Television beyond TV: YouTube and regional channels
La televisión más allá de la televisión: YouTube y los canales autonómicos
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How to cite this article:
González-Neira, A. and Fiaño Salinas, C. (2023).
Television beyond TV: YouTube and regional channels
.
Doxa Comunicación
, 37, pp. 401-429.
https://doi.org/10.31921/doxacom.n37a1838
Ana González-Neira
. Senior lecturer on the Faculty of Communication at the Universidade da Coruña. PhD in Journalism,
a Bachelor’s Degrees in the same discipline, and a second BA in Political Science. She also holds a Master’s Degree in
International Relations and Communication. Her teaching and research activities focus on new television audiences and
the history of media. She has written several book chapters, as well as articles for indexed journals, and has also served as
the coordinator, together with Professor Natalia Quintas-Froufe, on the following projects:
La participación de la audiencia
en la televisión: de la audiencia activa a la socia
l [Audience participation in television: from active audience to social
audience] (2015), published by
AIMC
[Association for Media Research]; and
Los estudios de la audiencia: de la tradición
a la innovación
[Audience studies: from tradition to innovation], published by
Gedisa
. She has participated in numerous
competitive research projects, and has been a visiting researcher at the
Universidad Nacional Autónoma
de México, the
Università della Sapienza
(Rome), and the
Università Cattolica del Sacro Cuore
in Milan.
University of Coruña, Spain
[email protected]
ORCID: 0000-0002-6369-0323
Carlota Fiaño Salinas
. PhD student of the doctorate programme entitled
New Perspectives in Documentation,
Communication and Humanities
, at the
Universidade da Coruña
. She also holds a Bachelor’s Degree in Audio-visual
Communication from the same university, and a Master’s Degree in Multiplatform Journalistic Production. Her lines of
research include new audiences and audio-visual consumption models. In 2022, she won an Extraordinary Award for
her Bachelor’s Degree in Audio-visual Communication.
University of Coruña, Spain
[email protected]
ORCID: 0000-0002-6315-3296
Abstract:
Linear television channels have been forced to reconsider their
broadcasting strategy in response to the emergence of new media
players. is research addresses the oering and consumption of
videos on YouTube from the regional channels that comprise the
Federation of Regional Radio and Television Organisations (
FORTA
),
Resumen:
Los canales de televisión lineal se han visto obligados a replantear su
estrategia de difusión ante la llegada de nuevos actores emisores. Esta
investigación aborda el estudio de la oferta y consumo de vídeos en
YouTube procedentes de las cadenas autonómicas que conforman
FORTA (Federación de organismos de radio televisión autonómicos) y
Received: 30/10/2022 - Accepted: 09/02/2023 - Early access: 15/03/2023 - Published: 01/07/2023
Recibido: 30/10/2022 - Aceptado: 09/02/2023 - En edición: 15/03/2023 - Published: 01/07/2023
is content is published under Creative Commons Attribution Non-Commercial License. International License.
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1. Introduction
For years, television has been immersed in a major crisis due to the emergence of new players and new ways of viewing. is
situation has forced TV stations to reconsider and change their production dynamics, audio-visual oerings, and their approach
to audiences. ey have developed various innovations that are focused on the product as well as the distribution of audio-visual
content (García-Avilés, 2021; Zaragoza-Fuster and García-Avilés, 2018). In the context of liquid television (Quintas-Froufe and
González-Neira, 2016), which describes the current situation, it has not been feasible to maintain structures from the pre-digital
era, especially when a lack of interest toward conventional television by the younger generations has been increasing (Úbeda,
2022; Forteza Martínez, de Casas Moreno and Vizcaíno Verdú, 2021; Bernal and Carvajal, 2020; Crusafón Baqués, González-
Saavedra and Murciano Martínez, 2020; García Orta, García-Prieto and Suárez-Romero, 2019; Guerrero Pérez, González-
Oñate and Kimber Camussetti, 2018). us, now that the initial phase of creating websites and social media accounts has been
completed, conventional television channels have embarked on expanding into new viewing windows that are closer to young
audiences, including social networks, apps, and platforms such as YouTube.
In an audio-visual ecosystem dened by hybridisation at various levels, such as media, content, formats and audiences, this
research focuses on one of the most recent examples of innovation in television: the presence of Spain’s regional television
channels on YouTube. As such, we have analysed the extent of television’s expansion beyond the TV set in public sector channels,
with business strategies far removed from private channels.
1.1. e television context
Television channels have lost the leading role they held until a few years ago in the audio-visual landscape. ey are no longer
the only broadcasters, as they have lost their monopoly and now share the market with new players that are highly diverse,
such as hardware and software producers, agents of online businesses, or over-the-top media (
OTT
s), which is a
media
service
oered
directly to viewers by the
Internet
(Andò and Marinelli, 2018). e emergence of these new players, together with the
improvement of mobile devices and connection quality, have led to new consumption habits that have broken down time and
which are inuenced by budgets and resources that are very dierent
from those of other audio-visual actors. In the rst phase, an analysis
was carried out regarding the oering of these channels on this
platform. Afterward, viewing was monitored and compared with the
audience data collected by comScore, in order to conrm the strategy
used by these traditional broadcasters in oering new viewing outlets.
e results point to a wide variety of format oerings, yet with a lack
of exclusive content. Moreover, the most prevalent access route is
through the smartphone.
Keywords:
Digital video; audience; television; YouTube; innovation;
FORTA
.
que están condicionadas por unos presupuestos y recursos muy diferentes
a otros actores audiovisuales. En una primera fase se realiza un estudio
de la oferta de estos canales en dicha plataforma. Posteriormente se
monitoriza el consumo y se contrasta con los datos de audiencia que
recoge comScore, con el n de comprobar la estrategia de estos emisores
tradicionales hacia la apertura de nuevas ventanas de visionado. Los
resultados indican que existe una gran variedad de modelos de oferta,
con una ausencia de contenido exclusivo. El acceso desde el smartphone
es mayoritario.
Palabras clave:
Vídeo digital; audiencia; televisión; YouTube; innovación; FORTA.
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space barriers that have existed until recently. In this new environment, the audience is embracing consumption patterns to
which conventional television channels must respond (D’Arma, Raats, and Steemers, 2021). Faced with strong competition, they
have experimented with new viewing windows such as the web or social networks (Peñael and Echegaray, 2022), in which the
target audience is often the youngest segment of the population. As pointed out by Andò and Marinelli (2018), it is a question
of searching in this media ecosystem for all points of contact with consumers. us, a few years ago the three largest free-to-
air television groups in Spain decided to launch three platforms aimed primarily at young digital users: Playz (RTVE), Flooxer
(Atresmedia) and Mtmad (Mediaset). As highlighted by Mendieta Bartolmé (2022), regional channels have taken several steps
to promote the process of digitisation of their audio-visual content. e case of Public Television of Castilla-La Mancha bears
mentioning, as it was the rst among the all the members of
FORTA
(the federation of regional radio and television organisations)
to launch a regional
OTT
on 18 October 2018.
e alliance with YouTube has also emerged as a new way of conducting business for traditional television stations. In fact,
according to Ha (2018), YouTube is a genuine alternative to traditional television for young people, although in recent years
Twitch has also increased its prevalence among younger audiences.
Nevertheless, this approximation has been a two-way street. In fact, as pointed out by Kim (2012), TV channels approached
YouTube in the same way that YouTube approached the media in order to become mainstream. Since 2008, media companies
have seen this platform as a promotional tool (Del Campo and de Lara, 2016). In some cases, it has even become part of the cross-
media framework of some television productions that lead viewers to other platforms or social networks (De Lara and Arias,
2015). A clear example of this concept of
Television beyond TV
is the phenomenon of
TVE
’s talent show known as
Operación
Triunfo
, which has its own channel on YouTube with a 24-hour live broadcast. is channel managed to increase the audience of
Operación Triunfo
by more than 200% in 2018.
However, this has not been the only alliance between traditional and new players in the media ecosystem. Recent experiences
by some groups show that the expansion of viewing windows has not diminished linear broadcasting. In fact, Mediaset has
reached agreements with Amazon Prime Video to broadcast some of its series before airing them on its television channels, just
as Atresmedia
has done with Netix in order to give new life to its ctional series, such as
La Casa de Papel
(Neira, 2020). In the
case of regional channels, there are numerous alliances between TVG, Aragón TV, EITB and platforms such as Netix, or between
TVG, EITB and IB3 in the case of Amazon Prime Video.
On the other hand, the eect of the pandemic on the proliferation of digital video consumption should not be forgotten. During
the connement, the viewing of audio-visual content in digital format increased by 55%, especially among children’s programmes
(Pérez, 2020). ese viewing habits have become reinforced to the point where one in ve, or 20% of the consumers worldwide,
see no dierence between YouTube and linear television consumption, according to research by AudienceProject (2022). e
gure rises to 42% in the US and 29% in Norway. is is a reality that broadcasters must acknowledge when dening their future
strategies for growth.
In this globalised digital landscape, regional public channels are trying to nd their place as public service broadcasters (PSBs).
is is not an easy task, as they are competing with large corporations with far more economic, technological and professional
resources, as well as commercial interests that are far removed from public service (Rosique Cedillo, 2021). It bears recalling that
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PSBs have a public service mandate that inuences any strategic decision they make (Miguel, Zallo and Casado, 2017). Diverse
laws, including 46/1983 and 7/20109, as well as various framework mandates of each of these autonomous regional organisations,
determine programming guidelines in which public service, attention to minorities, the universal nature and access of the content,
and the values of political pluralism, social cohesion and cultural diversity are very much present (Peñael and Echegaray, 2022).
As highlighted by Mendieta Bartolomé (2022: 354), “With regard to the social aspect, the new digital scenario is forcing public
broadcasters to review their public service mandate in a process of adaptation that involves expanding their strategy toward
multiscreen communication, and increasing their transparency and accountability”. Moreover, limited budgets, as will be seen
below, hinder the strategic plans of these channels (Table 1).
In this sense, within the abundant corpus regarding PSBs, public regional channels have been studied from dierent perspectives,
among which convergence stands out (López-Olano, Soler Campillo and Marzal Felici, 2022; Del Campo Lozano and Fernández-
Gómez, 2020; Fontenla Pedreira, 2019; Rodríguez Castro and López Golán, 2018; Gómez-Domínguez, 2016), as well as audiences
(Mendieta Bartolomé, 2022; Latorre-Martínez, Orive-Serrano and Íñiguez, 2018; Medina, Portilla, 2016). Special mention should
be made of the reports carried out by various researchers within the framework of the project entitled,
Los retos de la televisión
pública ante el Mercado Único Digital Europeo estrategias multipantalla, innovación y renovación de los mandatos del servicio
público
[e challenges of public television in the European digital single market: multiscreen strategies, innovation, and the
renewal of public service mandates] (2021), directed by Professor Carmina Crusafón (Carniel Bugs, 2021; Crusafon Baqués, 2021;
Pérez, 2021; Rubio García, 2021 and Subires Mancera, 2021). eir peculiar nature in the European scenario makes them an
interesting object of study within the current media ecosystem. Sacaluga Rodríguez, Pérez Sánchez and García have pointed out
the following:
us, with increasingly segmented content and consumers who have turned into prosumers, regional public television must nd
its place given the context of a new type of viewer who consumes what they want, when they want, and where they want, and does
not accept imposed scheduling. Moreover, such viewers feel more comfortable accessing content through social networks on the
recommendation of other like-minded users, and they respond to the multitasking stimuli of the social audience (2018: 1722).
Based on previous studies, such as that of the
Observatorio Iberoamericano de la Comunicación
[e Ibero-American Observatory
of Communication] (2021), which have pointed out a notable increase in the consumption by regional organisations on YouTube,
it is necessary to delve deeper into the parameters related to the oering, and to carry out monitoring over a four-month period of
time, in order to discover which content is the most successful, which device is used for its consumption, and which age groups
comprise the highest number of followers.
1.2. YouTube
Since its creation in 2005 by three young Californians (Chad Hurley, Steve Chen and Jawed Karim), the success of YouTube has
increased exponentially. It has become the world’s leading video website and the second in terms of trac after Google, with
more than one billion hours of video played, 2 billion users per month, and more than 500 hours of content uploaded every
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minute
1
. Its leading role in the Spanish audio-visual market is also evident. According to the EGM (2022), the site was the most
visited by Spanish internet users in the rst and second wave of 2022, when it had nearly 29 million unique visits. According to
Barlovento (2022a), the 18-24 age group consumes 67 minutes on average; this number decreases by age to a low of 16 minutes
of average viewing for people over 55. is platform is the clear leader among the 18-24 category, as one in every three minutes
of audio-visual content viewed by individuals in this age group is from YouTube. Given this situation, it is necessary to look at the
strategies of the oering, as well as the consumption of regional broadcasts on YouTube in Spain.
As this platform initially focused on the exchange of videos by anonymous users, its relationship with traditional television
channels was stormy in the beginning. e latter viewed it with some mistrust (Rodríguez-Ferrándiz, Tur-Viñes and Contreras,
2016), and there were even major legal disputes (Viacom in 2007; Mediaset España in 2008). is was the
resistance response
proposed by Napoli (1998). However, due to YouTube’s success, in the end most of the channels chose to sign agreements with the
platform and open their own channels, because “after seeing the evidence, if their fragments were on the Internet, it was better for
them to have control over those pieces” (Antolin-Prieto, 2012: 553). In Spain, within the national television system, the rst station
to create an account was a public regional channel. In January of 2006, the IB3 channel was launched, and just two months later
the accounts of TVG and TV3 were created. e public corporation RTVE joined on 30 March of the same year. Consequently,
although its presence on this platform dates back several years, its major nancial benets have been obtained more recently.
us, the initial user-generated content (UGC) eventually coexisted with material developed by professionals (Vonderau, 2016;
Lobato, 2016), up to the point where some authors, such as Kim (2012), have stated that YouTube became a kind of institution Kim
(2012), and even asserted that YouTube would eventually become the prototype of a ubiquitous online video library.
As pointed out by Van Es (2019), YouTube has been the subject of multiple studies, as summarised by Arthurs, Drakopoulou
and Gandini (2018), or in the monograph by Snickars and Vonderau (2009). It has been approached from dierent perspectives,
including the following: the culture of participation (Strangelove 2011; Burgess and Green, 2009); the political economy point
of view (Abuljadail et al., 2018; Cunningham, Craig and Silver, 2016; Vonderau, 2016); as part of studies related to algorithms
(Bishop, 2018; Rieder, Matamoros-Fernández and Coromina, 2018) with an emphasis on user preferences (Paolillo, Ghule and
Harper, 2019); and regarding the study of uses and gratication of the audience (Steiner and Xu, 2020). Likewise, various authors
have studied formal aspects of the content oered by this platform, such as the features that contribute to the popularity of
a video (Altman and Jiménez, 2019; Bentley, Silverman and Bica, 2019; De-Aguilera-Moyano, Castro-Higueras and Pérez-Rufí,
2019; Bärtl, 2018).
In the study at hand, this platform will be examined as a current example of technological convergence (Jenkins, 2008) based on
traditional television channels. In this sense, there are other studies from previous years that refer to dierent media contexts,
including analyses carried out by Budzinski, Gaenssle and Lindstädt-Dreusicke 2021; Marín Pérez 2021; Lobato, 2016; Sánchez-
Olmos and Hidalgo-Marí, 2016; and Gallardo-Camacho, 2013.
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2. Methodology
2.1. Objectives
is research focuses on the presence of regional television channels on the YouTube platform, which has the largest audience
share in Spain, in order to assess whether they are making the most of the new opportunities to broadcast content, given the
challenges posed by digitisation.
e specic objectives of this research, grouped into two large sections related to supply and demand, are as follows:
(O1) To analyse the oerings of regional television channels on the YouTube platform in Spain.
(O2) To verify how the audience follows these oerings, or in other words, to reveal how the content is consumed, as well as
the characteristics of the content that has the largest audience.
e research questions of this study are as follows:
Q1: Is the oering merely a transposition of content previously broadcast, or is there unique material that diversies the
oering of this distribution window?
Q2: Does the oering use a repository or archive strategy, or does it use an approach that is more focused on a corporate and
advertising communication window?
Q3: What is the audience prole of these channels?
2.2. Sample and methodology
is research focuses on the regional channels that comprise
FORTA
2
(Table 1). e combined channels of this federation account
for 8.6% of the linear television audience in Spain (Barlovento, 2022b).
Table 1. Regional channels that comprise the sample
Logo
NameCorporation
Autonomous
Region
Budget for 2020
in millions
(budget/inhab.)
TVG
Corporación radio e Televisión de Galicia (CRTVG)
Galicia
111.2
(41.18 €)
EITB
Radio Televisión Pública Vasca (EITB) Basque country
148.8
(67.20 €)
TV3
Corporación Catalana de Medios Audiovisuales
(CCMA)
Catalonia
248.3
(32 €)
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Telemadrid
Radio Televisión Madrid (RTVM)
Madrid
83
(12.16 €)
Canal Sur
Radio y Televisión de Andalucía (RTVA)
Andalusia
164.8
(19.30 €)
CMM TV
Ente Público Radiotelevisión Castilla-La Mancha
(CMM Media)
Castilla-La
Mancha
51.6
(25.17 €)
7 Televisión
Radiotelevisión de la Región de Murcia (RTRM)
Murcia Region
5.3
(3.49 €)
Aragón TV
Corporación Aragonesa de Radio y Televisión
(CARTV)
Aragón
54.3
(40.20 €)
TPA
Radiotelevisión del Principado de Asturias (RTPA)
Asturias
24.4
(24.40 €))
Televisión
Canaria
Radio Televisión Canaria (RTVC) Canary Islands
50.4
(23.19 €)
IB3 Televisió
Ente Público de Radiotelevisión de las Islas Baleares
(RTVIB)
Balearic Islands
33.7 €
(27.63 €)
À Punt
Mèdia
Corporación Valenciana de Medios de
Comunicación (CVMC)
Valencia Region
64
(12.65 €)
Source: budgets from the Ocial State Gazette (BOE) and corporate websites. Created by the authors
e data collection was carried out in dierent phases. Initially, an analysis was made of all the YouTube accounts of the regional
channels that comprise FORTA by means of a le that included the following items: channels, sub channels, playlists, date of
incorporation, views, number of subscribers, and videos published. Regarding the videos, their duration and updated status was
analysed. It was also determined whether the material was unique or not, or in other words, whether they had previously been
broadcast on a linear channel through the matrix of the transmedia universe (Rodríguez-Ferrándiz, Tur-Viñes and Contreras,
2016; Jenkins, 2012). e data related to the oering of the more than eighty channels and sub-channels that the eleven media
groups have on YouTube were collected in December of 2020 (Table 2). e comparison between regional channels in terms of
subscribers and views, which are audience indicators, cannot be made in absolute numbers. e reason is, although YouTube
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does not always have limited geographical coverage like the linear versions of the channels, it is true that these broadcasts are
mainly viewed from their autonomous regions of origin due to the identity-related nature of these regional corporations. For this
reason, the decision was made to draw up a ratio between inhabitants and subscribers (Table 2).
e second phase focused on audience behaviour. Between January and April of 2021, monitoring was carried out through the
monthly viewing of fteen videos published by each of the 30 YouTube channels and sub-channels of regional television, with
a total of 1,260 videos. Forty-ve videos were monitored on each of the main channels and most of the sub-channels, although
some of them did not publish fteen new videos each month.
For their analysis, we selected the most heavily watched proprietary channel in each group, and all the sub-channels that reached
at least 10% of the subscribers of the main channel, based on the rst sample (shown in Table 2).
Likewise, during the months mentioned above, the data oered by comScore
to its subscribers regarding digital video
consumption through Videometrix
3
was analysed in order to estimate the user prole according to age groups. e company
comScore is the multinational that was in charge of digital measurement in Spain at the time. Finally, once all this information
had been collected, we contacted all the heads of the digital divisions of each of the regional channels under study to compare
the data collected and gain knowledge regarding the strategies of these companies. Unfortunately, however, only four directors
responded to the semi-structured interview: Esther Medina, head of Innovation Service in the digital environment at TVG; Joan
Carles Martorell Velásquez, director of IB3 Televisió; Isaías Blázquez, head of digital content at Castilla-La Mancha Television;
and Iñaki Gurrutxaga, director of digital content at EITB. e questions addressed the approach of each regional channel to other
viewing windows, the objectives of their presence on YouTube, an analysis of consumption, and future plans in the new and
evolving television landscape.
3. Results
3.1. Oering
After the research was carried out, it was conrmed that of the twelve regional groups that comprise FORTA, only Televisión del
Principado de Asturias does not have an institutional account on YouTube. us, the overwhelming majority of these types of
public companies are present on this platform.
Another important point bears mentioning. e analysis shows that the oering is not simply a transfer of the programming
oered on linear channels. Instead, there is variety in the oering (Table 2). Most of the sub-channels created use an online
strategy and do not simply copy the existing linear programming to the online world. On the one hand, some organisations such
as Radio Televisión Madrid and Castilla-La Media have no sub-channels whatsoever. On the other hand, some groups have a
large number, such as Corporación Aragonesa, which has 32 sub-channels (although some with only a few dozen subscribers),
3
e comScore tool collects data related to digital video consumption, both streaming and downloads, on smartphones, tablets and desktops, while avoiding
duplication.
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and Radio-Televisión de Andalucía with eleven sub-channels. After analysing the more than 80 channels and sub-channels, the
following trends have been observed in this regard:
–
e sub-channel belongs to a linear channel: this only occurs on 3Kluba (ETB’s children’s channel which reproduces ETB3)
and Catalan Super 3, which uses the same name as the namesake of its linear television.
–
e sub-channel belongs to a programme broadcast in linear mode: in general, these are star slots in linear programming.
Examples are the following:
Tierra de Talento
,
Los Reporteros
,
Toros para todos
, and
Al Sur
on Canal sur,
APM? TV3
and
Polò-
nia TV3
on the Catalonian broadcaster;
Aragón en abierto
,
Oregón TV
, and
En ruta con la ciencia
on Corporación Aragonesa.
–
Other examples of sub-channels belonging to linear programmes are
De Grana y Oro
on Murcian television,
Informativos
TVC
and
En Otra Clave
on Televisión Canaria, and
Uep! Com Anam
? on Balearic television.
–
e sub-channel reects the broadcasting of several examples of the same format:
Enserie
(TVG) groups together TVG’s own
ctional productions, as does
Ficción Aragón
in the case of
Maño
, although the latter only includes promotional videos.
–
e sub-channel is created for other reasons: this is the most common option for which there is a larger variety of examples:
archive content such as
Pasouoquepasou
(TVG),
Memoranda
(Canal Sur), and
Carnavales
(Carnaval TVC and Carnavalsur).
us, it is dicult to establish common strategies for the channels, as each one makes dierent decisions, as we have seen.
However, one can observe that the Andalusian and Aragon groups have a greater transposition of the linear format to YouTube.
Table 2. Distribution of regional channels and sub-channels on YouTube
NAME OF THE
GROUP
Linear channels
(broadcast in
Spain
YouTube sub-channels
Date of incor
-
poration on
YouTube
Subscribers
of the main
channel
Ratio inhab/
suscribers
No. of
videos
Views
Corporación
Radio Televisión
de Galicia
TVG
TVG 2
Pasouoquepasou (2,000)
Enserie (367)
2/3/2006
52,50051.44,36335,707,917
Agencia Pública
Empresarial
de la Radio y
Televisión de
Andalucía
Canal Sur 1
Canal Sur 2
Tierra de Talento (42,400)
Los reporteros CSTV (7,970)
Toros para todos (245,000)
Tierra y Mar & Espacio
Protegido (49,000)
Solidarios CanalSur (4,670)
MemorANDA (222,000)
Al Sur (2,990)
Carnavalsur (114,000)
Canal Sur Turismo (62,200)
Canal Andalucía Flamenco
(102,000)
Canal Andalucía Cocina
(36,900)
15/1/20071,050,0008.0627,162591,144,338
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ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Euskal Irrati
Telebista
ETB1
ETB2
ETB3
ETB4
3 kluba (2,370)
11/03/2009597,0003.7144,154491,260,859
Corporació Ca
-
talana de Mitjans
Audiovisuals
TV3
EL 33
Super3
3/24
Esport3
APM? TV3 (61,300)
Polònia TV3 (99,000)
Super3 (38,400)
Cuines (13,000)
Adolescents (30,100)
Està passant TV3 (6,280)
Les tres bessones (17,200)
29/03/2006343,00022.6833,250343,794,910
Corporación
Aragonesa de
Radio y Televi
-
sión
Aragón TV
Aragón Noticias (5,450)
Aragón en abierto (38,600)
Un lugar para quedarme
(245)
Esta es mi tierra (401)
La Pera Limonera (2,390)
De propio (15)
Chino Chano (746)
Encontrados (32)
Unidad Móvil (22,000)
Oregón TV (22,100)
El Tiempo (38)
Atónitos Huéspedes (190)
Aragón Deporte (280)
Nos vemos (20)
Tempero (600)
Charrín Charrán (473)
La voz de mi calle (119)
El último show (27)
Yo sé más que tú (44)
La Jornada (183)
En ruta con la ciencia (6,630)
Objetivo Aragón TV (111)
Ficción Aragón TV (1,420)
Lo tuyo es puro teatro (726)
Comedyantes (4,340)
Vuelta atrás (232)
Aragón en pleno (18)
Motormania (782)
Otro punto de vista (882)
Aftersun (531)
Rural Chef (37)
MadeInAragon (8,480)
Deratonesyvinilos (11)
25/4/2007
56,500
23.54,56214,055,410
Radio Televisión
Madrid
Telemadrid
La Otra
----17/8/2006880,0007.79,488501,422,595
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ISSN: 1696-019X / e-ISSN: 2386-3978
Castilla-La Man
-
cha Media
CMM TV
----18/12/2007543,0003.7649,016231,628,789
Radiotelevisión
de la Región de
Murcia
TVM
Hablamos de MurciaDiario
(155)
Radio Marca (92)
De Grana y Oro (374)
12/1/20152,0507402,070575,777
Radio Televisión
Canaria
Televisión
Canaria
Informativos TVC (21.600)
En otra clave (123.000)
Carnaval TVC (52.000)
25/01/2008100,00021.759,93840,929,149
Ens Public de
Radiotelevisió de
les Illes Balears
IB3 Televisió
IB3 NOTICIES (6.240)
IB3 Junior (187)
Els Entusiastes IB3 (1.090)
Uep! Com Anam? IB3
(10.800)
Esports IB3 (14.300)
IB3musica (249)
19/01/200675,60015.4934,96156,306,024
Corporació
Valenciana de
Mitjans de Co
-
municació
À Punt
La Colla (2.220)
Family Duo (2.170)
La Vall Sèrie (90)
Va de bo Pilota (416)
Caixa de Ritmes (40)
15/11/20179,810515.51,7633,236,024
Source: created by the authors
As mentioned above, it is worth noting that the regional channels were the pioneers in developing strategies with YouTube. e
longest-running channel on this platform is Balearic’s IB3 (launched in January 2006), followed by Galicia’s TVG and Catalonia’s
TV3 (March 2006). On the other hand, the most recent incorporations have been Murcian Television (2015) and Valencian TV
(2017), which are the newest channels.
In terms of the ratio between inhabitants of each community and subscribers, it should be noted that there is a majority
of subscribers in the Basque Country (3.71), Castilla-La Mancha (3.76), and Madrid (7.7). On the other hand, the number of
subscribers is lowest in the two newest channels: À punt (515.5) and TVM
(740). In absolute numbers, the range is very broad,
with certain sub-channels having only eleven followers, such as Deratonesyvinilos (Aragón TV), compared to 250,000 for Toros
para todos (Canal Sur).
In terms of numbers of views, the Andalusian channel stands out with 591,144,338 views, followed by the Madrid channel
with 501,422,595. On the other hand, the channels with the lowest number of views are the two most recently created, À punt
(3,236,024) and Murcian television (575,777), which is obviously due to their being the newest additions to the mix.
e accounts with the highest level of video production belong to the television services of Castilla-La Mancha (49,016), the
Basque Country (44,154), the Balearic Islands (34,961) and Catalonia (33,250). On the other hand, the accounts with the lowest
production were found in Murcia (2,070), Galicia (4,363) and Aragon (4,562).
Following the analysis, it has been concluded that the updating of the channels diers greatly from one channel to another. All
the main channels upload audio-visual content on a weekly basis. EITB adds at least ten new videos per day, and Castilla-La
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Mancha TV
inserts 120 per week. However, there are sub-channels that have not been updated for years, including Made in
Aragon (inactive for more than 5 years), Pasou o que pasou (the most recent video is from 19 August 2020), and enserie (no new
content since 14 May 2018). e case of Telemadrid also stands out. Despite having a large number of subscribers, this channel
tends not to update its playlists as often as Televisión de Murcia.
e research carried out indicates that ctional content hardly ever appears in the oering of the regional channels on YouTube.
None of the channels, with the exception of TVG and IB3, oers content in this format. In the specic case of CRTVG, a ctional
sub-channel has been created, which is called enserie.
In general, the broadcasts that appear on YouTube are not exclusive to this platform. Instead, these programmes have appeared
on linear television as well. e content is usually presented in the form of clips from the channel’s linear broadcasts: short
highlights that are interesting, amusing, relevant, and that come from other programmes.
Exclusively produced audio-visual material is rarely found. is would be the case of original content for networks such as
#VideoSele, #DetrásDaCaruta, #InstaGall for TVG, and even videos from the IB3 programme
Els Entusiastes
which, being a
transmedia project, sometimes premieres on YouTube and social networks.
Although short and medium-length videos predominate (no longer than 10 minutes), there are sometimes complete programmes,
such as the following:
Land Rober Tunai Show,
Era visto
, and
Galegos polo mundo
in the case of TVG;
Voces del Deporte
on
Murcian Television; and other programmes on Canal Sur or television channels from the Canary and Balearic Islands. In fact,
among the three latter channels, YouTube is used almost as an archive, or as a type of
drawer
where they store a percentage of
their programming as part of their
long tail
strategy. us, the life span of content broadcast in linear mode is extended, especially
that of a more timeless nature. is long duration is undoubtedly an anomalous practice in the YouTube
environment, where
short videos are more successful. e most extreme cases are certain broadcasts on Canal Sur’s sub-channel about carnivals,
an example of which is the COAC20 Final, which lasts nearly twelve hours. Another is the Esports channel on Balearic television
with programmes about matches such as
A l’estudi // Mallorca-Almeria amb l’equip d’esports 3 en joc
[In the studio // Mallorca
vs. Almeria: with the 3
rd
sports team at stake], with a duration of more than four hours.
On the other hand, short videos last two to three minutes, in which the viewer can watch summaries, interesting highlights of
programmes, and mini-videos typical of social networks, as well as productions of 5 to 15 minutes where the viewer can enjoy
longer sections of programmes.
It bears mentioning that YouTube oers the option of commenting on videos, although this option is sometimes deactivated, as
in the case of certain sub-channels of Canal Sur. However, it has been observed that viewers do not take advantage of this option,
as conrmed by the case of TVG, where only ve or six comments were made about videos with 30,000 views, and no comments
were made about the others.
With 60,000 views,
Polònia
TV3 had a total of 170 comments. It has also been observed that viewers living outside Spain are the
ones who often comment on these videos, as can be seen in the screenshots in Images 1 and 2 below from TVG and Canal Sur.
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ISSN: 1696-019X / e-ISSN: 2386-3978
Image 1. Screenshot of comments made about #DígochoEu of TVG
Source: YouTube
Image 2. Screenshot of comments made about Tierra de Talentos of Canal Sur
Source: YouTube
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As there is hardly any interaction between the viewers of the channels on this platform, this communication medium is not used
to its full advantage. It has the potential to reach a target audience beyond the usual geographical limits of linear broadcasting,
which could foster engagement and create a community that revolves around audio-visual productions with which they strongly
identify.
3.2. Consumption
With regard to the analysis of the most viewed videos on each channel and sub-channel, according to the data collected in the
previous section, it can be armed that the videos with the highest number of views are among those that are several years old.
us, time is a key factor. e most recent of the 10 most viewed videos is from 2018, while the oldest is from 2010. In all cases, they
exceed 10 million views, yet the most viewed video is related to the mating of a donkey on IB3 in October of 2014, which reached
33 million views.
Given the variety of topics oered, it is dicult to categorise the most viewed videos (Table 3). In general, humour tends to prevail
in digital video content, including programmes such as
Land Rober
on TVG and
PolóniaTV
, just to give a few examples. Music is
also an important topic, as in the case of
Luar
on TVG, as well as social and emotional content, as in
Gente maravillosa
on Canal
Sur.
Table 3. Top ten videos with the highest number of views (1 May 2021)
Video title
Channel
Views
(in millions)
Date uploaded
Duration
L’aparellament de l’ase i la somera by
Víctor
Martí
[e mating of a donkey and his female partner]
IB3 Televisió33 M31 October 20142 min, 33 s
Especial Rastreadores: Civilizaciones perdidas
[Special investigation: lost civilisations]
Telemadrid
22 M26 October 201240 min,44 s
Cámara oculta de Gente Maravillosa | “Es mi
criada”
[Hidden camera on marvelous people | She’s my
nanny]
Canal Sur16 M25 May 201814 min, 30 s
Mariachi Azteca - Felicidades Viva la Fiesta
[Aztec mariachi – Felicitations and long live the
festival]
TVC
15 M5 June 20132 min, 30 s
Fenómeno Fan | Un rapero de tan solo 5 años
[Fan phenomenon | A rapper who is only 5 years
old]
Canal Sur13 M12 June 20167min, 01s
El dúo Adexe y Nau, regalados para Reyes
[e Adexe and Nau duo, given as a gift for ree
King’s Day]
Canal Sur11 M6 January 20185 min, 37 s
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Ana González-Neira and Carlota Fiaño Salinas
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Casillas es deixa marcar un gol per Carbonero
[Casillas lets Carbonero score a goal]
TV3
11 M10 November 20102 min, 9 s
¿Se puede freír un huevo en plena calle?
[Can you fry an egg on the street?]
Telemadrid
11 M16 June 20173min, 01 s
Cámara oculta en el baño de mujeres
[Hidden camera in the women’s bathroom]
Canal Sur10 M15 December 20092 min, 03 s
¿Bailamos? | Dos hermanos se ven por primera
vez en su vida, bailando
[Shall we dance? | Two brothers see each other
for the rst time in their lives while dancing]
Canal Sur10 M30 October 201542 min, 49 s.
Source: YouTube. Created by the authors
Table 3 shows the huge variety of topics among the most viewed videos. Although many of them comply with the characteristics
of viral videos, such as the humour used in the TV3 piece on Casillas-Carbonero, interesting oddities such as frying an egg on the
street, or emotional issues such as two brothers dancing together for the rst time, sometimes breaches the classic features of viral
videos such as length, as some are up to 42 minutes long.
is research also monitored the performance of the videos for a period of four months, from January to April of 2021, to see how
they evolved during this time span. With rare exceptions, a larger increase has been conrmed during the rst month, which
slows to nearly a constant trickle in subsequent months. is is shown in the following graphs related to the performance of the
sample of videos for the month of January 2021.
Graph 1. Increase of Canal Sur views
Fuente:
YouTube. Elaboración propia
Al observar la
T
abla
3
se
comprue
ba la enorme variedad temática presente entre los
vídeos más consumidos. Si bien muchos de ellos cumplen con las características de vídeos
virales (humor como la pieza de TV3 sobre Casillas
-Car
bonero, curiosidades como freír
un huevo en la calle o cuestiones emotivas como los hermanos que bailan por primera
vez juntos) en ocasiones rompen con los rasgos clásicos de los v
í
deos virales como la
duración (hasta más de 42 minutos).
En esta investigación también se ha monitorizado el comportamiento de los vídeos
durante cuatro meses
(enero-
abril de 2021), para conocer su evolución durante este
periodo. Salvo raras excepciones se comprueba que existe un mayor incremento durante
el primer mes y después se ralentiza notablemente en los siguientes meses con un goteo
casi constante. Así se co
nstata
en l
o
s siguientes
gráficos
relativo
s al comportamiento de
l
a muestra de vídeos del mes de enero de 2021.
Gráfico 1
.
Incremento de visualizaciones Canal Sur
.
Fuente:
YouTube
. Elaboración propia
Ϭ
ϮϬϬϬ
ϰϬϬϬ
ϲϬϬϬ
ϴϬϬϬ
ϭϬϬϬϬ
ϭϮϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
se ven por primera vez en su
vida, bailando
Source: YouTube. Created by the authors
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doxa.comunicación
Graph 2. Increase of EITB views
Gráfico 2. Incremento de visualizaciones EITB
.
Fuente:
YouTube
. Elaboración propia
Gráfico 3. Incremento de visualizaciones TV3
.
Fuente:
YouTube
. Elaboración propia
Ϭ
ϭϬϬϬ
ϮϬϬϬ
ϯϬϬϬ
ϰϬϬϬ
ϱϬϬϬ
ϲϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
Ϭ
ϱϬϬ
ϭϬϬϬ
ϭϱϬϬ
ϮϬϬϬ
ϮϱϬϬ
ϯϬϬϬ
ϯϱϬϬ
ϰϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
Source: YouTube. Created by the authors
Graph 3. Increase of TV3 views
Gráfico 2. Incremento de visualizaciones EITB
.
Fuente:
YouTube
. Elaboración propia
Gráfico 3. Incremento de visualizaciones TV3
.
Fuente:
YouTube
. Elaboración propia
Ϭ
ϭϬϬϬ
ϮϬϬϬ
ϯϬϬϬ
ϰϬϬϬ
ϱϬϬϬ
ϲϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
Ϭ
ϱϬϬ
ϭϬϬϬ
ϭϱϬϬ
ϮϬϬϬ
ϮϱϬϬ
ϯϬϬϬ
ϯϱϬϬ
ϰϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
Source: YouTube. Created by the authors
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July-December of 2023
Ana González-Neira and Carlota Fiaño Salinas
ISSN: 1696-019X / e-ISSN: 2386-3978
Graph 4. Increase of TeleMadrid views
Gráfico 4. Incremento de visualizaciones TeleMadrid
.
Fuente:
YouTube
. Elaboración propia
Como ya se ha apuntado existe una enorme variedad en los temas de los vídeos con mayor
número de
visualizaciones
de estos meses, dados los múltiples canales monitorizados.
Los deportes copan la atención en la TVG con la retransmisión del derby Celta B
-
Depo
rtivo o las emisiones de partidos del subcanal balear Esports. Por su parte, los
sketchs
de humor de
Polònia
triunfan en TV3.
Por el contrario, existen canales con un índice muy bajo de visualizaciones. Aquellos de
la televisión de Murcia y la autonómica de Casti
l
la
L
a Mancha no superan el millar al
cabo del mes, salvo rarísimas excepciones. Asimismo, los vídeos emitidos por
Telemadrid consiguen una cifra bastante baj
a
en comparación con el número de
suscriptores. Durante la monitorización, el v
í
deo con mayor
éxito
de este canal obtuvo
74.000 visualizaciones (“Tensión en la Cañada Real por los cortes de luz en la zona”
del
3 de enero de 2021), lejos de los alcanzados por otros como el vasco o el catalán.
Como ya se ha comentado, la tercera vía de aproximación a esta audiencia se realiza a
través de lo
s
datos de comScore, medidor oficial de los vídeos digitales en ese momento.
Cabe señalar que esa monitorización no cubre toda la actividad en
YouTube
de todos los
canales analizados en este trabajo. En la
Tabla
4
se detallan cuáles son aquellos
monitorizados.
Adentrarse en el estudio de las audiencias digitales es harto complicado por la falta de
estandarización de unidades y sistematización del objeto de estudio. Un ejemplo evidente
se
encue
ntra en el canal de Crakòvia TV3. No aparece en
YouTube
incluida en la oferta
del canal autonómi
co
catalán, sino que dispone un canal autonómico propio. No obstante,
en los informes de comScore, estos lo sitúan dentro de la oferta de
TV3
. Esta serie de
divergencias entre la oferta en
YouTube
y los sistema
s
de medición responden
exclusivamente a decisiones de los propios canales.
Ϭ
ϭϬϬϬϬ
ϮϬϬϬϬ
ϯϬϬϬϬ
ϰϬϬϬϬ
ϱϬϬϬϬ
ϲϬϬϬϬ
ϳϬϬϬϬ
ϴϬϬϬϬ
ϭϱͬϭͬϮϭ
ϭϱͬϮͬϮϭ
ϭϱͬϯͬϮϭ
ϭϱͬϰͬϮϭ
Source: YouTube. Created by the authors
As previously mentioned, there is an enormous variety of topics in the videos with the highest number of views during these
months, due to the multiple channels monitored. Sports are the main focus of attention on TVG with the re-airing of the Celta
B-Deportivo derby, and the broadcasts of matches on the Balearic sub-channel Esports. Meanwhile, the comedy sketches of
Polònia
are a big hit on TV3.
On the other hand, some channels have a very low viewing rate. ose belonging to Murcian and Castilla-La Manchan television
have no more than one thousand views per month, with rare exceptions. Likewise, videos broadcast by Telemadrid attain a fairly
low gure in comparison with the number of subscribers. During the monitoring, the most successful video of this channel
obtained 74,000 views, which was far from those achieved by others such as the Basque or Catalonian channels, referring to the
video entitled, “
Tensión en la Cañada Real por los cortes de luz en la zona
” [Tension in Cañada Real over power outages in the
area], from 3 January 2021.
As mentioned earlier, the third way of approaching this audience is through comScore
data, which was the ocial company for
digital video metrics at the time of this research. It should be noted that the monitoring does not cover the entire YouTube activity
of all the channels analysed in this study. Table 4 shows the details of the channels that have been monitored.
It is very dicult to study digital audiences due to the lack of standardisation of units and the dearth of systemisation of the object
of study. A clear example is the channel Crakòvia TV3. It does not appear on YouTube as part of the oering of the Catalonian
regional channel, and instead has its own regional channel. However, on the comScore reports, it is included in the oering
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doxa.comunicación
of TV3. is succession of divergences between the oering on YouTube and the measurement systems are solely due to the
decisions of the channels themselves.
Table 4. Audience data for the regional channels. January and March of 2021
January 2021March 2021
Channel
Reach
(000s)
Views
(000s)
Videos per
viewer
Minutes per
viewer
Reach
(000s)
Views
(000s)
Videos per
viewer
Minutes per
viewer
TV33751,9445.243.53751,9225.143.4
Polonia695227.626.41088557.924.9
Super 3
5364712.330.74750510.728.8
APM?321695.268.5251455.982.3
Crakòvia TV3
201738.719.7352687.817.6
Les tres
bessones
15996.745.317925.541.4
Telemadrid1,1492,8872.516.07121,6942.416.2
TVG1246265.017.8NDA
NDANDANDA
RTVA4,03720,5175.124.73,92320,5905.224.7
EITB1,0174,0434.018.51,3516,4494.820.4
Aragó
n TV
13583.313.116613.911.1
Source: comScore. Created by the authors
According to these data, the most heavily watched channel of those monitored was Canal Sur (4,037,000), followed by Telemadrid
(1,149,000) and EITB (1,017,000). At the other end of the scale were TV3 (375,000), TVG
(124,000), and nally Aragón TV (13,000).
is datum coincides with that obtained by the number of views mentioned previously. On the other hand, TV3 viewers spend
the most time on this channel, with an average of 43.5 minutes per viewer (during the month of January 2021), followed by
Andalusians with 24.7 minutes per viewer. Once again, the Aragon channel is at the bottom of the list in this ranking with 13.1
minutes per viewer.
Nevertheless, the humour channel known as
APM?
has the highest gure in this regard, with 68.5 minutes per viewer in January,
which rises even higher in March to 82.3 minutes. Once again, humour demonstrates its power in attracting audiences. e
data gathered indicate that there is no similarity between the linear audience and those originating from this platform. During
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the month of January 2021, the most watched regional channel in linear broadcasting was TV3 (14.5), followed by ETB2 (11.2),
Aragón TV (10.9), and TVG (10.5). Canal Sur stands at 9.1 and Telemadrid reaches 6.8 in audience share (Barlovento, 2021).
In terms of the number of videos per viewer, it is striking that the highest gures were obtained by the Catalonian TV sub-channel
dedicated to children,
Super 3
, with 12.3 videos in January and 10.7 in March, followed by
Crakòvia TV3
, with 8.7 and 7.8,
respectively. e latter is noteworthy, due to its being a sub-channel that is rarely updated, as it disappeared from linear television
years ago. As far as
Super 3
is concerned, it conrms the large number of children’s videos disseminated on this platform.
Regarding the kind of terminal used to access content on YouTube, comScore data show that consumption is completely
dominated by mobile devices. Most of the viewing takes place on smartphones in 70% of the cases (Graph 5); in second place is
the computer (17-19%); and nally the tablet. e reign of the smartphone as a digital device for video viewing has once again
been conrmed, especially since the pandemic.
Graph 5. Viewing devices used (April 2021)
Graph 5. Viewing devices used (April 2021)
Source. comScore. Created by the
authors
As shown in Table 5, with regard to
gender,
there is a majority of male viewers on all the
channels monitored by comScore. On some
stations
, the difference is more
pronounced
,
as in the case of Aragón TV, EITB
and
TVG, while in TV3 they are
nearly
equal.
Table 5. Distribution of views by gender. February 2021
Female
Male
Aragón TV
31.2
68.8
TV3
49.8
50.2
RTVA
47.9
52.1
EITB
33.6
66.4
Telemadrid
40.7
59.3
TVG
37.1
62.9
Source: comScore. Created by the authors
As far as age groups are concerned, despite the reference to a digital medium with which
young people are more associated, the data indicate that the 55+ age group is the largest
consumer of this type of video. Moreover, this group
is
the most likely to watch these
channels in linear broadcasting as well
.
However, there are certain differences
among
channels, as can be seen in Graph 6. The 55+ group is closely followed by the 45
-
54 age
group.
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Source. comScore. Created by the authors
As shown in Table 5, with regard to gender, there is a majority of male viewers on all the channels monitored by comScore. On
some stations, the dierence is more pronounced, as in the case of Aragón TV, EITB and TVG, while in TV3 they are nearly equal.
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Table 5. Distribution of views by gender. February 2021
FemaleMale
Aragón TV
31.268.8
TV349.850.2
RTVA47.952.1
EITB33.666.4
Telemadrid40.759.3
TVG37.162.9
Source: comScore. Created by the authors
As far as age groups are concerned, despite the reference to a digital medium with which young people are more associated, the
data indicate that the 55+ age group is the largest consumer of this type of video. Moreover, this group is the most likely to watch
these channels in linear broadcasting as well. However, there are certain dierences among channels, as can be seen in Graph 6.
e 55+ group is closely followed by the 45-54 age group.
Graph 6. Reach according to age groups
Graph 6. Reach according to age groups
Source: comScore. Created by the authors
On the other hand, if we look at the parameter related to videos per viewer, young people
reach the highest figure
s
. According to comScore data, the categories of
4-
17, 18
-
24, and
25-
34 years of age consume the highest number of videos per viewer (Graph 7). In this
regard, the high figures of
consumption
by
children on the Catalonian channel are
striking. On the other hand, the 55+ age group is the one that watches the fewest videos.
This situation is undoubtedly due to the familiarity of young people with digital content.
Graph 7. Videos per viewer (April 2021)
Source: comScore. Created by the authors
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ŽǀĞƌ ϱϱ
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ϱ
ϭϬ
ϭϱ
ϮϬ
Ϯϱ
%/d!dĞůĞŵĂĚƌŝĚ""D$Zds$
ϰ ƚŽ ϭϳ LJĞĂƌƐ
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ŽǀĞƌ ϱϱ
Source: comScore. Created by the authors
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On the other hand, if we look at the parameter related to videos per viewer, young people reach the highest gures. According to
comScore data, the categories of 4-17, 18-24, and 25-34 years of age consume the highest number of videos per viewer (Graph 7).
In this regard, the high gures of consumption by children on the Catalonian channel are striking. On the other hand, the 55+ age
group is the one that watches the fewest videos. is situation is undoubtedly due to the familiarity of young people with digital
content.
Graph 7. Videos per viewer (April 2021)
Graph 6. Reach according to age groups
Source: comScore. Created by the authors
On the other hand, if we look at the parameter related to videos per viewer, young people
reach the highest figure
s
. According to comScore data, the categories of
4-
17, 18
-
24, and
25-
34 years of age consume the highest number of videos per viewer (Graph 7). In this
regard, the high figures of
consumption
by
children on the Catalonian channel are
striking. On the other hand, the 55+ age group is the one that watches the fewest videos.
This situation is undoubtedly due to the familiarity of young people with digital content.
Graph 7. Videos per viewer (April 2021)
Source: comScore. Created by the authors
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ŽǀĞƌ ϱϱ
Ϭ
ϱ
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ϭϱ
ϮϬ
Ϯϱ
%/d!dĞůĞŵĂĚƌŝĚ""D$Zds$
ϰ ƚŽ ϭϳ LJĞĂƌƐ
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ŽǀĞƌ ϱϱ
Source: comScore. Created by the authors
Likewise, the dominance of digital consumption by the youngest group is shown in Graph 8. In fact, the youngest age groups use
more minutes per video viewed than the older groups. Dierences in digital skills among the various generations is evident, as
the oldest group barely manages to exceed fteen minutes of viewing time per video, compared to an average of 35 minutes for
the 18-24 age group. In this case, once again it is striking to see the high level of consumption by the children’s group in terms of
time spent on the Catalonian channel.
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Graph 8. Minutes per viewer
Likewise, the dominance of digital consumption by the
young
est
group
is shown in
G
raph
8. In fact, the youngest age groups
use
more minutes per video viewed than the
older
groups.
Differences
in digital skills
among
the
various
generations is evident, as the oldest
group barely manage
s
to exceed fifteen minutes of viewing time per video, compared to
an average of 35 minutes for the 18
-
24 age group. In this case, once again it is striking to
see
the high level of
consumption
by the children’s group in terms of time
spent on the
Catalonian
channel.
Graph 8. Minutes per viewer
Source: comScore. Created by the authors
In comparison
to
the consumption of content on YouTube through generalist channels in
Spain, the level
is
lower
for the regional stations. On generalist channels, the average user
consumes
between 8 and 12 videos per month, spending between 39 and 55 minutes
viewing content from Spanish television channels on YouTube, which are figures that
surpass those of the regional channels (González
-
Neira, Vázquez
-
Herrero, Quintas
-
Froufe, 2022).
3.3.
Interviews
Finally, a series of interviews were conducted with the heads of some of the regional
channels in order to compare part of the results obtained. The reasons for their presence
on YouTube are
wide-ranging.
For Esther Medina, head of Innovation Service
s
in the
digital department
of
TVG, there are three reasons: commercial interest
s;
the distribution
of content that allows the
broadcaster
to reach an audience that is different from that of
linear television
;
and finally,
an
interest in positioning new and
inno
vative content. Isaías
Blázquez, director of Digital Content
at
Castilla-
La Mancha
n
T
elevision, indicates that
this
media company started using YouTube in order to give a
“
second life to the content
broadcast on CMM
,
and to increase the number of consumption windows of the channel
as well
”
. However, its presence on YouTube is part of a broader strategy of
involvement
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ϰ ƚŽ ϳ LJĞĂƌƐ
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ŽǀĞƌ ϱϱ
Source: comScore. Created by the authors
In comparison to the consumption of content on YouTube through generalist channels in Spain, the level is lower for the regional
stations. On generalist channels, the average user consumes between 8 and 12 videos per month, spending between 39 and
55 minutes viewing content from Spanish television channels on YouTube, which are gures that surpass those of the regional
channels (González-Neira, Vázquez-Herrero, Quintas-Froufe, 2022).
3.3. Interviews
Finally, a series of interviews were conducted with the heads of some of the regional channels in order to compare part of the
results obtained. e reasons for their presence on YouTube are wide-ranging. For Esther Medina, head of Innovation Services
in the digital department of TVG, there are three reasons: commercial interests; the distribution of content that allows the
broadcaster to reach an audience that is dierent from that of linear television; and nally, an interest in positioning new and
innovative content. Isaías Blázquez, director of Digital Content at Castilla-La Manchan Television, indicates that this media
company started using YouTube in order to give a “second life to the content broadcast on CMM, and to increase the number of
consumption windows of the channel as well”. However, its presence on YouTube is part of a broader strategy of involvement in
the digital environment, which includes Instagram, Facebook, Twitter, and TikTok, where the channel also introduces exclusive
content. is incorporation of a broader strategy has also been followed by EITB. Iñaki Gurrutxaga explains that it was “a strategic
commitment; it was the window we chose beyond our own platforms to disseminate content in the Basque language, and about
Basque culture. e presence of our language on the Internet is the most important challenge we set for ourselves from the
start”. Joan Carles Martorell, director of IB3 Televisiò, says that in the case of Balearic television, from 2016 onward their YouTube
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channels were boosted by uploading “complete programmes and series in HD in order to compensate for the user experience
that we oered to our on-demand service, which had become fairly outdated”. In fact, this is one of the channels that produces
exclusive content, such as
Els Entusiastes
, which was later broadcast in linear TV and includes ctional content. However,
Blázquez points out that development on this platform is sometimes inuenced by technical and legal issues, such as the use
of music subject to copyright, so there are various initiatives that cannot be put into practice. Looking to the future, Martorell
believes that YouTube is likely to lose its prestige with television services due to competition from OTTs.
4. Discussion and conclusions
e research carried out shows the absence of a common strategy in the oerings by regional channels on YouTube. ere is no
direct transposition of the linear structure to the platform under study. Instead, a wide variety of oerings are provided (O1). Most
of the sub-channels launched are part of an online strategy that does not simply copy the existing linear structure to the online
world. us, no general patterns of oerings between them can be observed, as their programmes are highly diverse, ranging
from video broadcasts of a few minutes to transmissions of several hours. Channels such as Canal Sur, TV Canaria and IB3 mainly
follow a repository strategy with broadcasts that exceed one hour (Q2), thus breaching the general dynamic of short clips on
YouTube. In contrast to the general trend on YouTube of watching short videos, several of the monitored channels included entire
slots, which sometimes exceed one hour, and are sometimes among the most viewed videos. Furthermore, the material displayed
is taken directly from the traditional channel, so there is hardly any focus on exclusive and diverse content of the transmedia
matrix (Q1). us, YouTube is not part of cross-media strategies.
e research reveals that the content of the most viewed videos is highly diverse, including humour, music, emotional issues, and
sports (O2). e length of these successful videos is usually only a few minutes.
e highest consumption rates of the videos takes place in the rst few days after their publication, and in the following months
there is hardly any increase in the number of views (O2). However, it is striking that certain content, such as that of Crakòvia TV,
continues to be strongly consumed, even after several years without being updated. erefore, this platform makes it possible to
extend the life of content broadcast in linear format.
According to the analysis, despite being a digital medium that is familiar to the youngest age groups, people over 55 consume
this type of video the most (Q3), although they spend the least amount of time viewing in terms of minutes per video. Digital
skills account for the level of intensity of this consumption. It has also been concluded that most of this content is viewed on
smartphones.
Among the limitations of this study, one that stands out is the constant state of adaptation of the situation under study, which is
undergoing continuous assimilation and restructuring. In fact, TVG launched its live channel on YouTube in May of 2021, where
in addition to being able to access live broadcasts of TVG Europa’s programming, it is also possible to watch the previous 12
hours. Furthermore, the lack of standardised digital consumption data for each of the channels and sub-channels prevents us
from having a complete picture of the true viewing of this content. On the other hand, the interview section is somewhat skewed,
as several of the people in charge did not respond to our request for an interview.
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is research focuses on a very specic type of broadcaster with very clear factors in their innovation strategies. Regional channels
are a type of PSB in which the framework guidelines determine the type of programming oered. Moreover, the budget allocated
to these organisations separates them from large Spanish audio-visual groups, and from new broadcasters such as OTTs.
Innovation requires a strong economic investment and, in general, these channels have very tight budgets (Table 2). Specically,
the forthcoming creation of their own OTTs is the most recent step in this innovation strategy, in line with the concept of
imitation
set forth by Napoli (1998).
In addition to keeping in mind these determining factors, the rules of the game of a platform itself inuence this development, as
there are a series of technical and legal limitations. us, there is nearly a total absence of ctional content on these channels and
sub-channels, as they focus more on information and entertainment.
As previously mentioned, these goal of these innovation initiatives is to attract audiences who are younger and more digitally
savvy. e aim is to encourage the participation of people who are younger than 30-40 years of age.
However, as in the case of social networks, not all the options of approaching the audience have been exhausted, as a comments
section is not available on many channels, and in those where it is included, it is far from being dynamic. Nor are they taking
advantage of creating communities related to content on channels with a common anity for users. In today’s globalised world,
such content could be attractive to groups who have emigrated to dierent Autonomous Regions. ese channels are not taking
advantage of the opportunity to broaden their target audience beyond their geographical borders.
At a time of crisis in linear television viewing, regional corporations should exploit the potential of YouTube in order to position
themselves in a digital scenario where a signicant percentage of the younger population is active. Due to their public service
mandate, these organizations could expand windows with an organised strategy. ese broadcasters should make a stronger
commitment to scenarios with higher rates of audio-visual consumption by increasing investment in the area of digital video, as
this is one of the trends that is clearly expanding.
ese channels should develop a more active strategy within new viewing windows such as YouTube. As pointed out by Campos
(2016), it is necessary to retain the current audience, but also to enter new territory with novel strategies and narratives to attract
new viewers.
us, based on the results obtained, it is clear that the potential of YouTube
must be perfected and exploited, not only as a
repository or promotional tool, but also through cross-media initiatives aimed at a younger audience with the goal of fostering
the loyalty needed to create a community. In this way, new audiences could be approached while extending the life of linear
television content at the same time. In the coming years, we will see the fruits of coexistence between the regional channels’ own
strategies, such as having an in-house OTT, and those that are outsourced, referring to its oering on YouTube, in a clear context
of new audio-visual consumption patterns.
is research opens up several new lines of investigation, such as conducting a diachronic analysis to show the evolution of
this digital consumption of videos by regional channels, a comparative study with other European regional public media, an
exploration of the presence of these channels on new audio-visual platforms such as Twitch, and the consumption of such
content outside the geographical limits of the autonomous regions of origin.
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5. Acknowledgements
is article was translated by Charles Arthur, to whom we are grateful for his diligence.
6. Specic contributions of each author
Name and surname
Conception and design of the workAna María González Neira
Methodology
Ana María González Neira and Carlota Fiaño Salinas
Data collection and analysisAna María González Neira and Carlota Fiaño Salinas
Discussion and conclusionsAna María González Neira and Carlota Fiaño Salinas
Drafting, formatting, version review and approvalCarlota Fiaño Salinas
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