From Broadcast Television to the Multiplatform Ecosystem: A Narrative
Review of Innovation and Audience Dynamics in Digital Television Journalism
De la televisión broadcast al ecosistema multiplataforma: una revisión narrativa
sobre innovación y audiencias en el periodismo televisivo digital
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| 297
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ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Villar-Campos, A. J. (2026). From Broadcast Television to the Multiplatform Ecosystem: A Narrative Review on Innovation and Audiences in
Digital Television Journalism.
Doxa Comunicación
, 43, pp. 297-322.
https//doi.org/10.31921/doxacom.3509
Alberto Jesús Villar-Campos
is a journalist, researcher, and university lecturer specializing in the study of audiovisual
journalism, transparency in public information, and the digital transformation of newsrooms. He holds a Master’s
degree in Corporate Communication Management from the Universidad Peruana de Ciencias Aplicadas. He currently
serves as a lecturer and researcher at the Universidad de Lima, where he conducts research on journalistic practices,
news production, and the evolution of audiovisual formats within the digital media ecosystem. He is a doctoral
candidate in Communication at the same university. His research agenda focuses on three main areas: the analysis of
television journalism and its narrative transformations; the use of access to public information as a tool for investigative
journalism; and the adaptation of newsrooms to technological change and digital convergence. In 2025, he published
the article “Access and Use of Public Information Requests in Contexts of Crisis in Television Journalism Programs in
Peru” in the
Revista Española de la Transparencia
. e study examines how journalistic teams use public information
access mechanisms to strengthen investigative television reporting during periods of political crisis in the country
.
University of Lima, Peru
[email protected]
ORCID: 0000-0003-4851-7220
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Recibido: 19/12/2025 - Aceptado: 11/03/2026 - En edición: 24/03/2026 - Publicado: 01/07/2026
Resumen:
La transformación digital del periodismo televisivo no constituye sólo
un cambio tecnológico, sino una reconguración integral de sus narra
-
tivas, estructuras y modos de congurar sus modelos de negocio. Esta
revisión narrativa de literatura, basada en un análisis temático reexi
-
vo (Braun y Clarke, 2022), examina cómo las redacciones televisivas
tradicionales responden a las exigencias de un ecosistema mediático
fragmentado, regido por lógicas de plataforma y métricas digitales. A
partir del análisis de cuarenta y dos artículos académicos indexados en
Scopus y Web of Science, se identicaron tres ejes que explican esta tran
-
sición: (1) la consolidación de estrategias transmedia y de segmentación
Received: 19/12/2025 - Accepted: 11/03/2026 - Early access: 24/03/2026 - Published: 01/07/2026
Abstract:
e digital transformation of television journalism is not merely a
technological shift but an integral reconguration of its narratives,
structures, and business models. is narrative literature review,
grounded in a reexive thematic analysis (Braun and Clarke, 2022),
examines how traditional television newsrooms respond to the
demands of a fragmented media ecosystem governed by platform
logics and digital metrics. Based on the analysis of forty two academic
articles indexed in Scopus and Web of Science, three key axes were
identied to explain this transition: (1) the consolidation of transmedia
strategies and content segmentation aimed at connecting with new
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de contenidos que buscan conectar con nuevas audiencias; (2) la trans
-
formación de los formatos narrativos y los modelos sostenibles que
permiten la adaptación a entornos digitales; y (3) el desarrollo de una
nueva racionalidad narrativa y organizativa en la televisión, concebida
como un laboratorio de innovación donde convergen la experimenta
-
ción tecnológica, la producción multiplataforma y la agencia activa del
espectador. Los hallazgos revelan que, antes que haber sido desplazado,
el periodismo televisivo atraviesa una transformación estructural que
combina prácticas heredadas con dinámicas emergentes. La televisión
se transforma en un ecosistema híbrido, participativo y basado en da
-
tos, y su reinvención reeja los desafíos actuales a los que se enfrenta
el periodismo audiovisual en contextos posbroadcast. El estudio aporta
un marco analítico para comprender la reconguración del periodismo
televisivo en la era posbroadcast.
Palabras clave:
Periodismo televisivo; transformación digital; estrategias transmedia;
innovación narrativa; audiencias fragmentadas; modelos de negocio
mediáticos.
audiences; (2) the transformation of narrative formats and sustainable
models that enable adaptation to digital environments; and (3) the
development of a new narrative and organizational rationality in
television, conceived as an innovation laboratory where technological
experimentation, multiplatform production, and audience agency
converge. e ndings reveal that television journalism has not
been displaced but is undergoing a structural transformation that
combines inherited practices with emerging dynamics. Television is
transforming into a hybrid, participatory, and data-driven ecosystem,
and its reinvention reects the current challenges faced by audiovisual
journalism in post-broadcast contexts. is study oers an analytical
framework to understand the reconguration of television journalism
in the post-broadcast era.
Keywords:
Television journalism; digital transformation; transmedia strategies;
narrative innovation; fragmented audiences; media business models.
1. Introduction
Questioning whether traditional television is disappearing reveals the complex transition this medium is undergoing in the
digital era. In a media landscape dominated by mobile platforms, social media, and on-demand services, television journalism
has shifted from being a static format to one that constantly evolves to serve diverse audiences, digital natives, and emerging
production and consumption paradigms.
To remain relevant for younger generations, television faces the challenge of renewing itself (Vázquez-Herrero
et al.
, 2021).
To connect with these audiences -particularly Generation Z, a heterogeneous demographic cohort that includes individuals
from older adolescents to children who are just beginning to read- media organizations have been compelled to rethink their
strategies (Twenge, 2017). In an environment where these generations engaged with multimedia content through social
platforms and mobile devices, social media have become an essential gateway to information (García-Perdomo, 2020).
In this new media ecology (Gutiérrez
et al.
, 2018), the adoption of digital tools and transmedia strategies has become crucial for
media outlets, not only to strengthen the credibility and legitimacy of their content, but also to cultivate meaningful connections
with their audiences (García-Perdomo, 2020). García-Avilés (2020) argues that broadcasters must adapt their content to the
logic of each social media, leverage the visual potential of these platforms and complement television programming with
transmedia strategies in a multiplatform environment (Vázquez-Herrero
et al.
, 2021).
e growing demand for multiplatform content has led media companies to design pieces ranging from short videos for
mobile devices (Vázquez, 2015) to mobile-rst or social-only content (Hill and Bradshaw, 2018; Vázquez, 2015). Moreover,
digitalization has produced a new reality in which the “user-reporter”, who generates and shares news via social media, plays an
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increasingly relevant role (Klimeš, 2023). As a result, media outlets have been forced to rethink their identity, by incorporating
interactivity and specialization into the communication process (Jódar-Marín, 2019).
For television, the digital transition has not been easy. Initially, legacy media were reluctant to make their programming
freely available, although they used their websites for brand positioning and content promotion (Chobanyan and Nikolskaya,
2021). In this evolving digital reality (Alberich and Roig, 2005; Fidler, 1998), traditional outlets have turned to cross-media
or 360-degree strategies, combining information and entertainment in innovative formats such as interactive reports and
documentaries (Gifreu, 2013).
is approach expands the expressive possibilities of audiovisual storytelling by oering new avenues for development
grounded in aesthetic and ethical considerations (Jódar-Marín, 2019), including the adoption of storytelling as a communicative
resource (Marcos-García
et al.
, 2021).
Despite this progress, Uth
et al.
(2023) note that the literature still lacks studies examining mutual expectations between
journalists and audiences in digital contexts. is gap is reected in the rise of participatory and reciprocal journalism
approaches that seek to respond to audience preferences and secure the sustainability of the profession. Today, interaction
with the public is essential and constitutes a central element of journalism (Costera Meijer and Groot Kormelink, 2019;
Fincham, 2021; Loosen and Schmidt, 2016; Loosen
et al.
, 2020; Spyridou
et al.
, 2013).
e purpose of this narrative review -grounded in the reexive thematic analysis proposed by Braun and Clarke (2022)- is to
examine how television journalism, particularly news programs, reports, and editorial content, has evolved in the digital age
through the integration of new technologies, narrative strategies, and updated models of news production and distribution.
By exploring the intersection of technology, audiovisual storytelling, and audience behavior –and far from conrming
a denitive farewell to broadcast television– this study aims to ll a gap in the existing literature, by oering a deeper
understanding of innovation in television journalism in the digital era.
In this study, the term traditional television companies refers to channels created before the digital era, characterized by
linear broadcasting models, hierarchical structures, and production routines centered on the broadcast schedule. ese
organizations are currently undergoing processes of digital transformation aimed at integrating online platforms, transmedia
strategies, and hybrid business models (García-Avilés, 2021; Neira
et al.
, 2021; Li
et al.
, 2024; Vulpius
et al.
, 2022).
e following research questions guide this review.
RQ1: What are the predominant research areas, methodologies, and ndings in the literature on the transformation of
journalism in traditional television companies?
RQ2: How do these studies address the use of transmedia strategies and content segmentation as mechanisms to connect
traditional television with new generations of audiences?
RQ3
:
What insights does the literature provide on the role of innovation in the development of new journalistic formats and
business models aimed at fragmented audiences within traditional television companies?
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ese specic questions derive from the overarching research question and explore two complementary dimensions of digital
transformation: transmedia storytelling and organizational innovation.
Despite the abundant literature on the digitization of television and the adoption of multiplatform strategies, few studies
examine in depth how this transformation shapes mutual expectations between journalists and audiences. is gap justies
the objective of this review: to analyze the evolution of television journalism in the digital era through the lenses of technology,
narrative strategies, and business models.
1.1. Evolution of Television Journalism in the Digital Era
Since its emergence in the twentieth century, television established itself as a central medium for news distribution, with
formats such as newscasts and reports shaping the conventions of informative storytelling. According to Schultz (1999), this
dominance persisted until the late twentieth century, when technological advancements began to challenge television’s
position as the primary audiovisual medium. e arrival of the Internet and, later, digital platforms introduced new forms of
competition and pushed traditional media organizations to rethink their production models and routines. is reconguration
involved the fragmentation of narratives and the adoption of more visual and direct styles designed to capture the attention
of increasingly segmented audiences.
e concept of mediamorphosis, introduced by Fidler (1998), is essential for understanding the transformation of news
production. is term describes the evolution of media in response to technological advances and shifting audience behaviors.
Digitalization has reshaped journalistic language by enabling the incorporation of more sophisticated audiovisual elements
and by promoting narrative formats created specically for digital environments. e emergence of short-form videos and
interactive content reects new patterns of media consumption characteristic of social media platforms (Bandrés
et al.
, 2000;
Casado, 2011).
New consumption habits have also transformed the media landscape. Fernández (2001) highlights that audience
fragmentation and the rise of digital platforms have compelled television outlets to diversify their content and adapt to a multi-
screen environment. is adaptation includes the distribution of news as well as the development of engagement strategies
on platforms such as YouTube. García-Perdomo (2020) emphasizes that trust, legitimacy, and community connection have
become central objectives within this new media ecology, guiding the adoption of digital tools.
Television journalism faces a number of challenges in its transition to the digital environment as it must integrate disruptive
technologies while redening its business models and monetization strategies. e shift to digital has also generated tensions
between traditional production practices and emerging market demands, including the need to produce content in real-time
and adapt it to interactive formats.
A remarkable example is the case of news organizations that, according to Weiss and Domingo (2010), quickly adopted digital
technologies for video archiving without a clear understanding of the strategic purpose of this process. is reactive approach
reveals the diculties traditional media encounter when planning their transition within a highly competitive media landscape.
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Despite these challenges, digital migration has also driven innovation in television journalism. e incorporation of
technologies such as augmented reality (AR) and virtual reality (VR) has enabled the creation of immersive experiences that
enrich news storytelling. Additionally, the use of data analytics to personalize content according to audience interests has
become increasingly widespread.
Cases such as e New York Times and the BBC illustrate how traditional media outlets have combined their narrative
strengths with the technological capabilities of the digital environment. ese examples demonstrate that innovation is not
merely a matter of adopting new technologies but an essential resource for the survival of journalistic organizations (García-
Avilés
et al.
, 2018).
1.2. Conceptual Framework
In this study, the development of television in the digital era is understood as a process of organizational, structural, and
narrative transformation driven by shifts in consumption patterns and technological convergence. Within this conceptual
framework, the analytical axes guiding the research are organized into three dimensions: (1) the digital transformation of
television, (2) transmedia tactics applied to television journalism, and (3) transformations in audience dynamics.
From a theoretical and conceptual perspective, digital transformation refers to the reconguration of narrative and production
processes within audiovisual media (Jódar-Marín, 2019). Transmedia strategies, in turn, involve extending narratives
and adapting content across multiple digital platforms. Finally, contemporary audience dynamics demonstrate that users
increasingly interact, participate actively, and become more fragmented.
ese three concepts help explain how conventional television outlets seek to reorganize their production practices and
redene their relationship with audiences within a competitive digital environment.
1.2.1. The Digital Transformation of Television
e digital transformation of television entails a structural and technological reinvention. is shift has been driven by the
integration of digital tools that enable the redesign of business models, content formats, and distribution strategies. Likewise,
this transformation –sustained by technological convergence– facilitates the integration of transmission and storage systems,
paving the way for platforms such as social media, streaming services, and mobile applications. ese innovations optimize
content distribution while fostering interactive and multiplatform experiences aligned with the expectations of digitally
connected audiences (Anastassiou, 1994).
Beyond the technical dimension, television digitalization involves a strategic process in which broadcasters must recongure
their organizational practices and technological infrastructures. e adoption of emerging technologies such as streaming,
cloud computing, and articial intelligence not only enhances operational eciency but also creates value for audiences by
enabling interactive experiences that strengthen engagement with content. In this context, the ability to adapt to and respond
to the demands of a digital market becomes essential for the sustainability of traditional broadcasters (Warner and Wäger,
2019).
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Finally, digital transformation has given rise to hybrid models that combine analog and digital elements. is approach
expands the reach of traditional media –including journalistic outlets– through Over-the-Top (OTT) platforms and social
media, promoting direct interaction with users. In doing so, broadcasters not only respond to increasingly fragmented and
multiplatform consumption patterns but also personalize content, building stronger relationships with their audiences
(Ordóñez
et al.
, 2019; Yüksel, 2022).
1.2.2. Transmedia Strategies in Television Journalism
Transmedia strategies have transformed the way television journalism creates and distributes content. ese practices rely
on narrative expansion, whereby each platform oers a unique perspective that enriches the overarching story. Rather than
replicating content, this approach seeks to complement the main narrative through multiple formats, allowing audiences to
engage with the material in a more comprehensive and participatory manner (Gambarato and Tárcia, 2016).
Such strategies enhance the narrative experience and transform television programs into expansive, interconnected brands.
is model –combining entertainment and marketing-strengthens media brand identity by fostering audience loyalty and
attracting new audiences. Transmedia storytelling enables consumers to become active agents in the circulation of stories,
deepening their connection to the content (Kurtz, 2014).
Telling stories across multiple platforms enables deeper audience engagement and facilitates access to content through
diverse pathways. is approach diversies narrative formats and adapts to the evolving expectations of digital consumers.
Transmedia strategies not only optimize the viewer experience but also extend the reach of media brands, positioning them as
relevant actors in a highly competitive media market (Ivars-Nicolás and Zaragoza-Fuster, 2018).
e integration of technologies such as interactive graphics, maps, and immersive eects is redening how journalists
conceive and distribute content. ese tools attract attention of fragmented audiences and foster new forms of interaction and
consumption within an ever-evolving media environment (Bourdaa, 2014; Kolosova, 2018).
1.2.3. From Passive Audiences to Active Audiences
e digital era has profoundly transformed the concept of the television audience. Whereas audiences were once conceived
as homogeneous and passive masses, they are now viewed as active participants and interpreters of content. is shift has
been driven by technological convergence, which enables viewers to interact with media and contribute to the creation
and circulation of content. us, television ceases to be a one-way medium and becomes a space of dynamic, bidirectional
communication (Draškovi
ć
and Kleut, 2012).
Beyond merely consuming content, today’s audiences reinterpret, recreate, and share material across digital platforms,
establishing peer-to-peer communication models. is phenomenon redenes television consumption by positioning users
as active agents who shape media systems. At the same time, audiences develop strong emotional connections with programs,
extending their relationship with content into their personal and social lives. ese bonds intensify audience participation in
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meaning-making and content circulation, thereby strengthening engagement with media outlets (Livingstone, 2004; Russell
and Puto, 1999).
In a digital environment marked by the fragmentation of devices and screens, consumption practices diversify, adding
complexity to audience analysis. is context requires more exible methodologies capable of capturing interaction dynamics
and understanding how users navigate between analog and digital environments. Likewise, this active role highlights the
importance of studying audiences as key actors in media evolution, and compels content producers to adapt their strategies to
a more dynamic and participatory consumer (Macek, 2020; Simons, 2011).
is study oers an original contribution by systematizing, through reexive thematic analysis, the structural transformations
of television journalism in the post-broadcast era, and by integrating dispersed ndings on innovation, transmedia narratives,
and audience segmentation. Unlike previous studies that focus on isolated cases or primarily technological perspectives, this
review proposes an analytical framework that articulates narrative, organizational, and economic dimensions. It also identies
persistent gaps in the literature –particularly regarding the relationship between journalists and audiences– and provides an
interpretive synthesis that helps explain the reconguration of the contemporary television ecosystem.
e choice of a narrative review is justied because the transformation of television journalism is a complex, heterogeneous,
and rapidly evolving phenomenon that is dicult to capture through systematic designs aimed primarily at measuring
eects. is approach makes it possible to integrate conceptual, empirical, and methodological studies that address diverse
dimensions –narrative, organizational, technological, and economic– and facilitates an interpretive synthesis consistent with
the exploratory nature of the research topic. Consequently, the narrative review emerges as the most suitable method for
articulating an analytical framework that explains the reconguration of television journalism in the post-broadcast era.
2. Methodology
is study is grounded in a narrative literature review, selected as a methodological design that enables the exploration of
complex and evolving phenomena from an interpretive perspective. Unlike systematic reviews –typically focused on measuring
eects or synthesizing quantitative ndings– a narrative review allows the integration of ndings from diverse theoretical and
methodological approaches, thereby oering a deeper understanding of dynamic processes such as the transformation of
television journalism (Greenhalgh
et al.
, 2018).
From an epistemological standpoint, the review is situated within an interpretive–constructivist approach, which assumes
that knowledge is co-constructed and that the researcher plays an active role in interpreting and assigning meaning to the
analyzed texts (Guba and Lincoln, 1994; Braun and Clarke, 2022).
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2.1. Selection and Organization of the Study Corpus
e aim of the review was to identify and analyze recent research on the digital transformation of traditional television media,
with a particular focus on narrative changes, organizational models, and emerging professional dynamics.
e search was conducted between May and December 2024 in the Scopus and Web of Science (WoS) databases. e following
search strings were used:
For Scopus: TITLE-ABS-KEY(television OR TV OR broadcasting OR “television journalism” OR “TV news”) AND TITLE-ABS-
KEY(“digital journalism” OR “online journalism” OR “web journalism” OR “internet journalism” OR “cyber journalism” OR “digital
news”) AND TITLE-ABS-KEY(transition OR transformation OR shift OR migration OR digitalization OR “digital transformation”)
For WoS: TS=((television OR TV OR broadcasting OR “television journalism” OR “TV news”) AND (“digital journalism” OR
“online journalism” OR “web journalism” OR “internet journalism” OR “cyber journalism” OR “digital news”) AND (transition
OR transformation OR shift OR migration OR digitalization OR “digital transformation”))
e inclusion criteria were as follows:
1.
Articles published between 2020 and 2024,
2.
Articles written in English or Spanish,
3.
Articles available in open access,
4.
Articles belonging to the elds of communication, social sciences, or humanities, and
5.
Articles focused on media or journalistic processes developed in the United States, Spain, or Latin America.
e nal corpus consisted of 42 academic articles (Figure 1).
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Figure 1. Flow diagram of the article selection process for the narrative review (adapted from PRISMA)
Records identied in databases
Scopus (n = 7470)
WoS (n = 335)
↓
Inclusion criteria
►
Articles published between 2020 and 2024
►
In English or Spanish
►
Open access
►
In communication, social sciences, or humanities elds
►
Focused on the United States, Spain, or Latin America
↓
Results after applying inclusion criteria
Scopus: 385 documents
WoS: 81 documents
↓
Records excluded for thematic reasons
Studies that did not address
►
Television digitalization
►
Technological convergence
►
Multiplatform transition
►
Interaction with digital audiences
►
Studies outside the selected regions
►
Other unrelated thematic approaches
↓
Number of nal articles included
N = 42 key articles
Note. Elaborated by the author
2.2. Data Management and Initial Familiarization
To manage and conduct a preliminary exploration of the corpus, SciSpace was used. It is an articial intelligence-assisted
platform that extracts structured information from scientic articles. e tool was employed to organize metadata and
summaries, not to perform interpretive analysis, through automatically generated columns (title, brief summary or TL;DR,
results, research gap, conclusions, ndings, future research, literature review, and contributions).
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e analysis followed the six phases proposed by Braun and Clarke (2022), adapted to the context of a narrative literature
review.
(1) Familiarization with the data.
Each of the 42 articles was read manually and in full, complementing and verifying the information obtained from SciSpace.
is process enabled in-depth familiarization with the corpus and the preliminary identication of conceptual patterns.
(2) Generation of initial codes.
Based on this reading, relevant meaning units were identied and the information was systematized in a thematic matrix
developed in Microsoft Excel.
(3) Search for themes.
Within this matrix, the texts were classied into ve categories aligned with the research questions:
1.
Digital transformation
2.
Transmedia strategies
3.
Audience segmentation
4.
Innovation in television
5.
Audiovisual business models
ese categories functioned as an initial and exible organizational framework –as suggested by Braun and Clarke (2022)–
facilitating the grouping of codes and the organization of the data.
(4) Review of themes.
e internal coherence of each theme and its relationship to the research questions were examined, and the categories
were adjusted according to the density and convergence of the ndings.
(5) Denition and naming of themes.
e analytical boundaries of each theme were rened and descriptive names were assigned to reect their conceptual
essence.
(6) Production of the report.
Finally, the ndings were integrated around the overarching theme and the derived subthemes in order to address the
research questions and provide a reective understanding of the transformation of television journalism in post-broadcast
contexts.
is study did not require ethical approval, as it relied exclusively on published literature. e research adhered to principles
of rigor and transparency while respecting authorship. Methodological transparency is considered a fundamental ethical
component in the synthesis of interpretive knowledge, as emphasized by Braun and Clarke (2022).
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2.3. Reexive ematic Analysis and Analytical Approach
Within this framework, a hybrid reexive thematic analysis was applied, data-driven yet theoretically informed. is approach
is widely used in literature reviews that acknowledge that themes do not “emerge” neutrally but are constructed through the
interaction between the data, the conceptual framework, and the researcher’s interpretive decisions (Braun and Clarke, 2019,
2022; Ozanne
et al.
, 2024; Sha and Mallinson, 2021).
e analysis was conducted from the researcher’s situated perspective as a journalist and university professor specializing in
audiovisual media, which informed the reading and appraisal of the evidence. is positionality –explicitly acknowledged in a
reexive manner and recognized as enriching the interpretation of ndings (Braun and Clarke, 2022)– guided the identication
of relevant themes and the critical articulation of results concerning the dynamics of change within the television ecosystem.
2.4. Interpretive Synthesis
e analysis focused on the semantic level of meaning –that is, on the explicit meanings presented in the ndings of the
reviewed authors– while incorporating moments of latent interpretation when necessary to contextualize the results within
broader processes of structural transformation in television journalism.
e analytical process led to the identication of ve central themes explaining the transformation of television journalism
in digital environments. Among them, one assumed an overarching role –
From Broadcast to the Multiplatform Ecosystem
–
which synthesizes the structural shift identied in the literature. is overarching theme integrates and provides coherence to
four interrelated subthemes:
Monetization Strategies in the Digital Audiovisual Ecosystem
,
Digital Logics of the Contemporary
Journalism
,
Construction of Transmedia Narratives
, and
Audience Segmentation in Audiovisual Media
.
e conguration of these themes resulted from an iterative process of comparison, renement, and synthesis, in which
conceptual and empirical relationships among the ndings of the dierent articles were examined. In line with the reexive
approach proposed by Braun and Clarke (2022), the hierarchy between the overarching theme and the subthemes does not
operate as a rigid structure: rather, it reects a exible interpretive process that embraces the interdependence of meanings
and the constructive nature of thematic analysis.
3. Results
Across the literature examined, the thematic analysis identied one overarching theme and four subthemes explaining
the transformation of contemporary television journalism. e overarching theme –
From Broadcast to the Multiplatform
Ecosystem
– extends beyond technological change: it reects a structural reconguration of the television medium capable of
integrating the technological, narrative, organizational, and economic dimensions identied in recent studies (2020–2024).
Surrounding this central theme are the subthemes on digital monetization, the logics of contemporary journalism, transmedia
narratives, and audiovisual audience segmentation, each addressing dierent layers of this transition.
e ve categories derived from the research questions appeared with varying degrees of strength across the corpus. Digital
transformation (41/42) and audience segmentation (40/42) were by far the most frequent, followed by audiovisual business
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models (33/42). Transmedia strategies (24/42) and television innovation (21/42) showed a more moderate presence. Taken
together, this panorama indicates that recent literature combines structural perspectives with narrative and economic
approaches to explain how television journalism is being recongured in the digital era.
e shift from the broadcast model to the multiplatform ecosystem summarizes a paradigmatic change in communication:
television ceases to function as a one-directional channel and becomes a participatory, distributed, and data-driven
environment. is overarching theme operates as an interpretive framework explaining how audiovisual media redene their
production processes, storytelling practices, and relationships with audiences in an interconnected and continuously evolving
ecosystem.
3.1. e Overarching eme: From Broadcast to the Multiplatform Ecosystem
Considered the core of the transformation process, the overarching theme integrates the technological, narrative, and
organizational changes identied across the literature. More than a technical transition, it represents a cultural and professional
shift in how television produces meaning and maintains its relevance within an expanding digital ecosystem.
is transition, which entails a structural transformation of television journalism (Figure 2), has compelled media organizations
to reconsider not only how they produce content but also how they distribute it and measure its impact. e logic of the linear
schedule has become insucient in an environment where audiences no longer wait passively but actively choose when, how,
and on which platform to consume information (García-Avilés, 2021).
is new scenario has prompted a redenition of what “informative” means and of the criteria used to assess content
performance. Traditional ratings have lost prominence compared with metrics such as retention, interaction, and multiplatform
conversion, metrics inherent to digital logic and on-demand consumption (Neira
et al.
, 2021). It is not merely a matter of being
present in digital spaces but of responding with narrative, visual, and technological strategies adapted to a digitally native
logic. In this context, television outlets that have embraced hybridity –integrating content created specically for platforms
such as YouTube, Instagram, or Twitch– appear to understand that storytelling is no longer linear or anchored to a single
screen (Li
et al.
, 2024).
e creation of innovation laboratories within television networks not only signals a willingness to adapt but also reects a
recognition that the classic model has reached its limits. ese spaces function as incubators for new narratives and formats,
demonstrating an openness within audiovisual journalism to experimentation with emerging technologies. By incorporating
articial intelligence or virtual reality not as ornamental elements but as narrative languages in their own right, broadcasters
open the possibility of reconguring the viewer’s experience (Nunes and Mills, 2021). In this framework, television is no longer
dened by the device through which it is transmitted but by its capacity to generate immersive, relevant, and personalized
experiences.
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Figure 2. Conceptual Map of the Multiplatform Ecosystem in Audiovisual Journalism
Figure 2
Conceptual Map of the Multiplatform Ecosystem in Audiovisual Journalism
Contemporary television innovation cannot be understood solely as the adoption of
emerging technologies; rather, it represents a more complex process of structural
adaptation to changes in consumption, the multiplication of platforms, and the
transformatio
n of business models.
On one hand, cases such as Chinese state television reveal how technologies like virtual
reality are used not only for immersive purposes but also as institutional tools to reinforce
official narratives and strategically evoke emotional responses among audiences (Zhou,
2024). At the other end of the spectrum, figures such as Ibai Llanos illustrate that it is no
longer necessary to belong to a traditional channel to generate massive impact: live
production on Twitch and other platforms has inaugurated a new logic of influence, a
parallel form of television operating with different codes and hierarchies (Olivares
-
García
and
Majuelos, 2024).
This tension between the institutional and the emergent has also raised the standard for
audiovisual content. Digital newsrooms, forced to compete directly with native digital
creators, have had to professionalize their languages and formats. What was once
exclusive to television
-
high visual quality, polished staging, narrative editing
-
has now
become the minimum expectation of the online environment (García
-
Orosa et al., 2020).
In response, traditional broadcasters have adopted convergence strategies: they relocate
Note. Elaborated by the author
Contemporary television innovation cannot be understood solely as the adoption of emerging technologies; rather, it represents
a more complex process of structural adaptation to changes in consumption patterns, the multiplication of platforms, and the
transformation of business models.
On the one hand, cases such as Chinese state-run television reveal how technologies like virtual reality are used not only for
immersive purposes but also as institutional tools to reinforce ocial narratives and strategically evoke emotional responses
among audiences (Zhou, 2024). At the other end of the spectrum, gures such as Ibai Llanos illustrate that it is no longer
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necessary to belong to a traditional channel to generate massive impact: live production on Twitch and other platforms has
inaugurated a new logic of inuence, a parallel form of television operating with dierent codes and hierarchies (Olivares-
García and Majuelos, 2024).
is tension between the institutional and the emergent has also raised the standards of audiovisual content. Digital
newsrooms, compelled to compete directly with native digital creators, have had to professionalize their languages and
formats. What was once exclusive to television –high visual quality, polished staging, narrative editing– has now become
the minimum expectation in the online environment (García-Orosa
et al.
, 2020). In response, traditional broadcasters have
adopted convergence strategies: they relocate their products to platforms such as YouTube, OTT services, or even TikTok in an
attempt to regain the attention of audiences who no longer recognize boundaries between media, screens, or genres (Tejedor
et al.
, 2022; Vázquez-Herrero
et al.
, 2023).
Parallel to this, a less visible yet deeply disruptive dimension of innovation has expanded: distribution. Formats such as
news dissemination through instant messaging challenge the logic of programmed broadcasting, opening new routes for
the circulation of audiovisual content and further decentralizing control over the ow of information (Boczek and Koppers,
2019). Added to this is the rise of mobile journalists (MoJo), whose practices –rooted in portability, brevity, and versatility–
have reshaped narrative structures, making them more fragmentary, direct, and better adapted to the digital environment
(Salzmann
et al.
, 2020; Silva-Rodríguez
et al.
, 2022).
What is emerging, then, is not simply a television industry that “modernizes,” but a hybrid process in which the digital, the
narrative, and the organizational converge to redene the foundations of audiovisual production and distribution. It is a
metamorphosis in progress, in which innovation is not a technical goal but a condition of survival in an ecosystem that no
longer distinguishes between television and the network.
3.2. Monetization Strategies in the Digital Audiovisual Ecosystem
e economic sustainability of audiovisual media has become one of the most critical dimensions of the digital ecosystem. It
is no longer enough to produce high-quality content; such content must also be protable, scalable, and adaptable to multiple
monetization pathways. In this context, the transformation of business models responds not only to a logic of survival but also
to the need to preserve editorial autonomy in an environment dominated by technological intermediaries.
One of the most visible challenges is the shift from free access to sustainable payment schemes. Models such as SVOD
(subscription), AVOD (advertising), and TVOD (transactional/video on demand) allow for diversied revenue streams in
response to the decline of linear television (Neira
et al.
, 2021). Initiatives such as Playz or Mtmad reect this reconversion,
oering products designed for young, digitally native audiences that require distinct formats and consumption rhythms (Li
et al.
, 2025). However, this shift does not guarantee success: the absence of a replicable and generalizable revenue model
remains one of the main limitations facing audiovisual media (González-Neira
et al.
, 2021).
In this landscape, hybrid monetization forms are also emerging that transcend strictly televisual environments. Podcasts, for
example, have opened fertile ground for premium subscriptions, sponsorships, and branded content, generating sustainable
income without undermining the user experience (Martínez-Costa
et al.
, 2022). Meanwhile, mobile journalists have created
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agile models based on sponsored content, native advertising, and micropayments, particularly eective in mobile environments
where brevity and immediacy are key (Salzmann
et al.
, 2020; Silva-Rodríguez
et al.
, 2022).
Even platforms that do not allow direct monetization, such as WhatsApp, have been strategically integrated as channels for
audience loyalty and redirection toward protable products, demonstrating that trac can be as valuable as direct revenue
(Boczek and Koppers, 2019). Added to this are broader experiments combining commercial income, capital injections,
membership programs, and personalized services, patterns documented by Young and Hermida (2024) in their analysis of
the increasingly complex nancial landscape of media. is diversication, however, introduces structural risks: platform
dependency can compromise both editorial sustainability and informational autonomy.
But beyond specic strategies, what is at stake is the ability to generate value in an ecosystem dominated by actors such as
Google and Facebook. ese intermediaries have captured a signicant share of the economic value generated by content,
forcing media organizations into continual experimentation to avoid falling behind (Peña-Fernández
et al.
, 2024).
In this scenario of uncertainty, credibility emerges as a strategic asset. Amid information overload, traditional media, including
television networks, retain a competitive advantage in moments of crisis, when institutional trajectory and broad reach still
foster trust (Vulpius
et al.
, 2022). However, credibility must be accompanied by innovation. e incorporation of technologies
such as articial intelligence, process automation, and the development of new digital narratives is no longer optional; it has
become a prerequisite for competing in a saturated, fast-paced, and fragmented market (Pallares and Serrano, 2022; Pérez-
Curiel
et al.
, 2021; Pinto and Barbosa, 2024).
us, business models in audiovisual journalism are undergoing a phase of reinvention marked by constant experimentation,
technological integration, and the pursuit of sustainability in a landscape where the rules of the game are still evolving.
3.3. Digital Logics of the Contemporary Journalism
e digital transformation of journalism is no longer a matter of simple technological updating; rather, it represents a profound
reconguration of the sector’s editorial, narrative, and organizational logics. is shift aects both digital-native outlets and
traditional media –including television– which have been compelled to redene their identities, structures, and routines to
avoid losing relevance in an environment characterized by fragmentation, personalization, and immediacy.
In the specic case of television newscasts, this transformation is expressed through the integration of interactive elements,
narratives designed with a multiplatform logic, and digital metrics that allow for a more precise understanding of audience
behavior. Tools such as CRM systems and data analytics are no longer exclusive to marketing: they have been appropriated by
newsrooms to optimize user relationships, anticipate trends, and adapt content to consumption habits in real time (O’Brien
and Kunz, 2024). Even the use of predictive models based on articial intelligence is reshaping editorial decisions –such as
scheduling or content segmentation– by enabling outlets to anticipate phenomena such as subscriber churn (Olsen, 2021).
ese changes extend beyond the technologies adopted; they require a complete reorganization of workows, hierarchies, and
professional roles within newsrooms. e digital environment does not tolerate rigid structures or slow responses; it demands
agility, exibility, and continuous learning (Boczek and Koppers, 2019). is new context has given rise to mobile, decentralized,
and multifunctional newsrooms, where mobile journalists (MoJo) embody a new type of audiovisual professional capable of
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producing, editing, and distributing content directly from the eld using minimal equipment (Salzmann
et al.
, 2020; Silva-
Rodríguez
et al.
, 2022).
Likewise, narrative design has had to adapt to a transversal logic: a single piece is no longer produced solely for television, but
multiple versions of the same content are created, each optimized for dierent platforms. is distribution logic –encompassing
live broadcasts, vertical clips, podcasts, and web articles– responds not only to a reach strategy but also to a new understanding
of contemporary information consumption (Martínez-Costa
et al.
, 2022).
3.4. Construction of Transmedia Narratives
Transmedia strategies have become a key component of journalism’s digital transformation, enabling not only broader
coverage and content expansion but also a profound reconguration of journalistic storytelling. Rather than distributing the
same message across dierent platforms, the transmedia approach involves constructing articulated informational universes
in which each medium contributes a unique dimension to the narrative. In this context, television, far from remaining an
autonomous medium, has begun to adopt digital ecosystem logics to extend its presence beyond linear broadcasting.
One of the central factors in this transition is the segmentation and personalization of narratives. By identifying patterns of
predictive behavior, media organizations can design more relevant informational pathways for each user type, determining
not only what content to oer but also where and how to present it (O’Brien and Kunz, 2024). is approach allows platforms
such as WhatsApp to function as integrative nodes where text, images, video, and links converge into coherent narrative ows
that move seamlessly between private and public spaces, strengthening audience engagement (Boczek and Koppers, 2019).
Transmedia storytelling also demands more agile and versatile newsrooms. Mobile journalists (MoJo) and digital teams no
longer think in terms of single pieces but in sequences and narrative extensions that unfold across video, text, and social
networks, generating intentional continuity that enhances the user experience (Salzmann
et al.
, 2020; Silva-Rodríguez
et al.
,
2022). In television, this logic has begun to permeate newscasts, which now oer extended versions of their reports on social
media or exclusive content on OTT platforms, designed to reinforce brand presence and attract new audiences.
is multi-format design responds not only to reach strategies but also to a more sophisticated conception of the media
ecosystem, in which each platform fullls a complementary narrative function. In this sense, podcasts are no longer conceived
as isolated products but as articulated components within a larger transmedia framework that includes websites, newsletters,
social media, and audiovisual pieces (Martínez-Costa
et al.
, 2022). is integration supports both editorial coherence and
audience loyalty.
Moreover, the use of innovative formats such as news games opens new possibilities for engaging users not only as receivers but
also as active participants in meaning-making. By integrating game mechanics into journalistic narratives, these approaches
stimulate exploration, empathy, and critical reection on reported events (García-Avilés, 2021). Nonetheless, the use of
transmedia strategies has not yet reached its full potential: most outlets exploit only a fragment of the narrative possibilities
oered by digital channels, often limiting themselves to supercial content replication (Vázquez-Herrero
et al.
, 2023).
On the other hand, radio has also found in transmedia approaches a means to revitalize its reach. Podcasts, functioning as
narrative nodes that connect with social media, websites, and video platforms, enable diversied listening experiences and
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transform radio content into expanded storytelling formats (Barrios-Rubio and Espitia, 2023). us, the transmedia strategy not
only amplies the reach of journalistic messages but also redenes how an informative story is constructed and experienced.
3.5. Audience Segmentation in Audiovisual Media
Audience segmentation has become one of the strategic pillars of media adaptation to the digital ecosystem. In an environment
where the supply of information is overabundant and public attention increasingly eeting, the ability to identify behaviors,
anticipate decisions, and personalize content has become essential. is logic has also begun to permeate television
–particularly its on-demand formats– where the use of advanced analytics makes it possible to oer content tailored to specic
interests and predictive behaviors (Boczek and Koppers, 2019).
What is most signicant in this process is that segmentation is no longer based solely on traditional demographic variables
–such as age, gender, or socioeconomic status– but now incorporates more complex criteria such as cultural contexts, personal
motivations, and digital navigation habits. Mobile platforms and social media enable dynamic segmentation, in which content
is adjusted in real time according to the user prole. In this context, mobile journalists play a key role by adapting narratives
that consider both local cultural codes and the expectations of a globalized audience (Salzmann
et al.
, 2020; Silva-Rodríguez
et al.
, 2022).
is approach has also found fertile ground in podcasts, which connect with specic audiences through dierentiated
thematic proposals. Far from being a marginal product, podcasts have become a central component of loyalty strategies for
both traditional and digital media. Digital radio, for example, has leveraged this format to regain the attention of young and
specialized audiences (Barrios-Rubio and Espitia, 2023; Martínez-Costa
et al.
, 2022), while television networks increasingly
incorporate podcasts as complementary content or brand extensions.
e key across all these processes lies in the ability to understand users in depth. e implementation of predictive models that
identify churn risks or changes in consumption patterns enables platforms and media organizations to adjust their oerings
almost immediately, thereby retaining attention and prolonging engagement (Olsen, 2021; Suenzo
et al.
, 2020). Segmentation,
in this sense, is no longer merely a marketing technique but has become an editorial strategy that shapes the way content is
designed and distributed.
Beyond acquisition, the major challenge is to generate sustained value. Understanding not only who audiences are but also
how they think, what motivates them, and in what contexts they consume content allows media organizations –including
television– to build more relevant and personalized experiences (Neira
et al.
, 2021; Peña-Fernández
et al.
, 2024). is shift
requires rethinking the relationship with the public: moving from a mass, passive audience to a network of active, diverse, and
demanding communities that expect customized content.
us, the transition from the broadcast model to a multiplatform ecosystem has not only altered distribution technologies
and impact metrics; it has transformed the very logic of production and consumption. Television, far from disappearing, is
reinventing itself as a hybrid actor that incorporates digital formats, transmedia content, and advanced segmentation strategies
to sustain its relevance in an increasingly competitive and fragmented landscape.
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4. Discussion
Television –including television journalism– can no longer rely on the models that made it dominant in the twentieth century
(García-Avilés, 2021; Neira
et al.
, 2021; Vulpius
et al.
, 2022) within a media landscape characterized by audience fragmentation,
information overload, and the proliferation of digital platforms. As noted by Tejedor
et al.
(2022) and Vázquez-Herrero
et al.
(2023), these transformations have created a context, in which the logics of production, distribution, and consumption are
continually redened due to technological convergence and platform-driven dynamics.
e ndings discussed here indicate that television is no longer the center of the information ecosystem; rather, it is embedded
(and at times diluted) within a multiplatform structure governed by immediacy and participation. is discussion examines
these changes through the conceptual frameworks reviewed, highlighting the tensions between digital experimentation and
professional legacy, as well as the strategies that media organizations employ to maintain relevance and sustainability in a
hypercompetitive environment.
4.1. Television does not disappear; it mutates into a hybrid, participatory, and data-driven ecosystem
Far from fading in the digital ecosystem, television is undergoing a profound structural, narrative, and organizational
metamorphosis. As anticipated by the conceptual framework, this transformation cannot be reduced to a mere technological
update; rather, it responds to the pressing need to adapt to a competitive, fragmented, and dynamic media environment.
e transition from the broadcast model to a multiplatform ecosystem is not simply a technical evolution; it constitutes a
paradigmatic rupture in how audiovisual content is produced, distributed, and consumed.
As early as Anastassiou (1994) noted, television digitalization implied an opening toward new forms of interoperability and
access. However, the current results show that this process has intensied: it is no longer enough to be present on digital
platforms, newsrooms must fully recongure their narrative strategies, workows, and business models. In this regard, hybrid
production practices that experiment with new forms of multiplatform distribution, along with the creation of innovation
labs to train AI models, explore immersive formats, and design interactive experiences, reveal a willingness for structural
reinvention. is aligns with the proposals of Warner and Wäger (2019), who emphasize organizational transformation as a
key pillar for sustainability. A similar logic is evident in media organizations that have integrated AI or virtual reality as native
narrative languages rather than as mere technical tools (Nunes and Mills, 2021).
4.2.Real-time Personalization is the New Grammar of Digital Television
Audience behavior, conceptualized in the framework as a shift from passivity to active agency (Draškovi
ć
and Kleut, 2012;
Livingstone, 2004), is also conrmed by the ndings: viewers no longer consume content linearly, but instead select, interact
with, and redistribute content across multiple platforms. Fragmentation and personalization of audiovisual experiences have
become the standard. As a result, television is compelled to engage with emerging cultural codes, developing sophisticated
segmentation strategies that go beyond traditional demographic criteria to incorporate behavioral and contextual dimensions
(Boczek and Koppers, 2019).
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is logic is intensied in mobile environments, where journalists such as MoJo practitioners operate with high exibility to
produce content adapted both to on-the-ground conditions and to globalized digital audiences (Salzmann
et al.
, 2020; Silva-
Rodríguez
et al.
, 2022). OTT platforms and social media now enable personalized and predictive distribution, strengthening
user engagement and adjusting content to consumption habits in real time (Olsen, 2021).
Within this process, transmedia strategies take on a central role. Transmedia storytelling constitutes an expansive narrative
logic that articulates multiple versions of a story according to the language and expectations of each platform (Gambarato
and Tárcia, 2016). e results demonstrate that this logic is already integrated into many newsrooms, where teams do not
think in terms of isolated pieces but rather in multiformat narrative sequences that enhance user immersion, interaction,
and loyalty (Martínez-Costa
et al.
, 2022). is narrative articulation responds not only to a production logic but also to a
transformation in audience behavior: active, connected, and demanding users who expect content designed specically for
each digital environment.
us, transmedia strategies not only extend the narrative but also build stronger and more meaningful connections with
audiences. However, most media organizations still exploit only a fraction of the narrative potential of this approach, often
limiting themselves to supercial content replication without fully considering the expectations, habits, and cultural codes of
their audiences on each platform.
4.3. e Journalism at Survives Leaves Its Comfort Zone, Reinvents Its Revenue Streams, and Confronts
Technological Disruption
Transmedia narratives –understood not merely as the expansion of stories across multiple platforms, but as strategies
for creating immersive and participatory experiences– remain more a promise than a fully established practice in many
newsrooms. Although their potential to engage fragmented audiences and foster user loyalty is widely acknowledged, these
strategies often result in mere content replication across channels, without narrative adaptation that responds to the logic of
each platform. is limitation constrains their capacity to generate distinctive informational and economic value.
A key point emerges here: transmedia narratives not only enable connections with diverse audiences but also create
opportunities to explore new journalistic genres and hybrid formats that better align with digital habits. From interactive
narrative podcasts to real-time mobile coverage tailored for TikTok or Instagram Stories, the expansion of news content into
new formats can serve as a bridge between editorial relevance and economic sustainability.
Another crucial aspect is the economic dimension. As highlighted in the results, sustainability can no longer rely solely on
traditional advertising revenue. Hybrid models –combining subscriptions, branded content, memberships, micropayments,
and indirect monetization– represent a pragmatic response to an environment in which intermediaries such as Google and
Facebook capture a signicant share of the value generated.
In this scenario, media credibility –still a distinguishing feature of traditional broadcasters during times of crisis– remains a
dierential asset. However, on its own, it is insucient; it must be complemented by genuine innovative capacity to compete in
an oversaturated, fast-moving market (Vulpius
et al.
, 2022). Automation, articial intelligence, and multiplatform production
are no longer competitive advantages; they have become baseline requirements for survival.
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e economic dimension is among the most critical aspects of the digital audiovisual ecosystem. As highlighted in the results,
sustainability can no longer depend solely on traditional advertising revenues. Hybrid models –combining subscriptions,
branded content, memberships, micropayments, and indirect monetization– have become essential strategies in an
environment where intermediaries such as Google and Meta capture a signicant share of the value generated by media
organizations.
e ndings of this study conrm that the digital transformation of television is a multifaceted process in which technological
reconguration, narrative reformulation, institutional reorganization, and audience redenition converge. e digital
environment is no longer merely a complementary space; it has become the primary arena, in which attention, relevance,
and sustainability are contested. Broadcasters that have achieved meaningful integration –beyond a mere presence on social
platforms– are those that recognize innovation not as optional, but as a fundamental condition for survival.
Contemporary television is dened not by the device through which it is delivered, but by its capacity to create relevant,
personalized, and transmedia experiences. It is a hybrid, expansive, and adaptive medium. Its future will depend on the
industry’s ability to experiment, segment audiences, diversify revenue streams, and continually recongure its relationship
with viewers within a constantly evolving ecosystem.
5. Conclusions
e review demonstrates that television journalism is undergoing a structural transformation characterized by technological
convergence, transmedia expansion, and the reconguration of audience dynamics. e ndings suggest that traditional
television companies have become hybrid actors integrating legacy practices with narrative, organizational, and production
innovations to navigate a fragmented media ecosystem governed by platform logics. Television news has shifted into a domain
where experimentation and continuous adaptation are essential for sustainability.
e primary theoretical contribution of this study is an analytical framework that integrates narrative, organizational, and
economic dimensions to understand how television journalism is being recongured in the post-broadcast era. is approach
enables conceptualizing television as a dynamic ecosystem in which transmedia strategies, innovations in production
routines, and new forms of audience participation intersect. By bringing together ndings that are often studied separately, the
framework provides a conceptual foundation to guide future research on the relationship between journalists and audiences
in digital environments.
5.1. Limitations of the Study
is narrative review examines research and cases involving traditional television channels undergoing digital transformation,
primarily within national contexts in the Americas and Europe. is approach allows for the identication of structural patterns
in established media organizations but excludes local or regional experiences that may exhibit distinct dynamics of innovation
and adaptation. is limitation reects the focus on large-scale models, although future research could explore more situated
cases.
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Another limitation arises from the narrowing of the study’s focus: although the relevance of streaming platforms and social
media is acknowledged, the analysis concentrates on the internal digitalization of traditional television media. is approach
aims to understand how their business models and narratives evolve from an institutional logic that continues to exert
inuence on many countries.
It is also acknowledged that the rapid pace of technological change –particularly in articial intelligence, automation, and
emerging platforms– may render certain ndings obsolete. To mitigate this risk, the study emphasizes structural trends rather
than short-term phenomena.
Although most sources originate from Europe and North America, the ndings remain relevant for understanding challenges
present in Latin America. In the region, many of the tensions identied –such as organizational fragmentation, narrative lag,
and the pressing need to diversify revenue– are similarly evident. While no Latin American cases were included, the results can
inform future research on digital transformation in local media ecosystems, particularly in countries such as Peru.
5.2. Future Lines of Research
Several lines of inquiry are proposed to expand and deepen the study of digital transformation in traditional television.
First, it is essential to incorporate cases from regional or local channels in Latin America. eir organizational dynamics,
community, and economic conditions provide a valuable contrast with national broadcasters. Although these outlets
often operate with limited resources, their close proximity to audiences creates opportunities for innovation that warrant
examination from a situated perspective.
Second, further research should investigate the relationship between television and streaming platforms, not only in terms
of competition for audience attention but also with respect to narrative hybridization, cross-distribution, and convergence in
business models. is line of inquiry would illuminate how traditional media adopt or reinterpret streaming logics within their
editorial and commercial strategies.
A third line of research focuses on the application of articial intelligence in audiovisual newsrooms, ranging from task
automation to the creation of personalized content. It is essential to examine the internal tensions, resistances, and negotiations
that emerge during the adoption of new languages, formats, and technological tools. Investigating these processes contributes
to a deeper understanding of how professional culture is reshaped in contexts of rapid transformation.
Finally, further examination of the role of active audiences in reshaping the television ecosystem is recommended. Analyzing
how users comment on, share, transform, or co-create digital content with media organizations would allow for a more precise
mapping of the new cycles of narrative circulation in distributed, algorithmic, and participatory environments.
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6. Bibliographic References
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