"Multifaceted, uncensored, promoting democracy - that is the internet, many people had long hoped. But from today's perspective, this is not true - or only partially. Because the big digital platforms and the world wide web are both: media of freedom and control. In many places, they support civil s...ociety, but often they also pose a massive threat to it. On the one hand, civil society organisations, activists and bloggers use digital tools to organise their work and make it more efficient: Through them, they disseminate reports and campaigns and exchange information. On the other hand, governments restrict freedom of expression and the press through online censorship: They block access to certain websites or platforms or shut down the internet entirely and monitor activists and journalists with digital technologies, often made in Europe. Policymakers, platforms and civil society face major challenges: They have to negotiate and decide how to deal with hate on the web and in social media without compromising freedom of expression. How more people, especially in the Global South, can get better access to the internet. And, how the data collection frenzy of the big tech companies and the dangers posed to democracy by Facebook & Co can be contained. Civil society voices call for more human rights based regulation and containment of digital capitalism." (Summary, p.6)
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"In some of the countries, to a greater extent Spain and the Hispanic USA, fiction consistently occupies at least 40% of the programming time. This occurs in countries that, due to income levels, should be those with a higher degree of access to other sources of fiction audiovisual content, such as ...pay TV or streaming platforms. In contrast to these cases, we can observe Argentina, Brazil and Mexico, where fiction barely exceeds 15% in the years of greatest participation and is close to 10% in others. Paradoxically, both Brazil and Mexico are fiction producers and exporters to the rest of the region. Halfway between both extremes, Chile, Colombia, Peru, Portugal, Uruguay and Venezuela can be observed in the years in which it has been possible to observe their behavior. Since open television is a system of contents structured in schedules associated with household routines, it is worth asking about differences in roles and uses of television by audiences or the eventual substitution of these roles by alternative media or genres. The second aspect is one of trends. Except for the case of Spain, the general trend seems to be towards a decrease in the involvement of fiction in programming. And, although the Top 10 most watched fiction productions offer a very partial view of the whole, they also show a decrease in time of the audience levels reached." (p.24-25)
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"En algunos de los países, en mayor medida España y los EE.UU. Hispanos, la ficción ocupa de un modo consistente al menos el 40% de los tiempos de programación. Esto, en países que por niveles de ingreso deberían ser los con un mayor grado de acceso a otras fuentes de contenidos audiovisuales ...de ficción, como la televisión de pago o las plataformas de streaming. En contraste a estos casos, se observa a Argentina, Brasil y México, donde la ficción apenas supera el 15% en los años de mayor participación y se acerca al 10% en otros. Paradojalmente, tanto Brasil como México son países productores y exportadores de ficción al resto de la región. A medio camino entre ambos extremos se observa a Chile, Colombia, Perú, Portugal, Uruguay y Venezuela, en los años en que ha sido posible observar su comportamiento. Siendo la televisión abierta un sistema de contenidos estructurados en horarios asociados a las rutinas del hogar, cabe preguntarse por diferencias de roles y usos de la televisión por parte de las audiencias o la eventual sustitución de estos roles por medios o géneros alternativos. El segundo plano es de tendencia. Salvo por el caso de España, la tendencia general pareciera ser hacia una disminución de la participación de la ficción en la programación. Y, aunque los Top 10 de títulos de ficción más vistos ofrecen una mirada muy parcial del conjunto, en ellos también se observa una disminución en el tiempo de los niveles de audiencia alcanzados." (p.24-25)
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