Casi Metrowest Digital Content Uploads 2016 Policy Only Forms 2
Luis A. Albornoz & Azahara Cañedo[1]
I – Introduction
The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) argues that cultural multifariousness is one of the main engines of sustainable development. Based on the assumption that all cultural expressions deserve the same nobility and respect, this international understanding urges countries to create a favourable surroundings for individuals and social groups in their respective territories to be able to create, produce, disseminate and distribute cultural expressions of their own, as well as have access to a range of cultural expressions originating from their own territories and the rest of the countries in the world.
One decade afterward the approval of the Convention at that place are numerous initiatives in place to back up its goals in the field of culture and communication (UNESCO 2012 and 2013; Albornoz & García Leiva 2017; Gallego 2017). A case in point is the Acoustic Engineering science Hub Programme (Programa Polos Audiovisuales Tecnológicos, PPAT) implemented in Argentina[2] between 2011 and 2015, with the aim to revert the historically loftier geographic concentration of Goggle box content product in the city of Buenos Aires. One of the consequences of such concentration is that the multifariousness of cultural practices originating in different regions of the country are seldom seen on the screen. Thus, sixty percent of the hours of free-to-air TV programming in the provinces during 2011 were live or deferred retransmissions of contents generated past metropolitan stations (AFSCA 2012).
In response to this state of affairs, and in a context of changing sound-visual public policies and terrestrial digital telly deployment (Albornoz & García Leiva 2012; Krakowiak et al. 2012; Mastrini et al. 2012; Becerra et al. 2012), the sometime administration of Cristina Fernández de Kirchner, who served ii terms (2007-2011 and 2011-2015), supported the PPAT in order to activate Telly production in the diverse provinces and regions of Argentina. To accomplish that goal, the national territory was divided into nine audio-visual technology hubs, where national public universities acted every bit centres that gathered a range of regional stakeholders.
The purpose of the present case-study is to analyse this effort to decentralize Telly production, embodied in the PPAT. The research techniques that support this study include documentary review, search and analysis of indicators, and in-depth interviews with central players: PPAT managers, audio-visual producers and researchers. This chapter provides an overview of the context of PPAT implementation and the program's goals, organizational construction, focus areas and funding. Information technology then goes on to depict the phases of the Content Production focus area between 2011 and 2015, and discusses the variety of sources and Goggle box genres / subgenres, considering the 18 TV seasons that were aired between 2013 and 2014. The following sections accost the broadcasting of the Program and the limited commercialization of the 18 projects produced. The example-report closes with a cursory set up of conclusions well-nigh this initiative.
II – The Acoustic Engineering science Hub Program
The Sound-visual Engineering Hub Program, hereinafter referred for its Spanish acronym equally PPAT, has every bit its straight precedent the enactment of the Audio-visual Communication Services Act No. 26,552 (Ley de Servicios de Comunicación Audiovisual, LSCA) in 2009. This law distributes the radio-electric spectrum allocated to broadcasting services in equal portions amongst Country operators, individual for-profit operators and private not-for-turn a profit operators; introduces major limits to concentration of ownership of broadcasting media; and creates a regulatory entity that is less dependent on the Government. Additionally, information technology establishes content quotas for national and local production, in order to develop and bring to light various audio-visual contents.
In 2011, the PPAT was introduced as one of the proposals developed by the Authorities to meet the objectives of the new law, with the goal to "encourage federalization of audio-visual content production past implementing a network of Audio-visual Engineering Hubs, in which national universities could, through articulation and assistants activities, collaborate with other governmental and civil-society sectors in the field of audio-visual production" (Consejo Asesor SATVD-T 2010: 4). Additionally, this initiative was also intended to create contents reflecting the cultural diversity in the country, develop a federal and sustainable sound-visual sector, and encourage research and development for digital TV. In this manner, the PPAT was conceived as a tool to reach the national and local production quotas for costless-to-air Television set signals established by the Audio-visual Communication Services Act: a minimum of threescore percent of national production contents, and betwixt 30 and x per centum of local contained production depending on the demographics of the regions where the TV stations are located.
Eva Piwowarski, PPAT coordinator, described the horizon for the project: "Federal public policies are required (…) to open opportunities for genuine expressions from all over the land and to empower civil order for the legitimate appropriation of their own discourse, to promote local skills and bulldoze the evolution of a new domestic Goggle box market leading to the effective de-concentration of the business, thus guaranteeing the formulation of a new advice model for Argentine republic" (Piwowarski 2011).
The structure of the PPAT comprised the cosmos of nine regional Hubs in dissimilar parts of the country – called Digital Audio-visual Engineering science Enquiry and Improvement Hubs or Sound-visual Engineering Hubs – and 4 focus areas: Research and Development, Grooming, Equipment, and Content Product. The Informational Council for the Argentine System of Terrestrial Digital Boob tube (SATVD-T),[3] an instrumentality of the Federal Ministry for Planning, Public Investment and Services (MINPLAN),[4] was assigned the coordination and management of the diverse Hubs through two areas: Implementation and Follow-upward, and Project Assessment and Viability. Furthermore, the SATVD-T Advisory Council hosts the Administrative HQ of the PPAT, in charge of coordinating activities and projects in each region. Its roles included articulation of efforts with national universities, project choice and follow-up.
The regional production systems were fabricated up of one or two Main Sites, depending on the area covered, and led by public universities. The universities, in plough, through the National Inter-University Quango (Consejo Interuniversitario Nacional, CIN), were commissioned to manage and run the project in each region. Additionally, each Main Site included several Audio-visual Technology Nodes involving unlike local stakeholders – institutions, private companies, social collectives, individuals, not-turn a profit ceremonious society organizations and labour unions – in lodge to produce Tv contents. Each Main Site promoted networking amidst the Nodes under its responsibleness, short-listed the projects that they submitted, and provided technical, research and grooming support to the Nodes.
The geographic configuration of the Nodes was conceived in such a manner that any large urban conglomerate in the state had a Node in its geographic proximity. The role of Nodes was to provide free technical support for the local audio-visual sector, behave research and training activities, and articulate and coordinate PPAT policies. The Nodes were too in charge of preparing a map of local actors, encourage innovation in new format and content production, and promote the organization of audio-visual projects capable of becoming contained economic units.
Figure i. PPAT organizational structure
Source: Own research.
On 2 March 2011, the get-go Node was established at National University of Mar del Plata, belonging to the Buenos Aires Province Hub. Less than five years later (December 2015) there were 45 nodes in functioning throughout the Argentine territory. Table one shows the geographical division of the land in Hubs with their principal sites, territories, populations and nodes.
Table 1. Audio-visual Engineering science Hubs: territorial structure and organization
| Hub | Territory | Population | Main Site(s) | Nodes |
| Centro (Eye) | Provinces: Córdoba, San Luis and La Pampa | four.060.037 | National University of Villa María | -Córdoba -San Luis -Villa María -Río Cuarto -La Pampa |
| Littoral | Provinces: Entre Ríos and Santa Fe | iv.430.531 | National University of Entre Ríos | -Litoral -Rosario -Costa del Uruguay -Paraná -Concepción del Uruguay |
| Cuyo | Provinces: San Juan, Mendoza and La Rioja | two.753.626 | National University of Cuyo | -San Juan -Mendoza Sur -Mendoza Centro -Oeste Riojano |
| AMBA – Área Metropolitana de Buenos Aires (Metropolitan expanse of Buenos Aires) | City of Buenos Aires and Greater Buenos Aires* | 12.806.866 | National University of Tres de Febrero / National University of Arts | -Rodolfo Walsh -La Matanza -Conurbano Sudeste -Moreno -Lanús -La Plata -Full general Sarmiento -Avellaneda -North San Martín |
| NEA – Noreste Argentino (Northeast Argentina) | Provinces: Misiones, Formosa, Chaco and Corrientes | three.679.609 | National University of Misiones | -Misiones -Chaco -Formosa -Corrientes |
| NOA – Noroeste Argentino (Northwest Argentina) | Provinces: Jujuy, Salta, Tucumán, Santiago del Estero and Catamarca | 4.577.770 | National University of Jujuy / National Academy of Tucumán | -Tucumán -Jujuy -Catamarca -Santiago del Estero |
| Patagonia Norte (Northern Patagonia) | Provinces: Neuquén and Río Negro | 1.187.911 | Université nationale de Comahue / Université nationale de Río Negro | -Atlántico -Ríos & Bardas -Andino -Norpatagónico |
| Patagonia Sur (Southern Patagonia) | Provinces: Chubut, Santa Cruz and Country of Fire, Antarctica and Southward Atlantic Islands | 910.277 | National University of Patagonie Australe / National University of Patagonie San Juan Bosco | -Tewsen -Valle -Cordillera -Aonikenk -Tierra del Fuego |
| Buenos Aires Province | Cities in the province of Buenos Aires not included in the Greater Buenos Aires * | ii.818.218 | National University of eye Buenos Aires | -Luján -Bahía Blanca -Trenque Lauquen -Tandil -Mar del Plata |
Notes: * Greater Buenos Aires comprises 24 municipalities in the outskirts of Buenos Aires city.
Source: Own research based on PPAT internal documents and website, and National Statistics and Demography Institute of Argentina 2010.
As with any initiative, the budget allotment was a vital aspect for PPAT. In 2011, the Regime granted an initial resource allotment of $ 4.nine million: i one-half was allocated to the buy of equipment and the other half was invested in Research and Development, Grooming and Content Production. The next year, the same budget allocation was maintained. However, in 2013, a few months after its introduction, the PPAT underwent a full cut of monetary resource for reasons that remained unclear, without whatever official caption.[5] This unexpected shortage of resources seriously affected the initiative, which was in its early stages, hindering the implementation of Boob tube productions. Subsequently, in 2014 and 2015, the initiative recovered part of its upkeep allotment, receiving a little over $ane million each yr. This considerable reduction in resources already bandage doubts on the viability of an initiative, which, with the advent of the neoliberal administration of Mauricio Macri on 10 Dec 2015, has a low likelihood of continuity.[6]
Equally mentioned, the PPAT included four focus areas. The first ane, Research and Evolution, was intended to set up a theoretical and fact-based framework to strengthen the development of digital Telly in Argentina, encouraging dialog amongst public universities and leading to a tailored approach in each of them based on their corresponding territorial realities. Each Main Site disclosed the human being and technical resource available and proposed research lines to follow. Afterward, the Headquarters and the Advisory Quango selected some research projects and proposed others to be implemented across several public universities.[7]
The second focus area had to practise with the training of Node members. Based on a database of professionals prepared past the Headquarters – extendable with the improver of local trainers, at the suggestion of the Nodes – and relying on the cooperation of labour unions and renowned professionals, training workshops were delivered, with topics selected based on the needs of each Node. Between October and Dec 2011, 87 classroom courses were held at the nine Hubs. Based on the results, the 2012 Training Plan developed 150 self-managed courses; 75 clinics focusing on new projects from ongoing lines of production for Node members, and 55 tutorships for direction, production, screenplay and interim during the production of projects, through the assignment of a specific tutor to each. During the 2013-2014 period, simply 91 training activities were held. Such a considerable decrease in activeness was triggered by two factors: on the one manus, the reduction of the PPAT budget, and on the other, the progressive professionalization facilitated by the preparation activities conducted in the previous years. It is worth noting that preparation was one of the primal points of the PPAT suggestion, because lack of training was detected every bit i of the main barriers to Television receiver programme production in several regions.
In the expanse of Equipment, it is worth noting that when the PPAT was introduced, Public Centres for Audio-visual Production were created at each Main Site. Through concession agreements, these centres were awarded to the universities in order to democratize access to the equipment required to produce contents. Equally such, each Node was authorised to request from the respective Main Site the necessary equipment. These requests were evaluated by the Advisory Council and the Headquarters, and answered based on budget availability. The equipment was delivered to the Nodes on loan, on the condition that the members of local communities were allowed free access to it, ensuring it was used for not-profit purposes.
Finally, the Content Production focus area may exist viewed as the nigh important one in the Programme, every bit it meant the effective implementation of article 153 of the Acoustic Communication Services Act, which deputed the government to implement, among other measures, policies to promote and defend the national sound-visual industry. These measures would exist based on "the promotion of activities with a federal orientation, because and stimulating local product in the provinces and regions of the country."
Three – Digital television production: diversity of sources and contents
Content Production focus area was organized during the last five years through successive phases, with a total investment of $4.5 1000000 of public funds for making audio-visual products.
The execution of the Pilot Program for Testing and Demonstrating Installed Capacity, started in March 2011, was the first phase of the Content Product focus area. Afterward iv months and an investment of $ 1.3 million, 90 hours of digital TV content were developed (x hours per Hub). Additionally, the Testing Pilot Programme – involving more than one hundred professionals, 47 universities and the creation of 31 new programme cycles – served to deport a diagnosis of the production chapters of each Hub before the PPAT intervention.
The 2nd phase, chosen Goggle box Manufacturing plant (Fábrica de Telly), can be claimed equally the essence of the Content Product focus surface area and was cleaved downwards, in turn, in three cycles. The outset one, in 2012, created 55 airplane pilot programmes in Journalistic, Fiction and Entertainment formats. These programmes entailed a price of $ 718,062: $ eleven,013 for each Journalistic and/or Amusement pilot, and $ 17,621 for each Fiction pilot. Subsequently, between 2013 and 2014, based on those 55 pilots, 18 seasons were made, with 12, 10 and 8 episodes that were 26 minutes long. For their making, each Fiction production received $ 97,489 per season, while each Journalistic and Entertainment production received $ 62,038. This meant a total investment of $ 1.2 million. Finally, in 2015, the third wheel of the Content Product focus expanse selected other 25 projects that are currently in the making phase. Each project was allocated $ 43,317 for the making of seasons comprised of four 26-minute long episodes.
In parallel with the TV Factory, other productions were made: the "Tell me a Story" cycle for Acua Mayor,[8] including xxx micro spaces of five-minute duration each; eighteen promotional spots for Access to Cognition Nodes, which are part of the Argentine republic Conectada National Telecommunications Plan; and 76 micro-reports to be inserted in 26-minute units in the PPAT sound-visual mag Ahí Va.[9]
Tabular array 2. PPAT: Investments in production, 2011-2015
| Production Phase | Completed Products | Investiment | |
| Pilot Programme for Testing and Demonstrating Installed Capacity (2011) | 31 cycles of News programs | $ ane,313,869 | |
| TV Manufacturing plant | Pilot Phase (2012) | 55 pilot programs for TV Formats: fiction, entertainment and journalistic (26 minutes each) | $ 718,062 |
| New Formats (2013-2014) | eighteen productions for Television set Formats: fiction, amusement and journalistic (15 productions of 12 episodes of 26 minutes each, 1 production of 10 episodes of 26 minutes each, and 2 productions of eight episodes of 26 minutes each) | $ one,223,043 | |
| New Formats (2015) | 25 productions for TV Formats: fiction, entertainment and journalistic (iv episodes of 26 minutes each) | $ one,082,921 | |
| Cycle "Tell me a Story" for Acua Mayor | 30 micro fiction productions for TV (v minutes each) | $ 66,079 | |
| Promotional spots for Access to Knowledge Nodes – Argentine republic Connected National Telecommunications Plan | 18 TV spots (9 advisory spots of 45 seconds and 9 testimonial spots of ane minute) | $ 36,264 | |
| Ahí va (PPAT acoustic magazine) | 76 micro-reports (150 seconds each) assemblies in unit emissions (26 infinitesimal) | $ 23,515 | |
| Total | $ iv,463,753 | ||
Source: Ain inquiry based on instructions and internal production reports, PPAT.
Considering the 18 TV seasons designed in the framework of the first phase of the New Formats of TV Factory cycle during the 2013-2014 period, it is possible to analyse the variety of sources, in terms of diverseness and balance, in the context of the Argentine Telly market. To that terminate, the components of variety and balance mentioned by Andrew Stirling (1988 and 2007) in his examination of the concept of diversity take been considered, comprising the combination of iii components: variety, residue and disparity. Variety relates to the number of different categories defined in a given set, residual considers the unlike extents to which these categories are represented, and disparity has to do with the degree of similarity among the unlike categories. The larger the number of categories, and the more balanced and more dissimilar they are from each other, the more diverse the organization. The findings presented beneath are the event of a quantitative assay based on the computation of participating Hubs and Nodes, and the calculation of the content percent developed by each of them. As shown in tabular array 3, all Hubs had a presence in this stage, reflecting a variety of geographic sources.
Table iii. Boob tube Factory-New Formats: Productions, 2013-2014
| Hub | Node | Locality | Title of the Production | Gender * | Subgender ** |
| Middle | Villa María | Villa María | Vale la pena conocernos | Journalistic | Interviews |
| San Luis | San Luis | Jóvenes vocaciones | Entertainment | Educational | |
| Litoral | Litoral | Santa Fe | Habitación 13 | Fiction | Multi-genre |
| Cuyo | Mendoza Centro | Mendoza | Invenciones | Amusement | Cultural |
| Los buscadores | Amusement | Cultural | |||
| AMBA | La Matanza | La Matanza | Ver de otra manera | Entertainment | Environmental |
| La Plata | La Plata | El mejor programme del mundo | Entertainment | Cultural | |
| NEA | Corrientes | Corrientes | En tus zapatos | Entertainment | Social |
| En el patio | Entertainment | Cultural | |||
| Misiones | Oberá | Casi el mismo techo | Fiction | Comedy | |
| Misiones | Revolución estéreo | Entertainment | Musical | ||
| NOA | Jujuy | Jujuy | Waikuna Wasi | Entertainment | Gastronomy |
| Santiago del Estero | Santiago del Estero | Ideas en trama | Entertainment | Environmental | |
| Northern Patagonia | Andino | Bariloche | La inutilidad del conocimiento | Entertainment | Cultural |
| Southern Patagonia | Tewsen | Caleta Olivia | Mini periodistas | Entertainment | Children |
| Aonikenk | Comodoro Rivadavia | Sonido Sur | Amusement | Musical | |
| Buenos Aires Province | Mar del Plata | Mar del Plata | Dos estrellas | Fiction | Comedy |
| Tandil | Tandil | Telepípedos | Entertainment | Children |
Notes: *Classification determined past PPAT in its telephone call for pilot programmes.
**Authors' classification based on the documentation submitted by each product maker.
Source: Own enquiry based on instructions and internal reports, PPAT.
As shown in Chart 1, the Hub with the largest share in the 18 productions made during the start phase of the TV Manufacturing plant New Format wheel was the NEA Hub: with iv titles, information technology has 22.2 percentage of productions. At the reverse end are the Litoral Hub and the Northern Patagonia Hub, which, with one product per Hub, have a share of five.half dozen per centum respectively. The remainder of the regions take two productions each.
Chart 1. TV Manufactory – New Formats: Geographic origin of productions per Hub, 2013-2014
Source: Own research based on instructions and internal reports, PPAT.
Furthermore, an analysis of production per Node illustrated in Chart 2 shows the interest of 15 Nodes with 18 productions in total; this reveals a major diversity in terms of variety of sources. On the other paw, it also shows a marked residual regarding the number of productions made. The exceptions were the Nodes of Mendoza Central, Misiones and Corrientes, with two productions each.
Chart 2. Idiot box Manufactory – New Formats: Geographical origin of productions per Node, 2013-2014
Source: Own enquiry based on instructions and internal reports, PPAT.
An assay of data based on the locations where the Tv seasons were made shows that multifariousness increases compared to the previous nautical chart. Chart 3 reveals the presence of xvi locations in the 18 productions fabricated, which entails a high diversity in terms of diverseness likewise every bit balance. With the exception of Mendoza and Corrientes cities, with 2 productions each, the rest have one production per location.
Chart 3. Tv Factory – New Formats: Geographical origin of productions per location, 2013-2014
Source: Own inquiry based on instructions and internal reports, PPAT.
Regarding the topics addressed by the first xviii seasons made in the framework of the Tv Factory-New Formats wheel, it should be noted that they are all infused, in essence, with the cultural identity of the regions where they were made, in view of the importance given to local content relevance. At present, because the distribution of productions according to the big three Television set genres used past PPAT, it is clear that there is a prevalence of Entertainment programmes: they correspond 78 percent of titles produced, versus 17 percent Fiction and 5 percent Journalistic, evidencing a lack of product diversity in terms of residual.
With regard to the classification in TV subgenres, the only Journalistic programme fabricated falls under the Interviews subgenre, and equally to the three Fictions, 2 of them are comedies and the third one – Habitación xiii [10] – can be coded every bit multi-genre, as each episode has a different genre. In the field of Entertainment, the subgenre breakdown shows a diverse spectrum. As seen in Nautical chart 5, in terms of variety in that location is a range of seven subgenres: cultural, musical, children, educational, environmental, social and gastronomy. In terms of balance, there is prevalence of the cultural subgenre, with 35.7 percent of the total productions. The musical, children and ecology subgenres each have a share of fourteen.3 percent, and the educational, social and gastronomy subgenres accept a share of seven.one percent.
Nautical chart 4. Television Manufactory – New Formats: Productions per entertainment subgenre, 2013-2014
Source: Own enquiry based on instructions and internal reports, PPAT.
Four – Production broadcasting and marketing
From its kickoff steps, the PPAT tried to reach citizens based on a presence, though sporadically fed, on dissimilar platforms and social networks: Facebook since 2010, and Twitter and YouTube since 2011. Additionally, managers sought to disseminate this initiative through the audio-visual magazine Ahí va, and the cosmos of micro TV programmes for the Acua Mayor station.
The PPAT – designed more to focus on training and content production than on their dissemination and promotion – was a governmental initiative which, through the interest of several universities represented by the CIN, sought to get rooted at local level. This initiative, oriented to TV production in digital format, necessarily had to exist supplemented by the emergence of new TV stations every bit a effect of the application of the Acoustic Communication Services Act. The stations managed by non-profit organizations would exist the natural channels of broadcasting of the TV production from the Nodes scattered throughout the land. Nonetheless, the partial implementation of the Sound-visual Communication Services Deed by the Fernández de Kirchner Administration (Becerra 2015), followed by its interruption past the Macri Administration, has been a major obstacle for productions reaching Argentine viewers.
In practise, the PPAT established a difference between the resulting Television set productions and their formats. On the one hand, the intellectual and industrial property rights of productions belong to the State, and should exist included in the catalogue of the Digital Acoustic Content Database (BACUA – Banco de Contenidos Audiovisuales Digitales)[11] in guild to concenter potential channels/stations. On the other manus, the rights over the production formats are the property of their creators, who are entitled to market them in and outside the country. Furthermore, the Main Sites were entitled to market their productions abroad during the 24 months following their delivery to BACUA. The trouble is that public universities do non have the ability to sign purchase-and-auction agreements abroad —in practical terms, this prevented the commercialization of Television set productions.
Regarding the productions resulting from the commencement stage of the bike Telly Manufacturing plant-New Formats, while the Nodes were empowered to take steps for the broadcasting of their programmes, they had to comply with a requirement: the projects presented had to be supported by an agreement with a free-to-air screen for the dissemination of the prospective programme.
If nosotros consider the xviii seasons resulting from the 2013-2014 New Format cycle, it is noted that so far they take had very limited circulation. As shown in Tabular array four, one twelvemonth after the stop of this phase, merely 11 productions (61 percent of the full) were actually premiered on Tv set, and only 2 did and then on two dissimilar screens (though it is expected that some other iv productions will follow on that path). As regards the screens that will receive the premieres already released or to be released soon, about 62.5 pct of them are managed by the private sector; which ways that niggling more than 1-third of the PPAT investment will exist allocated to cover the grids of public operators.
Tabular array 4. Goggle box Factory – New Formats: Production screening windows, 2013-2014
| Title | Number of episodes | TV Screen | Facebook Profile | |||
| Aqueduct | Property | Range: Territory / Population (approx.) | Premiere | |||
| Vale la pena conocernos | 12 | Canal xx Compartir | Private | Villa María | Non-scheduled | Yes |
| Jóvenes vocaciones | 12 | Merlo TV | Private | San Luis | 10/10/2015 | No |
| Habitación 13 | 12 | Canal xiii Santa Iron | Private | Santa Fe Province | 25/09/2015 | Yes |
| Invenciones | 12 | Canal nine Televida | Individual | Gran Mendoza | 23/11/2014 | Yes |
| Señal U | Public | Gran Mendoza | 28/05/2015 | |||
| Los buscadores | 12 | Canal 9 Televida | Private | Gran Mendoza | 15/08/2015 | Yes |
| Ver de otra manera | 12 | Boob tube Universidad La Plata | Public | La Plata | Non-scheduled | No |
| El mejor program del mundo | 12 | TV Universidad La Plata | Public | La Plata | 12/06/2015 | No |
| En tus zapatos | 12 | Telemóvil v de Corrientes | Individual | More than 400 cities (provinces: Corrientes, Chaco, Misiones, Entre Ríos, Santa Fe, Catamarca, Salta, Jujuy, Chubut, Río Negro and Santa Cruz) | 02/08/2015 | Yep |
| En el patio | 12 | Telemóvil 5 de Corrientes | Private | More 400 cities (provinces: Corrientes, Chaco, Misiones, Entre Ríos, Santa Fe, Catamarca, Salta, Jujuy, Chubut, Río Negro and Santa Cruz) | 16/10/2014 (03/09/2015: 2d Flavor) | Yes |
| Casi el mismo techo | 12 | Canal 12 Posadas | Individual | Province of Misiones | 17/04/2015 | No |
| Revolución estéreo | 10 | Wanda Cablevision SRL | Private | Wanda, province of Misiones | ND | Yes |
| Waikuna Wasi | 12 | Canal 4 Jujuy | Private | Province of Jujuy | Non-scheduled | No |
| Ideas en trama | 12 | Canal 7 | Private | Province of Santiago del Estero, Valle de Catamarca and southern province of Tucumán | 19/10/2014 | Yes |
| La inutilidad del conocimiento | 8 | 360 TV | Private | National | 28/xi/2015 | Yes |
| Canal 3 AVC | Individual | Bariloche | 17/12/2015 | |||
| Mini periodistas | 12 | Canal 7 Rawson | Public | Province of Chubut | Non-scheduled | No |
| Culvert nine Santa Cruz | Public | Province of Santa Cruz | April 2016 | |||
| Sonido sur | 12 | Canal 7 Rawson | Public | Province of Chubut | Not-scheduled | No |
| Canal nine Santa Cruz | Public | Province of Santa Cruz | Apr 2016 | |||
| Dos estrellas | 12 | Canal 33 Mar del Plata | Private | Mar del Plata | ND | No |
| Canal Caprica | Private | Mar del Plata | ND | |||
| Telepípedos | 8 | Canal 13 Ai tv coop. | Private | Necochea | ND | No |
| LU 91 TV Canal 12 Trenque Lauquen | Public | Judicial district of Trenque Lauquen | ND | |||
Sources: Own research, based on personal interviews, PPAT production reports; PPAT official Facebook page; National Statistics and Census Institute of Argentina; TV station websites; official Facebook pages of programmes.
It should be noted that half of programmes, 9 out of 18, have their own profiles on the Facebook social network. In terms of broadcasting through digital platforms, only the fiction programme Habitación xiii is available on the online video-on-need platform in the Free-to-Air Digital Content section (Contenidos Digitales Abiertos, CDA). Every bit regards the presence of productions in BACUA, even though there is proof that the producers delivered their productions to the sound-visual database, and in spite of the PPAT commitment to this platform as a showcase for such contents, the fact is that productions are not currently available.
Conclusions
In closing this first approach to the PPAT, nosotros share some conclusions in the hope that they volition be useful to stimulate a reflection on this instance and encourage the report of measures designed to protect and promote the necessary diversity of audio-visual expressions:
ane. The five years of PPAT implementation in Argentina are framed in a context of political, legislative and technological changes involving the audio-visual sector, and an assistants whose soapbox championed the diverseness and pluralism of the communication media system. In this regard, the governmental initiative, whose aim was to drive the TV product of different geographical regions in the country, is in line with the objectives of the CDCE.
2. PPAT is an endeavour to respond to a serious problem faced by the Argentine audio-visual manufacture: the strong concentration of acoustic product, including Television set, in Buenos Aires City. This historical concentration of product, added to the ability of Goggle box stations in the big metropolis, results in a serious distortion of the offerings on the screen, with underrepresentation of regional and local idiosyncrasies in a large and diverse country. The larger country that lies beyond the city of Buenos Aires normally appears on the small screens "in the form of news of catastrophic or violent events or as a tourist or exotic landscape, to the amazed eyes of the uppercase city audition" (Piwowarski 2011).
3. The PPAT as an initiative also has a strong dependence on the Authorities that set it in motion and faces the challenges of internal conflicts that problem it (the upkeep cut of 2013 is an example). On the other paw, the close relationship between the administration in power and communication policies has remained invariable throughout Argentine history (Mastrini 2009). With the modify of administrations, the chances of continuity for this initiative are very depression.
four. The PPAT organizational construction shows a large caste of centralization of decision-making in the entities effectually MINPLAN. Contrary to what may exist expected from a federal initiative intended to empower a diversity of citizens throughout the state with a Telly production endowed with recognizably local traits, the first five years of operation do non reveal strong connections among the diverse Hubs. On the other hand, the fact that public universities have taken the pb in an initiative designed to create and strengthen regional productive systems is a positive milestone of the projection.
five. Training of workers in the TV sector and provision of the equipment to produce programmes in unlike locations of the country are remarkable achievements of PPAT. It is yet to exist determined how the different stakeholders involved in this initiative will clear a response that tin can provide continuity for PPAT objectives in the adverse political context that they face up today. As an case, we may wonder about the apply that volition exist given to audio-visual production centres hosted in the universities that acted as main sites for the Hubs.
vi. The audio-visual productions resulting from PPAT prove a delivery to reflect the cultural identity of the regions and locations where they were fabricated. For their part, the 18 Telly programme seasons analysed in this certificate speak of an actual geographical diverseness of sources in terms of variety and residuum. Of note, there is a articulate prevalence of the Entertainment genre, though with a variety of subgenres.
7. In spite of its explicit objectives and the high investments made, unfortunately the PPAT has not succeeded in achieving the level of institutionalization that would have enabled information technology to put an end to the lack of visibility of regional and local Boob tube production. This is demonstrated past the so far deficient number of productions that accept been released in free-to-air screens and their unavailability at the BACUA database.
8. Managing whatsoever plan aiming to boost local TV production must start past looking at two key issues: the commercial exploitation of contents through various audio-visual windows – traditional too as new – and their promotion at different levels – regional, national and international. This implies advisedly defining those responsible for commercialising the programs produced and their modus operandi, and establishing a strategy involving content broadcasting through online platforms. Two aspects that were not well divers when the PPAT was developed.
Acknowledgments
This document was produced as part of the execution of the research project Diversity of the Audio-visual Industry in the Digital Era (ref. CSO2014-5234-R), within the State Programme for R&D+i focusing on the Challenges of Society (Programa Estatal de I+D+i Orientada a los Retos de la Sociedad) organized by the Ministry of Economic system and Competitiveness of Kingdom of spain (Ministerio de Economía y Competitividad de Spain). Azahara Cañedo thanks the "Programa Becas Iberoamérica para Jóvenes profesores e investigadores 2015" from Santander Universidades, which enabled her to take upward a research stay at National University of Quilmes (UNQ, Argentina).
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Source: https://www.teseopress.com/diversityofculturalexpressionsinthedigitalera/chapter/the-audio-visual-technology-hub-programme-and-tv-diversity-in-argentina-2/
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