z0AAAAJ&hl=es ResearchGate: https://www.researchgate.net/profile/Aranzazu-Roman-San-Miguel Scopus: https://www.scopus.com/authid/detail.uri?authorId=56041639800 Manuel J. Cartes-Barroso Professor of the Department of Journalism I at the Universidad de Sevilla and member of the Information Analysis and Technique research group. He is also a professor at the Faculty of Social Sciences of the Universidad Europea Miguel de Cervantes. He has a degree in Journalism and a Ph.D. in Communication with international mention from the Universidad de Sevilla. Master's Degree in Corporate Communication Arts (Universidad San Pablo-CEU). His lines of research focus on the study of journalism and its history, corporate communication, internet social networks, and information on religious events. Orcid ID: https://orcid.org/0000-0003-1768-275X Google Scholar: https://scholar.google.es/citations?user=tKx1qv8AAAAJ&hl=es ResearchGate: https://www.researchgate.net/profile/Manuel-Cartes-Barroso Scopus: https://www.scopus.com/authid/detail.uri?authorId=57203525546 Academia.edu: https://independent.academia.edu/ManuelJesúsCartesBarroso