PROMOTION OF SPANISH SCRIPTED TELEVISION ON THE INTERNET: ANALYZING BROADCAST-RELATED WEBSITES’ CONTENT AND SOCIAL AUDIENCE Promoción de la icción televisiva española en internet: análisis del contenido de las webs dedicadas a los programas y de la audiencia social Charo Lacalle and Deborah Castro-Mariño Charo Lacalle is a full professor at the Faculty of Communicaion Sciences (UAB) where she directs the Department of Journalism. She holds a PhD by the UAB. As a visiing professor, she has taught in several European and Lain American universiies. She has numerous publicaions in books and journals specialized in media communicaions. She coordinates the Ofent (Observatory of Spanish Ficion and New Technologies) and the Spanish group of Obitel (Ibero-American Observatory of TV Ficion). htp://orcid.org/0000-0002-0024-6591 Autonomous University of Barcelona, Faculty of Communicaion Sciences 08193 Bellaterra (Barcelona), España rosario.lacalle@uab.es Deborah Castro-Mariño is a post-doctoral researcher at Madeira Interacive Technologies Insitute. She holds a PhD in communicaion studies (Autonomous University of Barcelona, UAB), a M.A. in research in communicaion and journalism (UAB) and a B.A. in journalism (University of Saniago de Compostela). She was a recipient of the scholarship “Formación de profesorado universitario”, ofered by the Spanish Government. She is a researcher at the Observatory of Spanish Television Ficion and New Technologies, and at the Ibero-American Observatory of Television Ficion. htp://orcid.org/0000-0001-7980-0964 Madeira Interacive Technologies Insitute Caminho da Penteada, 9020-105 Funchal, Portugal deborah.castro@m-ii.org Abstract This aricle summarizes an invesigaion into the strategies employed to promote Spanish scripted television (TV icion) on the Internet. The role of mediaion between television networks and their audiences is studied through the content analysis of 515 broadcast-related web sites and 7,849 comments posted by community managers and internet users with assumed feminine digital ideniies on oicial and unoicial sites. The oicial sites are mainly dedicated to providing more informaion about programs, which represents most of the feedback posted on unoicial sites. Despite extensive acivity generated by televised icion, television networks do not fully exploit these transmedia promoional resources. Keywords Web 2.0; Television; Ficion; Promoion; Transmedia; Cultural intermediaries; Scripted television; Spain. Resumen Se resume una invesigación sobre las estrategias promocionales de la icción española en la Red. Se estudia la función de intermediación entre la producción y la recepción, realizada desde las plataformas oiciales y desde las extraoiciales, mediante el análisis de contenido de 515 webs dedicadas a los programas y el análisis de 7.849 comentarios irmados por los community managers y por los usuarios que adoptan idenidades digitales femeninas. Las páginas oiciales se dedican principalmente a ampliar las informaciones sobre los programas, que retroalimentan una buena parte de las plataformas no oiciales. A pesar de la enorme acividad generada por la icción televisiva, las cadenas no explotan suicientemente estos recursos promocionales transmediales. Manuscript received on 10-11-2015 Accepted on 20-01-2016 246 El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 Promotion of Spanish scripted television on the internet: analyzing broadcast-related websites’ content and social audience Palabras clave Web 2.0; Televisión; Ficción; Promoción; Transmedia; Intermediarios culturales; España. Lacalle, Charo; Castro-Mariño, Deborah (2016). “Promoion of Spanish scripted television on the internet: analyzing broadcast-related websites’ content and social audience”. El profesional de la información, v. 25, n. 2, pp. 246-253. htp://dx.doi.org/10.3145/epi.2016.mar.11 1. Introducion The Internet has notably modiied the relaionship between television and its viewers. In general, television networks tend to adopt a “dominant” posiion in the digital arena in response to a mulimedia environment in constant change (Siapera, 2004, p. 168). Nevertheless, faced with the “colonizing” assault of television companies, understanding and exploiing the peculiariies of each network (Siapera, 2004), and reconiguring communicaion with their audiences (Chan-Olmsted; Park, 2000) are key points when designing disinguishing strategies that allow television networks to opimize their resources on the Internet. The concept of transmedia is generally used to describe the interacions between media contents and their distribuion through muliple sites. However, while some authors have examined transmedia processes mainly from the perspecive of producion (Gillan, 2010; Jenkins, 2006), other researchers have highlighted the transformaion of consumers into powerful players posiioned “to recognize, disinguish, and combine diferent genres, media and subject posiioning” (Kinder, 1992, p. 47), the new forms of involvement for viewers of audiovisual media (Evans, 2011) and the various forms of collaboraive process (Deery, 2003; Siapera, 2004). 1.1. From television viewer to fan Television feedback provided through the Internet transforms the viewer of tradiional audiovisual media into a public, both in its sense as a noun (which presupposes socializaion) and as an adjecive (which underlines the impulse for self-presentaion) (Dayan, 2001). Each public is characterized by its “commissive” performance, a concept that Dayan adopts from pragmaics to describe the airmaion of loyalty on the part of its members and to difereniate it from the “almost public” made up of viewers (Dayan, 2001). Nevertheless, “TV websites are coninuing a mode of address that is also prevalent oline” (Siapera, 2004, p. 167). Complementary to the markeing strategies implemented by networks on the Internet (distribuion of program informaion and images, streaming, merchandising, paricipaion by the actors, etc.), the dialogues between fans have cultural, social, and economic implicaions (Lee, 2012). Gauntlet underlines the role of communiies in similarly-themed websites (Gauntlet, 2000, p. 14), while Ramos, Lozano and Hernández-Santaolalla (2012, p. 1221) consider fanadverising a promoional tool that strengthens a program’s brand image. Corujo (2012, p. 142) reminds us that each interacion is important because “it adds up in our audience’s mind and afects our reputaion”. The emoional and intellectual involvement of viewers with television programs (Jenkins, 1992b) allows us to group them into two opposing proiles: the fan and the ani-fan. The ani-fan shows complete disinterest in the story, which is the result of an interpretaion made from the outside (Gray, 2003), whereas a fan likes a show and enjoys it (Siapera, 2004). Digital fans are commited to the story and proclaim their right to interpret, evaluate, and appropriate television programs (Jenkins, 1992b). They are “consumers who also produce, readers who also write, spectators who also paricipate” (Jenkins, 1992a, p. 208) and opinion generators (Vassallo, 2012) who experience the program dynamically and wish to enjoy it with other internauts (Ramos; Lozano, 2011). The fans are members of a specialized brand community which is “based on a structured set of social relaionships among admirers of a brand” (Muniz; O’Guinn, 2001, p. 412). They share their experiences and enthusiasm for a brand, product or acivity (Lee, 2012, p. 2) in a context characterized by constant product difereniaion and re-qualiicaion (Callon; Méadel; Rabeharisoa, 2002; McFall, 2012). The introduction of a return channel in TV 2.0 communication has yielded new online promotional mechanisms that complement traditional strategies 1.2. Fans or cultural mediators? Consumpion sociology and anthropology have reclaimed Pierre Bordieu’s concept of cultural intermediaries (CI) in order to deine “a group of taste makers and needs merchants” (Smith-Maguire, 2014, p. 15) that act as a transmission belt between producers and consumers, creaing emoional bonds. It is a complex concept, criicized on occasions for its progressive distancing from Pierre Bordieu’s iniial formulaion (Bordieu, 1979), though it has nevertheless been broadly adopted by academics interested in analyzing Internet-mediated communicaion (Cronin, 2004; SmithMaguire; Mathews, 2012, p. 11). In the current economy of services, paricularly in ICTs, “compeiion turns around the atachment of consumers to products whose qualiies have progressively been deined with their acive paricipaion (Callon; Méadel; Rabeharisoa, 2002, p. 212). In the same vein as authors such as Marínez-Priego (2009, p. 145), who deines the community manager as the missing link between the logotype and the users, or Negus (2002) and Lee (2012), who are interested in determining the dynamics of the mediaion, we adopt a broad deiniion of CI that unites the various igures involved in the communicaion ge- El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 247 Charo Lacalle and Deborah Castro-Mariño nerated by the spread of television icion to the Internet. It is a concept built around the mediaion processes and includes both the community managers of oicial and unoicial sites and the actors and actresses who paricipate in the forums and social networks, and even the fans themselves. H2: The distribuion of contents on unoicial sites and comments on forums and social networks represent promoion strategies for television networks. 1.3. Controversy over user-generated content H4: Unlike other companies, whose preferred core business strategy is reputaion management, television networks do not fully exploit these transmedia strategies. Invesigaions into fandom at the end of the 1990s underlined the excitement of a paricipaive culture fostered by media companies through images of empowerment (Jenkins, 1998). However, while the expansion of the Internet increased business opportuniies, the high-tech git economy of the collaboraive web moved “from the fringes into the mainstream” (Barbrook, 2005) and shaped its own version of the git economy without obligaion of reciprocity (Kjosen, 2011). The controversy surrounding the boundaries between acceptance and exploitaion of user-generatedcontent arouses conlicing opinions. Some authors criicize the promoional exploitaion of user-generated products by networks (Russo, 2009). Other invesigators, in contrast, disinguish between users’ free labor and exploited labor on the basis that much of the former acivity is carried out for the mere pleasure of communicaion and exchange (Terranova, 2000, p. 48). The controversy surrounding the boundaries between acceptance and exploitation of user-generated-content arouses conflicting opinions Jenkins, Ford and Green remind us that currently the aims of the commodity culture and git economy are fully interconnected, and that “all of us operate within an economic context of capitalism” (Jenkins; Ford; Green, 2013, p. 63). In this context, the need of policies aimed at fostering fans’ online paricipaion (Preece; Nonnecke; Andrews, 2004) and of collaboraionist policies between industry and consumers is presented as an alternaive to protecionist policies (Jenkins, 2006). It is the turn of the television networks to harness the enormous potenial of transmedia acivity –oicial and unoicial– in a market system “where an increasing number of users are consuling the Internet in search of guidance in their shopping decisions” (Meso-Ayerdi; Mendiguren-Galdospin; Pérez-Dasilva, 2015, p. 386). This aricle summarizes the research into the promoional strategies of Spanish scripted television on the Internet and studies the role of mediaion between television networks and their audiences. The study, included in a broader invesigaion into women’s recepion of Spanish scripted television, examines the format and content of oicial and unoicial sites dedicated to Spanish scripted television and analyzes the comments posted by community managers and Internet users who signed with feminine names. H3: Evaluaions posted in comments about programs are mostly posiive. 2. Method In the iniial part of the invesigaion, the contents of 515 sites associated with 72 Spanish television programs acive on the Internet in 2013 were analyzed. The sample was derived from the results displayed in the irst ive pages of two searches on Google.es, iltered to exclude unoicial Facebook pages with less than 1,000 followers, one-of pieces (e.g. a newspaper aricle) or download pages. The following equaion summarizes the process carried out, N being the total number of sites included in the map of Internet resources. First, we deine S1 as the irst Google search (“program itle”) and S2 as the second Google search (“program itle” + “television network”). In this way, for the pth icion program, we deine as the set of sites derived from the jth Google search that fulils the sipulated criteria: The 515 sites making up the map of broadcast-related websites were analyzed using a template designed for SPSS, whose 44 variables (41 numeric and 3 string) allow us to break them down, both at the formal level (web format, type of administraion, etc.) and content level (audiovisual, interacive, etc.). Alongside the descripive staisical analysis, a qualitaive database was generated, made up of the staisical analysis variables and designed to contextualize the quanitaive data obtained, which allowed us to idenify the main sites from which to take the phase 2 samples. Contrary to authors like Askwith (2007), interested in a textual approach of transmediality, the codes designed to be used in this study pursue two goals: Table 1. Content analysis codebook Category Format Speciicity Speciic iction, general iction, general TV Interactivity Interactive, non-interactive Accessibility Open access, registering Type of content • Static (images, program fact iles, audience data section, written interviews, etc.) • Interactive (votes, quizzes, games, etc.) • Audiovisual (complete episodes, video discussions, best moments, trailers, special videos, the making of, video interviews, etc.) Networking Links to other sites, synchronization with social networks The research starts from the following hypotheses: H1: The oicial sites dedicated to Spanish scripted television mainly focus on the distribuion of informaion about programs. 248 Variable Microsite, social network, forum, blog El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 Promotion of Spanish scripted television on the internet: analyzing broadcast-related websites’ content and social audience Table 2. Message analysis codebook Category Code Descriptive codes Authorship #community manager, #internet-user Web resource #facebook, #forum, #twitter Narrative world comments posted before 23:59 on Day β. However, where there were not enough messages, the sample was completed retrospecively to make up the required numbers. 81.5% (N=6,397) of the comments collected had been posted by viewers and 18.5% (N=1,452) by community managers. The total number of comments (N) can be simply calculated using the equaion: #positive-storylines Storytelling Level #positive-characters #positive-actors/actresses Commodity level #promotion, #audience-data Other Mobilization #petitions Miscellany #references-to-other-programs, #censorship, #congratulations 1) carrying out a format and content analysis of the map of broadcast-related websites (table 1) and, 2) describing the internet users’ feedback towards the TV program, paying special atenion to the promoional strategies (table 2). Hence, the codes displayed in the abovemenioned tables are mutually non-exclusive and complementary. In the second phase of the invesigaion, the posts published by viewers and community managers on Facebook, Twiter, and the main forums dedicated to the programs were analyzed. According to researchers like Spotswood et al. (2013), usernames and message content are verbal cues employed by Internet users to project their gender. In this way, gender and adjecive agreement of the Spanish language, along with the use of usernames (either their real names or nicknames), avatars, and photographs allowed us to disinguish messages signed by internet users with assumed feminine digital ideniies from the rest. This selecion was carried out by the researchers manually since web crawler tools and data mining programs (like R programming language), which are available in data analysis packages adapted to diferent social networks, ofered an imprecise approach in terms of idenifying internet users’ genders. Moreover, the qualitaive sotware Atlas.i facilitates manual coding and reduces the margin of error typical of tradiional coding. The decision to manually code is jusiied due to linguisic ambiguity both in terms of meaning and signiicance and also because the brevity of most online posts requires adequate contextualizaion. The invesigaion centres on the analysis of the opinion generated the day ater the series’ last episode or corresponding season (denoted by “Day β”), considered a “signiicant event” likely to increase paricipaion (Barkhuus; Brown, 2009, p. 13; Larsen, 2010, p. 158). The sample consists of 7,849 units of analysis from 122 sites: 18 Facebook pages; 67 Twiter accounts and 37 forums associated with the programs. In general terms, per program, we collected the last 50 comments posted the day ater the last episode in the period of analysis was broadcast ( ) i.e. the last 50 In the above equaion, ( ) and ( ) are the number of comments collected from website P for the ith TV series posted by Internet users and administrators, respecively, where The interpretaion started once the comments had been categorized (tagging) and the analysis units iltered by code. The promoional strategies analysis codebooks (N=14) are divided into three secions. Twitter is the web 2.0 resource most used by the actresses appearing in the programs, who from their personal Twitter accounts invite their followers to watch the program 3. Results Antena3 programs have the greatest number of broadcastrelated websites (35.9%, M=185 sites), followed by Tele5 (21.7%, M=112 sites). 69.9% (M=360 sites) of the broadcastrelated web sites are associated with a series, 16.9% (M=87 sites) with a serial, 6.0% (M=31 sites) with a TV ilm, 5.0% (M=26 sites) with a miniseries and 2.1% (M=11 sites) with a sketch. These are interacive resources (97.5%; M=502 sites) that aim to promote programs through the publicaion of writen and audiovisual content. Microsites form the core of the networks’ transmedia strategies (51.8%; M=103 sites), followed by social networks (45.7%; M=91 sites) aimed at increasing web traic with the posing of links to content created by the microsite and ofering space for debate for the fan community. 75.4% (M=150 sites) of these broadcast-related web sites are closed; in other words, the user is required to register in order to paricipate. In terms of content, photographs (79.9%; M=159 sites), program fact iles (56.8%; M=113 sites), and videos of complete episodes (40.2%; M=80 sites) are the most usual forms. As for the unoicial broadcast-related websites, trailers (34.7%; M=69 sites), best moments (27.6%; M=55 sites), and video interviews (17.3%; M=33 sites) make up the majority of the promoional audiovisual material. The networking of these websites is mainly supported by the inclusion of links to other broadcast-related websites associated with the program (68.3%; M=136 sites). The microsites (42.4%; M=134 sites) and unoicial social networks (31.3%; M=99 sites) are the formats most com- El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 249 Charo Lacalle and Deborah Castro-Mariño Table 3. Summary of the contents of the websites Oicial Unoicial Format Website (51.8%; M=103) Social network (45.7%; M=91) Forum (1.5%; M=3) Blog (1.0%; M=2) Website (42.4%; M= 134) Social network (31.3%; M=99) Blog (23.7%; M=75) Forum (2.5%; M= 8) Type Speciic iction (94.0%; M=187) General TV (4.5%; M=9) General iction (1.5%; M=3) Speciic iction (45.6%; M=144) General TV (39.9%; M=126) General iction (14.6%; M=46) Interactivity Interactive (92.0%; M=189) Interactive (99.1%; M=313) Accessibility Closed (75.4%; M=150) Content publication (60.3%; M=120) Closed (69.0%; M=218) Content publication (70.3%; M=222) Content (≥40%) Static Photos (79.9%; M=159) Fact iles (56.8%; M=113) Audiovisual Complete episodes (40.2%; M=80) Static Photos (93.4%; M=295) Fact iles (45.9%; M=145) Interactive Votes (42.1%; M=133) Static Audience section (0.5%; M=1) Written interviews (7.5%; M=15) Static Audience section (20.9%; M=66) Written interviews (21.8%; M=69) Interactive Votes (21.6%; M=43) Quizzes (14.1%; M=28) Games (4.0%; M=8) Interactive Quizzes (4.1%; M=13) Games (3.2%; M=10) Audiovisual Video discussions (9.5%; M=19) Best moments (27.6%; M=55) Trailers (34.7%; M=69) Special videos (11.6%; M=23) Making of (15.6%; M=31) Video interviews (17.3%; M=33) Audiovisual Video discussions (0.6%; M=2) Complete episodes (5.7%; M=18) Best moments (12.3%; M=39) Trailers (24.4%; M=77) Special videos (3.2%; M=10) Making of (5.4%; M=17) Video interviews (17.1%; M=54) Links (68.3%; M=136) Synchronization with social networks (41.7%; M=83) Links (37.3%; M=118) Synchronization with social networks (63.0%; M= 199) Content (≤40%) Networking monly employed for the promoion of programs, 45.6% (M=144 sites) of which dedicate space speciically for the program being promoted. 69.0% (M=218 sites) of these are closed. Photographs (93.4%; M=295 sites), program fact iles (45.9%; M=145 sites) and votes (42.1%; M=133 sites) are the most usual content material, while trailers (24.4%; M=77 sites), video interviews (17.1%; M=54 sites), and best moments (12.3%; M=39 sites) are the most popular audiovisual content. The broadcast-related websites are synchronized with social networks (63.0%; M=199 sites) for content distribuion. 3.1. Discursive buzz and promoion The 7,849 messages making up the sample generated 22,301 tags1 that take the form of a long tail (Anderson, 2008). The resuling form has a “large head”, containing references to the storylines, and a “long tail” made up of miscellaneous themes such as the soundtrack, negaive comments about the actors, the control of the messages exercised by the websites, etc. The analysis explores the promoion strategies adopted by community managers and female fans in 5,610 comments, which represent 71.5% of the total: promoion (N=1,390 posts); references to other programs (N=487 posts); mobilizaion (N=825 posts); posiive references to the storyline 250 (N=1,297 posts), to the characters (N=597 posts) and to the actors (N=474 posts); congratulaions (N=307 posts); audience data (N=229 posts) and censorship (N=4 posts). 62.7% (N=871 posts) of the promoion-speciic comments posted on oicial sites provide informaion about future episodes, comment on the latest episode, announce events and include paratextual contents (best moments, complete episodes, etc.), generally on the oicial microsite. Community managers encourage viewing and the integraion of fans into the community. They also mobilize female viewers for viral promoion or paricipaion in the events they are promoing (25.5%, N=210 posts) and provide audience data (22.0%, N=50 posts). Community managers atempt to inluence internauts through the posiive evaluaion of the program (4.5%, N=58), characters (8.3%, N=50 posts), and actors (4.4%, N=21 posts). Occasionally, they congratulate the community and thank viewers for their support (12.1%, N=37), a strategy that usually secures a good posiion on Twiter’s trending topic. Moreover, Twiter is the web 2.0 resource most used by the actresses appearing in the programs, who from their personal Twiter accounts invite their followers to watch the program. 37.3% (N=519 posts) of the promoion-speciic comments El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 Promotion of Spanish scripted television on the internet: analyzing broadcast-related websites’ content and social audience published on the unoicial sites remind users the ime the next episode is to be broadcast or include links to other sites. Furthermore, in 74.5% (N=615 posts) of the comments, the female fans urge mobilizaion, mainly to stop the program’s deiniive ending. Posiive references to the storyline mainly come from female fans (95.5%, N=1,239 posts), as do posiive comments about the characters (91.6%, N=547 posts), and about the actors (95.5%, N=453 posts). 87.9% (N=270 posts) of their comments include felicitaions to the network or the technical team. Female fans’ commitment is also manifest in the messages about their viewing experiences, in which they compare stories, seasons or episodes of the same series (91.2%, N=444 posts). At imes, the female viewers post audience data (77%; N=176 posts) to reinforce their opinions. Finally, the fact that only 0.1% (N=4 posts) of the comments posted by female users concern censorship by the administrators conirms the generalized adopion of neiquete protocols by female fans. construcion of a good reputaion, highlighing the quality of the program, the work of the technical team, and the innovaion. The promoion of events involving actors and actresses, emoional farewells of the program or characters, and the anger caused by scheduling changes similarly demonstrate the relaionships between fans and the program. The analysis carried out here conirms the four hypotheses put forward in the irst part of the aricle and highlights that, in general, a program’s promoional discourse its into a wider strategy: “the generaion of interchange and sociability” (Cogo; Dutra-Brignol, 2011, p. 75). With the same aim, actresses very oten relate comments aimed at promoing the program through their personal experiences during ilming or their thoughts on a paricular scene or storyline. The fact that only 0.1% of the comments posted by female users concern censorship by the administrators confirms the generalized adoption of netiquette protocols by female fans 4. Discussion and conclusions The introducion of a return channel in TV 2.0 communicaion has yielded new online promoional mechanisms that complement tradiional strategies. The networks’ oicial websites usually host an individual microsite for most of their programs (Deery, 2003) that display staic content (e.g. announcements), interacive content (e.g. video discussions), audiovisual content (e.g. complete episodes), and provide spaces for discussion (e.g. links to Facebook pages) aimed at fostering viewer loyalty (Ramos; Lozano, 2011). The program format inluences its digital distribuion, as highlighted by the greater amount of acivity generated by series and serials compared to miniseries and TV ilms (Lacalle, 2013). The content analysis of oicial broadcast-related websites highlights the interest of TV networks in saisfying a vast public, which ranges from the not-so-commited female viewers to proacive fans via the “learning audiences” (Siapera, 2004), who are provided informaive content (historical, social, etc.). In addiion, maintaining acivity on social networks, especially Twiter, encourages live viewing, thus favoring the consumpion of commercials (Wood; Baughman, 2012). The scarce interacion of the administrators with the public conirms the dominant posiion of the networks vis-à-vis the Internet (Siapera, 2004). The unoicial environment, in contrast, is more commited to interacivity. However, although certain sites include their own material, such as interviews with actors, many pages revolve around the oicial microsite, from where an important part of the sicky content created by the networks for distribuion originates (Jenkins; Ford; Green, 2013, p. 4). With regard to the social buzz, messages tend to be posiive and brief evaluaions coexist alongside discursive comments. They praise the program, highlight the human values transmited, show their interest in storylines that deal with important social issues, and value the informaive nature of series set in the past. Comments also contribute to the This research is aligned with those studies interested in examining the fans’ role as TV shows’ promoters on the Internet (Martens, 2011). Text data mining techniques have been the main line of acion, due to their capacity to explore wide volumes of online data, even though they are not completely accurate in analyzing the emoions expressed. On this front, the novel methodology implemented allows us to overcome the limitaions related to semanic analysis of emoions through the combinaion of computaional and manual techniques designed to work with medium sized samples. Not only do we understand our methodology as a complement of those that have emerged around big data studies (such as seniment analysis), but we also believe the future of this ield lies in the establishment of interdisciplinary collaboraions between experts in communicaion and researchers in computaional studies interested in machine learning. Finally, the use of ethnographic methods (interviews, focus groups, surveys…) would be extremely useful in verifying and reaching a beter understanding of the results obtained. This study, included in a broader invesigaion into women’s recepion of Spanish scripted television, examines only the comments signed with feminine names (either their real names or assumed names). Further research is required in order to determine possible similariies or/and diferences between the posts signed with feminine and masculine names. Notes 1. The complexity of a discursive unit stems from the frequent inclusion of various subject maters in the same message. Acknowledgements This aricle is part of a larger invesigaion project enitled “Social construcion of women in the television icion and web 2.0: stereotypes, recepion and feedback” (FEM2012- El profesional de la información, 2016, marzo-abril, v. 25, n. 2. eISSN: 1699-2407 251 Charo Lacalle and Deborah Castro-Mariño 33411), funded by the Spanish Ministry of Economy and Compeiivity (Government of Spain). This part of the research was developed by the authors of the aricle and the following researchers and contributors: Beatriz Gómez, Mariluz Sánchez, Belén Granda, Taiana Hidalgo, Paola Cabrera (researchers); Marc Bellmunt, Germán Muñoz, Lucía Trabajo, Esitxu Garai, Amaia Neracan, Elsa Soro, Karina Tiznado, Carlos Toural (contributors). References Anderson, Chris (2008). The long tail: Why the future of business is selling less of more. New York: Hyperion Books. ISBN: 978 1401309664 Askwith, Ivan (2007). Television 2.0: Reconceptualizing TV as an engagement medium. Master thesis. 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