The platforming of the state audiovisual industry and its controversies
Abstract
The digitization, convergence and platformization processes under way have permeated and transformed the functioning of the cultural industries in each of the links of their value chains. Although these mutations affect both public and private actors anywhere in the world, they are more challenging for industries located in peripheral geographic contexts with high technological and productive dependence on the main central capitalist countries. Thus, a problem related to the characteristics of the relationships maintained by the actors that make up the national audiovisual complex with the large distribution platforms is observed, which we define here as “extractivist” and asymmetric. Within the framework of this larger discussion, this review of the literature focuses on a particular type of actor within the audiovisual complex: those who make up the State's audiovisual industry and therefore produce public content. At this point, the article points out the possible tensions between the commercial logic of global platforms and the values that guide and give meaning to the audiovisual public service such as inclusion, quality, universal access and diversity. At this point, the work gathers a series of experiences, particularly from the European context, which allow the identification of responses and strategies of the public media before the platforms and their algorithmic programming. The paper concludes that despite the tensions and threats that arise from the relationship between public media and large platforms, the central problematic axis is situated in the persistence of a relationship marked by technological and productive dependence, as a result of the absence of “cybernationalism” in the countries of our region.
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References
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