Ibero-American Observatory of Television Fiction Obitel 2022: transf...

Ibero-American Observatory of Television Fiction Obitel 2022: transformations in the seriality of Ibero-American television fiction in times of streaming

Maria Immacolata Vassallo de Lopes; Juan Piñon; Catarina Duff Burnay; Rosario Sánchez Vilela (eds.)

Santiago de Chile: Ediciones Universidad Católica de Chile (2022), 382 pp., many tables

ISBN 978-956-14-3000-6

Other Editions: also published in Spanish and Portuguese

"In some of the countries, to a greater extent Spain and the Hispanic USA, fiction consistently occupies at least 40% of the programming time. This occurs in countries that, due to income levels, should be those with a higher degree of access to other sources of fiction audiovisual content, such as pay TV or streaming platforms. In contrast to these cases, we can observe Argentina, Brazil and Mexico, where fiction barely exceeds 15% in the years of greatest participation and is close to 10% in others. Paradoxically, both Brazil and Mexico are fiction producers and exporters to the rest of the region. Halfway between both extremes, Chile, Colombia, Peru, Portugal, Uruguay and Venezuela can be observed in the years in which it has been possible to observe their behavior. Since open television is a system of contents structured in schedules associated with household routines, it is worth asking about differences in roles and uses of television by audiences or the eventual substitution of these roles by alternative media or genres. The second aspect is one of trends. Except for the case of Spain, the general trend seems to be towards a decrease in the involvement of fiction in programming. And, although the Top 10 most watched fiction productions offer a very partial view of the whole, they also show a decrease in time of the audience levels reached." (p.24-25)

Contents

PART I: FICTION IN THE IBEROAMERICAN REGION IN 2021
Comparative chapter: the slow return of serialized fiction and the strengthening of platforms in post-pandemic times / Pablo Julio Pohlhammer, Ezequiel A. Rivero, 21
PART II: FICTION IN OBITEL COUNTRIES IN 2021
1 Argentina: Serialized fiction is elsewhere / Mónica S. Kirchheimer, Ezequiel A. Rivero, 47
2 Brazil: 2021, year of resumption of television fiction, but still pandemic / Maria Immacolata Vassallo de Lopes, Maria Amélia Paiva Abrão, 79
3 Chile: Reruns, streaming and slow motion recovery / Pablo Julio, Francisco J. Fernández, Alejandro Bruna, Constanza Mujica, 107
4 Colombia: The screen as a space of refuge, longing and hope / Borys Bustamante Bohórquez, Fernando Aranguren Díaz, Hernán Javier Riveros Solórzano, 133
5 Mexico: television adapts to formats and narratives of vod systems / Gabriela Gómez Rodríguez, Darwin Franco Migues, 159
6 Peru: the presence of platforms / Giuliana Cassano, Guillermo Vásquez Fermi, James A. Dettleff, 185
7 Portugal: "Gloria", the first netflix portuguese series / Catarina Duff Burnay, Pedro Lopes, Marta Neves de Sousa, João Félix, Ana Lúcia Carvalho, 213
8 Spain: Intrigue as a narrative engine / Charo Lacalle, Beatriz Gómez, Mariluz Sánchez, 241
9 United States: Univision retakes its leadership and becomes Televisa-Univision Juan Piñón, Rosa M. Reynoso, 269
10 Uruguay: Peripheral fiction / Rosario Sánchez Vilela, 297
11 Venezuela: Media opacity, retransmissions, and the politicization of fiction / Luisa Torrealba, Zicri Colmenares, Morella Alvarado, Pedro De Mendonca, Verónica Fuenmayor, Erick García Aranguren, Martin Hahn, 325
PART III: TOP TEN TV FICTION IN OBITEL COUNTRIES, 353