Although many cases of the so-called Cancel Culture in the American and British colleges and are taking place nowadays, social science researchers claim for a better understanding of the phenomenon and a clarification of the concept. In this context, cultural perspectives can be an interesting tool to illuminate facts and meanings. This paper tries to contribute to this debate introducing theoretical aspects as well as case studies from the Hispanic context. To achieve this goal, first three different approaches to the Cancel Culture (critical, institutional, and moral) are explained. Then, we examine the role of social media and the new fear of isolation, connecting Cancel Culture with the classic theory of the spiral of silence (Noelle-Neumann, 1974). We complement the theoretical discussion with an exploratory work on cases of Cancel Culture in different Hispanic countries. Observing characteristics of those cases we can conclude that they do not follow the traces of the Anglosaxon world, but they share some aspects of the culture of fear in the new digital context. This is the first academic work in this field for the situation in Latin America and Spain.

One of the EU's founding premises was the establishment of the internal market, in which the free movement of goods, persons, services and capital is ensured. However, in the present online era, the internal market remains far from frictionless. To address this failure, the EU launched the Digital Market Strategy in 2015. One component of this strategy is the removal of barriers for the flow of online content across borders. This article highlights the fact that free movement of audiovisual online content is of paramount importance for European end users, and an important component for the free movement of persons in the EU. Free movement of audiovisual content would enable Europeans who have migrated to another European country to access content from their home country. In addition, the free flow of audiovisual online content would serve the interests of various language minorities. Serving the end users of audiovisual content in this manner would be in line with important objectives of the EU, such as the protection of European cultural diversity and the public sphere. This article notes that when the EU has regulated digital audiovisual markets, the emphasis has been on the protection of copyright-related interests. This has meant that other stakeholder interests linked to cultural diversity and non-discrimination have been undervalued and played only a limited role. The article posits that, with regard to audiovisual content, more weight than before should be given to the free movement of persons and to minority language rights. This would also align with achieving a digital single market in audiovisual online services.

El panorama audiovisual se ha transformado extraordinariamente en los últimos años debido a las condiciones tecnológicas y de mercado. La digitalización ha creado nuevas posibilidades para nuevos proveedores de contenido y el consumo audiovisual ha cambiado. Nuestro análisis se centrará en el impacto de esos cambios estructurales en la naturaleza de los servicios de suscripción para contenido audiovisual y, a partir de ahí, en el perfil sociodemográfico del suscriptor. Basaremos nuestro análisis teórico en las teorías de los bienes de sustitución y las fuerzas de la competencia. Metodología. Los datos provienen de tres encuestas diferentes realizadas en 2008, 2012 y 2016 en España. Resultados. Los resultados muestran que los perfiles de los consumidores de las nuevas plataformas son similares a los del suscriptor de televisión tradicional, aunque hay algunas diferencias significativas en cuanto a edad y nivel educativo. Conclusiones. Una de las conclusiones que puede ser relevante para la industria, es que las variables sociodemográficas siguen siendo factores definitivos para orientar las estrategias de marketing.

Introduction. The audiovisual landscape has extraordinarily transformed in recent years due to technological and market conditions. Digitalization has created new possibilities for new content providers and audiovisual consumption has changed. Based on theories of substitution goods and competition forces, our analysis will focus on the impact of those structural changes on the nature of subscription services for audiovisual content, and from there, on the socio-demographic profile of the subscriber. Methodology. Data comes from three different surveys made in 2008, 2012 and 2016 in Spain. Results. Findings show that consumer profiles of the new platforms are similar to those of the traditional television subscriber, but there are some changes in terms of age and education. Conclusions. Socio-demographic variables are still relevant for defining subscribers, although the big data defenders tend to highlight behavioural data or purchase data.

Las cadenas de televisión han visto en el uso de las redes sociales una oportunidad para favorecer la relación con sus audiencias y conocerlas mejor, y esto ha sido objeto de interés de la profesión y la academia. También lo ha sido el uso de Twitter como parte de su estrategia de comunicación. El desarrollo de los servicios audiovisuales bajo demanda, que alteran los patrones de consumo tradicional, sugiere un marco diferente en estudio del uso de las redes sociales, Twitter en particular. El objetivo de este estudio es el análisis del discurso que mantiene Netflix en la red social Twitter. Nos preguntamos cómo se relaciona la marca con los consumidores fuera de su canal propio ¿su aplicación, su plataforma-. Es decir, qué tipo de conversaciones mantiene en un espacio público, si lo hace; en qué se centran esas conversaciones y cuál es el peso de los contenidos de su catálogo en ellas. Para ello, combinaremos la creación de un marco teórico para la comprensión del uso de Twitter en un servicio de video bajo demanda con el estudio del caso de Netflix España centrándonos en un mes concreto al año siguiente de su lanzamiento. El objetivo final consiste en extraer tendencias que apunten a prácticas paradigmáticas para el mantenimiento de una relación de engagement a través de Twitter en un servicio de video bajo demanda.

The convergence of television and the internet is profoundly changing the audio-visual market. Connected TV is offered through a wide range of internet-enabled devices. Taking audience perspective into account, the aim of this article is to describe television companies¿ strategies for their multiplatform portfolios and the impact that this new context has on traditional pay television companies.The main data sources are professional reports, case studies, and an original online survey carried out in Spain.

The new digital economy has broken the barriers of high budgets, among other things, because it is still an economy of gratuitouness, where the advertiser is the one who pays. The ease of access and use if the internet lower prices. Moreover, television has become a medium to pay for, and the viewer has emerged as a ruler of his consumption decisions. It is now more difficult to meet quality standards because the viewer has become a more critical judge when evaluating the quality if the content received.

In this chapter, we will address the evolution experienced by the industry in the battle for audiences. This wil require, first, to review the economic ratinale for the conquest of time in traditional TV networks. We will point out some ideas about digital audiences and appropriate measurement systems that come as a result of digital development. Finally, we will note the need to advance in the knowledge of the audience from a more qualitative perspective. We no longer deal with the battle for time of the viewers, but the battle for their attention, for engagement with them.