Use of New Narratives for COVID-19 Reporting: From 360º Videos to Ephemeral TikTok Videos in Online Media

Abstract

The disruptive evolution of technology has impacted on all aspects of communication. Consequently, various alternatives are being developed for storytelling, delivering messages, and connecting to people. The evolution of social media and mul-timedia technologies is evident. Since 2014, we have witnessed changes both in the concept of immersion over the 360º format and virtual reality. Such changes aim at much closer proximity between user and content, strengthening possible empathic bonds. Even so, emerging audiences, especially Generation Z, spend time in digital environments that do not support this type of content. As a consequence, their interactions and multimedia behavior focus on vertical, ephemeral content, rendering TikTok as an innovative alternative with a significant growth trend. This study proposes a review of media outlets and journalists' work reporting on the COVID-19 pandemic using 360º multimedia narratives and Tik-Tok. Research shows evidence of the limited use of the immersive multime-dia format and the increase of productions in the ephemeral vertical format of TikTok-whose audience reach has grown significantly.

Full text

105
Tripodos 2020 | 47 | VOL. 1
Tripodos, number 47, vol. 1 | 2020 | 105-122
ISSN: 1138-3305
Use of New Narratives for COVID-19 Reporting: From
360º Videos to Ephemeral TikTok Videos in Online Media
Pavel Sidorenko-Bautista
Francisco de Vitoria University (Spain)
José María Herranz de la Casa
Juan Ignacio Cantero de Julián
University of Castilla-La Mancha (Spain)
Received: 30/04/20
Accepted: 27/05/20
The disruptive evolution of technology
has impacted on all aspects of commu-
nication. Consequently, various alterna-
tives are being developed for storytelling,
delivering messages, and connecting to
people.
The evolution of social media and mul-
timedia technologies is evident. Since
2014, we have witnessed changes both
in the concept of immersion over the
360º format and virtual reality. Such
changes aim at much closer proximity
between user and content, strengthen-
ing possible empathic bonds.
Even so, emerging audiences, especial-
ly Generation Z, spend time in digital
environments that do not support this
type of content. As a consequence, their
interactions and multimedia behavior
focus on vertical, ephemeral content,
rendering TikTok as an innovative alter-
native with a signicant growth trend.
This study proposes a review of media
outlets and journalists’ work report-
ing on the COVID-19 pandemic using
360º multimedia narratives and Tik-
Tok. Research shows evidence of the
limited use of the immersive multime-
dia format and the increase of produc-
tions in the ephemeral vertical format
of TikTok —whose audience reach has
grown signicantly.
Keywords: COVID-19, 360 video,
ephemeral video, journalism, Genera-
tion Z.
NEW TECHNOLOGIES AND GREATER DIGITALIZATION
The world is going through its Fourth Industrial Revolution, this is a context
where the fast evolution of technology has been decisive in all develop-
mental areas of communication (Schawb, 2016). At the same time, these
changes influence social dynamics and increase the complexity of message distri-

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106 bution among an increasingly segmented audience (Andriessen and Vartiainen,
2006). This context leads to reassessing McLuhan’s “the media is the message”
and considering “people is the message” (Cardoso, 2014), generating disruptive
change in the relationship between sender-receiver-message (Fernández, 2011).
The emphasis falls on online communications, interactive, and multimedia,
which translates in the constant development of new alternatives for story con-
struction and communicating (Herranz, Sidorenko, and Cantero, 2019).
As a consequence, the definition of new professional profiles arises: i.e., social
media producer, user engagement specialist, or Facebook live producer (Adornato,
2017). The future of communications is uncertain. It aims to technologies such
as blockchain, artificial intelligence (chatbots, virtual assistants), internet of things
(Herranz, Sidorenko, and Cantero, 2019), and definitely towards a content ubiq-
uity model where the user will not be able to avoid messages and stimuli (Sala-
verría, 2018).
JOURNALISM, MOBILITY AND INTERCONNECTED AUDIENCES
Interconnected users can be organized into generations to delineate and compre-
hend their interactions and digital consumption. A generation references a set
of related phenomena that lead to a generational gap, while the members of one
group experience social proximity as a result of shared events, especially those of
cultural nature (Parry and Uwin, 2011).
The most recent segmentation is that of Generation Z, also referred to as the
digitally native generation, because, generally speaking, they were born with full in-
ternet access available, and above all, wireless internet, which has significantly con-
ditioned their communicational habits (Baysal, 2014; Prensky, 2001; Turner, 2015).
Visual Capitalist conducted a study using Global Web Index data (see
<https://bit.ly/2z847oR>). They studied the digital behavior of people during the
first month of social confinement, a consequence of the COVID-19 pandem-
ic. The sample comprised the activity of 4,000 users in the United States and
the United Kingdom and reached the conclusion that Generation Z consumes,
largely, online video, on-demand television, on-demand music, and videogames.
Millennials coincide in all these items in addition to a great interest in obtaining
information from digital news sources. Generation x, although consuming more
conventional television, is barely under the consumption index of online video
and on-demand TV of the first two segments compared.
As it is likely to presume, boomers tend to consume content mainly on tradi-
tional media, although with some exceptions. Nevertheless, the coincidence of
multimedia consumption is worth mentioning, conditioned by the social media
phenomena (IAB, 2019). There has been significant growth in this trend as a
consequence of the quarantines imposed in different countries and aimed at
containing COVID-19 contagion: more time spent at home, more opportunities
for interconnection, and lessening the effects of social distancing.
The evolution of these technologies has brought new possibilities for creat-
ing stories. Six years have passed, with ups and downs, in the development of

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the 360º format with immersive capabilities. A short period that testifies to the
significant progress of the virtual reality concept, closely linked to this type of
content.
Virtual reality proposes immersion and interaction, allowing the user to reach
a feeling of living an event without being physically involved, using a device
over the head. In other words, an individual wearing a digital interface reach-
es physical and emotional perceptions similar to actual life (Mütterlein, 2018;
Sidorenko, Cantero, and Herranz, 2017; Vázquez and López, 2017). Achieving a
complete immersive sensation only when the device used to visualize this type
of content offers user movement. That is to say, it allows us to be more involved
with the content (De la Peña et al., 2010; Pavlik, 2001; Pryor, 2000).
This format enhances informative possibilities presenting a complete visual
range, as well as an emotional and empathic connection between audience
and content (Aitamurto, 2018; Witt et al., 2016). This connection is the rea-
son why journalism added this resource since 2014 (Pérez-Seijó, 2016: 408) to
connect stories and information with the public in a different manner, laying
the way for the concept of immersive journalism (Peña et al., 2010; Domínguez,
2013).
The New York Times, USA Today, ABC, Euronews, BBC, The Guardian, RTVE,
and El País have been referenced cases in the subject despite a significant de-
crease and, even a total halt in the production of this type of content, except for
Euronews.
Nevertheless, the usual digital behavior of the younger interconnected gener-
ations, such as Generation Z, is vertical, due to the natural interactive disposition
of smartphones, leading to apps and social media that do not support the 360º
format. The most successful cases that we can mention today are Snapchat, Ins-
tagram, and TikTok.
The ephemeral multimedia logic stems from them because its content re-
quires brief attention from users (Yang, Zhao, and Ma, 2019). And even though
it already has a couple of years, TikTok is today a proper vertical revolution
(González, 2019) because of its particular message code: short, fun, entertain-
ing, conceived by community proposed challenges and with a tendency to re-
ward nano-influencers (Merca2.0, 2020). A social network where user participation
is led by suggested hashtag-challenges, whose success and visibility rely upon the
degree of involvement of people.
This type of participation has ushered TikTok’s extraordinary growth since it
has become a scape valve in the context of the quarantine stemming from the
COVID-19 pandemic (Refojos, 2020; Rodríguez, 2020; Willingham, 2020).
The user community is composed, mainly, by Generation Z (Rapkin, 2017;
Yang, Zhao, and Ma, 2019), although these indicators are prone to change dur-
ing 2020, since, as a consequence of the confinement, many millennials have
started participating in this network. It is worth remarking the incremental pres-
ence of the media and journalists. The Washington Post was among the first to
join, although, is also worthy of note the global presence of Antena 3 Noticias,
USA Today, NBC News, Al Jazera, or Business Insider, among others who are try-
ing to adapt to the particular message code.

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108 METHODOLOGY
The COVID-19 pandemic has shaken the globe, leaving notable displays of emo-
tion and feelings, both positive and negative. The social expectation to know
what is happening, the testimony of those involved, the numbers, official state-
ments, and diverse interpretations have filled the media agenda and have no-
tably increased the flow of content in digital channels. Some authors warn of
high levels of “infoxication” (López, 2020) due to an excess of related content or
“infodemic” (Papapicco, 2020) alluding to a parallel pandemic of fake news and
rumors related to the virus.
Despite the coverage of the pandemic by traditional media, there is also sig-
nificant work on online media. Related to the journalistic work using new narra-
tives, and because the 360º multimedia format with immersive capabilities pro-
duces empathy between audience and content, this study proposes a review of
the coverage of facts using this format.
We propose evidencing, who has covered the pandemic using this format?
Since when? And, what is the type of themes developed?
Considering the data referenced by Visual Capitalist and taken from the Glob-
al Web Index, and due to the digital phenomena rising to the heat of these
events, the vertical, ephemeral format has been considered as another new nar-
rative, departing from the particular experience of TikTok.
As with the previous case, for this format, we propose evidencing How this
particular channel delivers information? Who is doing it? And, Since when?
The initial hypotheses are:
• H1: Reference media outlets for 360º video have continued coverage of COV-
ID-19 with this narrative.
• H2: 360º video narrative is very relevant for storytelling and news during the
COVID-19 pandemic.
• H3: Media outlets have used TikTok’s ephemeral videos to inform about COV-
ID-19 and precautions during the pandemic.
Regarding 360º video, we searched the leading platforms that offer this type of
media: YouTube, Facebook, and Veer. The first two because they are the most
popular social networks that support the format and the last one because it is
a social network born in China and called to be the largest repository of 360º
multimedia on the internet.
The search terms used where: coronavirus, covid-19, isolation, confinamiento
(confinement), cuarentena (quarantine), pandemia (pandemic), virus. In the same
manner, we also visited networks that support the 360º video format to verify the
information distributed using this format and to confirm search results.
We established five profile categories to build analytic charts:
1. public institution/governmental authority
2. religious institutions
3. media outlets/journalists

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4. media production companies and
5. personal accounts
We also established five thematic categories to publications under scrutiny:
A. medical data
B. urban situation
C. home confinement
D. awareness
E. hospitals and clinics situation
Time of publication was a variable considered, since, due to the quick evolution
of events, the tone of the January publication’s is different from those published
in April.
Videos that albeit containing terms such as covid-19 or coronavirus in the title
did not have an informative intent or were not related to the topic where exclud-
ed from the study. Presumably, those terms where included to optimize search
results in this context.
We built the TikTok analytic chart considering media outlets with a general
journalistic profile, the number of publications until the review date, content
that directly addresses the pandemic, and content tone: entertainment (E) or
informative (I).
In this manner, two new narratives emerge one that tries to establish a greater
empathic connection between audience and content and another that has been
the hype during the quarantine, transcending its primary audience.
The period of analysis for web reviews began on January 1st, as the starting
point of the pandemic, and end April 20th, 2020, equivalent to 16 weeks (4
months).
Summarizing, the goal of this study is to register the evidence of how the
situation derived from the COVID-19 pandemic is informed and documented
through new narratives based on the two formats and networks previously men-
tioned.
RESULTS
The recount of 360º videos delivered a total of 64 publications that directly refer-
enced the situation derived from the COVID-19 pandemic.
The majority of content in this group intended to show the conditions of
urban areas in the publisher’s surroundings, especially with an emphasis on hu-
man activity in those areas.

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110 Chart 1. Analytical chart of 360º publications, with immersive capabilities, about
COVID-19 on YouTube, Facebook and VeeR, January 1st – April 20th, 2020
Profile Profile
category
Content
category
Date Platform and link
TVR Sanal Gerçeklik Kanalı 5 B 05/02/20 YT - https://bit.ly/3cBWqFV
CGTN 3 E 20/02/20 YT - https://bit.ly/3eCbPbc
CGTN 3 B 26/02/20 YT - https://bit.ly/2XUh28d
VirtualEyze-VR 4 D 03/03/20 YT - https://bit.ly/2KoqQPX
T13 3 E 05/03/20 YT - https://bit.ly/2znNqpT
FXG 5 B 09/03/20 YT - https://bit.ly/3cPBRGr
VRAS 4 D 15/03/20 YT - https://bit.ly/3cCPCb9
Siente el BIT 4 B 16/03/20 YT - https://bit.ly/2RWaz8W
Siente el BIT 4 B 16/03/20 YT - https://bit.ly/34RUWF2
360 grados 5 B 17/03/20 YT - https://bit.ly/2RUJyCQ
Andy Kay 5 B 17/03/20 YT - https://bit.ly/3bsRoeV
Andy Kay 5 B 18/03/20 YT - https://bit.ly/2yx1CMM
Josh Grambo 5 C 18/03/20 YT - https://bit.ly/3bqJG4Q
Inre Sinnesvilja 5 B 18/03/20 YT - https://bit.ly/34UoyS5
360VR Medio Solutions 4 B 18/03/20 YT - https://bit.ly/2VLwlgR
Kevin Kunze 5 B 19/03/20 YT - https://bit.ly/2KkZ7zG
Cinetique Inmersion 4 D 19/03/20 YT - https://bit.ly/34RXW4g
Insta 360 Tube 4 B 20/03/20 YT - https://bit.ly/34Y6Q0e
dorfi360 5 B 20/03/20 YT - https://bit.ly/2KkiY25
CGTN 3 E 21/03/20 YT - https://bit.ly/3eE1gV3
El Crítico 5 B 22/03/20 YT - https://bit.ly/2RV4ZE7
dorfi360 5 B 22/03/20 YT - https://bit.ly/2VLgXRL
All things Branson 5 B 22/03/20 YT - https://bit.ly/2VMHYUL
Hugh Hou 5 B 22/03/20 VeeR - https://bit.ly/2VrcHYH
Szidor N. Gábor 5 B 22/03/20 VeeR - https://bit.ly/3eKHZkL
WyoColo Experience 5 B 23/03/20 YT - https://bit.ly/3arEHj1
WyoColo Experience 5 B 24/03/20 YT - https://bit.ly/3cBlo8r
WyoColo Experience 5 B 24/03/20 YT - https://bit.ly/2Kn7meL
Worldwide Reality Videos 4 B 24/03/20 YT - https://bit.ly/2VOwmAB

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Profile Profile
category
Content
category
Date Platform and link
The1 VR 4 D 24/03/20 YT - https://bit.ly/2wUmCMO
Gaba VR 5 B 24/03/20 YT - https://bit.ly/2x2Akxc
WyoColo Experience 5 B 25/03/20 YT - https://bit.ly/2RYRkM9
WyoColo Experience 5 B 25/03/20 YT - https://bit.ly/3arBVuf
Sputnik France 3 B 25/03/20 YT - https://bit.ly/3aqKUvF
Philips Argueta 5 B 25/03/20 YT - https://bit.ly/2xNAFUZ
Surgical Theater 4 A 26/03/20 YT - https://bit.ly/2xNyBMJ
Vila 360 VR Videos 4 B 27/03/20 YT - https://bit.ly/2xMofwL
MAD Channel 5 B 28/03/20 YT - https://bit.ly/3cBqamn
Exploring theWorld 5 B 29/03/20 YT - https://bit.ly/2VwJXxT
Damien Gilbert 5 B 30/03/20 YT - https://bit.ly/2yAyCn3
TARGO 4 B 01/04/20 VeeR - https://bit.ly/2RVezXh
CGTN 3 E 02/04/20 YT - https://bit.ly/3amV804
Urbanist – History of Cities 5 B 05/04/20 YT - https://bit.ly/2KpzDkM
Felix Mizioznikov 5 B 05/04/20 YT - https://bit.ly/3bvL1Y4
WyoColo Experience 5 B 06/04/20 YT - https://bit.ly/3atUmhT
Nsocial Enriched
Experimental Agency
4 D 06/04/20 YT - https://bit.ly/3czWmqg
Abu Huraira Center 2 D 07/04/20 YT - https://bit.ly/3ar17RD
José Ortega 5 B 07/04/20 YT - https://bit.ly/351K2wA
Agencia Casa Mais 4 B 09/04/20 YT - https://bit.ly/2VsmXA4
James Z Wu 5 B 10/04/20 YT - https://bit.ly/2xQscjL
Andy Kay 5 B 10/04/20 YT - https://bit.ly/2wXWnVP
Abu Huraira Center 2 D 13/04/20 YT - https://bit.ly/2zioRKJ
Men on Tour Live 5 B 13/04/20 YT - https://bit.ly/2XVP64
Andy Kay 5 B 15/04/20 YT - https://bit.ly/34UXcv6
Andy Kay 5 B 16/04/20 YT - https://bit.ly/3eCbfdw
VR Gorilla 4 B 17/04/20 YT - https://bit.ly/2VKjwUd
Sputnik France 3 B 17/04/20 YT - https://bit.ly/2XWkBeq
AbbiLee360 5 C 18/04/20 YT - https://bit.ly/3eLB8YD
WyoColo Experience 5 B 18/04/20 YT - https://bit.ly/3cO6PPd

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112 Profile Profile
category
Content
category
Date Platform and link
Abu Huraira Center 2 D 18/04/20 YT - https://bit.ly/2xM6FZu
Andy Kay 5 B 18/04/20 YT - https://bit.ly/3cwlJJw
Andy Kay 5 B 19/04/20 YT - https://bit.ly/2RYUnUB
Abu Huraira Center 2 D 20/04/20 YT - https://bit.ly/2VMrHiJ
Andy Kay 5 B 20/04/20 YT - https://bit.ly/3eG4o2H
Source: Prepared by the authors.
The majority of this type of content was published from personal accounts, as shown
in Chart 1 and represent 57% of the publications found, as illustrated in Graphic 1.
The segment that follows, with a much smaller proportion is that of media pro-
duction companies, who created content showing the situation in urban areas in
the quarantine and confinement regime applied globally as a consequence of the
pandemic (13%). Both segments account for 70% of the immersive content studied.
Chart 1 also evidences that a mayor flow of communications took place in
March, followed by April. Conversely, February has barely any evidence of activ-
ity and January none.
Another aspect worth noting is that 95% of the publications appeared on You-
Tube (Graphic 2) and the remaining 5% on VeeR. In contrast, there is no registry
of content with similar characteristics on Facebook during the period studied.
Graphic 1. Profile percentage of 360º publications with immersive capabilities
of COVID-19 on YouTube, Facebook, and VeeR, January 1st– April 20th, 2020
Source: Prepared by the authors.

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Graphic 2. Thematic percentage of 360º publications with immersive capabilities
of COVID-19 on YouTube, Facebook, and VeeR, January 1st– April 20th, 2020
Source: Prepared by the authors.
Regarding TikTok and its ephemeral vertical content, the media outlets refer-
enced in Chart 2, show that, in general, coverage of the global pandemic began
at the end of January, when the information transcended Chinese borders. Nev-
ertheless, some of them began producing content in a deferred way.
The News outlet of Costa Rica, NCR Noticias, began producing content in
this social network on March 29th, that is to say, they premiered in this platform
with coverage of the virus in their country. But this is not the case of RT or USA
Today who started publishing what was happening in China.
Another important detail is that despite the message code dominating the
web at the moment, most of the publications in these profiles had informative
intent.
The Washington Post case is worthy of notice. This news outlet engaged in
generating publications of the pandemic in a strict entertainment and comedy
tone, respecting if you want, the content style that dominates in that platform.

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114 Chart 2. Analytical chart of COVID-19 publications on TikTok by media outlets,
January 1st– April 20th, 2020
Media Outlet First
COVID-19
publication
Total Nº of
publications
January-April
2020
Total Nº of COVID-19
and derived events
publications January-
April 2020
Tone of COVID-19
publications:
Entertainment (E) or
Information (I)
Al Jazeera (Qatar) 28 Jan 399 79 79 - I
Business Insider
France (France)
28 Jan 28 8 3 – E / 5 - I
RT (Russia) 28 Jan 169 34 11 – E / 23 - I
NBC News (USA) 28 Jan 79 7 1 – E / 6 – I
USA TODAY (USA) 30 Jan 188 35 16 – E / 19 – I
Times Now (India) 31 Jan 378 85 85 - I
NBC Chicago (USA) 4 Mar 37 5 1 – E / 4 - I
Washington Post
(USA)
4 Mar 309 41 41 - E
El Tiempo
(Colombia)
10 Mar 29 2 2 - E
Antena 3 Noticias
(Spain)
13 Mar 43 3 2 – E / 1 - I
Business Insider India
(India)
18 Mar 22 12 12 – I
National Post
(Canada)
18 Mar 42 7 1 – E / 6 – I
NCR Noticias (Costa
Rica)
29 Mar 11 9 9 - I
TOTAL ----- 1734 327 78 – E / 249 - I
Source: Prepared by the authors.
TikTok has included in its home page a button labeled COVID-19 that redirects
to a section labeled “Coronavirus”. This section contains informative content
from the World Health Organization, Red cross Bizkaia, World Economic Forum,
International Organization for Migration (UN), International Federation of Red
Cross and Red Crescent Societies.
Stands out in this section on TikTok that, in contrast to Facebook’s “Corona-
virus COVID-19 information center”, there is no collection of Journalistic sourc-
es treating the subject, only voices of NGOs and health authorities.
This informative content is presented in many different ways: as audiovisuals
in a vertical format with duration no longer than 15 seconds, as well as live casts,

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which, at the moment, are only available to profiles with more than one thou-
sand followers.
Furthermore, there are two additional buttons: “Preventive measures” and
“Questions and answers.” The first one leads to advice and actions aimed at
awareness and hygiene, published by the Ministry of Health (in this case, Spain,
the country where the review took place) (image 1). The second button presents
a series of frequent questions on symptomatology, actions needed after conta-
gion or, hygiene practices, and measures to avoid it (image 2).
Images 1 and 2. Information contained in the button “Protective measures”
of the COVID-19 pandemic specific section on TikTok
Source: TikTok. Viewed 04/18/2020.
The “Coronavirus” section shows hashtag-challenges deliberately created to in-
volve users with current events related to the pandemic. Institutions or authori-
ties promote these tags; the remaining content belongs to anyone who adds the
tag to their publication. These challenges are #yomequedoencasa (I stay at home),
#manosseguras (safe hands), #10toqueschallege (10contacts challenge —bounc-
ing a roll of toilet paper ten times without letting it fall on the floor), #concier-
toenmibalcon (balcony concert), #fitnessencasa (fitness at home), #showencasa
(home show).
The majority of media outlets does not participate in these challenges, al-
though they include their coronavirus content through trends (hashtags) such
as #covid19, #coronavirus, #lockdown, #isolation, or #pandemic. The lack of
participation in these challenges explains why they do not gain visibility in the
“COVID-19” section, where only NGOs and users participate.

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116 The informative bias also stands out in TikTok, the search engine gives more
visibility to this type of content, aiming at engaging a more significant number
of users.
Image 3. Promotion of the “Coronavirus” section in TikTok’s trends section
Source: TikTok. Viewed 04/18/2020.
DISCUSSION
Establishing a first comparison of the leading intermediaries of the various in-
formative pieces derived from the global COVID-19 pandemic and developed
with new narratives such as 360º video with immersive capabilities, we can point
out that user-generated content predominates. Only three news media outlets
produced 360º content: Sputnik France (Russian media outlet with French corre-
spondents), T13 (Chilean media outlet), CGTN (Chinese media outlet with glob-
al reach). In the first case, as with most of the publications mentioned, the focus
was on the low affluence of people in urban areas. Concurrently, T13 —having
only one report with these characteristics— and a few publications from CGTN,
showed the situation of health professionals and hospitals in the context of the
emergency.
None of the cases showed evidence of content aimed at raising awareness.
However, one of the roles of journalism is to educate and guide, especially in
this type of situation where social uncertainty, doubts, and an increasing flow of
inaccurate and fake content are warned by fact-checkers such as Maldita.es and
Newtral (see <https://bit.ly/3cIfKBI https://bit.ly/2XYgxKC>).
It draws attention that in other past catastrophes and humanitarian crises,
this format has played an essential role in the construction of stories about the
facts, and directed at reaching greater audience involvement. These past events

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have made evident different players such as the immersive journalist (see The
New York Times and the report on the war in Irak <http://bit.ly/2Ry4Za9>), the
lead actor or leading journalist (see ABC news and Hong Kong’s 2019 protests
coverage, <https://bit.ly/2VBEaXu>), or the journalist narrator (see The Guardian
report on the war in Mosul <https://to.pbs.org/2S6qSAb>) (Herranz, Sidorenko
and Cantero, 2019).
In all those cases, the use of the format responded to its powerful inform-
ative and emotional load, but there is no confirmation of its implementation
under the present circumstances. Stands out that none of the international news
outlets representatives of the 360º immersive format have published anything
of that kind. When reviewing the activity of The New York Times, BBC, CNN,
Euronews, or RTVE, there is no evidence of reports in this format with coverage
of the current global situation.
Nor do governmental institutions or NGOs, which in other crises and con-
flicts such as the refugee crisis (see Medecins Sans Frontieres <https://bit.ly/355f-
M3R> or UNICEF, <https://bit.ly/2yH6EGB>) have produced reports with these
characteristics aiming at more audience involvement with the facts. Additional-
ly, the production of some of this content was made possible with the collabo-
ration of news outlets.
It is true that on YouTube as well as on Facebook, there are links that lead to
more information on the COVID-19 pandemic. Still, in these sections, there is
no reference to 360º videos or photographs with immersive capabilities. Even
less in the VeeR platform, that although being Chinese does not offer anything
of the kind.
Regarding TikTok, although there is a more significant number of inform-
ative publications related to the pandemic, the ones published by the Indian
news outlet Times now, for example, are mostly not tailored, narrative-wise, for
this platform. These productions were intended for other digital platforms such
as YouTube (see <https://bit.ly/2Yg15JT and <https://bit.ly/2VMvaPA>) and dis-
played in horizontal mode. Something similar happens to the Spanish news out-
let Antena 3 Noticias (see <https://bit.ly/35h8Pgd and <https://bit.ly/2YiaPDm>),
and NCR Noticias (see <https://bit.ly/2KIKDKh).
On the contrary, Business Insider India (see <https://bit.ly/2VMwxOe>) and
Al Jazeera (see <https://bit.ly/2SnyFd7) sustain a strictly journalistic tone, tailor-
ing the content to the interface of this social network. However, we must high-
light the work of The Washington Post (see <https://bit.ly/2YiLyZL>), USA TO-
DAY (see <https://bit.ly/3cZcgKV>), NBC News (see <https://bit.ly/3bR1Ddc>),
or El Tiempo (see <https://bit.ly/2xoAhMw>), which use the native production
resources of the social network, resulting in natural and creative aesthetics akin
to the informative proposition.
Nevertheless, as Chart 2 shows, The Washington Post has rendered the par-
ticular code of the platform entirely. As a consequence, although they reference
the different moments associated with the pandemic and the social confinement
that ensued, the content has a high comedy and entertainment tone.
Be it as it may, all cases are an innovative approach of media outlets and jour-
nalists to deliver information to emerging audiences. A relevant fact considering

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118 the initial research on media during the COVID-19 period. As stated by Case-
ro-Ripollés (2020: 10), research shows that news consumption and the positive
appraisal of informative coverage during the pandemic have increased in users
“previously barely connected like young people, people with less information,
and the occasional consumers of information.”
From the standpoint of visualization, if we do a random review of the number
of views of the 360º content referenced here, the media network that accumulates
the most significant figure is the Chinese network CGTN with close to 13,000. In
contrast, TikTok’s user community participation around hashtag-challenges such
as #yomequedoencasa (I stay at home) rises to 2.4 billion views, without being
able to quantify the total number of videos published under that tag. Or, for ex-
ample, #manosseguras (safe hands), that by the time measurement of the sample
ended, gathered 4,2 billion views. More playful tags such as #conciertoenmibal-
cón (balcony concert) accumulated in the same period 26 million views.
In the same way, NBC news pandemic related content goes from 10,000 up to
almost 700,000 views (see <https://bit.ly/3aP7rm9>), or USA TODAY from 10,000
up to 242,000 views (see <https://bit.ly/2We5vOG>). These figures show that
TikTok messages related to the pandemic have more reach than 360º content.
One interesting finding, in the case of 360º immersive content, is that the
spectrum of spiritual and religious voices and speakers register only one partici-
pant from Abu Huraira Center, who, from the Islamic point of view, and based
in Canada, aims at building awareness within its congregation.
Despite the novel narrative of both formats, after the examples mentioned,
its visible a significant decline of the possibility to capture attention and greater
involvement of journalistic actors around 360º immersive content in contrast
with ephemeral videos, primarily through TikTok, where there is evidence of a
compelling creative process.
CONCLUSIONS
Since 2015, immersive journalism has focused on the coverage of topics with a
significant social impact, requiring more user empathy, or related to situations
or places with difficult access. Some examples are, the nuclear accident at Fuku-
shima (<https://bit.ly/2VZlaBt>), the refugee drama (<https://bit.ly/354AWz4>),
the consequences of hurricane Harvey (<https://bit.ly/2yJZi4R>), or discovering
the inside of North Korea (<https://bit.ly/3aAg43T>).
The global situation derived from the COVID-19 pandemic brought an ap-
propriate context for media networks and journalists to opt for this narrative to
expose the conditions in hospital and retirement homes. Reporting desolated
places that previously showed dense demographic concentration, and that, due
to confinement, show an unrecognizable appearance.
For example, in Spain, Antena 3 Noticias produced several journalistic pieces
in the program series called En primera línea. The first one showed the hard work
performed by health personnel at different hospitals, fighting the pandemic in
question. But the report was done in conventional multimedia format.

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The New York Times case is even more conspicuous because, until today, it was
an essential representative of the use of this type of digital narrative. Although
not the first media outlet to exploit this narrative, it indeed has a consistent
production output with a great variety of topics. Despite its been months since
the last 360º content post, they have experimented with other types of alter-
native narratives, such as augmented reality. The New York Times offers a mo-
bile app that tells users, in real-time, the correct distance they should have with
other people, thus complying with social distancing health recommendations
(see <https://nyti.ms/3cPzpPR>).
The majority of 360º content that addresses topics related to the COVID-19
were made by individuals, which presumably opted for YouTube because its a
social network that attracts the participation of a higher number of segments of
the global audience. This trend would probably be the main reason why there is
no evidence of this type of content on Facebook.
With all this, the first hypothesis does not apply since the referring 360º vid-
eo media networks did not produce coverage of COVID-19 with this narrative.
There is corroboration for the second hypothesis: the 360º video narrative, is
very relevant for storytelling and news during the COVID-19 pandemic, as evi-
denced by the videos made by individuals, by some media networks and because
of the use of this technology in other situations of crisis or war.
Media networks and journalists are absent from the informative section pro-
posed by TikTok for COVID-19, where the information comes directly from
health organizations and health authorities. Nevertheless, the majority of me-
dia networks referenced in this social network have been producing informative
content on prevention and pandemic updates. This output confirms the third
hypothesis, although in some cases, the messages are more focused on entertain-
ment and align with the social network’s tone.
As a consequence of this and the production resources made available by the
social network to the users, much of the content considered informative has a
particular aesthetics that may generate confusion in other platforms or digital
outlets. This effect is part of the innovation process applied by journalists to
reach younger audiences.
Hence, we are in the process of narrative evolution where vertical format,
short, creative content adapts to mobile consumption and dominates in every
sense. In the same manner, the development and popularity of virtual reality
and the 360º format in the coming years will be subject to the global deployment
of 5G networks, with the resulting betterment of graphic quality and the higher
performance of streaming solutions.
Pavel Sidorenko-Bautista (pavel.sidorenko@
ufv.es). Professor in the Advertising Bachelor’s
degree at the Faculty of Communication
Sciences of Francisco de Vitoria University.
Previously, he was a professor at the Facul-
ty of Communication of Castilla-La Mancha
University, Faculty of Information and Com-
munication Sciences at Monteávila Universi-

PAVEL SIDORENKO-BAUTISTA, JOSÉ MARÍA HERRANZ DE LA CASA, JUAN IGNACIO CANTERO DE JULIÁN
Tripodos 2020 | 47 | VOL. 1
120 ty (Caracas) and the Social Communication
Master’s degree at Central University of Vene-
zuela (Caracas), lecturing on Journalism, Poli-
tical Communication and History.
Ph.D. from the Faculty of Journalism (today
Faculty of Communications) at Castilla-La
Mancha University. His research focuses on
new narratives applied to communication. He
has published various studies on immersive
journalism, social media, and new formats in
corporate and advertising contexts. Available
at: <https://bit.ly/PavelSidorenko>.
José María Herranz de la Casa (josemaria.
herranz@uclm.es). Ph.D. on Journalism from
the Complutense University of Madrid. He
is currently a full professor at the faculty of
Communication at Cuenca of Castilla-La
Mancha University. Published several works
and papers that explore his research inter-
ests: communication and transparency in
social organizations and NGOs —the theme
of his Ph.D. thesis—; corporate and organi-
zational communication; social responsibi-
lity and the SDGs; innovation, specialized
journalism (Sports and Environment) and
immersive journalism/ virtual reality. All ar-
ticles are available on his blog: <https://bit.
ly/JMHerranz>.
He worked as a journalist in the daily Sport’s pu-
blication MARCA. A former professor at Ávila’s
Catholic University (UCAV), where he develo-
ped his work attached to the communications
bureau. He has also been a professor at the Fa-
culty of Human Sciences and Information of Mi-
guel de Cervantes European University, UEMC
(Valladolid). There he taught in the Bachelor’s
degree in Journalism, advertising, and Public Re-
lations; he was also director of graduate studies
and director of the communication and marke-
ting bureau of UEMC for four years.
Juan Ignacio Cantero de Julián (juanigna-
cio.cantero@alu.uclm.es). B.A. in Journalism
and Master’s degree in Teaching of mandatory
secondary school, baccalaureate, professional
training, and language teaching from Castilla-
La Mancha University.
He has worked as a journalist for the online
daily newspaper El Deporte Conquense. Foun-
ding member and financier of this project.
He has taught on the global structure of the
media, cyber journalism, sports journalism,
the Spanish media system, Genres of interpre-
tation, opinion, institutional and corporate
communication at Castilla-La Mancha Uni-
versity. He is currently working on his Ph.D.
thesis on environmental journalism while re-
searching virtual reality and 360º video.
He is also the coordinator of El Observador, a
digital publication of the Faculty of journa-
lism of Castilla-La Mancha.
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