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| Prensario | |
|---|---|
| Title | Prensario |
| Language | Spanish |
| Country | Argentina |
| Based | Buenos Aires |
| Category | Television industry, Media trade |
| Founder | Ariel Rodríguez |
| Firstdate | 1982 |
| Frequency | Monthly |
Prensario is an Argentine trade magazine focused on the television, audiovisual and broadcasting industries in Latin America and the Iberian Peninsula. It provides industry news, program listings, market analysis and trade reporting that intersect with major regional players such as Telefónica, Grupo Clarín, Grupo Prisa, Telemundo, Televisa and Globo. The magazine is based in Buenos Aires and has been referenced in discussions involving broadcasting regulators like Ente Nacional de Comunicaciones and organizations such as the International Telecommunication Union.
Founded in 1982 during the transition period following Argentina's National Reorganization Process, the magazine emerged amid deregulation and the reconfiguration of broadcasting in Latin America. Early coverage intersected with events and institutions including the Union of Radio and Television Workers, the rise of private networks such as Canal 13 (Argentina), and regional syndication arrangements involving Televisa and RKO General. Throughout the 1990s Prensario reported on privatizations and media consolidations exemplified by transactions involving Grupo Clarín, Telefónica de España, and the privatization policies of leaders such as Carlos Menem. The publication documented programming formats licensed from creators like Endemol, Fremantle, and Warner Bros. Television, and tracked format sales connected to series such as Gran Hermano and corporate alliances exemplified by Canal + and DirecTV Latin America.
During the 2000s and 2010s Prensario covered regulatory reforms, cross-border co-productions featuring houses like Pol-ka Producciones and Telefe Internacional, and the expansion of pay-TV platforms including Sky México and Claro Video. The magazine also chronicled the impact of streaming entrants such as Netflix and Amazon Prime Video on carriage negotiations with distributors like Grupo Telefónica and satellite operators like Viasat.
Prensario positions itself as a trade publication addressing executives at broadcasters, distributors, production companies and regulatory bodies. Articles often profile companies such as Telemundo, Sony Pictures Television, ViacomCBS, NBCUniversal, and independent producers like Underground Producciones. Coverage includes market research on advertising shifts tied to broadcasters like Canal 9 (Argentina), program acquisitions involving HBO Latin America, and technical reporting about standards referenced by International Telecommunication Union and hardware vendors such as Panasonic Corporation and Sony Corporation. The magazine publishes interviews with industry figures from networks including Azteca, Caracol Televisión, and public services like Radiotelevisión Española.
Regular sections encompass trade news, programming deals, festival reports (e.g., MIPCOM, Sundance Film Festival, Caracol Festival de Televisión), and rankings that reference distributors like Mediapro and agencies such as Freedman and IPG Mediabrands. Prensario has also featured analyses of copyright disputes involving entities such as SADAIC and licensing frameworks influenced by treaties like the WIPO Copyright Treaty.
Prensario circulates primarily in Argentina and across Latin America, with readership among executives in markets including Mexico, Colombia, Chile, Peru and Uruguay. Distribution channels have included subscriptions and trade show dissemination at events like Cannes Lions, MIPCOM, Natpe, and Fides. The magazine’s audience comprises personnel at broadcasters such as Telefe, Canal 13 (Argentina), Azteca Uno, pay-TV operators like DirecTV, and cable operators exemplified by Cablevisión. Institutional subscribers have included academic centers studying media such as Universidad de Buenos Aires communication departments and industry associations like Asociación Argentina de Televisión por Cable.
Prensario expanded into online publishing with a digital edition, integrating multimedia elements including video interviews and archived reports on negotiations involving streaming platforms Netflix and HBO Max. Its web and social channels have amplified coverage of festivals such as MIPCOM and MIPTV, allowing cross-posting with video excerpts from panels featuring executives from WarnerMedia, Paramount Global, and independent producers like K&S Films. The magazine adapted to changes in program discovery by reporting on content metadata practices tied to platforms such as Roku and Apple TV and on technology partners including Cisco Systems and Avid Technology.
Within the Latin American audiovisual trade ecosystem, Prensario is cited by industry actors and referenced in conference programming at Natpe Latin America, Conecta and academic symposia at institutions such as Universidad de Palermo and Pontificia Universidad Católica de Chile. Its reportage has informed contractual discourse among distributors including Mediapro and broadcasters like TelevisaUnivision. Critics and commentators from outlets like Página/12, La Nación, and El País (Spain) have at times discussed its role as a specialist trade voice tracking consolidation and technological shifts in broadcasting and streaming markets.
Over the years Prensario has published bylines and interviews with industry veterans and commentators connected to entities such as Ariel Rodríguez, executives from Grupo Clarín, programming heads from Telefe, and analysts previously affiliated with Ibope Media and Kantar Media. Columnists and contributors have included independent consultants and producers active in co-productions with Telemundo, RTP (Portugal), and regional production houses like Pampa Films.
Category:Magazines published in Argentina Category:Television trade magazines Category:Spanish-language magazines