The Game of Gazes that See Without Being Seen
La Casa de Yeik and the Return of the Reality Show in the Age of Digital Prosumption
Keywords:
Casa, Yeik, YouTube, Audience, Comments, Social representationsAbstract
La casa de Yeik represented the consolidation of a new type of reality show in El Salvador by articulating television, streaming, and social media within a massive digital interaction experience. Between October 6 and October 26, 2024, the program generated intense conversation on YouTube, quickly becoming a cultural phenomenon followed by thousands of people in real time. Through a mixed-methods research approach based on descriptive analysis of interaction metrics and data mining applied topublic comments, the study identified the main social representations constructed around the participants and the topics that generated the highest levels of attention and emotional engagement. The findings show that audiences moved beyond passive consumption, actively participating in dynamics of surveillance, approval, and symbolic punishment that transformed the program into a space of social and affective interaction. In this way, the comments reflected processes of emotional identification, collective humor, and moral judgment linked to authenticity, conflict, and cultural belonging within contemporary digital environments.
EMH ABIERTA_I_N19-2025-10-45.
19
HTML (Spanish) 2
References
Abidin, C. (2020). Mapping internet celebrity on TikTok: Exploring attention economies and visibility labours. Cultural Science, 12(1), 85-88.
Alín, P. (2024, agosto 20). La casa de los famosos: la identidad de género como una estrategia de juego. El País. https://elpais.com/mexico/2024-08-21/la-casa-de-los-famososla-identidad-de-genero-como-una-estrategiade-juego.html
Bishop, S. (2021). Influencer management tools: Algorithmic cultures, brand safety, and bias. Sage Journals, 7(1).
Blumer, H. (1982), Interaccionismo simbólico: Perspectiva y método. Hora.
Bruns, A., & Burgess, J. (2012). Researching news discussion on Twitter: Methodological challenges and opportunities. Journalism Studies, 13(5-6), 801-814.
Creswell, J. W. (2014). Research design: Qualitative, quantitative, and mixed methods approaches (4.ª ed.). SAGE Publications.
Debord, G. (1967). La sociedad del espectáculo. (1.ª ed.). Gegner.
Feldman, R. (2013). Techniques and applications for sentiment analysis: The main applications and challenges of one of the hottest research areas in computer science. Communications of the ACM, 56(4), 82-89.
Giraldo, R. (2006). Poder y resistencia en Michel Foucault. Tabula Rasa, (18), 101-122.
Goffman, E. (2009). La presentación de la persona en la vida cotidiana. Amorrortu.
Jenkins, H., Ford, S., & Green, J. (2015). Cultura transmedia: la creación de contenido y valor en una cultura en red (1.ª ed.). Gedisa.
Han, B. C. (2022). Infocracia. Taurus.
Hernández Sampieri, R., & Mendoza, C. P. (2023). Metodología de la investigación: Las rutas cuantitativa, cualitativa y mixta (2.ª ed.). McGraw Hill.
Instituto Universitario de Opinión Pública. (2024). Encuesta poselectoral 2024: Evaluaciones ciudadanas tras las elecciones presidenciales y legislativas. Universidad Centroamericana José Simeón Cañas. https://uca.edu.sv/iudop/wp-content/uploads/2024/05/PPTPoselectoral-2024.pdf
Kapadia, S. (2019). Language models: N-gram. A step into statistical language modeling. Medium. https://medium.com/data-science/introduction-to-language-models-n-grame323081503d9
Kozinets, R. V. (2019). Netnography: The essential guide to qualitative social media research (3.a ed.). SAGE.
Maestre, D. (2005). Reality shows: El verdadero cerdo mediático. Comunicar, (25).
Moreno-Fernández, Á., & Fuentes-Lara, M. C. (2019). Engagement y redes sociales. Análisis bibliométrico desde el ámbito científico de las relaciones públicas. Trípodos, (45), 49-72.
Moscovici, S. (1979). El psicoanálisis, su imagen y su público (1.ª ed.). Huemul.
Papacharissi, Z. (2015). Affective publics: Sentiment, technology, and politics. Oxford University Press.
Prell, C. (2012). Social network analysis: History, theory and methodology. SAGE.
Social Blade. (s. f.). El Salvador 4K – YouTube statistics. https://socialblade.com/youtube/handle/elsalvador4k
Social Blade. (s. f.). El Salvador Plus – YouTube statistics. https://socialblade.com/youtube/handle/elsalvadorplus
Social Blade. (s. f.). La casa de Yeik – YouTube statistics. https://socialblade.com/youtube/handle/yeik
Social Blade. (s. f.). TCS Ahora – YouTube statistics. https://socialblade.com/youtube/handle/tcsahora
Social Blade. (s. f.). YouTube statistics and analytics. https://socialblade.com
Thorpe, C., & Yuill, C. (Eds.). (2016). El libro de la sociología. Penguin Random House.
Valdovinos, L. (2024, agosto 6). La casa de los famosos México: Gala Montes llama a Adrián Marcelo “machista, violento y misógino”. El Sol de México. https://oem.com.mx/elsoldemexico/gossip/la-casa-delos-famosos-mexico-gala-montes-llamaa-adrian-marcelo-machista-violento-ymisogino-1305396
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Omar Luna, Ignacio López, Diego Manzano
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material
- The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- NonCommercial — You may not use the material for commercial purposes .
- ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation .
No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.
