The journalist’s prole and their digital competence in social media: the
case study of Ángel Martín on TikTok
Perl periodístico y competencias digitales en redes sociales: estudio de caso de
Ángel Martín en TikTok
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nº 40, pp. 435-464
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January-June of 2025
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Infante Pineda, S.; García Vega, A.; Martínez Borda, R. and Barrajón Lara, I. (2025). e journalist’s prole and their digital competence in social
media: the case study of Ángel Martín on TikTok.
Doxa Comunicación
, 40, pp. 435-464.
https://doi.org/10.31921/doxacom.n40a2723
Sara Infante Pineda.
Doctorate in Communication, Education and Society. Associate Professor at the University of
Alcalá. More than 16 years’ experience as a Producer, Editor and Director of Radio programmes (14 years at
ABC Punto
Radio
, four years at
Cibeles FM
, and two years at
Onda Cero
radio). She was awarded the
Antena de Plata
in 2004 for
Directing and Presenting special programmes at
Punto Radio
. Her publications include the book entitled,
Vivir la
Radio: empresa, tecnología y audiencia
[living in radio: the business, technology, and the audience] (2018). In addition
to exploring radio as a business and means of communication, professor Infante Pineda also analyses the phenomenon
of audiences, media consumption habits, and the articial intelligence phenomenon. She also belongs to the research
group, “
Imágenes, Palabras, e Ideas
” [images, words and ideas].
University of Alcalá, Spain
[email protected]
ORCID:
0000-0002-9642-8719
Alba García Vega.
Postdoctoral Fellow at UAH. She also has a PhD in Communication, Information, and Technology in
the Network Society, which she earned at the University of Alcalá. Member of the research group “
Imágenes, Palabras, e
Ideas
” [images, words, and ideas]. Her research focuses on the study of the communicative impact of narratives in digital
media, technological evolution, and the socio-cultural dynamics of interactive media. She has carried out projects and
courses focused on analysing technology and developing digital content adapted to diverse cultural, creative, and
educational sectors, and developing technological applications based on the inclusion of virtual and augmented reality.
Her research also focuses on interaction, as well as immersion and narratives in social media, new technologies, and the
socio-cultural dynamics of interactive media.
University of Alcalá, Spain
[email protected]
ORCID:
0000-0002-7193-0390
Rut Martínez Borda.
Lecturer in Audio-visual Communication and Advertising. She also coordinates the research
group known as “
Imágenes, Palabras, e Ideas
” [images, words, and ideas], and has been a member the group since the
year 2000. Her main interest is analysing the role of communication tools in the lives of children and young people, as
these instruments are rapidly transforming society. From topics as diverse as education through art, programmes for
safe mobility, video games as cultural and educational objects, and respect for creativeness in a eld as complex as
intellectual property, Professor Martínez Borda tries to nd answers that can help educators, parents, and teachers face
the dierent challenges that arise in society on a daily basis.
University of Alcalá, Spain
[email protected]
ORCID:
0000-0002-3841-6402
e journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
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The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Recibido: 28/06/2024 - Aceptado: 27/09/2024 - En edición: 30/10/2024 - Publicado: 01/01/2025
Resumen:
El objetivo principal de esta investigación es analizar la evolución del
perl del profesional de la información y sus competencias en el uso
de las redes sociales como medios de comunicación. Para ello, se toma
como objeto de estudio el perl de TikTok de Ángel Martín, como un
ejemplo de adaptación del formato informativo al modelo de consumo
de la audiencia juvenil. En relación a la metodología, se ha empleado
un enfoque mixto que mezcle técnicas cuantitativas y cualitativas para
indagar y profundizar en los datos que generan los medios digitales.
Como resultado, se realiza una contextualización del impacto del perl
de TikTok mediante las diferentes métricas, además de analizar el uso de
las características de TikTok y la adaptación de sus competencias digi
-
tales para llegar a su público objetivo. En síntesis, la investigación con
-
cluye que el perl del profesional de la información se encuentra en un
proceso evolutivo en el que las competencias digitales deben ser actuali
-
zadas de manera constante y adaptarse a la difusión de la información
mediante narrativas principalmente visuales.
Palabras clave:
Periodismo; competencias digitales; redes sociales; engagement;
comunicación.
Received: 28/06/2024 - Accepted: 27/09/2024 - Early access: 30/10/2024 - Published: 01/01/2025
Abstract:
e main objective of this research is to analyse the evolution of the
information professional’s prole, as well as their competence in the
use of social networks as a means of communication. To this end, the
TikTok prole of Ángel Martín has been analysed as an example of the
adjustment of the news format to the consumption habits of young
audiences. Regarding methodology, a mixed approach has been
used, which combines quantitative and qualitative techniques to
investigate and delve into the data generated by digital media. us,
a comparative analysis using diverse metrics has been carried out
regarding the impact of having a TikTok prole, as well as an analysis
of the use of TikTok’s features, and the tailoring of its digital options to
reach the target audience. In short, this research concludes that the
prole of the information professional is continually evolving, and
the digital skills required must be continuously updated and adapted
in order to disseminating information, which is mostly focused on
visual narratives.
Keywords:
Journalism; digital skills; social media; engagement; communication.
Iris Barrajón Lara.
Research fellow. She also holds a Doctorate Degree in Communication, Information, and Technology
in the Network Society, awarded by the University of Alcalá. She is also a member of the research group, “
Imágenes,
Palabras, e Ideas
” [images, words, and ideas]. Her lines of research focus on analysing the place of communication
technology in the social, cultural, and educational elds. She directs her eorts toward addressing the transformations
emerging in society in order to improve the use of the new tools and make them more present in the lives of citizens. She
has carried out projects and courses focused on developing digital content that is both educational and cultural, based
on the use of dierent technological tools and applications grounded in virtual and augmented reality.
University of Alcalá, Spain
[email protected]
ORCID:
0000-0001-6166-3471
1. Introduction
Journalism today is constantly evolving, and the digital environment requires both the journalist and the media to stay up-to-
date with the digital competencies, skills and expertise needed in order to carry out best practice. Only 14 years ago, compa
-
nies resisted digitisation (Vila, 2010), preferring instead to simply to upload content to the websites of an incipient cyberjour
-
nalism, which was in the initial stages of its development. It was a time when respect for the foundations of journalism were
still very much alive (Lazo et al., 2020), including professional identity, solidarity issues, narrative, and reporting capabilities,
as well as deontological and psychosocial skills.
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e following observation has been made by Pedrero and Barrios (2024):
“We are now living through an unparalleled transformation in the communication ecosystem, whereby mass models are giving way
to new systems of technological complexity, which are able to identify individual or accumulated preferences in order to dene
patterns and generate communities. rough constant stimuli, these networks encourage the user to stay engaged with mobile
devices for long periods of time” (p. 303).
In the 21st century, journalists, media, and the press are facing the enormous challenge of digitisation as a result of being over
-
shadowed by the new content creators and inuencers who also oer news on their sites. As such, there has been a shift toward
new types of channels or social media such as TikTok, where young people aged 18-24 can be found, among others, and their
consumption has increased from 13% to 23% in the current year alone (Report, 2024). According to this report, there are three
reasons why audiences are attracted to digital platforms for obtaining information: rstly, they prefer to watch a video without
having it ltered by a media outlet or other company; secondly, they like the convenience of consuming information in a space
that already knows users’ tastes and interests; and thirdly, they enjoy seeing dierent viewpoints, or in other words, messages
that mean delving deeper for some, or oering a quick view of the world for others.
For this reason, media companies and their professionals have focused on social networks, which have become sources of
information and channels for new audiences to stay informed (Swasy, 2016). In this context, news media and their employees
have had to adapt to the features of each social network (Mellado and Hermida, 2021), thereby generating new narrative for
-
mats (Bernal, 2009) with content that is suciently attractive to connect with these audiences. In this regard, TikTok is a key
platform for content consumption by the so-called
digital natives
who belong to Generation Z (1997-2012) (Pew Research Cen
-
tre, 2021). Moreover, the consumption of news and information on TikTok videos has an even larger target audience, which
reaches millennials as well (1981-1996) (Mora de la Torre and Díaz-Lucena, 2024).
e present research is based on a case study of Ángel Martín, who is a communicator, actor and digital scriptwriter, who cur
-
rently has 809K followers on TikTok with the account label @informativoangelmartin. Although the selected object of study
does not reect the prole of the professional journalist, this individual is of interest due to the fact that he is one of the main
communicators of news consumed on social media, as reected by various outlets (Carmona, 2020; Hupost, 2022). In addi
-
tion, he has won several awards for his innovative news programme, which is known by the unique discourse and short format
it oers. Specically, in 2021 he won an award for the best personal brand as a Communicator on social networks (Romero,
2021), and in 2022 he was bestowed with the Dircomdencial Communication Award for best innovation in his morning news
programme (Dircomdencial, 2022).e aim of this research is to delve into how Mr. Martín applies his digital skills to the
language and tools of social media, where he adds a very personal, scripted style to his morning news programme by using a
touch of humour and a video format accompanied by subtitles.
1.1. Objectives
e main objective of this study is to analyse the way in which the features of social media as a communication channel require
communicators to acquire new digital skills in order to produce informative content. To this end, the communicator Ángel
Martín has been chosen as the object of study.
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In order to achieve the main objective, a number of specic objectives have been posited as follows:
–
Provide a context of Ángel Martín’s prole through the content, interaction, and metrics he generates on his account.
–
Examine the use of TikTok’s features in the information distribution process.
–
Analyse the professional skills of journalists in the creation of content for social media.
1.2. eoretical framework
e media and information professionals have been engulfed by the rise of social media, which are the new channels that
broadcast messages directly to an audience that demands dynamic and visual content in line with their tastes, emotions, and
feelings (Zárate, 2021). Far from being a threat, social media such as TikTok can be a valuable resource for the journalism
profession in terms of oering innovation in formats and language, and of getting closer to an audience that wants to take part
in the communication process. e following section will address the new channels as sources of information, multimodal
language, and audience participation as key elements in content creation. In addition, we will also examine the role of the
professional journalist in facing the challenge of acquiring digital skills.
1.2.1. Multimodal language and audience engagement in hyper-connected content.
As a starting point, the authors feel it is useful to understand the media paradigm, as well as the consumption habits and in
-
teraction generated in the current hyper-connected context, which are necessary for adapting the creation and dissemination
of information to digital platforms.
To begin, media convergence has brought about the proliferation of interactive and hypertextual cybermedia that currently
exist on the Internet. ese media oer the option of using dierent display systems that are written, graphic, iconic, auditory,
audio-visual, and multimedia, which allow an exchange of roles between transmitter and receiver for the purpose of con
-
suming, managing, and producing information and communication (Cebrián, 2009). is situation highlights the advent of
participatory culture, which is dened as a society that is capable of taking part in the process of creation and dissemination
(Jenkins, 2006). In this regard, the media are reinventing themselves in order to oer content where the active role of users is
acknowledged as an essential factor. As a result, the audience is becoming more involved, thereby transforming their media
engagement in connection with information, culture, and politics, and other domains (García Avilés, 2011).
e proliferation of multiple platforms and interaction on social media has fostered social practices in which information is
based on being remarkably familiar with it and knowing how to create it from multiple sources. As a result, the concept of the
social audience has emerged, which is a consequence of the fragmentation of traditional audiences due to the new media eco
-
system. e social audience bases its interpretation on the social interaction of the public before, during, and after consump
-
tion (Quintas-Froufe and González-Neira, 2014). In this way, social media interaction has become essential while consuming
information.
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erefore, the need to adapt content creation to the main characteristics of this new audience has emerged (Arrojo, 2015;
Quintas-Froufe and González-Neira, 2014). Firstly, information is stored in a network with permanent connectivity, which
provides a diversied oering and encourages the creation of fragmented content that is suited to a diversied audience.
Secondly, the media ecosystem oers multiple access opportunities through various devices and platforms. In this regard,
consumption models have become multidirectional, allowing the audience to easily navigate through dierent media (Daubs
and Mazerolle, 2018).
irdly, communication has become bidirectional between audiences and the media as a result of interactive and participa
-
tory engagement when consuming content (Saavedra-Llamas et al., 2020). erefore, information is subject to constant trans
-
formation based on an innite network of interaction on social media (Scolari, 2009).
At the same time, the evolution of digital communication has brought about dierent languages, mainly dened by multi
-
modal discourse (Kress, 2010; Kirschbaum and Ramírez, 2022). In this regard, social networks provide multiple functions that
organise information through the use of hashtags, on the one hand, and produce immediate interaction based on likes, men
-
tions, and shares on the other (Acosta, 2020).
Consequently, the transformation of digital communication has also led to the proliferation of multiple content at an in
-
creasing rate, giving rise to the constant search for immediacy on social media (Mediavilla and Jaramillo, 2018). As such, the
so-called
snackable
content has emerged, which is consumed quickly in short periods of time (King et al., 2021; Scolari, 2021).
Moreover, not only has this situation led to further fragmentation, but the set of algorithms used by each social network also
plays a key role in generating a more personalised user experiences. Algorithms are a set of rules and instructions dened
by each platform. eir purpose is to oer a personalised experience based on the classication and organisation of content
according to the dierent conscious and unconscious actions of consumers (Arellanes and Iñigo, 2020). us, information is
organised according to the topics that dene the content distributed on the network.
In short, social media are constantly fed by a network of information where features coexist, which that are visual, textual, au
-
dio, etc., and which are structured by algorithmic and interactive functions (Pérez-Rodríguez et al., 2022). is network oers
multiple opportunities for the creation, consumption, and dissemination of hyperconnected content. erefore, production
scenarios are generated in which creation and consumption become part of a shared social practice between media and the
audiences (Hidalgo and Ramírez, 2021).
1.2.3. Digital competence in response to the journalistic challenge
e humanistic nature of journalism and the background of the information professional is based on solid, comprehensive
training in the production of informative content, which focuses on research, assessment, and judgement, as well as on the
management of quality information (Lazo et al., 2020).
However, the hyperconnected social paradigm discussed in the previous section requires the new 21st century professional
to confront media convergence and the migration of traditional activities to the digital environment, which includes new rou
-
tines for carrying out the profession (Barrios and Zambrano, 2015).
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Firstly, journalists must not only be versatile, but they also need to be familiar with the diversity of media languages, channels,
and applications. us, it is a matter of being multi-skilled with regard to media, topics, and technology, where the journalist is
in charge of the entire information process (González and Ortells, 2012). Moreover, today this professional needs to be capable
of processing content and adapting it to a particular medium according to its features, and in consonance with the consump
-
tion habits of its audience. In this regard, Barrios and Zambrano (2015) outline the new journalistic prole, which should
include the following skills: multimedia, multi-area, and multi-platform competence (information architecture); multimodal
skills (dierent audio-visual and sound supports); communicative competence regarding content (production, editing and
distribution); competence in formats and genres in digital media; professional and user skills (interactivity); innovation-re
-
search capability; skilled in critical and analytical thinking.
In short, technological progress has brought about a transformation in the journalistic profession, involving new proles,
mobile communication, big data, the Internet of ings, and Articial Intelligence (AI) (López-García et al., 2017). erefore,
it is essential for journalists to develop these skills and competencies, yet to stand rm in following the basic precepts of good
journalism.
Given these ideas, the authors feel the need to propose a set of digital skills needed by the information professional in order to
survive and thrive in a digital and hyperconnected media environment (Lazo, et al., 2020), which are the following:
–
e need to manage and use social media competently in order to master information architecture using the tools specic to
each site.
–
Production, editing, and distribution of Multimedia Content: the ability to create news in dierent languages and for dierent
platforms, taking into account mobile communication.
–
Develop content based on the prole of the user who consumes it. Ability to generate interactivity and regulate audience
participation.
–
Working with data. e ability to understand data collection, analysis and comprehension, as well as the capability of using
web analytics tools to measure the performance of publications.
–
Innovate and grow in an ever-changing environment where technology is the necessary tool for competing in a highly dyna
-
mic labour market, which not only uses new forms of storytelling, but also relates more closely to an audience that is someti
-
mes global, and sometimes a niche.
is situation raises the question of whether such digital skills actually improve the quality, eciency, rigour, and competitive
-
ness of journalistic work, and provide the tools to reach a hyperconnected audience that uses social media. e ongoing trans
-
formation of the industry has generated new professional categories which, according to the
Asociación de la Prensa de Madrid
[Madrid Press Association] are grouped into four large blocks as follows: print media and news agencies; audio-visual media;
digital media; and non-journalistic activity (APM, 2022). In the last category, new jobs have been created, which include the
following: social media manager, data analyst, digital community manager, fact checker, video editor, and others. is clearly
indicates that today’s journalists co-exist with other professionals in a new work ecosystem, and they share knowledge with
these other professionals in order to successfully carry out their work.
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1.2.4. TikTok as a platform for disseminating news
According to a 2024 social media study conducted by IAB Spain, the social networks Spotify, TikTok, WhatsApp, YouTube, and
Twich are currently the ve most widely used SNs in Spain.
Moreover, TikTok is among the top ve favourite social networks (IAB Spain, 2024). is platform was launched worldwide
in 2018, and its growth has been exponential in just ve years, ranking among the top social media sites both nationally and
internationally (
Una vida Online
, 2023). TikTok has been involved in transforming the diusion and consumption patterns of
content based on immediacy through its main feature, which is the production of short videos. ese videos are called reels,
and they began with a maximum length of fteen seconds. Due to the success of this format, the option of choosing the length
has increased, and nowadays there is a type of reel that can last up to ten minutes.
is social network has an interface adapted to short and instantaneous consumption through vertical scroll browsing, allow
-
ing users to switch between videos in seconds, with the option of consuming a wide range of content in a brief period of time.
is interface is also accompanied by a structured algorithm that organises consumption according to the various interests of
each user (Scolari, 2021).
Furthermore, this social network has extensive editing capabilities, as well as both visual and audio features which encourage
the creation of content based on a multimodal language. As such, the platform has provided the opportunity to spread social
practices in which the creative output of users has proven to be the backbone of interaction (Suárez-Álvarez, García Jiménez,
2021). TikTok has evolved from a social network for entertainment to a platform that can accommodate information, which
is a narrative challenge both in terms of the accuracy of the messages and the use of visual materials. e following analysis
categories of the TikTok language and its contribution to journalism are as follows:
–
Engagement. e main factors associated with engagement are the number of likes, shares, views, and comments (García and
Salvat, 2022).
–
e visual nature of the network and its short messages encourage rapid dissemination, which is of great interest to journalists
in their attempt to be part of the digital environment of social media by engaging people with their stories. In social media
communication, engagement is seen as an interactive practice of a follower with an account, which involves a degree of emo
-
tional involvement of the user with the publications (Ure, 2018).
–
Multimodal language and narrative. In its commitment to oering content based on entertainment that appeals to emotion,
TikTok uses visual stimuli, as well as a highly dynamic approach, creativity, and fast production, with the protagonist being
the video format to which lters, eects, and labels can be added to make the productions more appealing (García and Salvat,
2022). is new narrative style uses a multimedia format and hypertext language in which the impact of the content itself
takes precedence over meaning (Arrieta and Rubio, 2023). Some authors say this might be the beginning of a macro genre of
multimedia narratives (Sánchez and Salaverría, 2019), which consists of mixing linguistic and non-linguistic codes in order
to create a coherent narrative.
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–
Interactivity. e application continuously encourages activity from its users (Sidorenko et al., 2021), and interaction with
the content of third parties is also possible thanks to hashtags, which allow the information labelled with the same tags to be
retrieved. is interaction among users leads us to the aforementioned concept of engagement (Ure, 2018).
–
Brevity. TikTok is a platform focused on the creation, dissemination, and consumption of short videos. e personalisation of
content is carried out with various algorithms that analyse user interactions, as well as the time spent consuming each video
(López, 2024). e authors mentioned above have pointed out the fast content feature, which is aimed at oering immediate
gratication.
–
Immediacy. With a simple, colourful, and intuitive interface, TikTok allows videos to be shared quickly, which contributes to
their categorisation and viralisation through hashtags (Peña et al., 2022). In addition, automatic notication alerts on mobile
devices are “a new type of micro journalism that strengthens the connection of the media with the daily lives of users, which
ranges from oering breaking news to calls for consumption, sports scores, and complementary data’ (Pedrero and Barrios,
2024, p. 311).
2. Methodology
To achieve the objectives set out above, this research has used the case study method for investigating a contemporary phe
-
nomenon in a set of data (Yin, 1989). is method is based on triangulation of a variety of data (Stake, 1998), using both qual
-
itative and quantitative tools to understand and delve into the object of study (Creswell, 2007; Yin, 1989).
us, the present research is based on methodological triangulation, combining both qualitative and quantitative techniques
of data collection and analysis to explore the selected case in depth (Denzin, 1989).
Firstly, a quantitative methodology helps to place the object of study in context by using a wide range of data obtained from the
social circumstances examined (García and Berganza, 2005), whereas quantitative analysis enables the discovery of patterns
that structure the data based on dierent variables (Forni and de Grande, 2020).
Secondly, a qualitative methodology is based on delving into social phenomena by analysing the social context (Ruiz et al.,
2002). Its validity is based on interpretations obtained through observation of the phenomenon in order to delimit patterns
and features that give meaning to the various situations generated (Toomela, 2008; Ratner, 2008; Beltrán, 1985).
In summary, a mixed methodology based on triangulation attempts to examine data through various complementary analysis
techniques that allow for a contextualised and in-depth interpretation of a case study (Bericat, 1998).
2.1. e object of study known as @informativoangelmartin
is research explores the TikTok account of Ángel Martín. e professional prole of this streamer is closely related to both
television and the production of audio-visual content for multiple channels. Ángel Martín is a comedian, scriptwriter, pro
-
ducer, writer, and broadcaster who began his career in the audio-visual eld in the early 1990s. With the advent of digital
media, he made the jump to content creation on the web, thereby learning and adapting his professional skills to the new
languages. Among other activities, he began to create and disseminate information through social media by means of dierent
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programmes and projects based on content that was specically tailored to connect with the audience in digital media. In
2020, he began his career as an information professional by creating a space dedicated to the dissemination of current news
on social media, specically on X and TikTok. e aim of the project was to provide a “morning news programme to save time”,
based on the various options of brevity and immediacy oered by these platforms. is news programme is based on creating
daily videos with a length of one and three minutes for the purpose of reporting the main news of the day. e initiative was so
well received that it is still successful today, and his videos have reached half a million views on TikTok on several occasions.
Currently, Ángel Martín has 809.5K followers on TikTok and has accumulated 12.3M likes.
2.2. Data collection and analysis
As mentioned above, the present research combines various techniques of data collection and analysis, both qualitative and
quantitative. To this end, three levels of analysis have been carried out depending on the type of collection and analysis of the
results (Hernando et al., 2024).
Firstly, data collection was performed using big data analysis (Mokhtar and Eltoweissy, 2017) by collecting data through the
scraping
technique. is technique gathers a certain quantity of stored, independent data with the aim of organising it in sev
-
eral ways to obtain relevant information (Lacasa et al., 2022). Scraping allows data to be collected in a structured way from a
given website. For this research, we have collected data from Ángel Martín’s TikTok account. To do so, the automation software
Apify was used by applying the scraping tool known as the TikTok Prole Scraper, which is available on its platform. is tool
made it possible to extract and compile information from the @informativoangelmartin account, along with the interactions of
all the videos published. e publication period of the account started on 10 June 2021, and the compilation was divided into
three phases of one year each following that date. e rst phase included videos published from June 2021 to May 2022. e
second phase ran from June 2022 to May 2023. And the last phase went from June 2023 to May 2024, with a total compilation of
657 videos. In this rst analysis, data collection was extracted using the following inductive variables that are predetermined
by the TikTok Prole Scraper tool (Table 1):
Table 1. Inductive variables collected
URL publication by TikTok
Likes
Released text
Date created
Saves
Video length
CommentsViews
Music/original sound
Shares
Hashtags used
Source: prepared by the authors using the TikTok Prole Scraper (2024)
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ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
e resulting information was stored in a database in the format known as .CSV for further processing with Microsoft Excel.
e second phase focused on visualising the collected data to produce a visual depiction of the information obtained. e data
collected was organised to nd patterns that would allow the information to be interpreted based on the context. erefore,
the metric values of the dierent videos on Ángel Martín’s account were analysed to discover the patterns and structures that
give meaning to the dierent interactions (Dougherty and Ilyankou, 2021). In addition to the variables collected in the rst
analysis, the engagement of each of the publications was also calculated. e literal meaning of engagement is
commitment
,
which implies a certain degree of emotional involvement of the user in reacting to the content posted on social media (Ure,
2018). In this sense, engagement is seen as the interaction of a follower with a given account or post. ere are multiple for
-
mulas for calculating engagement on social media (Ballesteros, 2018; Delgado, Méndez, Hidalgo, 2022). In the case at hand,
the following formula was used based on a set of interactions that took place, including comments, shares, saves, and likes
(Inuencer Marketing, 2024) (Figure 1):
Figure 1. Formula used to calculate engagement
No. of likes + No. of shares + No. of saves+ No. of comments
X 100
No. of views
Source: prepared by the authors
e quantitative collection and interpretation at the levels described so far have been essential for building a bridge between
the interpretation and analysis of the quantitative data, as well as and that of qualitative data, by selecting key examples that
show dierences or noteworthy features of the audience interaction with the TikTok prole analysed. Consequently, the third
phase focuses on the qualitative analysis of the data in order to identify a set of categories that logically interpret the meaning
of the interaction (Milan and Treré, 2019; O’ Halloran, 2023).
By considering the content of each publication on the TikTok account analysed, a series of deductive variables were estab
-
lished that allowed the data to be classied by subject matter. As a result, the following categories were obtained (Table 2):
Table 2. Deductive variables established
Morning News
BooksPodcasts
Monologues
Final tipsTips and Reections
Mental health
Community
External adverts
Source: prepared by the authors
ese categories made it possible to organise the content in order to subsequently analyse the features of TikTok that are
present in the selected object of study. As such, by combining the quantitative and qualitative data from each of the previous
phases, the most signicant publications were selected in order to analyse the digital skills involved and their suitability for
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each feature of this social media. For this purpose, we used a multimodal discourse analysis technique (Gee, 2014) with the
aim of understanding the dierent communication models of social media based on depiction through multiple languages
(Jewitt, 2014; Kress, 2010). Specically, the Nvivo12 tool was used as the analysis software for coding the information obtained
from the data.
3. Results
3.1. Contextualisation of the TikTok account of Ángel Martín
Ángel Martín›s account has 809.8K followers and 12.2M likes overall. His biography is seen as a promotional showcase for his
content and audio-visual products, where it includes his main website, the title of the two books he has written, and his com
-
edy show (Figure 2).
Figure 2. Prole of @informativoangelmartin on TikTok
Figura 2. Perfil de
TikTok
@informativoangelmartin
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin
El 10 de junio de 2021 publica su primer vídeo en TikTok, con el formato de informativo
matinal del canal. Este vídeo, obtiene un total de 119.300 visitas, 7.246 me gusta y 112
comentarios. En tan solo un día, el 11 de junio de 2021, el siguiente vídeo, con las mismas
características
, alcanza 359.900 visitas, 32.600 me gusta y 839 comentarios (Tabla
3).
Tabla
3.
Métricas de la primera semana de publicaciones de la cuenta
Fuente:
e
laboración propia. Apify (2024)
Como se puede observar en la tabla, en apenas una semana, la cuenta alcanza 1.65 millones
de
visitas, 149 mil me gustas y 2.018 comentarios.
El perfil cuenta, principalmente, con la temática de vídeos dirigida a la creación del informativo
matinal diario. No obstante, en ciertas ocasiones, realiza publicaciones de contenido diferente.
De esta manera, las temáticas de los vídeos que realiza se clasifican de la siguiente forma (Tabla
4):
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin
On 10 June 2021, he published his rst video on TikTok through the channel’s morning news programme. is video received a
total of 119,300 views, 7,246 likes, and 112 comments. e following day, on 11 June 2021, his next video attained 359,900 views,
32,600 likes, and 839 comments, and its features were remarkably similar to the previous one (Table 3).
<p>[Enlace de URL / hc (has AS)]</p>
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The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Table 3. Metrics for the rst week of the account’s publications
VIDEO NO.
DATEVISITSLIKES/
COMMENTS
110/06/2021119,3007,246112
211/06/2021359,90032,600839
314/06/2021146,00013,500183
414/06/2021496,20048,400327
515/06/202183,8005,51986
615/06/2021204,40015,800132
716/06/2021240,90026,900339
TOTAL1,650,500149,9652,018
Source: prepared by the authors using Apify (2024)
As seen in Table 3, in just one week the account attained 1.65 million visits, 149 thousand likes, and 2,018 comments.
is account mainly oers videos used for the morning news programme. However, on certain occasions he posts other types
of content. us, the subject matter of the videos he produces is classied as follows (Table 4):
Table 4. Metrics for the rst week of the account’s postings
SUBJECT
Nº of VIDEOS
Morning news
586
Books14
Podcasts6
Monologues6
Final Tips
1
Tips and Reections
15
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Mental Health
7
Community18
External adverts
1
TOTAL654
Source: prepared by the authors using Apify (2024)
e morning news programme accounts for nearly all the content of the prole with a total of 586 videos. ese are produced
from Monday to Friday and their objective is to report the relevant news of each day in less than three minutes. Secondly, vid
-
eos related to books, podcasts, and monologues total twenty-six in all, and these are used for self-promotion of the streamer’s
cultural products. Next, the topic known as Tips and Reections tries to connect with the audience through small pieces of
thoughtful content about everyday life and current aairs. Related to this topic, there is also a series of videos that try to give
visibility and importance to mental health problems in society. ere are also short videos aimed at the Community topic,
which are created in connection with the morning news. Finally, there are two topics with just one video each. One is the Final
Tips category, which has only one publication due to its being the last video collected and used by Ángel Martín to launch the
new section. e other topic is External Advertising, which also has just one video, yet it openly displays its status as a promo
-
tion paid for by a company (Figure 3).
Figure 3. Advertising publication
Tabla
4.
Métricas de la primera semana de publicaciones de la cuenta
Fuente:
e
laboración propia. Apify (2024)
E
l informativo matinal representa prácticamente la totalidad de los contenidos de la cuenta con
un total de 586 vídeos. Estos se realizan de lunes a viernes y tratan de contar en menos de tres
minutos noticias relevantes de cada día. En segundo lugar, los vídeos relacionados con las
temáticas libros, podcast o
monólogos
constan de 26 vídeos en total y sirven de autopromoción
de los productos culturales del
streamer
. Después, la temática de consejos y reflexiones trata
de conectar con la audiencia mediante pequeñas píldoras de contenido reflexivo sobre el día a
día y la actualidad. En relación con este tema, se encuentran también una serie de vídeos que
tratan de dar visibilidad a la importancia y los problemas relacionados con la salud mental
presentes en la sociedad. También, realiza vídeos breves dirigidos a la comunidad generada en
torno al informativo matinal. Por último, se encuentran dos temáticas con apenas un vídeo cada
una. Por un lado, la categoría de Tip definitivo cuenta con una publicación puesto que se trata
del último vídeo recopilado, con el cual Ángel Martín lanza una nueva sección. Por otro lado,
la publicidad externa únicamente la realiza en un vídeo y expresa de forma sincera que es una
promoción pagada por una empresa (Figura 3)
.
Figura 3. Publicación de p
ublicidad
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7037055816351993093
Los datos obtenidos del conjunto de
vídeos
muestran una serie de información que aporta una
contextualización relevante del recorrido del perfil analizado. En primer lugar, se examinan las
Source : TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/7037055816351993093
e data obtained from this set of videos show a wide range of information, which provides relevant contextualisation of the
professional trajectory of the prole analysed. Firstly, frequent digital media metrics such as comments, likes, shares, and
saves were examined from June to May of each year starting in June 2021, when the account was rst created (Figure 1).
<p>[Enlace de URL / hc (has AS)]</p>
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January-June of 2025
The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Figure 1. Overall account metrics by periods
with the audience through small
pieces
of thoughtful content about everyday life and current
affairs. Related to this topic, there is also a series of videos that
try
to give visibility and
importance to mental health
problems
i
n society. There are also short videos aimed at the
Community
topic, which are created in connection with the morning news. Finally, there are
two
topics
with just one video each. One is the
F
inal
Tips
category
, which has only one
publication
due to its being the last video collected and used by Ángel Martín to
launch
the
new s
ection.
The other topic is
Ex
ternal
Advertising
, which also has
just
one
video
, yet it
openly displays its status as
a
promotion paid for by a company (Figure 3).
Figure 3. Advertising publication
Source :
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7037055816351993093
The data obtained from th
is
set of videos show a wide range of information, which provides
relevant contextualisation of the professional trajectory of the profile analysed
.
Firstly
, frequent
digital media metrics such as comments, likes, shares
,
and saves
were
examined from June to
May of each year starting in June 2021, when the account
was
first created (Figure 1).
Figure 1. Overall account metrics by periods
Source:
prepared
by the authors
using
Apify (2024)
Source: prepared by the authors using Apify (2024)
e data show that the rst period of the account had a higher number of interactions, with the highest numbers being
achieved in the categories of likes and shares. e account went viral during the rst period, reaching nearly 8M likes and
229,929 shares. Despite less interaction in subsequent periods, the gures continued to hover around 2 million likes on av
-
erage. e results of the interactions show that users who consume Ángel Martín›s content mainly interact by posting likes
and sharing the videos. In this way, they establish a direct relationship with the distribution and circulation of the account’s
morning news programme.
e total number of views achieved by the account during each period analysed are shown in Graph 2.
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Graph 2. Views achieved in each period
The data show that the first period of the account had a higher number of interactions, with the
highest numbers being achieved in the categories of
likes
and shares. The account went viral
during the first period, reaching nearly 8M likes and 229,929 shares. Despite less interaction
in subsequent periods, the figures continued to hover around 2 million likes on average
.
The
results of the interactions show that users who consume Ángel Martín's content mainly interact
by
posting likes and sharing the videos. In this way, they establish a direct relationship with
the distribution and circulation of the account's morning news
programme.
The total number of views achieved by the account
during
each
period analysed
are
shown in
Graph 2.
Graph 2. Views achieved in each period
Source:
p
repared by the authors using Apify (2024)
As shown in the graph, the first period again has the highest number of views compared to the
rest. However, it can be seen that the figures from the following two periods are similar, with
an increase of just 4.5% in the last period. Therefore, it can be inferred that compared to the
initial viral impact of the account, the number of users viewing the content
l
evelled off in the
last two periods
to
around 22 million views per year.
3.2.
A
n analysis of the TikTok features used by the profile
Once the contextualisation of the data obtained from the TikTok
account
had been established,
the data was analysed according to the key features
offered
by the social network. For th
is
analysis, the four categories
were
divided into two main blocks. Firstly,
E
ngagement and
I
nteractivity
were
analysed in combination, as
TikTok
interactions are closely related to the
metrics that calculate engagement. Secondly,
Brevity
and
Immediacy
were
examined
together
in the category of multimodal language
,
as both are essential feature
s
inherent to the narrative
of the videos created and published on TikTok.
3.2.1. Engagement and
Interaction
To begin, engagement shows the level of
the audience’s
commitment to a profile based on the
interaction generated compared to the number of views of the publications. After applying the
Source: prepared by the authors using Apify (2024)
As shown in the graph, the rst period again has the highest number of views compared to the rest. However, it can be seen
that the gures from the following two periods are similar, with an increase of just 4.5% in the last period. erefore, it can be
inferred that compared to the initial viral impact of the account, the number of users viewing the content levelled o in the last
two periods to around 22 million views per year.
3.2. An analysis of the TikTok features used by the prole
Once the contextualisation of the data obtained from the TikTok account had been established, the data was analysed accord
-
ing to the key features oered by the social network. For this analysis, the four categories were divided into two main blocks.
Firstly, Engagement and Interactivity were analysed in combination, as TikTok interactions are closely related to the metrics
that calculate engagement. Secondly, Brevity and Immediacy were examined together in the category of multimodal language,
as both are essential features inherent to the narrative of the videos created and published on TikTok.
3.2.1. Engagement and Interaction
To begin, engagement shows the level of the audience’s commitment to a prole based on the interaction generated compared
to the number of views of the publications. After applying the formula to calculate the engagement in Ángel Martín’s videos,
the results obtained show the following gures by periods (Table 5).
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ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Table 5. Average percentage of engagement for each period
Period
June 2021 - May 2022 June 2022 - May 2023June 2023 - May 2024
Engagement11.85%11.53%9.73%
Source: prepared by the authors using Apify (2024)
e percentage of engagement of the account remained unchanged in the rst two periods, with a slight drop in the last period.
With regard to the topics of the prole’s publications, the following graph shows the average percentage of engagement in each
category during the entire lifetime of the account (Graph 3).
Graph 3. Average engagement by topic
formula to calculate the engagement in Ángel Martín's videos, the results obtained show the
following figures by periods (Table 5).
Table 5. Average percentage of engagement for each period
Period
June 2021
-
May 2022
June 2022
-
May 2023
June 2023
-
May 2024
Engagement
11.85%
11.53%
9.73%
Source: prepared by the authors using Apify (2024)
The percentage of engagement
o
f the account remain
ed
unchanged in the first two periods,
with a slight drop in the last period. With re
gard
to the topics of the profile's publications, the
following graph shows the average percentage of engagement
in
each category during the entire
lifetime of the account (Graph 3).
Graph 3. Average engagement by
topic
Source: prepared by the authors
using
Apify (2024)
The highest level of engagement was found in mental health, followed by the morning news
and videos aimed at the community. The rest of the topics reached engagement levels between
7% and 9%, except for the podcast topic, which has a low average percentage compared to the
rest of the posts. In this
regard
, there is a stable and average amount of interaction and
participation that users carry out with the content generated
o
n th
is
profile
regarding
most
topics.
Although the type and number of interactions are directly related to the calculated engagement,
when the values are
addressed
independently, the results vary.
Source: prepared by the authors using Apify (2024)
e highest level of engagement was found in mental health, followed by the morning news and videos aimed at the com
-
munity. e rest of the topics reached engagement levels between 7% and 9%, except for the podcast topic, which has a low
average percentage compared to the rest of the posts. In this regard, there is a stable and average amount of interaction and
participation that users carry out with the content generated on this prole regarding most topics.
Although the type and number of interactions are directly related to the calculated engagement, when the values are ad
-
dressed independently, the results vary.
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| 451
e 10 videos that received the most comments are related to Community (7633 and 1656), Morning news (6255, 2721, 2700,
2314 and 2302), Tips and reections (1745 and 1580), and Mental health (1981) (Graph 4).
Graph 4. Number of comments achieved by the videos that received the most comments
The 10 videos that received the most comment
s
are related to Community (7633 and 1656),
Morning news (6255, 2721, 2700, 2314 and 2302), Tips and
r
eflections (1745 and 1580)
,
and
Mental health (1981) (Graph 4).
Graph 4. Number of comments achieved by the videos that received the most comments
Source:
prepared
by the authors using Apify (2024)
The first and second videos that received the most comment
s
outperformed
the rest of the
videos on the account by thousands. The video with 7,633 comments is related to the
Community topic, which
included
a call to action to
the profile’s
community.
In this regard, Ángel Martín asks what his users prefer in terms of publications on the morning
news on those days when it is impossible for him to publish at the exact time that he usually
publishes the news (Figure 4).
Figure 4. Publications related to the Community topic
Source:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7088720567594962181
Thus, it can be seen how the community is actively willing to generate feedback with this
TikToker,
as
they carry out the interaction he demands in a specific
situation
. This interaction
stands in stark contrast to the rest of the
engagement
made by users in the publication (Table
6).
Table 6. Metrics of the video metrics entitled, What do you prefer?
Comments
Views
Shares
Saves
Likes
7,633
239,100
50
57
22,600
Source: prepared by the authors using Apify (2024)
e rst and second videos that received the most comments outperformed the rest of the videos on the account by thousands.
e video with 7,633 comments is related to the Community topic, which included a call to action to the prole’s community.
In this regard, Ángel Martín asks what his users prefer in terms of publications on the morning news on those days when it is
impossible for him to publish at the exact time that he usually publishes the news (Figure 4).
Figure 4. Publications related to the Community topic
A pesar de que los tipos y la cantidad de interacciones se encuentran directamente relacionados
con el
engagement
calculado
, cuando se consideran los valores de forma independiente, los
resultados varían.
En primer lugar, los 10 vídeos más comentados son de las temáticas Comunidad (7633 y 1656),
Informativos matinales (6255, 2721, 2700, 2314 y 2302), Consejos y reflexiones (1745 y 1580)
y
Salud Mental (1981) (Gráfico 4
).
Gráfico
4
. Número de comentarios de los vídeos más comentados
Fuente:
e
laboración propia. Apify
(2024)
El primer y segundo vídeo más comentados destacan por miles frente al resto de los vídeos de
la cuenta. El vídeo con 7.633 comentarios se encuentra en la temática de Comunidad y cuenta
con una llamada a la acción a su comunidad. En este sentido, Ángel Martín lanza una pregunta
sobre qué prefieren sus usuarios en cuanto a la publicación del informativo matinal en aquellos
días en los que le sea imposible publicar a la hora exacta en la que suele publicar el informativo
(Figura
4)
.
Figura
4
. Publicación de temática Comunidad
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7088720567594962181
De esta manera, se observa cómo la comunidad tiene una predisposición activa a generar
feedback
con el
TikToker
y realizan la interacción que él demanda en un caso concreto. Esta
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/7088720567594962181
<p>[Enlace de URL / hc (has AS)]</p>
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January-June of 2025
The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
us, it can be seen how the community is actively willing to generate feedback with this TikToker, as they carry out the inter
-
action he demands in a specic situation. is interaction stands in stark contrast to the rest of the engagement made by users
in the publication (Table 6).
Table 6. Metrics of the video metrics entitled, What do you prefer?
Comments
ViewsSharesSavesLikes
7,633239,100505722,600
Source: prepared by the authors using Apify (2024)
is video was only shared 50 times with a low ranking of 24th among the least shared videos on the channel. is stands out
from the rest, due to the fact that in this particular case, Ángel Martín specically asked for the interaction to be in the form
of comments in order to discover the opinion of his community. e video with the second highest number of comments
reached a total of 6,255. In contrast to the example mentioned above, the gures for the rest of the interactions are opposite to
the previous one (Table 7).
Table 7. Metrics of the second most commented video
CommentsViewsSharesSavesLikes
6,2553,400,00038,70023,100429,800
Source: prepared by the authors using Apify (2024)
is is the video that achieved the most comments, views, shares, and saves video. e topic is the morning news programme,
yet on this occasion Martín decided not to do the usual news programme, but instead he gave his opinion and expressed his
dissatisfaction with a current issue that aects Spanish citizens. Specically, the content of the video contextualises a period
of price rises in various products and services in Spain. In this regard, he uses a discourse that generates proximity with the
audience based on the personal identication reected in the subject matter. us, he is able to generate more feedback from
users who feel involved or motivated by his criticism.
Next, regarding the number of times users share his posts, this type of interaction is one of the most important among his au
-
dience. Specically, the number of shares reached 229,929 in the rst period, 102,104 in the second, and 77,265 in the third.
Despite the high number in the rst period (June 2021 - May 2022), the most shared videos do not depend on the year, but
rather on specic moments and signicant dates (Table 8).
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Table 8. e ve most shared videos
VídeoSharesDateTopic
138,70019/07/2022
Morning news
224,30024/12/2021
Morning news
39,13931/12/2021
Morning news
48,72823/10/2021
Tips and reections
58,05924/07/2023
Morning news
Source: prepared by the authors using Apify (2024)
e most shared video is also the most viral of the account, which is described above. In relation to this type of video, the topic
of the fourth most shared video is Tips and Reections, when Ángel Martín posted a suggestion that the audience should rest
and not work on Saturday yet, ironically, he published the video on a Saturday. Next, two of the most shared videos coincide
with Christmas Eve and New Year’s Eve. Finally, the fth most shared video was published the day after the 2023 general
elections. us, a relationship can be observed between key dates, on the one hand, and the topics and events of the content
shared by the audience on the other.
3.2.1. Multimodal language, brevity, and immediacy
With regard to the multimodal language analysed in the videos of the @informativoangelmartin account, Ángel Martín uses
mainly video, informative text, and hashtags as multimodal resources. is account lacks videos that use lters, which are
available on the TikTok platform. In addition, he has a number of posts that attempt to devirtualise the lters and editing of
the posts by depicting reality (Figure 5).
454 |
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The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Figure 5. Publications related to lters
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7176706910459022598
https://www.tiktok.com/@informativoangelmartin/video/7206633632356650246
En cuanto a los sonidos de los vídeos, la mayoría de las ocasiones inserta sonido original y, tan
solo en 4 vídeos utiliza una canción en lugar del discurso comunicacional al que tiene
acostumbra a
emplear
. Estos cuatro vídeos destacan por ser atípicos respecto al tipo de
contenido que ofrece la cuenta. No obstante, los resultados de interacciones muestran que la
comunidad prefiere el contenido habitual.
Tabla
9
. Vídeos con música externa
Fuente: Elaboración propia. Apify (2024)
Como se puede observar en la tabla
9
, estos vídeos alcanzan cifras de
engagement
bajos frente
a los vídeos de mayor
engagement
de la cuenta. Los 5 v
í
deos con mayor
engagement
alcanzan
cifras superiores al 18% y el de mayor porcentaje tiene un
engagement
de un 23,94%.
Pese a la carencia de filtros, música y efectos empleados, la temática principal del informativo
matinal recoge una serie de características que hacen único el formato frente al resto de
temáticas. En este sentido, también se analizan las
características
de
TikTok
relacionadas con
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/7176706910459022598
https://www.tiktok.com/@informativoangelmartin/video/7206633632356650246
Regarding sound in the videos, he most often uses original sounds, and only in four videos does he use a song instead of the
communicative discourse he generally employs. ese four videos stand out as being atypical for the type of content oered by
this account. However, results of the interaction show that the community prefers the usual content.
Table 9. Videos with external music
VideoTopicsEngagementSound
1Books5.2%
Ramon El Diamante & Alonso “
Como yo no hay dos
”
2
Tips and Reections
7.53%
BLACKPINK “
DDU-DU DDU-DU
”
3Books4.9%
Pharrell Williams “
Happy
”
4Community5.5%
Bizarrap & Residente “
Residente: Bzrp Music Sessions, Vol. 49
”
Source: prepared by the authors using Apify (2024)
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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| 455
As seen in Table 9, these videos achieved low engagement gures compared to the videos with the highest level on this ac
-
count. e ve videos with the most engagement reached gures above 18%, and the one with the highest percentage attained
23.94%. Despite the scant use of lters, music and eects, the morning news programme, which is the main topic, includes
a number of features that make the format unique compared to other themes. In this regard, the TikTok features related to
brevity and immediacy have also been analysed. e main attributes that dierentiate the subject matter of the morning news
programme are shown below:
–
Firstly, the positioning of the videos in the morning news is horizontal, while he uses a vertical position for the rest of the
videos (Figure 6).
Figure 6. Morning news camera position
la brevedad e inmediatez. A continuación, se muestran las principales propiedades que originan
una diferenciación en la temática
de
Informativo
matinal:
-
En primer lugar, la posición de los vídeos del informativo matinal es horizontal,
mientras que en el resto emplea una posición vertical del vídeo (Figura
6)
.
Figura
6
. Posición de cámara informativo matinal
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
-
En segundo lugar, la información mediante texto mantiene siempre la misma estructura:
“Informativo matinal para ahorrar tiempo y fecha del informativo” (Figura
7)
Figura
7
. Descripción de informativo matinal
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
-
En tercer lugar, el discurso oral que emplea al inicio de cada vídeo mantiene siempre la
misma estructura, comenzando con “Muy buenos días” y seguido de la fecha del
informativo acompañado del santo de cada día.
-
En cuarto lugar, todos los vídeos del informativo matinal mantienen una duración de
entre 140 y 145 segundos. Además, el discurso se caracteriza por una locución
acelerada
, tratando de comentar las noticias diarias en tan solo dos minutos y medio,
aproximadamente. Esta característica
temporal
es una decisión del propio autor,
ajustándose a la brevedad de los vídeos en TikTok. Además, dicha particularidad es
destacada por el autor en diferentes ocasiones. Por ejemplo, en una ocasión, Ángel
Martín hace referencia a la norma autoimpuesta a través de la descripción de un vídeo
que, sin ser contenido de la temática del
informativo
matinal
, la duración es la misma.
(Figura
8).
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
–
Secondly, the text-based information always maintains the same structure: “Morning news to save time”, followed by the date
(Figure 7).
Figure 7. Description of the Morning News programme
la brevedad e inmediatez. A continuación, se muestran las principales propiedades que originan
una diferenciación en la temática
de
Informativo
matinal:
-
En primer lugar, la posición de los vídeos del informativo matinal es horizontal,
mientras que en el resto emplea una posición vertical del vídeo (Figura
6)
.
Figura
6
. Posición de cámara informativo matinal
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
-
En segundo lugar, la información mediante texto mantiene siempre la misma estructura:
“Informativo matinal para ahorrar tiempo y fecha del informativo” (Figura
7)
Figura
7
. Descripción de informativo matinal
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
-
En tercer lugar, el discurso oral que emplea al inicio de cada vídeo mantiene siempre la
misma estructura, comenzando con “Muy buenos días” y seguido de la fecha del
informativo acompañado del santo de cada día.
-
En cuarto lugar, todos los vídeos del informativo matinal mantienen una duración de
entre 140 y 145 segundos. Además, el discurso se caracteriza por una locución
acelerada
, tratando de comentar las noticias diarias en tan solo dos minutos y medio,
aproximadamente. Esta característica
temporal
es una decisión del propio autor,
ajustándose a la brevedad de los vídeos en TikTok. Además, dicha particularidad es
destacada por el autor en diferentes ocasiones. Por ejemplo, en una ocasión, Ángel
Martín hace referencia a la norma autoimpuesta a través de la descripción de un vídeo
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/6976488815829486854
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
456 |
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|
January-June of 2025
The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
–
irdly, the oral discourse used at the beginning of each video always has the same structure as well, starting with “Good
morning”, followed by the date of the news programme and a mention of the saint of the day.
–
Fourthly, all the videos of the morning news are between 140 and 145 seconds long. In addition, the speech features a fast-pa
-
ced voiceover, which tries to comment on the daily news in approximately two and a half minutes.
–
is typical time-frame is Martín’s own decision, which is in keeping with the shortness of the videos on TikTok. Moreover,
this feature is highlighted by the prole on various occasions. For example, on one occasion Martín refers to this self-imposed
rule through the description of a video which, although it does not have the same subject matter as the morning news, is of
the same length (see Figure 8).
Figure 8. Description of other topic publications that have the same duration as the morning news
que, sin ser contenido de la temática del
informativo
matinal
, la duración es la misma.
(Figura
8).
Figu
ra
8
. Descripción de publicación de otra temática con duración de informativo matinal
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7180704085639728389
-
Por último, la inmediatez como característica de
TikTok
en el informativo matinal se
manifiesta con la publicación de contenido de actualidad para aportar en cada
informativo sucesos y acontecimientos que estén siendo relevantes en cada momento y
periodo.
3.3. Análisis de las competencias de
@informativoangelmartin
Ángel Martín exhibe una manera muy personal de informar, con un estilo desenfadado, en
clave de humor, formato monólogo y empleando un titular para cada noticia que comenta. Esto
le lleva a conseguir un perfil muy diferenciado que se acopla perfectamente al ecosistema
comunicativo de la sociedad red. Atendiendo a las competencias digitales del perfil del
profesional de la información en la era hiperconectada, en cuanto a la primera mencionada,
Ángel Martín demuestra habilidad para la gestión de los nuevos medios y sus características.
En este sentido, el reto que se plantea de generar informativos matinales de entre 140 y 145
segundos se adapta al contenido generado en la red social TikTok, tranformando dicha temática
en un contenido snackable de la plataforma.
En segundo lugar, considerando la competencia de habilidad para producir, editar y distribuir
contenido multimedia, el perfil refleja la capacidad para crear noticias y otro tipo de contenidos
en distintos lenguajes, para distintos soportes, teniendo en cuenta la comunicación digital. A
partir del análisis establecido sobre leguaje multimodal y las características de su temática de
informativo matinal, realiza un contenido específicamente planeado a partir de las herramientas
y características de la red social. Por un lado, bajo el paraguas del hashtag
#informativoangelmartin, configura una estructura que repite cada mañana en sus vídeos
informativos que definen un discurso estructurado: Saludo, fecha del día con efemérides,
titulares del día sobre diversas temáticas, una reflexión más a fondo sobre una noticia en
concreto y cierre con una frase
-
sentencia en la que apela directamente a los usuarios buscando
su complicidad. Además, el discurso sistematizado se acompaña de un producción y edición
simple a partir de un plano frontal corto y subtítulos de locución para facilitar el consumo,
absteniéndose de emplear filtros y diferentes recursos que supongan una transformación de la
realidad.
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/7180704085639728389
–
Finally, the immediacy of TikTok as a feature of the morning news is expressed through the publication of current aairs con
-
tent to provide each news programme with events and happenings that are relevant at any given time and period.
3.3. Analysis of the competence of @informativoangelmartin
Ángel Martín has a very personal way of reporting, as he uses a light-hearted style similar to the format used in humorous
monologues, and he also incorporates a headline for each news item on which he comments. is has enabled him to achieve
a highly dierentiated prole that ts perfectly with the communicative ecosystem of today’s networked society. Regarding the
digital skills of this information professional in a hyperconnected era, Ángel Martín demonstrates the ability to competently
manage the new media and its features. In this regard, the challenge of producing morning news programmes lasting between
140 and 145 seconds is suited to the content generated on TikTok, which transforms the subject matter into a
snackable
piece
of content on the platform.
Secondly, regarding the skills needed to produce, edit, and distribute multimedia content, Martín displays the ability to create
news and other types of content in dierent languages for diverse channels, while taking into account multimedia commu
-
nication. Based on the established analysis of multimodal language and the features of his morning news topics, he creates
specically-planned content based on the tools and characteristics of this platform. On the one hand, with the hashtag #in
-
formativoangelmartin, Martín uses a structure that he repeats every morning in his news videos, which oers a well organised
discourse in the following sequence: a greeting, the current date with commemorative facts, headlines of the day on various
<p>[Enlace de URL / hc (has AS)]</p>
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| 457
topics, a more in-depth reection on a specic news item, and a closing sentence in which he appeals directly to users for their
participation. In addition, the systematic discourse is accompanied by simple production and editing techniques based on a
short frontal shot and voiceover subtitles for easy consumption, while he refrains from using lters and other resources that
could imply a transformation of reality.
Next, by focusing on the competence related to developing content based on the prole of the user who consumes it, Martín
generates interactivity with his audience through calls to action or by creating content that reinforces the sense of belonging
among his community. An obvious example is the video with the most interactions on the account, which is mentioned in
Figure 9.
Figure 9. e post that achieved the most interaction on this account
Después, centrando la atención en la competencia relacionada con elaborar contenidos a partir
del perfil del usuario que las consume, el perfil analizado genera interactividad con su audiencia
a partir de llamadas a la acción o creando contenidos que refuercen el sentido de pertenencia
de su comunidad. Un ejemplo evidente es el vídeo con más interacciones de la cuenta, ya
mencionado anteriormente (Figura
9).
Figura
9
. Publicación con mayor interacción del perfil
Fuente:
TikTok
(2024)
https://www.tiktok.com/@informativoangelmartin/video/7121953464439016709
En dicho vídeo el
creador reconoce estar cabreado y afirma que esa es la noticia: “hoy me he
levantado cabreado”, y harto de que los que están
“
al mando
”
sigan pidiendo a los ciudadanos
“hacer un esfuerzo”. La conexión emocional con los usuarios
es plena y se refleja a través de
numerosos comentarios como:
“
t
e necesito en el Congreso”, “
e
res el mejor, yo también estoy
cabreado”, “
t
odos somos tu”. La llamada a la acción es evidente en este caso
, provocando así
una interacción masiva de la comunidad.
En relación con la misma competencia, el 4 de junio de 2022 publica un vídeo con el hashtag
#porsilasvocesvuelven #puntoparaloslocos. En dicho vídeo se aprecia un contenido
relacionado con la temática de salud mental. El discurso contiene el mensaje
:
“
m
e equivoqué”,
“
p
or si te sirve
,
aquello no era el principio del fin”
tratando de llegar a aquellas personas que
pudieran estar pasando por una situación difícil relacionada con problemas de salud mental,
como le ocurrió a él en el pasado.
El
vídeo logró 54.6 K me gusta, 1
.
667 lo compartieron y
obtuvo 1
.
452 comentarios como: “Ángel, eres top de verdad”, “
g
racias Ángel, necesitaba
escuchar esto ahora”.
De forma similar, el 14 de febrero de 2022, Día de San Valentín, el creador no solo invita a
que su audiencia le diga
“
Te quiero
”
a su pareja
,
sino a decírselo a uno mismo frente al espejo.
Contundente, pero sin perder el sentido del humor y el formato de
monólogo,
afirma que si no
ha habido noticias es porque es “su informativo y son sus reglas”. Aunque las cifras son más
bajas que en el anterior, cuenta con 129,K me gusta, 4475 compartido y 873 comentarios.
Source: TikTok (2024)
https://www.tiktok.com/@informativoangelmartin/video/7121953464439016709
In the video, the creator concedes that he is annoyed, and that his annoyance is the news story of the day: “Today, I woke up
infuriated”, because I was fed up with the fact that those ‘in charge’ continue to ask citizens to ‘make an eort”. is emotional
connection with users is strong and is expressed through numerous user comments such as the following: “We need you in
Congress”; “You’re the best, and I’m also very angry”; “We all feel just like you”. Moreover, the call to action is evident in this
case, which triggers massive community interaction.
In relation to this same skill, he published a video on 4 June 2022 with the hashtag, #
porsilasvocesvuelven
#
puntoparaloslocos
which shows content related to mental health. e discourse contains the following message: “I was wrong. For what it is
worth, that wasn’t the beginning of the end”. With this message, Martín was trying to reach out to those people who might be
going through a dicult situation due to a mental health problem, which happened to him in the past. e video achieved
54.6K likes, 1,667 shares, and 1,452 comments such as the following: “Ángel, you are truly a great person”; and “ank you
Angel. I really needed to hear this now”.
<p>[Enlace de URL / hc (has AS)]</p>
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|
January-June of 2025
The journalist’s prole and their digital competence in social media: the case study of Ángel Martín on TikTok
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
On Valentine’s Day, 14 February 2022, the creator encouraged his audience not only to say “I love you” to their partner, but also
to say it to themselves in front of their mirror. Although he is blunt, Martín never loses his sense of humour and monologue
format, and he arms that if there is no news, it is because it is “his news and his rules”. Although the gures were lower than
the previous one, it had 129K likes, 4,475 shares, and 873 comments.
Continuing with the analysis, regarding competence in the knowledge and understanding of social media metrics and data,
this account displays stability in the average engagement of its main publication topics. Moreover, in relation to the main topic
of the informative content, the engagement of this account’s posts shows that most interactions from the audience are focused
on circulating information. Specically, these interactions are based on sharing publications and likes, with the latter enabling
viralisation of the videos.
Finally, in analysing the competence in mastering technology in a changing labour market, which includes multimodal dis
-
course and hyperconnected audiences, Ángel Martín started his career on another social network with his
Informativo para
ahorrar tiempo
[time-saving news], and from there he moved to TikTok in his search for a platform where he could express
himself openly and without lters, which is reected in his own life. Likewise, Ángel Martín generates informative content
adapted to consumption models based on continuous interaction with a global audience, which not only consumes videos,
but also reads the news and gives its own opinion of the information oered and of the content creator himself.
4. Conclusions
e challenge of this research has been to show how the features oered by social media create the need for communicators to
modify and update their digital skills in order to produce content for these social networks and use them as media outlets. To
this end, the authors have focused on a specic TikTok account, whose author does not have this type of prole. Nevertheless,
his ability to adapt to the features of social media and create content, while taking into account the characteristics of these
platforms and what the audience expects, has allowed him to assume a role that could easily be equated with the work of a
professional journalist from any media outlet. By focusing on the primary mission of the journalist from a classic point of view,
which involves telling the truth based on the ve journalistic principles, or the 5 W’s (Who, What, When, Where, and Why), we
can safely say that the TikTok prole with the tag
@informativoangelmartin
certainly complies with these canons. In times of
rapid consumption, the Who, which are the new communication professionals, have witnessed how their ability to adapt to the
features of each medium has enabled their transformation toward oering new information approaches. In the case analysed,
communicator Ángel Martín broadcasts information alone in front of his computer, while sitting on his sofa at home, and he
addresses a community of users who are turning to these new media for information. e second W, which stands for What, is
the message or content that is adapted to these new platforms, which is now shorter and presented much more quickly accord
-
ing to the language guidelines of this new channel. is is another way of telling the news. In the case analysed, videos of barely
two minutes are created, which combine entertainment with current aairs. e When refers to time-frame of the broadcasts,
either live or recorded, and in video format, but in this case the content creator always has the video ready to be consumed by
users in the morning, which is something they genuinely appreciate, along with the brevity of the message. Regarding the W
for Where, there is no need to move or travel, because the communicator chooses the place from where to report, tell a story,
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| 459
and get closer to the audience with a clear objective, which is the last principle, or the W for Why. is W refers to the interac
-
tion carried out by users regarding the number of likes, shares, and comments, which have been analysed using a qualitative
methodology, and which show that the audience prefers content created using a language that can entertain and inform at the
same time.
All these adjustments are a sign of how the purpose of communication has changed in the new media ecosystem. Nowadays,
more priority is given to the number of interactions between the content creator and users as a means of communication, rath
-
er than to the professional journalist, which was the case in the past. Currently, the degree of commitment assumed by both
the creator and the audience in producing and consuming information is highly valued (López, 2024).
erefore, considering the specic objectives proposed, as well as the statement made by López-García et al., 2017, p. 87, who
have armed that “technology feeds and denes current professional proles”, it has been veried in the case of the account
analysed that those who know how to use technology and the tools provided by a social network, in this case referring to
TikTok, can achieve visibility and become genuine reporters. In addition, a commitment by the audience allows the commu
-
nicator to oer daily content, create quick and user-friendly information, and discuss related content on several topics from
the same prole, thereby keeping the audience engaged. One key feature of this study is the importance of achieving and
developing the digital competence that every journalist or communicator must have if they want to be present on these plat
-
forms (Lazo, et al., 2020). Creating a visual narrative in video format, which is intended to be consumed on diverse channels,
including mobile devices, will allow communicators to reach new audiences, who are both interactive and hyper-connected.
5. Acknowledgements
is article has been translated into English by Charles E. Arthur, to whom we are grateful for his diligent work.
6. Specic contributions of each author
Name and Surname
Conception and design of the work
Sara Infante Pineda, Alba García Vega, Rut Martínez Borda and
Iris Barrajón Lara
Methodology
Sara Infante Pineda, Alba García Vega, Rut Martínez Borda and
Iris Barrajón Lara
Data collection and analysis
Sara Infante Pineda, Alba García Vega, Rut Martínez Borda and
Iris Barrajón Lara
Discussion and conclusions
Sara Infante Pineda, Alba García Vega, Rut Martínez Borda and
Iris Barrajón Lara
Drafting, formatting, version review and approval
Sara Infante Pineda, Alba García Vega, Rut Martínez Borda and
Iris Barrajón Lara
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ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
7. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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