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This study examines the degree to which political alienation viewers consider themselves to have audiovisual productions. To understand the preferences of millennials and centennials in the Spanish-speaking world, a survey was conducted with 998 individuals from Spain and Mexico, two countries with high rates of OTT consumption. The survey revealed that young people feel justified in expressing their discontent with audiovisual productions on social media, potentially leading to an “audience dictatorship, “ which stifles creative freedom and expression. In this sense, young people with discursive power in social networks to change and censor production see it as plausible to use this channel as a denunciation or complaint.

Las series de televisión son uno de los formatos más consumidos por los jóvenes. Gracias a ellas, se transmiten enseñanzas a través de los contenidos que se muestran. El objetivo de este estudio es conocer las enseñanzas relacionadas con la filosofía en Merlí. Se ha elegido una metodología cualitativa, a través de un análisis de contenidos y el estudio de los personajes. Los resultados muestran cómo se acerca la filosofía a los adolescentes a través de los asuntos que a estos les interesa. Se concluye que las series educativas tienen un gran valor didáctico para la audiencia.

The sitcom How I Met Your Mother (2005–14) applies a narrative with a transmedia perspective, using advertising techniques that had been unusual for its genre up to that point. We refer to the reverse product placement tool as a technique to expand the narrative in a ground-breaking way through books apparently written by one of the characters in the series. This study explores the communicative dimensions applied by its developers through an exploratory-descriptive methodology that offers a qualitative analysis. We conduct a bibliographic study alongside an exclusive interview with the co-creator of the series, Carter Bays. Consequently, our study dissects the communicative process from a semantic and advertising perspective with an international reach. Finally, the results identify a paradigmatic case that takes advantage of the communicational context to build a transmedia narrative, giving rise to an intertextual and parasocial interpretation. [ABSTRACT FROM AUTHOR]

Las series de televisión se han convertido, en los últimos años, en uno de los formatos televisivos más consumidos entre la audiencia, especialmente entre los más jóvenes, llegando a calificar este momento en el que se encuentran como la edad de oro. Dentro de este estudio se plantea la necesidad de analizar tanto los personajes como los mensajes educativos que se transmiten en la serie de televisión Élite. Para llevar a cabo esta investigación, se ha optado por una metodología cualitativa a través de un análisis de contenido de las temáticas que se muestran en la serie, así como un estudio de los personajes que en ella aparecen. Entre los principales resultados obtenidos se observa cómo se tratan aspectos relacionados con el adecuado uso de las redes sociales, el ciberacoso, las relaciones homosexuales o las enfermedades como el cáncer o el VIH. Por otra parte, a través de los personajes se muestra una gran diversidad de nacionalidades, así como de orientación sexual. Como principales conclusiones, se observa como las series de televisión para adolescentes tienden a captar la atención de la audiencia juvenil a través de temáticas y personajes que resultan cercanos a ellos y con quienes se pueden identificar.

Introducción: El auge y apogeo de las plataformas de vídeo bajo demanda han contribuido, en gran medida, a modificar la realidad audiovisual tal y como se conocía hasta la fecha. Dentro de este contexto audiovisual, las series de televisión son un género televisivo que goza de gran popularidad entre la audiencia, donde destacan aquellas dirigidas al público adolescente y juvenil. Metodología: El presente estudio de investigación se ha basado en una metodología cualitativa basada en el análisis de contenido de una serie de televisión, así como de los personajes, analizando para ello los aspectos educomunicativos en materia de educación sexual en la serie Sex Education. Resultados: Cabe destacar que las principales temáticas de la serie giran en torno a las relaciones sexuales entre adolescentes, a enfermedades de transmisión sexual y embarazos adolescentes, entre otros; mientras que, entre los personajes, el grupo más numeroso es el de los familiares, siendo el de los adolescentes el que tiene un mayor peso interpretativo. Discusión: Se observa como la serie Sex Education presenta un patrón similar a otras series de televisión dirigidas al público adolescente, mostrando temáticas basadas en la amistad o las relaciones sexuales, entre otras. Conclusiones: Sex Education presenta la educación sexual a los adolescentes desde un punto de vista educomunicativo, ofreciendo enseñanzas adecuadas y fácilmente comprensibles.

In this paper/essay, the representations of trans people in Spanish series both on television and on streaming platforms will be analyzed, paying special attention to the new forms of masculinities, referred to as dissidents. From the pioneer Farmacia de Guardia to much more recent series such as Vis a Vis or Todo lo otro, there will be an analysis of the main characteristics of the trans characters (age, sex, social class, etc.), the reactions that they spark around them (acceptance, rejection, ignorance), as well as the story offered about transsexuality (if it is seen as a pathology, if there is a desire to change one’s physical appearance through hormones and/ or surgery, if the conception of having been born in the wrong body persists, etc.). It will be seen how this representation intersects and questions hegemonic masculinity. Finally, it will be observed how transsexuality is becoming progressively more visible in Spanish series, helping its normalization through different characters who bring this reality closer to the public, although not always in an inclusive way [ABSTRACT FROM AUTHOR]

The increase in the percentage of the population over 65 years old in Spain does not seem to correspond to the presence of characters over 65 years old in fiction series. ^is research analyzes the representation of this group in audiovisual fiction broadcast on general television and audiovisual platforms. Two subsamples of episodes of fiction series broadcasted on general television and on platforms were analyzed, totaling 2007 characters (n = 1238 and n = 770, respectively), using a quantitative methodology and the technique of content analysis. Among the results, it is worth noting that characters over 65 years of age are underrepresented, they talk less about certain topics than younger characters and there is a scarce representation of sexual diversity. ^erefore, the representation of older characters in the series analyzed is inferior to the real data of the Spanish population, limited and stereotypical. [ABSTRACT FROM AUTHOR]

Copyright of Comunicação Pública is the property of Escola Superior de Comunicacao Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article covers the gender issues of modern Russian television content on the example of a serial segment of Russian broadcast over the past 20 years. This aspect predetermines the relevance of the proposed research. The work focuses on the series that tend toward the most mass and popular forms of solving aesthetic problems—melodrama, comedy, and detective. The examples of the series, involved in the analysis, suggest that the gender dominance, characteristic of the previous stage of TV broadcasting development in Russia, has transformed significantly. This trend is indicated by the increasing importance of female characters in Russian detective series of the 2000s and 2010s. Notably, the process is instantiated by both quantitative and qualitative markers, including in terms of appeal to different historical periods which are reflected in the plots. At the same time, producers, including production teams of broadcasters, make active use of foreign experience, creating domestic versions of popular detective series filmed in other countries. Such circumstances of on-air content production can be explained by a combination of both objective (social, psychological) factors and subjective reasons (potential audience composition). Such aspects, taken together, generate complexes of plot and personified viewers’ expectations from watching the series. This situation forces the filmmakers and originators of new TV series to budge from traditional formats and creative techniques and take the factor of gender dominance into consideration. The latter, according to the author of the article, contributes to the transformation of the structure and content of the narrative of serial screen products that were standard for the previous stage of Russian TV broadcasting development. It can be stated that in modern television, the shares and roles of male and female characters in the plot constructions are “equalizing”. This, in turn, predetermines the thematic and genre variability of series, reflecting the orientation of Russian serial filmmakers on expanding the potential TV audience. В статье рассматривается гендерная проблематика современного российского телеконтента на примере сериального сегмента отечественного телевещания последних 20 лет. Данное обстоятельство и предопределяет актуальность предлагаемой научной работы. В фокусе исследования находятся сериалы, тяготеющие к наиболее массовым и популярным формам решения эстетических задач — мелодрама, комедия, детектив. На примере привлеченных к анализу российских сериалов формулируется вывод о существенной трансформации прежней гендерной доминанты, характерной для предыдущего этапа развития отечественного телевещания. Подобная тенденция обозначается усилением значения женских персонажей в отечественных детективных сериалах 2000-х–2010-х гг. Причем процесс характеризуется как количественными, так и качественными маркерами, в том числе и с точки зрения обращения к различным историческим периодам, которые находят отражение в сериальных сюжетах. При этом производители, включая продюсерские группы каналов-вещателей, активно используют зарубежный опыт, создавая отечественные версии успешных и популярных детективных сериалов, снятых в различных странах. Подобные обстоятельства производства эфирного контента объяснимы сочетанием как объективных (социальных, психологических) факторов, так и субъективными причинами (составом потенциальной зрительской аудитории), а это в совокупности и порождает комплексы сюжетных и персонифицированных ожиданий зрителей от просмотра сериалов. Такая ситуация вынуждает создателей и инициаторов новых сериалов отходить от привычных форматов и креативных приемов, используя фактор гендерной доминанты. Последняя, по мнению автора статьи, способствует трансформации привычных для предыдущего этапа развития отечественного телевещания структуры и наполнения нарратива создаваемого экранного продукта в формате сериала. Можно констатировать, что для современного телевидения характерно «выравнивание» доли и роли мужских и женских персонажей в сюжетных конструкциях выпускаемых в эфир сериалов. А это, в свою очередь, предопределяет их тематическую и жанровую вариативность, отражая нацеленность создателей отечественной сериальной продукции на расширение потенциальной зрительской телеаудитории.

El presente trabajo analiza las estructuras narrativas de la ficción seriada Gran Hotel, la cual incorpora los cánones del género policiaco al formato del melodrama histórico, representativo del modelo de televisión pública de los años ochenta. A través de esta serie, se profundiza en los rasgos que definen a los nuevos formatos televisivos, donde la intriga resulta potenciada como elemento para proponer una relación participativa con sus espectadores. Su híbrido de géneros, épocas, formatos e ideologías configura así una red de interconexiones que conducen a una nueva significación en el nivel de sus contenidos.

El objetivo de este artículo es mostrar como la serie Mad Men es un eslabón de una larga cadena en los cambios del estilo del drama televisivo que se viene produciendo en la última década hacia la televisión de calidad. Partiendo de los elementos clásicos del melodrama y de la telenovela que se sustentan sobre la base de la unidad de acción, la continuidad de tramas y la clara verbalización de los conflictos de los personajes, introduce nuevas estrategias narrativas basadas en el distanciamiento y la apariencia realista.

Netflix has shaken up audiovisual industry, but what about academic research? This bibliometric analysis focuses on 210 papers indexed in Web of Science that address this issue. We examine the author, university of affiliation, language, journal, keywords, year of publication, citations received, and categories covered in WoS. We also conducted a quantitative analysis of abstracts and papers to identify the most recurrent methodologies, themes, and samples. Our results highlight a rise in Netflix studies in recent years and their tendency to analyse specific audiovisual works. There are many qualitative analysis of specific Netflix hits, but none of the shows particularly stands out. It also shows a rise in "Communication" and "Film, Radio & Television" papers (40% of them), although academic interest relies on Netflix corporate culture, business, and algorithm. These studies are mainly carried out using a qualitative methodology (83%). More than half of the articles focus on one of the Netflix series and, among them, the greatest interest lies in the representation of specific issues; gender, race and sexuality are present in 25% of the works in the sample (n=210). At the same time, among the 367 authors signing these research papers, the parity between men (51%) and women (49%) is almost absolute. It appears that the geographical and linguistic variety of papers is related to Netflix's global expansion and that the sheer number of titles covered reveals a fleeting attention due to Netflix's trademark: swift and concentrated consumption. [ABSTRACT FROM AUTHOR]

Netflix has shaken up audiovisual industry, but what about academic research? This bibliometric analysis focuses on 210 papers indexed in Web of Science that address this issue. We examine the author, university of affiliation, language, journal, keywords, year of publication, citations received, and categories covered in WoS. We also conducted a quantitative analysis of abstracts and papers to identify the most recurrent methodologies, themes, and samples. Our results highlight a rise in Netflix studies in recent years and their tendency to analyse specific audiovisual works. There are many qualitative analysis of specific Netflix hits, but none of the shows particularly stands out. It also shows a rise in “Communication” and “Film, Radio & Television” papers (40% of them), although academic interest relies on Netflix corporate culture, business, and algorithm. These studies are mainly carried out using a qualitative methodology (83%). More than half of the articles focus on one of the Netflix series and, among them, the greatest interest lies in the representation of specific issues; gender, race and sexuality are present in 25% of the works in the sample (n=210). At the same time, among the 367 authors signing these research papers, the parity between men (51%) and women (49%) is almost absolute. It appears that the geographical and linguistic variety of papers is related to Netflix’s global expansion and that the sheer number of titles covered reveals a fleeting attention due to Netflix’s trademark: swift and concentrated consumption.

El torture porn, las referencias constantes al giallo italiano o al cine de explotación, los mensajes anticapitalistas, la moda distópica en las narrativas audiovisuales y la popularización y el asentamiento definitivo de las plataformas de streaming a causa de la pandemia del COVID-19 han dado lugar al establecimiento de una nueva moda: la tendencia de un público al disfrute de la crueldad espectacularizada y disfrazada de sermón político. Lejos de tratar de censurar dichas obras, se pretende promover la reflexión sobre la sensación de cinismo de la ciudadanía y el abandono que sufre por parte de sus gobernantes, lo que la industria del entretenimiento audiovisual pareciera aprovechar mediante el tanteo de la sensación de desencanto general en Occidente. En medio de este ecosistema aparece la serie de Netflix El juego del calamar, un festival de imaginería sádica con profundos tintes políticos que recupera en un solo producto varios de los géneros y ejes temáticos mencionados. El objetivo principal de la presente investigación es analizar las características del interés por las narrativas de este tipo mediante un análisis de contenido de esta serie, a fin de examinar los elementos que configuran algunas claves del entretenimiento mainstream vía streaming. Las claves serían la estética de la crueldad y el sermón social como coartada de la narrativa. Como resultado, las tramas se respiran previsibles y frías pero la imaginación audiovisual, fresca y atractiva, por lo que el fondo anticapitalista se percibe en un segundo plano.

Este trabajo es una investigación sobre la herramienta publicitaria de emplazamiento inverso del producto (reverse product placement). Se trata de una técnica muy poco explorada en el ámbito académico y que necesita de ordenación. Para ello, el estudio se realiza a través del caso de la marca de ficción Duff, original de la serie televisiva Los Simpson (1989-). Se contempla un análisis cualitativo a través de una metodología exploratoria-descriptiva dividida en fases. La primera se basó en un estudio bibliográfico de la técnica. Seguidamente, se realizó una entrevista al licenciatario de la marca: Andrés Nassar. Sus declaraciones fundamentan el estudio desde una perspectiva empírica. En último lugar, se realizó una tercera fase donde los resultados previos fueron abordados para construir un análisis que identifica los rasgos comunicativos de este tipo de acciones. Finalmente, las conclusiones ilustran la capacidad comunicativa de las marcas de ficción gracias a su personalidad transmedia en el panorama publicitario actual.

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This research deals with the reverse product placement advertising tool, a technique little explored in the academic field that requires a systematic arrangement. For this, the study is conducted through the case of the fictional brand Duff, original from the television series The Simpsons (1989-). Qualitative analysis is performed using an exploratory-descriptive methodology divided into phases. The first phase was based on a literature review of the technique. Next, an interview was conducted with the brand licensee: Andrés Nassar; his statements support the study from an empirical perspective. In the third phase, the previous results were approached to build an analysis that identifies the communicative features of this type of action. The conclusions illustrate the communicative capacity of fictional brands thanks to their transmedia personality in the current advertising landscape. [ABSTRACT FROM AUTHOR]

The article describes the phenomenon of the Polish TV series Artists. Created by the theater creators Strzępka and Demirski were their TV debut. The series has become iconic among the theater community. Analyzing the series I show its sources, which are stuck in the extraordinary recent development of Polish theater dramaturgy. I also try to show how the series opens the directing to new dimensions of creativity. The changes that have taken place in the Polish theater allow to replace the dominant models of affirmation and subversion with an affective approach to art whose frame I become experience. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Conocer los productos audiovisuales distribuidos por Netflix supone un escenario de estudio determinante, puesto que nos permite arrojar información sobre la estrategia aplicada para satisfacer el proceso de oferta-demanda entre el gigante audiovisual y sus públicos globales. El objetivo del presente artículo reside en ofrecer una radiografía sobre la producción propia de la plataforma de VOD Netflix, en concreto, desglosando y analizando formas y tendencias en una de las fórmulas de producción propia reconocida: la coproducción, con la finalidad de contribuir al desarrollo de un conocimiento específico sobre la cartera de productos propios de Netflix.

El ecosistema audiovisual actual está evolucionando a un ritmo vertiginoso. Las nuevas formas de interacción narrativa a través de las redes sociales (RRSS) han generado una revolución en los medios de comunicación en general y en la televisión en particular, concediendo la posibilidad de acceder a los contenidos a través de diferentes formatos y canales. En este sentido, el presente trabajo analiza los hábitos de consumo de la población adolescente ante los nuevos formatos narrativos y su función como prosumidores frente a las RRSS. Para ello, se ha seleccionado la serie de ficción “Élite” como parte de la muestra de estudio. Se ha llevado a cabo una metodología mixta por medio del análisis de contenido de la serie en busca de las temáticas emergentes, y de encuestas con la colaboración de una muestra de 505 jóvenes españoles de entre 12-18 años. Los resultados apuntan hacia una preferencia por ver series de televisión, siendo las plataformas de pago el medio más frecuente de uso; además, los jóvenes muestran un interés en temáticas relacionadas con los adolescentes. Por último, los encuestados registran una participación constante a través de las diferentes cuentas de RRSS, afirmando indagar sobre la serie de ficción.

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Las producciones enmarcadas dentro de la tercera edad dorada televisiva gozan de una amplia fama en la actualidad. Dentro de las series situadas en esta categoría se pueden hallar, ocasionalmente, mujeres que ejercen puestos de poder, tal como se da en la serie a examinar en este artículo: Vikings, donde una de las principales protagonistas, Lagertha, acapara gran admiración por parte de la audiencia femenina. Este caso se examinará con el objetivo de saber si ese éxito se corresponde con la realidad del personaje (su personalidad y las acciones que ejecuta), realizando para ello un análisis que determinará el arquetipo de la protagonista y desarrollando un análisis semiótico del personaje y sus relaciones de poder con los demás sujetos.

Sound fiction genre takes a relevant position after the irruption of American productions such as Serial in the year 2014, whose success boosted its emission in other media as a series with the same title offered by HBO. In Spain, the conversion from podcast to television series hasn´t been produced yet, but we do have on stream podcasts that derive from television series, specifically, on RTVE platform. The objective of this work is to perform a formal comparative analysis and content of podcasts and series of television platforms in Spain and the United States applied to the first season of the following fictions: Homecoming and Dirty John podcasts, both of them broadcasted as series on Amazon and Netflix in the USA. In Spain, we analyze the podcast Carlos de Gante podcast comparing it with the series Carlos, el Emperador, and the podcast Bienvenido a la pasarela with the TV series Estoy Vivo, on RTVE web platform. In the US, the sound acquires a new dimension both in its adaptation to the television format as an independent unit while in Spain, although it is a complement to the transmedia universe, it enjoys a quality and a projection that announces a rediscovery of the sound format.

Recent decades have seen an unprecedented proliferation of serialized audio-visual narratives within the backdrop of the so-called third golden age of television, in the context of meta-television and quality television. The new digital platforms of content distribution have also influenced this. This article delves into the mythanalysis of current serialized audio-visual stories by analyzing their narrative structure to detect which kind of model or mythical portrayals they present to the audience. A qualitative content analysis, combined with a close reading, which included the mythanalysis categories of Balló and Pérez (1997), was carried out on a random sample of 40 serialized fiction programs available on the main streaming platforms (Netflix, Prime Video, and HBO) from their introduction in Spain until 2020. Among the results, a dominant presence of serials stands out, as well as strong hybridization between fiction genres and subgenres. Most of the original myths are revisited in an individualistic tone and focus on the development of personal identity, in addition to a few narratives centered on collective myths. In this sense, the classic myths most present in the sample are those focused on the individual, especially those referring to self-knowledge. Also, new narrative models emerge, and we find cases where the original myths are adapted to contemporary sensitivities by providing more egalitarian portrayals, at the level of race (such as the mestizo messiah) and especially at the level of gender (such as journey of empowerment, love towards oneself, or the freed woman). [ABSTRACT FROM AUTHOR]

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El presente artículo se centra en la relación entre cinefilia y canon cinematográfico, analizando la paradoja que supone la presencia de series de televisión en la formación de dicho canon para el período 2010-2019. La creación de un canon con rigor nace de las posibilidades de acceder al patrimonio cinematográfico, por lo que es preciso un breve análisis inicial sobre estas posibilidades para el cinéfilo, así como sus hábitos y conducta. El auge de las plataformas de streaming, no ha impedido que el número de espectadores que asiste al cine en el período analizado se haya incrementado. Las plataformas de streaming son complementarias a la pantalla grande. Por último, tras el análisis de la simbiosis entre cine y televisión, se analiza la paradoja de la presencia de series en la formación del canon de cine en revistas especializadas. El análisis se ha realizado a partir de la selección de una muestra de seis publicaciones, a nivel mundial. Se ha revisado la lista publicada al final de cada año, durante el período 2010-2019, así como de la década, donde también se ha observado la existencia de series de televisión. Cada vez hay más zonas grises entre el cine y la televisión.

La producción de series dramáticas en España entre 1990 y 2010 (desde el apagón analógico hasta la desregulación y la llegada de las nuevas cadenas y plataformas) se caracteriza, entre otras cosas, por presentar una gran cantidad de ficciones “basadas en un hecho real”. Bajo esta denominación se agrupan ficciones que relatan un acontecimiento histórico, otras que narran un hecho impactante aunque de poca trascendencia histórica, y aquellas que reflejan la biografía de un personaje conocido por el gran público. En estas líneas se analiza la presencia de imágenes de archivo en este tipo de producciones, profundizando en la veracidad de estas imágenes y en el papel que juegan en la narración de la ficción. Asimismo, se reflexiona sobre el uso de otros medios de comunicación (prensa, radio), y su función en este tipo de ficciones. Tras un análisis cuantitativo y cualitativo, y una extensa revisión bibliográfica, llegaremos a la conclusión de que no todas las imágenes que en principio puedan parecer documentos históricos lo son realmente. Precisamente por esta posible confusión en el grado de descodificación por parte del espectador, llegamos a la conclusión de que el uso de material de archivo acerca las ficciones dramáticas a otros géneros tradicionalmente considerados como no-ficción. Se ha observado en estas series un uso de imágenes de archivo (y de falsas imágenes de archivo) que cumplen una función ideológica en el relato audiovisual del pasado.

Este artículo presenta un análisis temático de las series periodísticas Argon (Netflix, 2017) y Netflix (HBO, 2012) que centra sus tramas en la redacción de un programa de informativos. El objetivo principal de esta investigación es describir la imagen quese proyecta del periodista televisivo en la creación de contenidos noticiosos. La investigación concluye que las series proponen una actitud ética en el modo de elaborar la información para los espectadores. Ambas series realizan críticas sobre algunos elementos del periodismo actual. Promueven el estereotipo del periodista como perro guardián reconociendo, a través de los personajes, la necesidad de la calidad informativa.

La animación 2D para televisión es uno de los contenidos que nos han acompañado a lo largo de los años. Los estudios Hanna-Barbera se encargaron de buscar un sistema de producción rentable para poder llevar a cabo más de 200 series diferentes. Lo que sucede a veces, con ciertos éxitos, es que se busca repetir fórmula, con el riesgo de caer en repetición, dejando de lado a la creatividad. Pero siempre hay personas que buscan un nuevo punto de vista, como Fred Seibert, el primer director de Cartoon Network, que puso en las pantallas una serie de nuevos personajes, que marcaron un antes y un después. En la actualidad, estamos disfrutando de unas series creativas, divertidas, diferentes, que entretienen a toda la familia.

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios sobre el Mensaje Periodistico is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent decades have seen an unprecedented proliferation of serialized audio-visual narratives within the backdrop of the so-called third golden age of television, in the context of meta-television and quality television. The new digital platforms of content distribution have also influenced this. This article delves into the mythanalysis of current serialized audio-visual stories by analyzing their narrative structure to detect which kind of model or mythical portrayals they present to the audience. A qualitative content analysis, combined with a close reading, which included the mythanalysis categories of Balló and Pérez (1997), was carried out on a random sample of 40 serialized fiction programs available on the main streaming platforms (Netflix, Prime Video, and HBO) from their introduction in Spain until 2020. Among the results, a dominant presence of serials stands out, as well as strong hybridization between fiction genres and subgenres. Most of the original myths are revisited in an individualistic tone and focus on the development of personal identity, in addition to a few narratives centered on collective myths. In this sense, the classic myths most present in the sample are those focused on the individual, especially those referring to self-knowledge. Also, new narrative models emerge, and we find cases where the original myths are adapted to contemporary sensitivities by providing more egalitarian portrayals, at the level of race (such as the mestizo messiah) and especially at the level of gender (such as journey of empowerment, love towards oneself, or the freed woman). [ABSTRACT FROM AUTHOR]

This research analyses the current state of gender representation in Spanish prime time television series broadcast by the main generalist channels. For this purpose, an analysis of the content of 21 television series produced in Spain in the second half of 2017 and 2018, of 514 characters (n = 514), has been carried out in order to determine whether there is an unequal representation of male, female and non-binary characters. The main findings indicate that there is an under-representation of women; non-heterosexual sexual orientations are under-represented, as are non-traditional gender identities; women continue to be associated with less qualified professional occupations and, in particular, with domestic work; there is a statistically significant relationship between female characters and less ambitious, more personal work objectives and personalities associated with the world of emotions and motherhood. However, no statistical link was found between gender and narrative weight, gender and hypersexualization, or gender and violence. [ABSTRACT FROM AUTHOR]

Interactivity with users represents a key feature of transmedia storytelling. This research revolves around the way viewer engagement influences the content of an interactive Web series--namely, Si fueras tú. The series used a strategy based on social networks to encourage viewer participation in the decisions of the protagonist. Research uses a mixed study methodology that includes (1) an analysis of turning points, (2) an analysis of characters, (3) content analysis based on viewers' comments on social media, and (4) indepth interviews with project managers to illuminate the process of building the transmedia strategy. Findings confirm that audience participation influences the content of the fiction series, albeit in a limited way, with the main aim being to retain the audience as part of the marketing strategy. [ABSTRACT FROM AUTHOR]

Copyright of Beykoz Akademi Dergisi is the property of Beykoz University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fonseca: Journal of Communication is the property of Revista Fonseca Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A comemoração dos 40 anos do Golpe de Estado no Chile, em 2013, evidenciou a extrema politização do campo da memória sobre este período entre os chilenos. Dessa maneira, os distintos repertórios disponíveis para recordar o passado recente constituíram parte das formas de elaboração desse mesmo passado, mobilizadas pela ficção televisiva. Os relatos propostos em séries e minisséries, embora abordem tematicamente o período ditatorial (1973-1989), estão organizados a partir do presente e, conquanto pareçam ser transgressores ao “mostrar” perspectivas que estavam ausentes anteriormente de programas televisivos, propõem um fechamento de significado que reproduz a idéia de “consenso” instalado no estágio da transição para a democracia.

The up-to-date topic of the humanities is the mass culture phenomenon that influences the worldview of modern Ukrainians. The author of the article investigates the genesis of the Ukrainian segment of mass culture, considers its condition at the present stage using world and local examples.

The up-to-date topic of the humanities is the mass culture phenomenon that influences the worldview of modern Ukrainians. The author of the article investigates the genesis of the Ukrainian segment of mass culture, considers its condition at the present stage using world and local examples.

The television series, often seen as long-term productions, is a genre that is curious and followed for the audience with its fictional events and characters. At this point, these series' fragments, which can be considered as showcases of the sequences, try to keep the curiosity and follow up alive while introducing the next section for the viewer. In this context, the sequence fragments continue to be aired on the channel for one week as short films introducing the scenario of the next chapter. The starting point of the study is to make the narrative style of the violent scenes, especially with the sound, music, and fiction. It pays sattention to the series fragments attractive to the audience. In this study, content coding was created by qualitative content analysis method in accordance with certain categories and how violent scenes were presented on the basis of these encodings was examined. It was found that violence was dramatized with voice (dialogue), music and fiction, and physical and verbal violence was frequently found in the fragments. [ABSTRACT FROM AUTHOR]

[es] La unión entre el poder político y el poder económico se apropia de la identidad de los sujetos a través de la colonización del imaginario social y la construcción de rutas identitarias que imponen referentes sociales. Para esto, los aparatos ideológicos de Estado están cada vez más presente, pero menos evidente, logrando a través de sus clásicos dispositivos, como la televisión, el establecimiento de un vínculo hegemónico que ha logrado niveles de invisibilidad que le permiten reproducirse a sí mismo, entregando como realidad, aquello que es construcción. Este trabajo revisa los conceptos de identidad, ideología y hegemonía, intentando advertir como antiguas discusiones sobre estrategias de control social, permanecen hoy plenamente vigentes y es posible identificarlas en los géneros televisivos masivos como la teleserie. [en] The reunion between the political power and economic power result in a colonization of our social imaginary and a construction of identity where the subjects were modifying their identity in order to a routes that imposed social referring. For this, the ideological state apparatuses are increasingly present, but less obvious, achieving through their classic devices, like television, establishing a hegemonic bond that has achieved levels of invisibility that allow them to reproduce themselves, delivering as reality, that which is construction. This paper reviews the concepts of identity, ideology and hegemony, trying to warn as old discussions about social control strategies, remain in full force today and can be identified in the mass television genres as the TV series.