Autor/es
Descripción
ver mas
Colaborador
Marino, Santiago
Materias
Spatial Coverage
Temporal Coverage
2020
Idioma
spa
Extent
417 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 4.0 Internacional (CC BY-NC-ND 4.0)
Formato
application/pdf
Identificador
Cobertura
ARG
2021
Abstract
The debate on the sustainability of the media as cultural industries has long been installed in studies of the economics of the media, management of media companies and the political economy of communication. The questions about the present and future of the audiences and the sources of income of these organizations that produce information and entertainment combine their constancy and transformation according to the emergence of new platforms that distribute, produce and market content on the internet (Picard, 2014; Campos Freire, 2010; Díaz Espina, 2013;).
Radio is part of the traditional media industries that face the challenge of adapting their production model and their way of generating value in the current scenario of digital convergence. This thesis aims to identify the ways in which the business models registered and designed for web platforms by the different actors of the online radio ecosystem (Espada, 2017) are adapted and modified: traditional radio stations, online radio stations and producers podcasts. At the same time, it seeks to study the relationships that are thought for with other platforms such as aggregators, social networks and music streaming.
This thesis seeks to answer a double descriptive and explanatory research question: What are the business models applied by the actors of the online radio ecosystem and what are the differences between them? Why are those?
In the “online radio ecosystem (ERO)”, not only are traditional stations or stations from the analogue market present, but also others of online origin, podcast producers and content aggregators (García García and Barrio, 2011). This framework proposes an adaptation regime that includes competition with actors with different logics, obligations and objectives. This puts radio in a new scenario, a digital ecosystem of radio content in which it must complement and compete with different actors (Espada, 2017: 56). This conceptual starting point seeks to mark a distinction in the approach to this thesis in relation to previous works. Radio is approached in a broad sense, to detect actors, strategies and models.
The need for a local study on the adaptation of the radio market to the operating rules of the digital scene is linked to the particular characteristics of the Argentine market: deep drop in audience in the last five years (Kantar Ibope Media), unstable business structure (Espada, 2018), advertising market in retraction (Argentine Chamber of Media Agencies) and a deep labor and economic crisis in a large part of the stations (Monitoring of Media Property, 2019). In this framework, the comparative study of the decisions and strategies taken by the different actors (traditional and digital natives of different types) for online spaces (social networks, applications, platforms, web pages) is a search to provide answers for the future of the sustainability of this industry.
The general objective of this thesis is to identify the business models of the different actors in the online radio ecosystem, compare them and explain their reasons for being. This implies studying emerging players (producers of podcasts and online radios) as well as traditional players (AM and FM stations) in the design of their production, distribution and marketing models for the different digital platforms (web, apps, networks social, streaming platforms).
The hypothesis that guides this work indicates that it is the projects that were conceived for digital platforms that experiment more fluidly with social networks, applications and web pages, while traditional radio stations still use these spaces to complement their traditional offer without marketing strategies. And specific production. In summary, native projects necessarily include the management and strategies for these spaces within their form of valorization and production model because it is their only space. Therefore, they present greater innovations. While traditional actors add functions, they do not modify the original model.
The first methodological step of this work is the definition of its organizing concept: business models. As Campos Freire (2013) lists, there is a wide variety of theoretical approaches to their definition. Here the one that understands them as a description of the differential or benefit proposition that a company offers its target customers to obtain a benefit or income that makes it sustainable will be adopted (Osterwalder, Pigneur and Tucci, 2005). The elements of these models, which as such are analytical categorization constructions, are the characteristics of the product, the differentiation with other market players and the sources of income (Cea Esteruelas, 2013). In order to analyze the differences with other market players, the competitive advantages of a media company, this work will take into account four main factors: the characteristics of the products or contents, their distribution, the productive organization and their commercialization. Based on these four variables, the objectives and specific research questions were constructed.
The descriptive methodology adopted allows descriptions, analysis and categorization of processes and objects through an inductive process that goes from the general to the particular. It is for this reason that this work has two main methods of obtaining information about the object in question: content and element analysis of the studied spaces and in-depth semi-structured interviews with different key actors.
This work finds that the business models and the form of valuation of the radio industry for its digital platforms imply adding tasks to the traditional model without completely transforming it. The complementarity of both formats is the main strategy that implies that the commercialization and productive organization of the digital version follow the traditional rhythm without completely modifying it. The production model of these stations has not yet been transformed.
On the other hand, native projects on digital platforms make decisions that imply changes or different ways of thinking about the radio model: multiplatform, niche content and loyal audiences.
Radio is part of the traditional media industries that face the challenge of adapting their production model and their way of generating value in the current scenario of digital convergence. This thesis aims to identify the ways in which the business models registered and designed for web platforms by the different actors of the online radio ecosystem (Espada, 2017) are adapted and modified: traditional radio stations, online radio stations and producers podcasts. At the same time, it seeks to study the relationships that are thought for with other platforms such as aggregators, social networks and music streaming.
This thesis seeks to answer a double descriptive and explanatory research question: What are the business models applied by the actors of the online radio ecosystem and what are the differences between them? Why are those?
In the “online radio ecosystem (ERO)”, not only are traditional stations or stations from the analogue market present, but also others of online origin, podcast producers and content aggregators (García García and Barrio, 2011). This framework proposes an adaptation regime that includes competition with actors with different logics, obligations and objectives. This puts radio in a new scenario, a digital ecosystem of radio content in which it must complement and compete with different actors (Espada, 2017: 56). This conceptual starting point seeks to mark a distinction in the approach to this thesis in relation to previous works. Radio is approached in a broad sense, to detect actors, strategies and models.
The need for a local study on the adaptation of the radio market to the operating rules of the digital scene is linked to the particular characteristics of the Argentine market: deep drop in audience in the last five years (Kantar Ibope Media), unstable business structure (Espada, 2018), advertising market in retraction (Argentine Chamber of Media Agencies) and a deep labor and economic crisis in a large part of the stations (Monitoring of Media Property, 2019). In this framework, the comparative study of the decisions and strategies taken by the different actors (traditional and digital natives of different types) for online spaces (social networks, applications, platforms, web pages) is a search to provide answers for the future of the sustainability of this industry.
The general objective of this thesis is to identify the business models of the different actors in the online radio ecosystem, compare them and explain their reasons for being. This implies studying emerging players (producers of podcasts and online radios) as well as traditional players (AM and FM stations) in the design of their production, distribution and marketing models for the different digital platforms (web, apps, networks social, streaming platforms).
The hypothesis that guides this work indicates that it is the projects that were conceived for digital platforms that experiment more fluidly with social networks, applications and web pages, while traditional radio stations still use these spaces to complement their traditional offer without marketing strategies. And specific production. In summary, native projects necessarily include the management and strategies for these spaces within their form of valorization and production model because it is their only space. Therefore, they present greater innovations. While traditional actors add functions, they do not modify the original model.
The first methodological step of this work is the definition of its organizing concept: business models. As Campos Freire (2013) lists, there is a wide variety of theoretical approaches to their definition. Here the one that understands them as a description of the differential or benefit proposition that a company offers its target customers to obtain a benefit or income that makes it sustainable will be adopted (Osterwalder, Pigneur and Tucci, 2005). The elements of these models, which as such are analytical categorization constructions, are the characteristics of the product, the differentiation with other market players and the sources of income (Cea Esteruelas, 2013). In order to analyze the differences with other market players, the competitive advantages of a media company, this work will take into account four main factors: the characteristics of the products or contents, their distribution, the productive organization and their commercialization. Based on these four variables, the objectives and specific research questions were constructed.
The descriptive methodology adopted allows descriptions, analysis and categorization of processes and objects through an inductive process that goes from the general to the particular. It is for this reason that this work has two main methods of obtaining information about the object in question: content and element analysis of the studied spaces and in-depth semi-structured interviews with different key actors.
This work finds that the business models and the form of valuation of the radio industry for its digital platforms imply adding tasks to the traditional model without completely transforming it. The complementarity of both formats is the main strategy that implies that the commercialization and productive organization of the digital version follow the traditional rhythm without completely modifying it. The production model of these stations has not yet been transformed.
On the other hand, native projects on digital platforms make decisions that imply changes or different ways of thinking about the radio model: multiplatform, niche content and loyal audiences.
Título obtenido
Doctor de la Universidad de Buenos Aires en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales