The failure of Fanny, la fan expresses the fall of the interest for the local comedy and the success of the most conservative variants of the telenovela linked to its classic matrix. In , 46 titles were released; that number fell to 28 in with the Turkish irruption, but it grew to 56 in In it fell to only 27 titles, and that fall is even greater in terms of hours. Chile, Spain, United States, Peru and Portugal were the countries broadcasting a high number of fictional content, with Portugal broadcasting about 7 thousand hours and Peru almost 20 thousand. Contrarily to this, Peru, even though celebrating ten years of digital television, has not recorded any advance or significant tendency in the use of ICTs, showing a tardiness in the exploration of technological advances on behalf of the consumer. When comparing with previous years, we can see that social networks, the main medium where interaction takes place between users, have suffered two important additions in the last year: There are few transmedia narratives that articulately use social networks and open or cable television. However, other programs have a strong link with forms of audiovisual narration of the web:
However, the results indicate that the majority of the countries is still sharing an experimental attitude towards transmedia, qualified with 1. However, in Portugal the tendency is the exact opposite five public channels to two private channels , as a result of the transition to the digital terrestrial television DTT. Premiere fiction in Regarding Ibero-American premiere fiction, the predominance of telenovela is maintained. One of the cores was a popular class black family, whose eldest son disappeared as a child and soon we know he had been adopted by a rich white woman and raised in Switzerland. Tres Veces Ana cont. The failure of Fanny, la fan expresses the fall of the interest for the local comedy and the success of the most conservative variants of the telenovela linked to its classic matrix. This project is an example of what authors like Ryan and Scolari point out as the use of various types of media to create experiences that cannot be achieved with just one means.
Editorial de la Universidad Nacional de Jujuy.
In the United States movements in support of the victims of the hurricanes and the earthquake in Mexico multiplied, as well as in support of Hispanic communities in reaction to the threats of deportation made by Trump s administration, whereas in Venezuela specific spots were implemented in the television schedule to show examples of surpassing adversities and encouraging people to fight against them in daily situations Communication policies As it had already been verified in previous years, the communication policies of these 11 countries being analyzed in this work experienced, either by modifications in the law or by the enforcement of new laws, some significant changes in their communicational environment.
Its successor was police comedy Pega Pega, which dealt with ethical conflicts regarding crime and punishment.
Cuéntame un cuento
The two titles figured between the most watched products in in the several countries where they were broadcast, showing the vitality and importance of sharing financial efforts as well as technical and artistic resources. At the end ofDecree allows telephone companies to provide pay TV services as of January fuentame it also protects operators of new generation networks for 15 years and raises barriers seires the entry of new competitors.
One should also underline atrseplayer, in the comparative analysis, the data related to YouTube interaction revealed that, for the same period of time, there was a bigger interaction between the participants in this platform than in the fictional product s official website, as a bigger tendency to have longer and more complex texts posted by the users.
Sefies telenovela USA Hispanic At the same time, the political authority of the sector under the executive power was concentrated, for which the institutional architecture of pre-existing regulation and control was completely dynamited, limiting or eliminating the participation of civil society and a large group of interested parties.
Available at Carboni, O. On the one hand, there is the concentration of companies that offer internet, telephony and television services, facilitated by the regulations promoted by the government since December Duringthis process is concreted with the purchase of Telefe by Viacom, defining a project from a multiscreen perspective, where internet platforms appear as a fundamental axis.
Supply of hours of national fiction As previously referred, the offer on national fictional content has been increasing in relation to the last two years. Smartphone, el aire que respiro. Cuentae principle, state promotion played a key role. The two weekly series El maestro and La Fragilidad de los Cuerpos were co-produced with international network TNT, being broadcast simultaneously by the cable signal at a different time.
They caused the producers to increase their platforms of content diffusion, but they are cuntame places to captivate new audiences, particularly YouTube, which is the most popular social network among the younger generation.
Audiovisual context in Obitel countries 1. Throughout the story, one of the sisters will discover her gay sexual preference. Kantar Ibope Media Chile 4. In19 Turkish titles were broadcast, which represented 1, screen hours. Titles of national fiction by time slot in Multiple screens, transmissions, new formats, pay TV, UGC, among other topics, have been monitored and analyzed theoretically by each Obitel country research group. One of the indicators is the sequence of 9 PM plots outside the traditional region.
However, the commission created for these purposes has not submitted any proposal atreaplayer new regulation after receiving numerous extensions since its atresplayerr, in April In this context, during the modifications introduced in recent years became consolidated and permanent. Milagres de Jesus miniseries 5. These approaches facilitate the Observatory to build, at xuentame same time, a comprehensive overview about the economic strength that fiction has gained in the television and in the life of these countries.
Siete Vuelos miniseries Google Trends The most talked about characters on Twitter were those who fomented the discussion of social issues, such as gender identity in the case of transgender people Ivana, who, throughout history, became Ivanthe lifestyle known as mermaidism Rita and the role of women in drug trafficking in Brazil Bibi Perigosa. Vidas en Riesgo docudrama Mega 7. It was followed by: The same happened with the pop.
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High-definition televisions in the information era. We have noticed a significant increase in investments in out-of-home OOH media and digital formats. Como Dice el Dicho unitary Mexico 7. Is the issue handled appropriately? In a continuous expansion, studies and research on television fiction are faced with issues that involve paradigm adjustments.
It seems logical that, in a year marked by the economic crisis, broadcasters have resorted to their archives to maintain deries programming grid.
Aldo Mais Forte que o Mundo miniseries 7.
Just as it has been referred in previous yearbooks, the precariousness and shyness with which Peruvian broadcasters deal with the appropriation of transmedia narratives and the use of internet platforms to conquer a new public and diversify the consumption of local productions is still a reality in What can be observed, however, is that Peruvian channels that invest in some of these strategies are, coincidentally, the ones that get higher audiences: In the course of these 13 years of history, Obitel has consolidated in the field of Ibero-American communication as an international research network, which produces and intersects quantitative and qualitative analyses with the purpose of identifying similarities and specificities, adaptations and also appropriations among several national television narratives produced and exhibited in the region.
Compared to the previous year, the total variation was 7. Spain and Colombia were the countries that presented a higher number of series ten and seven, respectivelyconfirming, in the first case, the tradition of non-production of highly serialized content.
We can separate the countries in two groups, according to the dynamics adopted, taking into account, however, the different speeds of implementation and consumption.