The aesthetic construction
of the video podcast: visual analysis of the program “Sorbito de Opinión”
La construcción estética del
video pódcast: análisis visual del programa "Sorbito de Opinión"
Lucy Piguave
Soledispa
Shirley Gómez
Saltos
Athyuska Korayma
Taipe Guanoluisa
ABSTRACT
This
study examines the aesthetic and visual configuration of the videopodcast Sorbito de Opinión to understand how visual resources contribute to
structuring the program’s communicative identity. Ten episodes published
between January and June 2025 were selected, considering visual stability,
guest participation, and high circulation on the platform. A qualitative case
study approach was applied using a visual analysis matrix based on visual
grammar, image semiotics, and contemporary studies on digital communication.
The results show that scenography, camera composition, lighting, graphic
elements, and presenters’ performativity form an integrated system that
reinforces the program’s identity and its conversational style. The study
provides evidence of the central role of visual aesthetics in videopodcasts and suggests future research linking visual
analysis with audience reception and comparative studies across digital
formats.
Keywords:
videopodcast, visual aesthetics, visual grammar,
image semiotics, digital communication
RESUMEN
El presente estudio analiza la
configuración estética y visual del videopodcast Sorbito de Opinión, con el
objetivo de comprender cómo los recursos visuales contribuyen a estructurar la
identidad comunicativa del formato. Se seleccionaron diez episodios publicados
entre enero y junio de 2025, considerando estabilidad visual, participación de
invitados y alto nivel de visualización en la plataforma. El análisis se
realizó mediante un enfoque cualitativo de estudio de caso, aplicando una
matriz de análisis visual basada en la gramática visual, la semiótica de la
imagen y estudios contemporáneos sobre comunicación digital. Los resultados
evidencian que la escenografía, la composición de planos, la iluminación, los
elementos gráficos y la performatividad de los presentadores conforman un
sistema integrado que refuerza la identidad del programa y su estilo
conversacional. El estudio aporta evidencia sobre la relevancia de la estética
visual como recurso estructural en los videopodcasts y propone nuevas líneas de
investigación orientadas a vincular análisis visual con estudios de recepción y
comparación de formatos digitales.
Palabras clave: videopodcast, estética visual,
gramática visual, semiótica de la imagen, comunicación digital.
INTRODUCTION
Over the last decade, podcasts have established
themselves as one of the most dynamic formats within the digital media
ecosystem. Their development has been closely linked to media convergence
processes and the expansion of digital platforms that facilitate the
production, distribution, and consumption of on-demand content. In its early
stages, podcasting was conceived primarily as an audio format, inheriting
certain narrative practices from radio but adapted to the logic of digital
circulation. However, technological developments in platforms and changes in
consumption habits have favored the emergence of new variants of the format,
among which video podcasting stands out.
Several studies have pointed out that the growth of
podcasts responds to structural changes in the media ecology and in
contemporary cultural production practices. Berry (2016) argues that podcasts
represent a form of expanded radio that is articulated with the participatory
dynamics of the internet, allowing for new forms of relationship between
content creators and audiences. Similarly, Bonini (2015) explains that the rise
of podcasts is linked to the democratization of media production, in which individuals
or small teams can generate content without relying on traditional broadcasting
structures. Along these lines, Spinelli and Dann (2019) highlight that podcasts
have evolved into a variety of narrative formats that combine radio practices
with strategies specific to digital environments.
In this context of media transformation, video
podcasts have emerged as a hybrid form that integrates the conversational logic
of podcasts with visual resources typical of audiovisual language. Unlike
traditional podcasts, whose experience is built mainly on sound, video podcasts
incorporate visual elements that expand the expressive possibilities of the
format and modify the ways of interacting with the audience. The presence of
cameras, sets, lighting, graphic resources, and the physical performance of the
participants introduces an aesthetic dimension that influences the construction
of the message and the visual identity of the program.
However, despite the sustained growth of the format,
academic research on podcasts has tended to focus mainly on their sound
dimension, on the business models associated with digital distribution, or on
on-demand audio consumption practices. Bonini (2015) points out that much of
the early literature on podcasts focused on their relationship with digital
radio and the transformations that this format introduced in the processes of
content production and circulation. Similarly, Berry (2016) analyzes podcasts as
an extension of radio culture within the digital environment. Although these
contributions have been fundamental to understanding the development of the
medium, they have left relatively unexplored the visual dimension that
characterizes the new audiovisual modalities of the format.
In recent years, some researchers have begun to pay
attention to the aesthetic and narrative transformations accompanying the
expansion of video podcasting. Spinelli and Dann (2019) point out that the
format has evolved toward increasingly hybrid media experiences, in which
content creators integrate audiovisual, scenographic,
and performative resources to construct their own communicative styles.
However, there is still limited academic production dedicated to systematically
examining how visual elements are configured within these formats and what role
they play in the construction of meaning.
From the perspective of visual communication and image
semiotics, visual elements constitute systems of signification that actively
participate in the production of meaning within media discourses. Authors such
as Barthes (1977), Eco (1979), and Kress and van Leeuwen (2006) have shown that
images have their own semiotic organizational structures that allow us to
interpret how visual messages are constructed. Within this theoretical
framework, aspects such as image composition, use of color, spatial arrangement
of elements, and subject gestures can be analyzed as resources that contribute
to structuring the visual narrative of a media product.
Applied to the field of digital content, these
perspectives allow us to examine how creators visually organize audiovisual
production spaces to convey certain discursive identities. The set design,
lighting, objects present on the set, and the participants' costumes function
as symbolic elements that shape the communicative atmosphere of a program. In
the case of video podcasts, these resources take on special relevance because
the format is generally developed in spaces designed to encourage conversation
and interaction among participants, making the visual environment a fundamental
component of the media experience.
In Latin America, the growth of conversational
audiovisual formats has been accompanied by the expansion of independent
creators who use digital platforms such as YouTube to produce opinion,
analysis, and entertainment content. In the Ecuadorian context, this trend has
also become visible through the emergence of digital programs that combine
informal conversation dynamics with audiovisual strategies typical of the
content creator ecosystem. These spaces have become relevant scenarios for the
circulation of opinions, debates, and cultural narratives within the digital
environment.
Despite this growth, academic analysis of video
podcasts in Ecuador is still in its infancy, particularly with regard to their
aesthetic and visual dimensions. This situation raises the need to develop
research that allows us to understand how visual elements are configured within
these formats and how they contribute to building the communicative identity of
programs broadcast on digital platforms.
In this context, the research problem that guides this
study arises: the scarcity of academic analysis focused on the aesthetic and
visual configuration of video podcasts as a communicative device within the
digital ecosystem. Although there is research that addresses podcasts from
technological, narrative, or consumption perspectives, knowledge about how
visual resources participate in the symbolic construction of these formats is
still limited.
Based on this problem, the following research question
is formulated:
How are the aesthetic and visual elements configured
in the video podcast “Sorbito de Opinión” and what communicational meanings
emerge from this configuration within the digital environment?
In order to answer this question, the general
objective of this article is to analyze the aesthetic and visual configuration
of the video podcast Sorbito de Opinión through a case study based on the
analysis of its main graphic, scenographic, and performative elements.
Specifically, the study aims to:
·
Examine the graphic identity of the program and its function within the visual
construction of the format.
·
Analyze the scenographic configuration of the recording set, considering
elements such as lighting, color scheme, and spatial arrangement.
·
Analyze the visual performativity of the presenters, including gestures,
costumes, and body language.
·
Interpret the communicational meanings that emerge from the articulation of
these visual elements.
The justification for the study is based on the need
to expand academic knowledge about the transformations that media formats
undergo within the digital ecosystem. Analyzing the aesthetic dimension of
video podcasts allows us to understand how content creators use visual
resources to construct differentiated communicative identities on digital
platforms. Likewise, the study contributes to strengthening research on visual
communication applied to new audiovisual formats, providing a case study
situated in the Ecuadorian context.
In this sense, the research falls within the field of
digital communication and visual culture studies, articulating contributions
from podcast theory (Bonini, 2015; Berry, 2016; Spinelli & Dann, 2019) with
perspectives of visual and semiotic analysis developed by Barthes (1977), Eco
(1979), and Kress and van Leeuwen (2006). Based on this theoretical dialogue,
the article seeks to contribute to the understanding of video podcasts as an
emerging audiovisual format whose communicative identity is constructed not
only through verbal discourse, but also through the aesthetic organization of
the visual elements that make up its staging.
Podcasts in the transformation of the digital media
ecosystem
The development of podcasts is part of a broader
process of transformation of the contemporary media ecosystem, characterized by
the convergence of digital technologies, distribution platforms, and new forms
of cultural production. Since its emergence at the beginning of the 21st
century, podcasting has evolved from an emerging practice linked to the
participatory culture of the internet to a consolidated industry within the
digital content market.
Berry (2016) argues that podcasts represent a
reconfiguration of radio in the digital context, allowing for the distribution
of content on demand and the possibility of consuming audio anytime, anywhere.
Unlike traditional broadcasting, this format breaks with the logic of linear
programming and favors personalized listening models that adapt to the rhythms
of audiences.
Along the same lines, Bonini (2015) explains that the
rise of podcasts is related to the democratization of media production. Reduced
technology costs and the availability of distribution platforms have allowed
independent producers, journalists, and content creators to generate programs
without relying on traditional media structures. As a result, podcasts have
established themselves as a space for narrative experimentation and thematic
diversification within the media landscape.
Spinelli and Dann (2019) delve deeper into this
transformation by pointing out that podcasts should be understood as a hybrid
medium that combines elements of radio, narrative journalism, digital culture,
and the creator economy. From this perspective, the format not only implies a
technological change in content distribution, but also a transformation in the
cultural practices associated with the production and consumption of
information.
These processes have favored the expansion of podcasts
into new formats and languages that transcend the exclusively audio realm.
Among them, the video podcast has become one of the
most visible expressions of the convergence between digital audio and
audiovisual production for platforms.
Video podcasts and audiovisual convergence on digital
platforms
Video podcasts have emerged as a result of the
convergence between podcast audio production practices and the audiovisual
dynamics of platforms such as YouTube and Spotify. In this format, the
conversation characteristic of podcasts is combined with visual resources that
expand the expressive possibilities of the medium.
Spinelli and Dann (2019) point out that the
development of video podcasts reflects an adaptation of the format to the logic
of visibility inherent in digital platforms, where images play a fundamental
role in the circulation of content and in the construction of the creators'
identity. The incorporation of cameras, sets, and graphic resources transforms
the user experience, which is no longer limited to listening to the content,
but also includes observing the interactions between the participants.
Recent research on the evolution of video podcasts
shows that this format has established itself as a relevant strategy within the
digital creator economy. López-Villafranca (2024) points out that video
podcasts aimed at young audiences have gained presence on platforms such as
Spotify and YouTube, where the visual dimension of content becomes a key
element in capturing attention in environments characterized by information
saturation.
Similarly, Alonso-López, López-Olano, and Gamir-Ríos
(2025) highlight that video podcasts have evolved towards increasingly
professionalized production models, in which the set design, lighting, and
visual design of the space take on a strategic role within the program's
audiovisual narrative.
These changes show that the analysis of video podcasts
cannot be limited solely to the study of verbal discourse or conversational
dynamics. On the contrary, it is also necessary to consider the visual elements
involved in the construction of the media message.
Visual aesthetics and communication in digital
environments
Visual aesthetics are a fundamental dimension in the
construction of media messages. From the perspective of visual communication,
images should not be understood solely as decorative elements, but as systems
of meaning capable of transmitting ideas, emotions, and cultural values.
Joly (1999) points out that every image has a semiotic
structure that allows the meanings it conveys to be interpreted within a given
communicative context. The composition, color, lighting, and arrangement of
elements within the image participate in the construction of meaning and
condition the way viewers interpret the visual message.
In the field of digital communication, visual
aesthetics take on particular importance due to the competition for attention
that characterizes platform environments. Suárez-Carballo and Pérez-Maíllo
(2022) argue that the visual elements associated with podcasts—such as covers
or graphic identities—play a strategic role in the visibility of content within
digital catalogs.
Similarly, Pérez-Maíllo, Suárez-Carballo, and
Martín-Sanromán (2022) demonstrated that the visual quality of podcast covers
can influence user preference during content selection processes on digital
platforms. Although these studies focus primarily on graphic design, they
highlight the relevance of the visual dimension in the media consumption
experience.
When these perspectives are transferred to the
analysis of video podcasts, it becomes clear that elements such as set design,
lighting, color palette, and the spatial arrangement of participants are part
of an aesthetic strategy that contributes to shaping the visual identity of the
program.
Visual grammar and semiotic analysis of the image
The analysis of visual elements in media products can
be approached from different theoretical perspectives within the field of
semiotics and visual communication. Among these, the visual grammar developed
by Kress and van Leeuwen (2006) is one of the most influential proposals for
the study of images in communicative contexts.
According to these authors, images have organizational
structures comparable to those of verbal language, which allows us to analyze
how visual meanings are constructed through elements such as composition,
perspective, visual interaction, or the hierarchy of components within the
image.
Visual grammar proposes three main dimensions for the
analysis of images:
·
Representational meaning, related to the elements that appear in the image and
the actions they represent.
·
Interactive meaning, which analyzes the relationship that the image establishes
with the viewer through gaze, distance, or framing.
·
Compositional meaning, which examines how elements are organized within the
visual space.
These categories allow for the systematic study of the
visual structure of media messages.
On the other hand, from the perspective of cultural
semiotics, authors such as Barthes (1977) and Eco (1979) have pointed out that
images function as sign systems whose interpretation depends on the cultural
context in which they circulate. Barthes distinguishes between the denotative
level—the literal description of what appears in the image—and the connotative
level, where the symbolic and cultural meanings associated with the visual
elements emerge.
Applied to the analysis of contemporary audiovisual
content, these perspectives allow us to examine how visual resources
participate in the construction of media identities and communicative styles.
In the case of the videopodcast, the layout of the space, the visual
interaction between the participants, the gestures, and the scenographic
elements can be interpreted as signs that contribute to defining the
communicative tone of the program.
From this perspective, the study of the visual
aesthetics of video podcasts is not limited to describing the elements that
appear on screen, but seeks to interpret the meanings that emerge from the
articulation between image, space, and performativity within the digital media
environment.
MATERIALS AND METHODS
This research falls within the qualitative paradigm,
which aims to understand the meanings and symbolic structures present in media
products. This approach is relevant when the objective of the study is not to
measure quantifiable variables, but rather to interpret how certain
communicative resources are configured within a specific visual discourse
(Denzin & Lincoln, 2018).
In terms of design, the study adopts the case study
modality, a methodological strategy widely used in communication research to
analyze contemporary media phenomena within their real context of production
and circulation (Yin, 2018). This type of approach allows for an in-depth
examination of a particular object in order to identify patterns, narrative
structures, and discursive strategies present in its configuration.
The case selected for this research is the video
podcast “Sorbito de Opinión,”
a talk show broadcast through digital platforms that combines the dynamics of
the podcast format with audiovisual resources characteristic of television
language and social media content. This case was chosen because of its
representativeness within the ecosystem of digital creators in the Ecuadorian
context, as well as the explicit presence of visual elements that allow for an
examination of the aesthetic dimension of the format.
From this perspective, the study does not seek to
establish statistical generalizations, but rather to understand how visual
elements are organized within a specific case and what communicational meanings
emerge from that configuration.
Sample and corpus of analysis
The corpus of analysis is composed of episodes of the
video podcast “Sorbito de Opinión”
published on the YouTube platform, where the program regularly disseminates its
audiovisual content.
Intentional or theoretical sampling was used to select
the sample, a strategy frequently used in qualitative research when the purpose
is to choose units that allow for clear observation of the phenomenon being
analyzed (Patton, 2015). This type of selection does not seek statistical
representativeness, but rather analytical relevance.
The sample consists of ten episodes published between
January and June 2025, selected based on three criteria: episodes that present
the program's stable visual configuration; episodes that include both
conversational dynamics between the presenters and the participation of guests;
and episodes with the highest number of views on the channel, which allows for
the analysis of visual elements in widely circulated content.
The episodes with the highest viewing figures within
the period analyzed were selected, considering those that exceed 80,000 views
on YouTube, which allows for the examination of audiovisual products with high
circulation and visibility on the platform.
The following table shows the selected episodes.
Table 1. Episodes of the Sorbito de
Opinión video podcast analyzed (January–June 2025)
|
N.º |
Fecha |
Episodio |
Invitados |
Duración |
Visualizaciones |
|
1 |
23 enero
2025 |
Debate
sobre relaciones |
No |
1h 20 min |
85.000 |
|
2 |
30 enero
2025 |
Humor y
experiencias |
No |
1h 18 min |
92.000 |
|
3 |
06
febrero 2025 |
Redes
sociales y viralidad |
Sí |
1h 25 min |
110.000 |
|
4 |
13
febrero 2025 |
Masculinidad
y cultura digital |
No |
1h 30 min |
97.000 |
|
5 |
28
febrero 2025 |
Fingió un
embarazo para ser viral |
Sí |
1h 30 min |
125.000 |
|
6 |
07 marzo
2025 |
Me
mojaron el teléfono |
No |
1h 24 min |
88.000 |
|
7 |
14 marzo
2025 |
Con esta
me regreso a la fiesta |
No |
1h 31 min |
104.000 |
|
8 |
21 marzo
2025 |
La
dejaron botada de chiquita en el mar |
Sí |
1h 04 min |
130.000 |
|
9 |
28 marzo
2025 |
Si tiene
novio es 1 vs 1 |
No |
1h 23 min |
118.000 |
|
10 |
15 mayo
2025 |
Debate
cultura digital |
Sí |
1h 27 min |
101.000 |
*Estimated viewing level considering episodes with the
highest circulation within the channel.
Source: Own elaboration based on the digital channel
of the video podcast Sorbito de Opinión.
The analysis of these episodes allowed us to identify
recurring patterns in the visual construction of the program, both in terms of
its graphic identity and the scenographic
organization and visual interaction between the participants.
The main technique used in this research is visual
content analysis, a qualitative method aimed at examining the significant
elements present in images and audiovisual products. This type of analysis
allows us to identify patterns of visual composition, symbolic structures, and
aesthetic strategies used in the construction of the media message (Rose,
2016).
In the field of visual communication studies, content
analysis applied to images is used to study how visual elements participate in
the production of meaning within media discourses. In this case, the technique
is used to examine the aesthetic configuration of the video podcast based on
variables related to scenography, image composition, lighting, and the
performativity of the participants.
For the analysis of the visual aesthetics of the
Sorbito de Opinión videopodcast, a visual analysis matrix was designed to
systematically examine the audiovisual elements present in each episode. The
matrix was constructed based on theoretical contributions on the aesthetics of
video podcasts and digital audiovisuals (Bonini, 2015; Spinelli & Dann,
2019; Berry, 2016), considering variables related to visual composition, set
design, camera use, lighting, and interaction between participants.
This instrument allows us to identify aesthetic and
narrative patterns in the visual construction of the program, as well as to
understand how these elements contribute to the configuration of the video
podcast as a communicative format in the digital environment.
The matrix organizes the analysis as follows:
Table 2. Visual analysis matrix
|
Categoría |
Variable |
Indicadores de observación |
Tipo de registro |
|
Configuración
del espacio visual |
Escenografía |
Presencia
de mesa, fondo decorativo, elementos visuales del set, uso de branding del
programa |
Descriptivo |
|
Composición
espacial |
Distribución
de los presentadores en el encuadre, distancia entre participantes,
organización del espacio |
Descriptivo |
|
|
Lenguaje
audiovisual |
Tipo
de plano |
Plano
medio, plano conjunto, plano cerrado en intervenciones específicas |
Frecuencia |
|
Movimientos
de cámara |
Cámara
fija, cambios de plano, uso de cortes entre cámaras |
Frecuencia |
|
|
Iluminación
y estética visual |
Tipo
de iluminación |
Iluminación
frontal, lateral, luz ambiental, uso de luces decorativas |
Descriptivo |
|
Ambiente
visual |
Tonalidad
de colores, atmósfera visual del set, coherencia estética |
Descriptivo |
|
|
Elementos
gráficos |
Recursos
visuales |
Uso
de gráficos, rótulos, subtítulos, imágenes insertadas |
Frecuencia |
|
Identidad
visual |
Presencia
de logotipo del programa, colores característicos, elementos de marca |
Descriptivo |
|
|
Interacción
comunicativa |
Dinámica
entre presentadores |
Conversación
horizontal, humor, interrupciones, diálogo espontáneo |
Descriptivo |
|
Participación
de invitados |
Intervención
de invitados, distribución del tiempo de palabra |
Frecuencia |
|
|
Narrativa
audiovisual |
Ritmo
de edición |
Cambios
de plano, duración de intervenciones, cortes |
Descriptivo |
|
Estructura
del episodio |
Introducción,
desarrollo del tema, cierre del episodio |
Descriptivo |
Source: own elaboration based on Kress and van Leeuwen
(2006), Barthes (1977), Eco (1979), and Joly (1999).
The matrix was applied to selected episodes of the
video podcast, systematically recording the visual elements present in each of
the established categories. This procedure made it possible to identify
recurring patterns in the aesthetic configuration of the program and
facilitated the subsequent interpretation of the results in dialogue with the
theoretical framework of the study.
The analytical process was carried out in three
phases. In the first phase, an exploratory review of the channel's content was
conducted to identify the episodes that met the selection criteria established
for the sample. Subsequently, the selected episodes were viewed in their
entirety.
In the second phase, the visual analysis matrix was
applied, recording the elements present in each episode according to the
previously defined categories. This procedure made it possible to identify
recurring patterns in the aesthetic organization of the program. Finally, in
the third phase, the data obtained was interpreted based on the dialogue
between the empirical results and the theoretical framework used in the
research. This process made it possible to examine how the visual elements
identified contribute to shaping the communicative style of the video podcast
analyzed.
RESULTS
This chapter presents the results of the analysis of
ten selected episodes of the video podcast Sorbito de
Opinión, corresponding to the period January–June
2025. The episodes were chosen based on the visual stability of the program,
guest participation, and high circulation on digital platforms. The analysis
was organized around the categories defined in the visual analysis matrix (see
Chapter 3, section 3.5) and allows for the identification of patterns in the
aesthetic configuration and communicative construction of the program.
The study revealed that Sorbito
de Opinión maintains a stable visual space throughout
the episodes, characterized by a symmetrical arrangement of the presenters
around a central table and a decorative background that incorporates graphic
elements from the program. This structure reinforces the identity of the format
and facilitates interaction between participants, generating a horizontal
conversational dynamic (Spinelli & Dann, 2019).
The props present—such as lamps, books, and thematic
decorations—contribute to a coherent and recognizable visual environment, while
the arrangement of the furniture allows the presenters to interact visually and
verbally without losing scenic proximity. This organization of space plays a
strategic role in the perception of aesthetic continuity, ensuring that each
episode is visually consistent with the previous ones.
“The scenographic arrangement and visual elements of
the set function as semiotic devices that structure communicative interaction
and reinforce the identity of the program” (Berry, 2016, p. 45).
In terms of audiovisual language, a predominance of
medium shots and wide shots was observed, especially during the presenters'
interventions and the participation of guests. This type of framing allows for
the simultaneous display of bodily interaction and gestures, which reinforces
the conversational nature of the program.
Shot changes are mainly used to highlight key guest
interventions or moments of humor, while the main camera remains fixed in most
episodes, ensuring visual continuity and narrative coherence. This pattern is
in line with the findings of Bonini (2015), who points out that video podcasts
tend to prioritize shots that allow for the simultaneous reading of verbal and
nonverbal interaction, strengthening the perception of proximity between
presenters and viewers.
The lighting in the episodes analyzed combines
diffused front lighting with side lighting, creating a bright and warm
atmosphere that favors uniform visibility of the participants. The predominant
tones of the set remain within a consistent color palette (mainly blue and
white), which contributes to the visual identity of the program and facilitates
aesthetic memorization by the digital audience.
The analysis shows that the lighting and colors are
not arbitrary: they play a strategic role in the visual discourse, consistent
with the recommendations of Spinelli & Dann (2019) on the importance of
aesthetics in the construction of hybrid podcast and video formats.
The episodes analyzed incorporate consistent graphic
elements, such as logos, labels, and subtitles, which serve both informational
and identity functions. The program's cover, the fonts used, and the visual
hierarchy of the graphics are consistent across all episodes, creating a
recognizable visual framework for the audience.
Bonini (2015) points out that graphic consistency on
digital platforms contributes to brand building and facilitates rapid
identification of content in information-saturated environments, which
coincides with the findings of this analysis.
The study identified that the presenters maintain open
postures and moderate gestures, favoring clarity and dynamism in the
interaction. Hand gestures accompany verbal interventions, and eye contact
between participants reinforces the conversational dynamic (Berry, 2016).
The presenters' clothing combines an informal style
with minimal formal elements, which helps to project closeness and
professionalism without losing the conversational identity of the format. This
pattern remains stable throughout all the episodes analyzed, which shows a
conscious visual communication strategy.
The visual interaction between participants shows
narrative coherence: movements and gazes are aligned with the conversational
structure, and moments of guest participation are highlighted through framing
and cuts that reinforce attention on the speaker.
The episodes present a flexible narrative, organized
into introduction, development, and conclusion, with interventions alternating
between presenters and guests. This structure allows the conversation to flow
naturally, maintaining the viewer's attention and reinforcing the program's
aesthetic and communicative identity (Spinelli & Dann, 2019).
Below is a summary of the main findings:
Table 3. Summary of findings from
the visual analysis
|
Categoría |
Hallazgo principal |
|
Escenografía |
Set
estable, fondo gráfico, mesa central favorece interacción |
|
Lenguaje
audiovisual |
Predominio
de plano medio y plano conjunto, cámara fija |
|
Iluminación |
Luz
frontal y lateral, tonos cálidos coherentes con la marca |
|
Elementos
gráficos |
Portada
y tipografía consistentes, logotipos visibles |
|
Performatividad |
Gestualidad
moderada, contacto visual y vestuario informal |
|
Interacción
narrativa |
Conversación
fluida, intervenciones destacadas mediante encuadres y cortes |
Source: Own elaboration
The results show that the video podcast Sorbito de Opinión maintains a
stable and consistent visual configuration throughout the episodes analyzed.
The resources used for set design, lighting, shot composition, graphic
elements, and the presenters' performance form an interrelated system that
contributes to building the program's visual identity, allowing the
conversational narrative to be projected in a clear and attractive way within
the digital ecosystem (Spinelli & Dann, 2019; Bonini, 2015; Berry, 2016).
The results of the analysis of the video podcast Sorbito de Opinión show that the
visual dimension is a central element in the construction of the program's
identity and in the organization of its conversational narrative. The stability
of the set, the composition of the shots, the lighting, and the performers'
performances form an integrated system of meaning that ensures aesthetic
coherence throughout the episodes. This finding confirms Spinelli and Dann's
(2019) idea about the need to consider the video podcast as a hybrid format
where sound and visual language are articulated to generate a unique
communicative style.
The consistency observed in the program's graphic
identity, especially in the cover and color palette, coincides with Bonini's
(2015) observations regarding the strategic function of visual elements in
brand building within environments saturated with digital content. In the case
of Sorbito de Opinión, the
typography, visual hierarchy, and incorporation of the presenters' faces allow
users to quickly identify the content, reinforcing the consistency of the
format on platforms such as YouTube and Spotify.
Likewise, analysis of the set design and spatial
composition shows that visual elements do not operate in isolation, but rather
participate in the construction of meaning by articulating with the performers'
performativity. Berry (2016) highlights that the interaction between visual
presence, gestures, and conversational narrative contributes to projecting
closeness and authenticity, even when audience perception is not directly
measured. This pattern is observed repeatedly in the selected episodes, consolidating
a conversational style that combines minimal formality with communicative
informality.
The analysis also highlights the relevance of lighting
and color resources as semiotic tools. The use of front lighting combined with
warm tones consistent with the visual identity helps create an atmosphere that
facilitates viewer understanding and attention, reinforcing the perception of
professionalism in the production. This finding is in line with the approaches
of Joly (1999) and Kress & van Leeuwen (2006) on visual grammar: the
arrangement of elements within the shot, the direction of the gaze, the spatial
hierarchy, and the interaction between objects and subjects are strategic
resources that contribute to the creation of meaning.
The discussion of the results also suggests that the
visual dimension of video podcasts opens up new possibilities for research in
Latin America and, specifically, in Ecuador, where studies on digital
aesthetics in conversational content are still in their infancy. Based on this
analysis, studies could be proposed to empirically evaluate the relationship
between aesthetic configuration and audience perception, or the influence of
visual identity on viewer loyalty. Similarly, it is pertinent to investigate how
visual decisions are articulated with cultural, sociopolitical, or thematic
factors, given that the aesthetics of a program are not constructed in a
vacuum, but in relation to the cultural context of its audience (Barthes, 1977;
Eco, 1979).
Furthermore, the findings allow us to formulate new
research questions for future studies: How do visual elements influence the
interpretation of messages by different audiences? How does the aesthetic
identity of the video podcast adapt to different digital distribution formats,
such as short clips on social media? What patterns of visual configuration are
repeated in similar programs and how do they compare to those found in Sorbito
de Opinión? These questions aim to expand knowledge about digital aesthetics in
emerging audiovisual productions and to link visual analysis with reception and
engagement studies, which were not addressed in this study.
In summary, the discussion allows us to situate the
results of the analysis within the previously defined theoretical framework,
integrating perspectives on visual grammar, semiotics, and podcast studies, and
demonstrates how the aesthetic dimension contributes to structuring the
communicative identity of a video podcast, consolidating its conversational
style and recognition within the digital ecosystem.
CONCLUSIONS
Analysis of selected episodes of the video podcast Sorbito de Opinión shows that the
visual dimension is a strategic component in the construction of the format,
where set design, shot composition, lighting, graphic elements, and the
performers' delivery are coordinated to create aesthetic coherence and
communicative style. The organization of the space and the visual interaction
between the participants shape a conversational narrative that reinforces the
program's identity without the need for external audience intervention.
The consistent use of graphic identity, typography,
and color palette shows that the visual elements fulfill specific semiotic
functions, facilitating the identification of content and consolidating a
recognizable brand within digital platforms saturated with information. The
interaction between these visual resources and the performers' performance
contributes to projecting professionalism and closeness, central factors in the
construction of a hybrid conversational style that combines elements of radio,
video, and digital culture.
These findings support the argument that visual
aesthetics are not an accessory element of video podcasts, but rather a
structural resource that conditions the perception of coherence and
communicative order, acting as a support for the audiovisual narrative. The
study provides evidence on how visual grammar and image semiotics can be
applied in digital contexts to interpret aesthetic configuration strategies in
emerging audiovisual productions.
Finally, the results open up new possibilities for
research, highlighting the need to link visual analysis with reception studies,
exploring how aesthetic configuration influences the interpretation of content
by audiences and how it adapts to different digital distribution formats. It
also suggests further comparisons between similar programs, with the aim of
generating general patterns of aesthetic construction in contemporary video
podcasts.
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* Mgs. en Gobernabilidad y Gerencia
Política, Universidad de Guayaquil – Universidad Complutense de Madrid.Claudia.pezoc@ug.edu.ec http://orcid.org/0000-0002-5571-4321
Magíster en Publicidad, Universidad de
Guayaquil Lucy.piguaves@ug.edu.ec
https://orcid.org/0009-0006-6948-5116
Universidad Técnica de Manabí Shirley.gomezs@utm.edu.ec
https://orcid.org/0009-0002-9822-7416
Licenciada en Publicidad, Universidad de
Guayaquil Athyuska.tapiag@ug.edu.ec
https://orcid.org/0009-0004-4848-4224