Blanca de Lizaur, PhD, MA, BA, Content specialist.

Tag: Demanda de medios

No transaction without TRUST; <em>no trust without evidence of VALUES</em> –But WHOSE values…?

No transaction without TRUST; no trust without evidence of VALUES –But WHOSE values…?

Multimedia, For media people, Para:, Videos
1. The 2012 Edelman Trust Barometer [summary regarding Spain] [global summary in English] , the conclusions of which are presented in this video, shows a major drop in credibility and trust, towards almost all institutions, in practically all of the countries included in the study. That said, what's new…? Let us examine a few press headlines from the last three years, chosen at random, to understand what set off this crisis in trust, and the way it is affecting the media: “MGM Studio Files Bankruptcy; Eyes Lender Takeover” [MGM Studios, producers of the James Bond franchise, declare bankruptcy in court]; Jonathan Stempel; Gerald E. McCormick & Dave Zimmerman, eds.; El Economista.es; Nov. / 3 / 2010. “The Music Industry is Dying a Slow Death. Not just because of illegal downloa
Have you ever wondered  WHAT “MORBID” CONTENTS ARE?

Have you ever wondered WHAT “MORBID” CONTENTS ARE?

For media people, Para:, Magazine
In our language, and according to the “Diccionario de la Real Academia Española” (Dictionary of the Royal Spanish Academy), morbid means “a change in health [...], illness”. We may deduce that something is morbid when: 1) “it causes illness”, or 2), “causes unhealthy mental [...] reactions”. In English, and according to the Oxford Dictionary, “morbid” refers to someone “ …characterized by an abnormal and unhealthy interest in disturbing and unpleasant subjects, especially death and disease…”. In literary terminology, a morbid device is used to attract people's attention; it's a “hook”. In previous articles we established that works with family-oriented contents, “cleaner”/"more wholesome" ones (that is: those that least violate the values, ideas and beliefs of their target public), t
MARGINALIZED LITERATURE, a new vision of an everlasting cultural issue

MARGINALIZED LITERATURE, a new vision of an everlasting cultural issue

Specialized, For everybody, Para:
This article is devoted to a literary and cultural format that has existed for centuries, not as a particular or singular work, but rather as a constant perpetuation of definable narrative schemas –schemas that always adapted to the latest technology available. . In the realm of “elite” culture, it is considered acceptable to discuss, for example, the timeless nature of art or the validity of the slogan ars pro artis (art for art's sake), since, as Souto says, there is a certain “timelessness in art, that cleanly demarcates the author's interests, as they fade away in the light of the poetic reality by which the work transcends.[1] In the realm of popular culture, however, we do not talk –perhaps– about timeless works, so much as timeless schemas: There is nothing as short-lived a
THE MYSTERIOUS CASE OF THE MISSING SPECTATOR has little to do with the Digital Revolution

THE MYSTERIOUS CASE OF THE MISSING SPECTATOR has little to do with the Digital Revolution

For everybody, Para:, Magazine
An important producer mentioned his concern that film –as in the complete experience of going to the cinema– was dying. There has been a progressive, constant and noteworthy decline in the number of spectators going to the movies over the last 30 years (not necessarily in the amount of money generated by these spectators, as box office prices have raised enormously during the same period).   In part, he blamed the economic crisis; but more importantly –and along with many others in the business, he blamed “videos” for the audience decline.  Who would want to go out to the movie theater when you can enjoy the film right at home, for free or for little? Of course this sounds both logical and reasonable; however it lacks appropriate contextualization. Why?  If “videos” were the only culpri
WHAT HIGHLY EDUCATED PEOPLE READ…, when nobody watches

WHAT HIGHLY EDUCATED PEOPLE READ…, when nobody watches

For media people, Para:, Magazine
Pygmalion and Galatea… A professor gave his graduate students a poem written by a prestigious contemporary writer. A few minutes later he asked them what their favourite lines were, but nobody dared to answer: The poem, in spite of the author's reputation, was simply terrible. And although we have been trained to consider "beautiful" that which possesses great technical skill (even when the message, what is being said, is clearly horrible), the poem in question was not even technically noteworthy. That said, there is a kind of tacit agreement amongst members of the literary world that they should show their high regard and appreciation for works that the rest of them have praised, regardless of their true quality; and thus why many of us have occasionally been forced to praise “highbrow
NO RETURN ADDRESS? Then how can we tell your message is trustworthy…

NO RETURN ADDRESS? Then how can we tell your message is trustworthy…

For everybody, Para:, Magazine
            Anonymous messages…  –most of us distrust them.             When we talk about letters, we are suspicious of those that reach us without a signature and a return-address.  When we talk about general information, we tend to distrust rumours, because we don’t know who started them and what they are expecting to obtain through them.  And anonymity constitutes, as well, the main difference between a pamphlet and a legally distributed magazine –magazines are required by law to include information about who publishes them, and where these persons can be located, so that both you and the authorities can reach them if necessary.             This proves particularly important when you talk about electronic media, because of their massive and indiscriminate reach.  In regards to tradit
FOR AUDIENCES WHO LONG TO HAVE FUN WITHOUT SUFFERING (including parents, teachers and all kinds of consumers)

FOR AUDIENCES WHO LONG TO HAVE FUN WITHOUT SUFFERING (including parents, teachers and all kinds of consumers)

For audiences
This web is the result of a seminal discovery, expressed by an uncountable number of impartial consumer and scientific studies: That both because of personal and social reasons, the majority of us want and need  fun contents in media --that is:  to have an appropriate amount of fun,  in a way and amount that seems healthy to our plurisecular cultures. That is why we will gather those of our articles that may interest consumers more, in the  "For audiences (parents, teachers...)"  section of this web. We hope you will like them.  We also hope you will soon start sharing with us your experiences, projects, ideas and material --we'll do our best to accomodate them here, as long as their reproduction is possible, relevant and legal. Welcome home!  Better and more profitable media
HELP SAVE MEDIA PEOPLE! (artists, creators, producers, publishers, distributors…)

HELP SAVE MEDIA PEOPLE! (artists, creators, producers, publishers, distributors…)

For media people
The Stone monolith that today stands in Saint Peter’s Square in Rome, was carved in Egypt 4000 years ago.  In the year 37 AD, the emperor Caligula ordered that it be moved to Rome.  This was a truly ambitious engineering challenge at the time, as well as proof of the Roman Empire’s power. Almost 1,150 years later, due to natural historical developments, it was necessary to move it to its present location.  Although only a few hundred meters distant, this too necessitated incredible effort and ingenuity and was almost an impossible task given the technology and resources available in Rome in 1586. Domenico Fontana, the chief engineer, spent months planning the operation.  He experimented with mechanisms of all kinds; pulleys, ropes, levers, as well as tools he himself designed. He calcu