Page 107 - AC/E Digital Culture Annual Report 2016

reposts content related to other activities carried out at the institution, as well as third-party activities from time to time on related issues (literature and storytelling, speci c genres...).However, as the festival date approaches, the organisers set in motion a protocol to intensify and give impetus to their social media activity (which is begun nearly half a year beforehand), providing staggered information on the schedule, names of guests, themes, articles and own content on the festival’s website and links to related third-party content, making greater noise and sparking increasing comments.During the festival they give priority to managing content on what is going on in real time atthe roundtables and conferences held on its activities sporadically, seeking to encourage people already present to take a look at the upcoming activities. Finally, when the festivalis over, they continue with the ‘post’ phase in which they basically gather together everything that has taken place and the content generated, as well as posting accounts of the activities on their own website.This is an interesting case in that the website evidently becomes a ‘social’ tool, as it is placed at the disposal of the entire digital communication strategy implemented through the digital platforms on which the festival has pro les.Getafe Negro, the Madrid detective novel festival, uses only Facebook, Twitter and YouTube. Like many other festivals, it steps up actionon the rst two around the time of the event, starting two weeks before and sharing activities, but also providing a brief account of the activities on at the time. On YouTube, in contrast, itshares videos of the entire roundtables and presentations, as well as launching a cover design to link this content to its brand and give it a more coherent and integrated appearance.On Twitter, for example, the organisers quote a few excerpts from the roundtablesor presentations given on it, sometimes accompanying them with images. They use Facebook more extensively for this purpose, always accompanying these excerpts with images, as in recent years greater importance has been attached to the visual aspect for communicating and reaching audiences better on this social media site.It is interesting to note how they give impetus to Facebook throughout the year, as well as sharing some of the content generated during the festival on it, such as the abovementioned videos. But the quotations from works belonging to the genre or from historical gures seem to be their own and could well be taken from a mystery or suspense novel.Whereas they post short messages on Twitter more frequently, given their short-lived nature, occasionally accompanied by images, once again they do so more extensively on Facebook and accompanied by a related image, always duly credited, or even a soundtrack that somebody already posted on YouTube. Their approach is therefore more orientated to curating content that inspires and entertains their followers, with whom they remain in continuous contact throughout the year.The fantasy, horror and science- ction literature festival Celsius 232 (a reference to R. Bradbury’s Fahrenheit 451) is an example of an approachto the social media centred on all the fandom of Spanish (and partly international) fantasyAC/E DIGITAL CULTURE ANNUAL REPORT 2016107