1
Universitat de Vic - Universitat Central de Catalunya
Universidad del Azuay
e-ISSN 2014-5039
22
Universitat de Vic - Universitat Central de
Catalunya (España)
Universidad del Azuay (Ecuador)
Equipo Editorial /
Editorial Team
Dra. Mar Binimelis-Adell, Facultad de
Empresa y Comunicación. Universitat
de Vic - Universitat Central de Catalunya
Dra. Julia Catalina Serrano Cordero,
Escuela de Comunicación, Universidad
del Azuay
Asistentes de direccn /
Director’s Assistant
Juan Carlos Lazo Galán, Universidad del
Azuay, Ecuador
Lorena González Ruiz, Universitat de
Vic- Universitat Central de Catalunya

Committee
Dra. Pilar Acosta Márquez, Universidad
Veracruzana
Dra. María Marta Álvarez Rodríguez,
Université de Franche-Comté, CRIT EA
3224
Dr. Hernane Borges de Barros Pereira,
Faculdade de Tecnologia SENAI
CIMATEC Universidade do Estado da
Bahia
Dra. Irene Cambra Badii, Universitat de
Vic - Universitat Central de Catalunya
Dra. Ana Castillo Díaz, Universidad de
Málaga
Dra. Lourdes Cilleruelo Gutierrez,
Universidad del País Vasco
Dra. Clara Fernandez Vara, New York
University
Dra. Maria Forga, Universitat de Vic -
Universitat Central de Catalunya
Dr. Joan-Francesc Fondevila, Universitat
Pompeu Fabra
Dr. Joan Frigola Reig, Universitat de Vic -
Universitat Central de Catalunya
Dr. Xavier Ginesta, Universitat de Vic -
Universitat Central de Catalunya
Dr. Ibrahim Kushchu, International
University of Japan
Dra. Gema Lobillo Mora, Universidad de
Málaga
Equipo Editorial
33
Dr. Joaquim Marqués, Universitat de
Girona
Dr. João Carlos Massarolo, Universidade
Federal de São Carlos
Dra. Carla Medeiros, Escola Superior de
Comunicação Social
Dra. Giorgia Miotto, Universidad Ramon
Llull
Dr. Luis Navarrete, Universidad de
Sevilla
Dra. Elena Oroz, Universidad Carlos III
de Madrid
Dra. Ana Palomo, Universitat de Vic -
Universitat Central de Catalunya
Dr. Alexandre Pereda, Barcelona Media
Dra. María Pilar Rodríguez Pérez,
Universidad de Deusto
Dr. Jordi De San Eugenio Vela,
Universitat de Vic - Universitat Central
de Catalunya
Dr. Carlos A. Scolari, Universitat
Pompeu Fabra
Documentalista /
Documentalist
MerMontanyà Comelles, Universitat
de Vic-Universitat Central de Catalunya

Design
Diana Marcela Torres Lucero, Open
University, Universidad del Azuay,
Ecuador


Área de las TIC. Universitat de Vic -
Universitat Central de Catalunya
Consejo Técnico de redacción

Diana Lee Rodas Reinbach, Universidad
del Azuay
Oriol Portell, Universitat de Vic -
Universitat Central de Catalunya
Sebastián Esteban Carrasco Hermida,
Universidad del Azuay
Ana Isabel Andrade, Universidad del
Azuay
Antonio González, Universidad del
Azuay
Patricia Proaño, Universidad del Azuay
Equipo Editorial
4
E
I
2
3
4
1
-
ducción de contenidos a partir de la intersección con la cultura fan








pp. 6-7
pp. 10-24
EDITORIAL
INTRODUCTION
pp. 41-53
pp. 73-101
pp. 55-71
pp. 25-40
Index



Júlio César Ferreira
Gabriela Diniz



la enseñanza de la literatura








MONOGRAPHIC SECTION







5
I
ÍNDICE
7
8
9
5
6
pp. 103-115
pp. 117-132
Index






-



ciencia




pp. 133-148
pp. 149-167
pp. 169-184
MISCELANEOUS SECTION
DOCTORAL THESIS






-









66
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EDITORIAL

Storytelling en la Era Digital
How stories are created and conveyed in media

and digital platforms has evolved as they have
adapted to new technologies and cultural prac-

shapes contemporary social experiences and
values.
By creating an emotional connection with the
audience, storytelling makes messages more
persuasive and relevant. The use of narrative
-
-
orable.
In the monographic section, the latest issue
of Obra Digital contains articles analyzing how
well-known artists utilize tools such as alternate
reality games (ARGs) to achieve greater engage-
ment with their audience. It also studies how
literature disseminated through interactive
and transmedia products operates, as well as
how queer groups are represented to promote
a positive change in the construction of their
identity and the creation of virtual avatars as a
marketing strategy to encourage collective cre-
ation.
In the miscellaneous section, various topics are
       
evidencing the political commitment of director
Francesco Rosi, explore high-tension relation-
ships such as that between Italian politics and
-
Universidad del Azuay
ORCID: https://orcid.org/0000-0002-6248-1925
Universitat de Vic - Universitat Central de Catalunya (UVic-UCC)
ORCID: https://orcid.org/0000-0003-2746-4326


77
Storytelling in the Digital Age
ity of didactic audiovisual series to reach young
audiences with topics as varied as philosophy
teaching through a study of the series Merli. In
-
edge and its productive routines are examined
by benchmarking the practices of institutional

the correspondence between the public and
media agendas in Ecuador’s traditional print
and independent digital media.

for disseminating knowledge generated in doc-
toral research, this edition addresses issues
related to the persistence of gender discrim-
    
technological advances in both digital platforms
and the media.
This edition aims to deepen readers’ under-
standing of the rapid evolution of communica-
tion tools, their applications, and their impact

88
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Universitat de Vic - Universitat Central de Catalunya
Universidad del Azuay


Transmedia, Interactions and Culture
10
I
INTRODUCTION


Sports communication, beyond sports journalism
The proliferation of platforms in global media
ecosystems has changed the forms of sto-
ries, and narrative processes in their entirety
throughout cultural production (Poell, Nieborg

premise to explore through its articles sever-
al cases of narrative innovations and aspects
related to transmedia, social interactions, and
culture. This starting point opens and contrib-
utes to updating a territory of academic and
research discussion of more than two decades
of transformation, which is mixed with other
social and cultural phenomena such as fandom
(Booth’s volume, 2018 or Fiske’s classic, 2002),
and the role of celebrities (see, for example,
Turner’s work, 2010), and  (Booth &
Matic, 2011).
This introduction is structured around the con-
cept of platformization in tension with works on
celebrities to propose the notion of 
 as a concept that allows explaining
some of the narrative innovations that emerge
in this context of ecosystem transformation.
The case used for this case is the analysis of
the activity on social networks of Shakira’s song
that later earned her the Latin Grammy of 2023

     
to contextualizing the fertile possibilities and
combinations both for the creation and for the

ORCID: https://orcid.org/0000-0001-8391-3638

Joan Ramon Rodriguez-Amat, PhD - Principal Lecturer at the School of Journalism, Media and

spaces, the cultural constructions of time and space, citizenship, and power (see http:communica-
tivespaces.org). This threefold discussion emerges at the intersection of research on media gover-
nance, cultural production and democratic debates; and the communities and identities - includ-
ing sexual, national and cultural identities - that emerge from the geopolitics of social networking
platforms and communication technologies.
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1111
Joan Ramon Rodríguez-Amat
analysis and understanding of the stories that
weave global culture.
The concept of platformization, already used by
Helmond to refer to “the rise of the platform
as the dominant infrastructural and economic
model of the social web and its consequences,
in its historical context. Platformization entails
the extension of social media platforms into
the rest of the web and their drive to make
external web data “platform ready.” (2015). It
is therefore a phenomenon that permeates
many aspects of modern society, leading to
the development of platformization studies,
which focus on professional and labor dynam-
ics (Casilli & Posada, 2019; Pires & Tomasena, &
Piña 2024), creative, and interactional interac-
tions in which they follow one another thanks
to the mediation of a complex digital interface
that extends social, cultural, or professional in-
teractions, through mobile screens and data
warehouses, building a “connective world” (Van

distinguished by its emphasis on cross-cutting
aspects that extend from the conditions of con-
tent production to the conditions of interaction
with them; and in between, aspects related to
distributed production (throughout the length
and breadth of networks) and its algorithmic
distribution. For this reason, platformization
studies also consider the role of fans and -
 in the dissemination and interpretation
of cultural production, in addition to paying at-
tention to the precarious economic conditions
faced by platform workers.
     
occur in platformization, several logics can be
distinguished that overlap and mix: Economic,
productive and labor logics on the one hand;
legal and governance logics on the other; and
the logics of cultural production and con-
sumption. In this way, while it is insisted that
platforms function as intermediaries between
online access communities and proprietary in-
dustrial infrastructures, and often extend their

value, they also generate conditions for the for-
mation of cultural communities in frameworks

2020). To distinguish these three aspects, this
text opens the three fronts separately.
The economic and productive logic of platforms

owners in complex ways because the forms of
-
vorced from the complex processes of distribu-
tion and consumption. Platforms such as fast
food, or parcel transport, or care for the elderly
(Ticona & Mateescu, 2018), are installed in log-
ics of precariousness and interaction that un-
der masks of virtuality or online interactions
mask conditions of materiality that evade
legal protection frameworks. There are many
open research fronts that explore these rela-
tionship conditions and the social communities
that emerge in the shadow of these structures
and interfaces (examples include booktubers
(Tomasena & Scolari, 2024), riders (Pires, To-
masena, & Piña, 2024) or YouTube communi-
ties (Pires, Masanet, Tomasena & Scolari, 2024).
Platform revenue and monetization models
are also part of these productive and economic
logics, and while platforms are often oriented
towards cultural production, traditional reve-
nue models have also evolved in favor of dig-
ital logics of impact and reception measures
that update contemporary ad-based revenue
streams, for example in the music sector. sub-
scriptions, online sales, or live events (Marshall,
2013). These dynamics extend in cascade
-
portunities in models that simultaneously feed
on complex algorithmic logics and incom-
prehensible to the creators themselves that
send them to create in uncertain, precarious
1212

and trans-platform environments (see, for ex-
ample, Glatt, 2022). Among the platforms that
complement the work of creators with much
more personalized monetization models are
     
through platforms such as Patreon (Bonifacio,
      
(Hamilton, et al, 2022) among others. In this
context, professional content creation is mixed
and confused with the privacy of artists and
with content created by fans or non-profes-
sional creators who distribute content through
platforms and social networks. User-generated
content (UGC) is spread and multiplied by plat-
forms such as TikTok, Instagram, and YouTube,
allowing individuals or small groups to create
and disseminate content without large produc-
tion budgets (classically anticipated by Jenkins,
2006b).

productive logic of the platforms, generate – as
a by-product of this activity rich data repos-
itories that turn the platforms into databases
that can be analyzed and processed to identify
behaviors, models, patterns, and possibilities
of demographic, sociocultural, or sexual analy-
sis that the platforms can return to creators
to help them develop content by improving
the quality of production (Anderson, 2006); or
selling to help businesses determine consum-

models of criminal behavior, in data, dataism,

     
platforms at the top of a “winner-takes-all”
structure, as Thomas Poell described it in his
inaugural lecture at the University of Amster-
dam’s Chair of Data, Culture, and Institutions
(Poell, 2022). And although it could be argued
whether it is more of a pyramid fraud, the ex-
ploitation model is clear.
From a legal and organizational point of view,
platforms also happen in an intermediate zone
of alegal or precarious opportunity. Many plat-
forms operate globally, often within tax and
regulatory havens, and adhere to selective sets

turned the idea of a platform into an econom-
ic and legal model that favors corporations; in
this sense, corporations such as PornHub have
adopted the platform model (Rodriguez-Amat,
& Belinskaya, 2023). For example, ride-shar-
ing platforms such as Uber and Lyft connect
passengers with drivers and control access to
data, pricing structures, and user experiences,
although users may perceive them as neutral
service providers (Rosenblat and Stark, 2016).
In addition, complex negotiations over access
to resources such as data, information, deci-
sion-making processes, and legal frameworks
further highlight the intricate dynamics at play
(classically, Gillespie’s original work, 2010, and
its development in 2017; Plantin et al., 2016)
that establish conditions for publication, shar-
ing and moderation of content. Economic pro-

management, and working conditions, are inte-
gral to these negotiations.
Precisely the issue of data is one of the key as-
pects that challenges the function and dynam-
ics of platforms. Legal and ethical challenges
include those related to copyright, fair use,
and intellectual property, especially in the area
of user-generated content and remix culture
(Lessig, 2004; Sarikakis, Krug, Rodriguez-Amat,
2017). Lately, however, the discussion about
the ownership of available content has shifted
to the debate around the databases of gener-

this new dynamic are Apple’s recent announce-
ment of an agreement with OpenAI for its data
to also be used to train ChatGPT (Kleinman, Mc-
Mahon, 2024).
1313
Joan Ramon Rodríguez-Amat
These legal and organisational frameworks,
which slip platform logics between economic,
labour, productive and legal precariousness,
articulate cultural production more and more
clearly and frame the forms of participation
and production, consumption and distribution
      

opportunities for creators, they also present
challenges, such as sustainability for creators
and managing complex issues related to copy-
right and intellectual property (Sanchez-Cartas,
2021). These dynamics continue to shape and

in the digital age.
In this sense, the cultural and community and
platform logic extends symbolically from the
-
tural production, consumption patterns, and

and material aspects of the creative industries
-

Instagram and YouTube that have revolution-
ized cultural consumption and interpretation
by “democratizing” access to cultural produc-
     
and creators to reach global audiences and cir-
cumventing traditional mechanisms of control
(Burgess and Green, 2009) and misleadingly
feeding narratives about networks and plat-
forms as spaces of “free access” and “solidarity”
between participants (Yu, Trere, Bonini, 2022).
It is true, however, that platforms have ampli-

greater inclusion within the cultural landscape,
and that they foster hybridity and cultural fu-
sion, leading to innovative forms of expression
and dynamic feedback-driven creative process-
es (Lobato & Thomas, 2015).
Platforms facilitate audience participation and
interaction, giving rise to fan communities, fan
     
with cultural products (Baym, 2015). The inter-
action between social media and traditional
media involves a dynamic exchange of con-
tent, in which social media discourse shapes
traditional media articles and vice versa. This
exchange is facilitated by the convergence of
    
allows for the rapid dissemination of social
media content (Giles, 2018). Traditional media
      
to wide dissemination and commentary in the
online sphere. Social media platforms, particu-
larly Twitter, exemplify the power of reciprocal
exchange and community sharing, revealing
intricate networks and patterns of content dis-
semination (Passman et al., 2014).
     -
tions for interactivity and interaction thanks to

the conditions for creativity. The rise of ephem-
eral content, popularized by platforms such
as    , emphasiz-
es immediacy and authenticity in content cre-
ation (Leaver et al., 2020). They are new forms
of narrative creation that call for new forms of
research and new conceptual models that help
explain the processes that move viral through
global networks, for example, memes (Geb-
oers, & Pilipets), 2024; Carpenter, 2024).
However, platforms sophisticated content
management algorithms have far-reaching im-
plications for cultural consumption patterns
-

gain prominence and provok