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El propósito de este artículo es estudiar los mecanismos empleados por los creadores de contenido de YouTube para segmentar sus discursos en apartados y párrafos. Estos mensajes presentan la particularidad de ser, por un lado, orales, por lo que no se observan en ellos los mecanismos gráficos de segmentación de los textos escritos. Al mismo tiempo, el intercambio es asincrónico, lo que conlleva una mayor planificación que en las conversaciones informales. A partir del análisis de cuatro vídeos de divulgación científica publicados por cuatro youtubers españoles, comprobamos que la combinación de los criterios temático, de sintaxis discursiva, interactivo y multimodal resulta de gran utilidad para proponer una segmentación de estos discursos en apartados y párrafos. Todo ello muestra cómo los creadores de contenido explotan las posibilidades del medio digital para estructurar informativamente sus mensajes con el fin de ajustarlos a su intención comunicativa.

Esta investigación analiza las pautas de comunicación visual de los vídeos publicados, en castellano, por niños y adolescentes youtubers. Se ha estudiado el contenido de 300 vídeos de hasta 15 minutos de youtubers de entre 11 y 17 años con más de 1 millón de seguidores, lo que les convierte en macro influencers. El estudio confirma que el empleo de los recursos audiovisuales y la escena que se muestra mediante la combinación de encuadres y ángulos de la toma configura el estilo de los canales, si bien los youtubers alternan en sus canales otras producciones que se alejan de su fórmula habitual. También, se ha observado diferencias de género, aunque no por edad. En definitiva, nos situamos ante un elaborado proceso de edición con el propósito de realizar una producción audiovisual dinámica con vistas a agradar al público destinatario.

Historically, the public space was almost dominated by males to the detriment of females. However, with the emergence of the new information and communication technologies, the virtual world presents itself as a privileged space for women to explore this technology, as a place of free expression and fulfillment, of which “my daily routine” is an example. [ABSTRACT FROM AUTHOR]

This study addresses the question of the legal status that could be devoted in the future for a new generation of journalists, "the Youtubers". However, given the lack of clarity in their journalistic quality caused by the explicit legal vacuum, whether in the context of media and communication law or in the context of labor law, and given the lack of visible clarity on their position of responsibility either in civil law or in internet regulation law, we suggest rethinking about the professional experience constraint imposed on the practice of journalism on the internet. Then, it is also necessary to specify who bears the responsibility in the event of an occurrence, taking into consideration that this responsibility involves many complexes. A responsibility of "Youtubers" has become common or distinct in accordance with what the law or courts decide, , while other controversies still remain under discussion.

This study addresses the question of the legal status that could be devoted in the future for a new generation of journalists, "the Youtubers". However, given the lack of clarity in their journalistic quality caused by the explicit legal vacuum, whether in the context of media and communication law or in the context of labor law, and given the lack of visible clarity on their position of responsibility either in civil law or in internet regulation law, we suggest rethinking about the professional experience constraint imposed on the practice of journalism on the internet. Then, it is also necessary to specify who bears the responsibility in the event of an occurrence, taking into consideration that this responsibility involves many complexes. A responsibility of "Youtubers" has become common or distinct in accordance with what the law or courts decide, , while other controversies still remain under discussion.

Attested since 1970 in the sociology of communication studies, the influencer has been brought back into the spotlight following the advent of digital marketing and social media such as YouTube, Instagram, Facebook, etc. The purpose of this study is to observe the authority in the genre of “unboxing” among young Web influencers, which involves the unpacking and presentation of products purchased or received free of charge by the manufacturer for promotional purposes. The bilingual French / Italian corpus is made up of a few dozen video transcriptions hosted on YouTube, aimed at the presentation of games for children. Based on the knowledge of psychosociology of communication, as well as on classical rhetorical studies and political philosophy, my hypothesis is that baby influencers’ rhetorical enterprise relies on three forms of authority: of the parrèsiaste, metalinguistics and loyalty, which correspond to the same amount of enunciative roles in the practice of unboxing: the child, the adult and the community of interest constituted essentially by the young audience of the channel.

The present study aims to identify possible indicators of precariousness in the work organisation of the occupation of the Brazilian Youtuber. The development of this study was based on problematic work in cultural domains. The research focus is essentially qualitative, with an exploratory and descriptive character. The data used in this research is primary, collected by 17 semi-structured interviews carried out via Skype between August and October 2017 with Brazilian Youtubers that produce game and cinema content. Data analysis was performed using the content analysis technique (CET). Based on the results, it was possible, in view of the reduction of the time dedicated and demanded in the production of content, to identify possible signs of precariousness the occupation of Brazilian Youtubers, such as low financial gains, the impossibility of creating productive relationships, as well as the often overwhelming amount of work and lack of leisure time.

Entre as mudanças ocorridas nos modos de influência, constam os novos formatos possibilitados pelas redes digitais. O YouTube, por meio das “suas” celebridades, é uma dessas redes. As suas formas de influência mesclam esquemas antigos com sistemas sociotécnicos novos. Para perceber essas dinâmicas de influência, selecionamos três youtubers. De modo qualitativo, e a partir da teoria dos arquétipos, estudamos a presença de arquétipos nas estratégias de influência e o modo como estes são utilizados nos títulos, na construção, na legitimação e na manipulação de conteúdos. A criação de figuras e elementos comuns (brincadeira, raiva, violência, vingança, sombra, mãe ou Deus) entre produtor e consumidor é uma das estratégias mais comuns para “capturar” a atenção dos seguidores.

La televisión pública autonómica se enfrenta en los últimos tiempos a retos que comprometen su sostenibilidad y el sentido propio de su existencia como garante de servicio público de información y entretenimiento. La aparición de nuevos modelos comunicativos, como consecuencia de la implantación de nuevas plataformas audiovisuales, exigen una revisión de los objetivos y estrategias de los entes públicos autonómicos de radiodifusión, más a allá de los viejos debates sobre el principio de competencia o complementariedad que debe regir sus relaciones con la televisión privada. Esta investigación se centra en las consecuencias de su propia evolución y en el análisis de sus perspectivas futuras, sin atender a su posición competitiva frente a terceros sino con la intención de arrojar luz al proceso de creación de la nueva identidad que le exige el nuevo escenario comunicacional.

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