Abstract

This investigation propounds an analysis of the role of old people in fiction series produced by national channels in Spain. The objective is to know the characteristics of the old people model or models stated or transmitted by these fiction series. In getting that, we have used, as a working methodology, the actantial structure from Greimas´Narrative Grammar. Combining this methodology with aspects from content analysis, the investigation gives us a first approximation to the study of this subject.

Abstract

Fan communities are increasingly important to television fiction series. The department of time television series (TVE) is examined in relation to this trend, with a focus on social networks. A sample of approximately 3,600 people calling themselves “ministerics” participated in the study. The analysis is carried out in the context of the convergence of media and transmedia, where the Net exerts particular influence on their program strategies and their contents, an it is focused to the production and promotion of audiovisual creations aimed at a general audience. This research is of special interest within the field of fan studies because it confirms the intensity and diversity of fans and shows the relevance that it has in national television, particularly in public television.

Abstract

The situation of fiction series produced in Spain by the countrywide broadcasters in the context of the arrival of VOD services such as Netflix is analyzed. The previous situation of Spanish fiction and the challenges generated by the new consumption modalities are presented. Then, a study of the audiences of the fiction series broadcast by Televisión Española, Antena 3, and Telecinco in the three-year period 2015-2017 is carried out. The conclusions put in relation the changes in the consumption of television with a gradual reconfiguration of the fiction produced in Spain.

Abstract

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.

Abstract

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.

Abstract

This paper describes a current research integrated in an international and interdisciplinary project and developed in a global environment between two different tendencies: integration and desintegration. In this scenary, television narrative arises as an essential tool to create and consolidate new cultural identities in order to get a popular narrative on the concept of nation.

Abstract

This paper presents the main findings of a research project on teen series, which are television fiction series featuring teenagers and specifically targeted at a young audience. The analysis of the portrayal of young people in television fictional series specifically targeted at a young audience has a meaningful value both for television production and for audience reception. In fact, the potential consumers of the teen series –the teenagers– find themselves at a key moment in the construction of their identities. First, the article presents a review of the background literature on young people’s portrayal in television fiction series. Secondly, it discusses the concept of teen series and their relationship with youth consumption. Finally, the article presents a case study that consisted of a content analysis of the North American teen drama Dawson’s Creek. Content analysis was conducted on a representative sample of three seasons of the show, in order to analyse two groups of variables: the variables of the characters’ personalities and those of plot and story characteristics. The article discusses the results of the second group of variables, focusing on the main characteristics of the plots and on the characters’ roles in the development and resolution of the conflicts. Acceptance of one’s personal identity, love and friendship have been identified as the most highly recurring themes. In addition, the importance of social relationships among the characters in the development of plots and conflicts has been highlighted.

Abstract

This article summarizes the main results of an investigation that is part of a project regarding the construction of youth and gender identity in television fiction. The methodology integrates reception analysis (focus group) with data obtained through an anonymous questionnaire, designed to contextualize the results of the qualitative research. Television fiction is the favourite macro-genre of young people, especially women. Broadly speaking, participants appreciate the greater proximity of Spanish fiction, which favours the different mechanisms of identification/projection activated during the reception process, and they acknowledge that TV fiction has a certain didactic nature. The research highlights the more intimate nature of female reception compared to the detachment of the male viewer, who watches fiction less frequently and assimilates it as pure entertainment. Age influences the different modes of reception, while the social class and origin of participants hardly have any impact. Confident, rebellious and ambivalent characters are found to be more interesting than the rest. By contrast, the structure of the story and a major part of the topics addressed by the programme are usually consigned to oblivion, highlighting the importance of selective memory in the interpretative process, as well as suggesting the limited nature of the effects of television fiction.