Obitel 2013_Inglês.indd - Globo

Ibero-AmerIcAn TelevIsIon FIcTIon observATory

obITel 2013

socIAl memory And TelevIsIon FIcTIon In Ibero-AmerIcAn counTrIes

Maria Immacolata Vassallo de LopesGuillermo Orozco Gómez

General Coordinators

Morella Alvarado, Gustavo Aprea, Fernando Aranguren, Alexandra Ayala, Borys Bustamante, Giuliana Cassano, James A. Dettleff, Cata-rina Duff Burnay, Isabel Ferin Cunha, Valerio Fuenzalida, Francisco Hernández, César Herrera, Pablo Julio Pohlhammer, Mónica Kirch-

heimer, Charo Lacalle, Juan Piñón, Guillermo Orozco Gómez, Rosario

Sánchez Vilela e Maria Immacolata Vassallo de Lopes

National Coordinators

Ibero-AmerIcAn TelevIsIon FIcTIon observATory

obITel 2013

socIAl memory And TelevIsIon FIcTIon In Ibero-AmerIcAn counTrIes

M533 Memória social eficção televisiva empaíses ibero-americanos: anuárioObitel 2013/CoordenadoporMariaImmacolataVassallodeLopeseGuillermo OrozcoGómez.—PortoAlegre:Sulina,2013. 536p.;il.

ISBN:978-85-205-0686-8

1.Televisão–Programas.2.Ficção–Televisão.3.ProgramasdeTelevisão– Ibero-Americano. 4. Comunicação Social. 5. Ibero-América – Televisão. I. Lopes,MariaImmacolataVassallode.II.Gómez,GuillermoOrozco.

CDU:654.19659.3

CDD:301.161791.445

DadosInternacionaisdeCatalogaçãonaPublicação(CIP)BibliotecáriaResponsável:DeniseMarideAndradeSouza–CRB10/960

©GloboComunicaçãoeParticipaçõesS.A.,2013

Capa:Letícia Lampert

Projetográficoeeditoração:Niura Fernanda Souza

Produção,assessoriaeditorialejurídica:Bettina Maciel e Niura Fernanda Souza

Revisão:Felícia Xavier Volkweis

Revisãográfica:Miriam Gress

Editor:Luis Gomes

Av. Osvaldo Aranha, 440 cj. 101 – Bom Fim Cep: 90035-190 – Porto Alegre/RSFone: (0xx51) 3311.4082Fax: (0xx51) 2364.4194www.editorasulina.com.bre-mail: [email protected]

Agosto/2013

Direitos desta edição adquiridos por Globo Comunicação e Participações S.A.

Editora Meridional Ltda.

ThisworkisaresultofapartnershipbetweenGloboUniver-sidade and Ibero-AmericanTelevisionFictionObservatory (OBI-TEL).Suchpartnership,startedin2008,aimstopresentanddiscusstheyearlyanalysesonproduction,content,audienceandsociocul-turalimportanceofthetelevisionfictioninLatinAmericaandintheIberianPeninsula.

Publications produced:• ObitelYearbook2008:GlobalMarkets,LocalStories;• ObitelYearbook 2009: Television Fiction in Ibero-America:

Narratives,FormatsandAdvertising;• ObitelYearbook2010:ConvergencesandTransmediationof

theTelevisionFiction;• ObitelYearbook2011:QualityinTelevisionFictionandAudi-

ences’TransmediaInteractions;• ObitelYearbook2012:TransnationalizationofTelevisionFic-

tioninIbero-AmericanCountries;• ObitelYearbook2013:SocialMemoryandTelevisionFiction

inIbero-AmericanCountries.

About Globo Universidade:GloboUniversidade,createdin1999,hasasamissiontheshar-

ingofexperiencesinordertoaddknowledge.Toaccomplishit,apermanentpartnershipwiththeacademiaisestablished.

Throughdebates,seminars,publicationsandresearchsupport,GloboUniversidadecontributestothescientificproductionanddis-semination,aswellastheformationofpersonnel.Since2008,Glo-boUniversidadehasbeenpresent inRedeGlobo’sprogramming:everySaturday,at7h, theprogramfeaturesinformationabout themainuniversitiesinBrazilandintheworld.

In2011,thisprogrambecamepartofGlobo Cidadania,whichalso counts on the participation of the programsGlobo Ciência,Globo Educação andGlobo Ecologia e Ação.

ARGENTINAGustavoAprea(Universidad

Nacional de General

Sarmiento; Instituto Univer-

sitario Nacional del Arte)

andMónicaKirchheimer (Universidad de Buenos

Aires; Instituto Universitario

Nacional del Arte),National Coordinators;MaríaVictoriaBourdieu(Uni

versidad Nacional de Ge-

neral Sarmiento),MaríaBel-zunces,VictoriaDeMichele, NoeliaMorales,Laura Oszust,EzequielRivero (Universidad de Buenos

Aires), Collaborators.

BRAZILMariaImmacolataVassalode Lopes(Universidade de São

Paulo),NationalCoordina tor;MariaCristinaPalmaMungioli (Universidade de São Paulo),

obITel nATIonAl reseArch TeAms

GeneralCoordinatorsMariaImmacolataVassallodeLopes(Universidade de São Paulo)

GuillermoOrozcoGómez(Universidad de Guadalajara)

AdjuntResearch;CláudiaFreire,ClariceGreco Alves,HelenEmyNochi Suzuki,IssaafSantos Karhawi,LigiaMariaPrezia Lemos,PatriciaBieging,Ra- faelaBernardazziTorrens Leite(Universidade de São

Paulo), ResearchAssociates;MiguelLuizdeSouza,Pedro ZanottoBazi,TomazAf- fonsoPenner(Centro de Es-

tudosdeTelenovela–

CETVN–daEscoladeCo-

municações e Artes da

Universidade de São Paulo),

ResearchAssistants.

CHILEValerioFuenzalidaandPablo JulioPohlhammer(Pontifi-

cia Universidad Católica de

Chile),NationalCoordina- tors;ConstanzaMujica,Luis Breull,AlejandroBruna

(Universidad Católica de

Chile),ResearchAssistants;VerónicaSilva,Independent Researcher.

COLOMBIABorysBustamanteBohórquez andFernandoAranguren Díaz(Universidad Distrital

Francisco José de Caldas), NationalCoordinators;HernanRiveros,Alejandra Rusinque,DianaMendoza. (Universidad Distrital

Francisco José de Caldas),

ResearchAssociates.

ECUADORAlexandraAyala-Marínand CésarHerreraRivadeneira (Centro Internacional de

Estudios Superiores de

Comunicación para América

Latina–CIESPAL),National Coordinators;PamelaCruzPaéz,JoséLuis Bedón,AdrianaGarrido, JoséRivera(Centro Inter-

nacional de Estudios Supe-

riores de Comunicación para

AméricaLatina–CIESPAL),

ResearchAssociates.

SPAINCharoLacalle(Universitat Au-

tònoma de Barcelona), Na- tionalCoordinator;MariluzSánchez,LucíaTra- bajo,DeborahCastro(Uni-

versitat Autònoma de Barce-

lona),ResearchAssociates;AnnaAlonso,PaolaCabrera, BelénGranda,FranciscaNi- colau,GermánMuñoz, KarinaTiznado,BertaTru- llàs (Universitat Autònoma

de Barcelona),Collaborators.

UNITEDSTATESJuanPinon(New York Univer-

sity),NationalCoordinator;LinneteManrique,Tanya Cornejo(New York Univer-

sity),ResearchAssociates;DianaKamin(New York Uni-

versity),Collaborator.

MEXICOGuillermoOrozcoGómezand FranciscoHernándezLomelí (Universidad de Guadala-

jara),NationalCoordinators;DarwinFrancoMigues,Ga- brielaGómez,AdrienChar- loisAllende(Universidad de

Guadalajara), ResearchAs- sociates.

PERUJamesA.DettleffandGiuliana Cassano(Pontificia Uni-

versidad Católica del Perú), NationalCoordinators;GuillermoVásquezF.(Ponti-

ficia Universidad Católica

del Perú),ResearchAssoci- ate;RoggerVergara,Tatiana Labarthe,ThaliaDancuart, NatalyVergara(Pontificia

Universidad Católica del

Perú), ResearchAssistants.

PORTUGALIsabelFerinCunha(Universi-

dade de Coimbra, Centro de

Investigação Media e Jor-

nalismo)andCatarinaDuff Burnay(Universidade Católica

Portuguesa), NationalCoor- dinators; FernandaCastilhoSantana, BiancaFaciola(Universi-

dade de Coimbra), Research Associates.

URUGUAYRosarioSánchezVilela(Uni-

versidad Católica del Uru-

guay), NationalCoordinator;PaulaSantosVizcaíno,Lucía Allegro,EugeniaArmúa, IsabelDighiero(Univer-

sidad Católica del Uruguay), ResearchAssistants.

VENEZUELAMorellaAlvaradoMiquilena (Universidad Central de Ve-

nezuela), NationalCoordina- tor;LuisaTorrealba(Universidad

Central de Venezuela), Re- searcher;MabelCalderín(Universidad

Católica Andrés Bello)and CarlosArcila(Universidad

del Norte),ResearchAsso- ciates;NazarethSojo(Universidad

Central de Venezuela),Pedro deMendonca(Universidad

Central de Venezuela), AndreaAbreu(Universidad

Católica Andrés Bello), ResearchAssistants.

Index

EDITOR’S NOTE .................................................................................... 15

METHODOLOGICAL NOTE .................................................................. 17

FIRST PARTFICTIONINTHEIBERO-AMERICANSPACEIN2012

Comparative synthesis from Obitel countries in 2012.............................. 23 Maria Immacolata Vassallo de Lopes, Guillermo Orozco Gómez 1. AudiovisualcontextinIbero-Americancountries.......................... 24 2. ComparisonofTVfictioninIbero-Americancountriesin2012... 33 3. Thetenmostviewedfictionsintheyear........................................ 43 4. HighlightsoftheyearinObitelcountries...................................... 53 5. TVfictionandtransmediareception: interactionthroughnetworks......................................................... 60 6. Topicoftheyear:socialmemoryandtelevision fictioninIbero-Americancountries............................................... 76

SECOND PART FICTIONINOBITELCOUNTRIESIN2012

1. ARGENTINA: growth of national production and its styles........ 95 Authors: Gustavo Aprea, Mónica Kirchheimer Team:María Belzunces, María Victoria Bourdieu, Victoria De Michele, Noelia Morales, Laura Oszust, Ezequiel Rivero 1. Audiovisualcontextinthecountry................................................ 95 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 103 3. Transmediareception.................................................................. 113 4. Highlightsoftheyear.................................................................. 116 5. Topicoftheyear:socialmemoryandtelevisionfiction............... 120

2. BRAZIL: telenovela as media event............................................... 129 Authors: Maria Immacolata Vassallo de Lopes, Maria Cristina Palma Mungioli Team: Claudia Freire, Clarice Greco, Ligia Maria Prezia Lemos, Issaaf Karhawi, Helen N. Suzuki 1. Audiovisualcontextinthecountry.............................................. 129 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 139 3. Transmediareception.................................................................... 151 4. Highlightsoftheyear................................................................... 154 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 158

3. CHILE: changes in the industry .................................................... 167 Authors:Valerio Fuenzalida, Pablo Julio Pohlhammer Team:Verónica Silva, Constanza Mujica, Luis Breull, Alejandro Bruna 1. Audiovisualcontextinthecountry............................................... 167 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 171 3. Transmediareception.................................................................... 182 4. Highlightsoftheyear................................................................... 184 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 188

4. COLOMBIA: violence, entertainment and audiovisual spectacle................................................................ 195 Authors: Boris Bustamante, Fernando Aranguren Team:Hernán Javier Riveros, Alejandra Rusinque, Diana Mendoza 1. Audiovisualcontextinthecountry.............................................. 195 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 205 3. Transmediareception.................................................................... 214 4. Highlightsoftheyear................................................................... 217 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 220

5. ECUADOR:fictionandhumormovetotheweb.......................... 229 Authors:Alexandra Ayala Marín, César Herrera Team:Pamela Cruz Páez, José Luis Bedón, Adriana Garrido, José Rivera 1. Audiovisualcontextinthecountry.............................................. 229 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 238 3. Transmediareception.................................................................... 249

4. Highlightsoftheyear................................................................... 253 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 256

6. SPAIN:fictionresiststhecrisis...................................................... 265 Author: Charo Lacalle Team:Mariluz Sánchez, Lucía Trabajo, Deborah Castro, Anna Alonso, Paola Cabrera, Belén Granda, Francisca Nicolau, Germán Muñoz, Karina Tiznado, Berta Trullàs 1. Audiovisualcontextinthecountry............................................... 265 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 273 3. Transmediareception.................................................................... 287 4. Highlightsoftheyear................................................................... 291 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 294

7. UNITED STATES: looking for a younger audience – the rebranding of hispanic TV........................................................ 305 Author: Juan Piñón Team: Linnete Manrique, Tanya Cornejo 1. Audiovisualcontextinthecountry............................................... 305 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 315 3. Transmediareception.................................................................... 327 4. Highlightsoftheyear................................................................... 329 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 331

8. MEXICO:TVpoweronthespot.Televisionfictionbetween presidential elections and audiences’ activation........................... 339 Authors: Guillermo Orozco, Francisco Hernández, Darwin Franco Team: Gabriela Gómez, Adrien Charlois, 1. Audiovisualcontextinthecountry............................................... 339 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 351 3. Transmediareception.................................................................... 359 4. Highlightsoftheyear................................................................... 363 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 366

9. PERU:fictionofentrepreneurs..................................................... 371 Authors:James A. Dettleff, Giuliana Cassano, Guillermo Vásquez F. Team:Rogger Vergara, Tatiana Labarthe, Thalia Dancuart, Nataly Vergara 1. Audiovisualcontextinthecountry............................................... 371

2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 380 3. Transmediareception.................................................................... 392 4. Highlightsoftheyear................................................................... 396 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 398

10. PORTUGAL:fictionandaudiencesontransition....................... 407 Authors:Catarina Duff Burnay, Isabel Ferin Cunha Team:Fernanda Castilh, Bianca Faciola 1. Audiovisualcontextinthecountry............................................... 407 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 415 3. Transmediareception.................................................................... 429 4. Highlightsoftheyear................................................................... 432 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 434

11. URUGUAY: searching for a sustainable model ........................... 439 Author: Rosario Sánchez Vilela Team: Paula Santos, Lucía Allegro, Eugenia Armúa, Isabel Dighiero 1. Audiovisualcontextinthecountry............................................... 439 2. Yearlyanalysis:premiereofnationaland Ibero-Americandiction................................................................ 448 3. Transmediareception.................................................................... 458 4. Highlightsoftheyear................................................................... 461 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 464

12. VENEZUELA:fromsuspensefiction tonationalizedfiction...................................................................... 473 Authors: Morella Alvardo, Luisa Torrealba Team: Mabel Calderín, Carlos Arcila 1. Audiovisualcontextinthecountry............................................... 474 2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction................................................................. 485 3. Transmediareception.................................................................... 499 4. Highlightsoftheyear................................................................... 502 5. Topicoftheyear:socialmemoryandtelevisionfiction.............. 505

APPENDIX: TOP TEN TV FICTION IN OBITEL COUNTRIES............................................................................. 509

edITor’s noTe

THISYEARBOOK2013ISPUBLISHEDbySulinaEditorialin three languages simultaneously: Portuguese, Spanish, and En- glish,anditspredecessorsaretheObitel Yearbook 2007,publishedinSpanishbyEditorialGedisa,Spain,Obitel Yearbook 2008,pub-lished in Portuguese andEnglish byGloboUniversidade,Brazil,Obitel Yearbook 2009, published inSpanishbyOETI,Spain, andinPortuguese andEnglishbyGloboUniversidade,Brazil,Obitel

Yearbook 2010 and 2011 publishedinPortugueseandSpanishbyGloboUniversidade,Brazil,Obitel Yearbook 2012 publishedinPor-tuguese,Spanish,andEnglishbySulinaEditorial,Brazil.

InJuly2008,UruguayjoinedinasanewmemberofObitel.With the subsequent incorporation of Ecuador in 2010, and thenPeruin2012,Obitelbecamearenewedinternationalinstitutionforthecomparativeresearchontelevisionfiction,withtheparticipationof twelve countries,which integrate the national chapters of thisYearbook.TheincreaseofObitel´smembershipshowsbyitselftheconsolidationandleadershipofitsanalyticalandprovocativeworkaroundtheIbero-Americanworld.

Onbehalfofallthenationalcoordinators,thegeneralcoordina-torsofthisYearbookwishtoexpressourgratitudetoGloboUniver-sidadefortheircontinuoussupportandtimingcollaborationtothispublication.WereiterateourappreciationforthesupportreceivedfromtheinstitutesIbope:Ibope(Brazil),Time-Ibope(Chile)Ibope(Colombia,Uruguay),Nielsen-Ibope-AGB(Mexico),IbopeMediaPerú(Peru);MediaMonitor-MarktestAudimetria(Portugal);Kan-tarMediaandBarloventoComunicaciones(Spain);Nielsen(UnitedStates);AGBNielsenMediaResearch (Venezuela); and from allandeachoneoftheuniversitiestowhichtheauthorsbelong.

meThodologIcAl noTe

The IBERO-AMERICANTELEVISIONFICTIONOBSER-VATORY, referred to as OBITEL, since its inception in 2005,worksasan intercontinentalproject for the Iberian region(Ibero-America),includingLatinAmericanandIberiancountriesandtheUnitedStatesHispanicpopulation.Atthismomentitwasconsid-eredimportanttospeakaboutanIbero-AmericanambitduetotheincreasinginterestofthedifferentnationalStatesinmakingadiffer-entiatedseriesofpoliciesofmedia,cultural,artisticandcommercialproduction,changeandcreationconverge,inthehopesthattheareamightbecomearegionofimportantgeopoliticalandculturalrefer-ence.

TheobservationthathasbeencarriedoutintheObitelintendstodistinguishatleastfivedimensionsofthisvastobjectofanaly-sis:itsproduction,exhibition,consumption,commercialization,andthematicproposals.Thephenomenonof“transmediation”hasbeeninto thesedimensions since the2010 Yearbook.Even though thisphenomenon is just incipient, it bears a high potential for under-standingproductionitselfandtheexpectationswithfiction,itsdis-tributionandconsumptionfromthecompaniesandtelevisionchan-nels.Transmediationwasincludedinthatyearbookasthe“topicoftheyear”and,sincethen,itwasdefinitelyembeddedasapermanentsectionoftheYearbook.Withthisanalysis,weintendtoexplainthenewforms inwhich theaudiencesrelateandconnectwith televi-sionfictionthattheynowwatchandconsumethroughtheInternetorthroughmobiledevicessuchascellphones,laptops,tablets,etc.

Inthepresent2013 Yearbook,whichistheseventhconsecutiveone,wecontinuewiththesamelineofitspredecessor,byfocusingnowonsocialmemoryanalysisinthewaysthatpervadesnarrativefictionintheObitelcountries.

18 | Obitel 2013

The methodological activities conducted for this 2013 Year-

bookwerebasicallyasfollows:1.Thesystematicfollow-upofthefictionprogrammingthatis

broadcastbytheopenchannelsinthe12countriesthatparticipateinthenetwork.Forthis2013 Yearbook,aswesaidintheEditor’sNote,PeruincorporatedasnewObitelcountry.

2.Thegenerationofcomparablequantitativedatafromthesecountries:schedules,premiereshows,numberofchapters,indexes,audienceprofile,andcentralfictionthemes;

3.Theanalysisofthetendenciesinnarrativesandthethematiccontentsineachcountry(dataonconsumptionofothermediasuchastheInternetandotherprogramgenres,investmentinadvertising,politicalandpolicieseventsoftheyear),aswellaswhateveryna-tionalresearchteamconsiders“themostoutstandingoftheyear”,especiallyintermsofchangesinproduction,narrativesandcontentspreferred;

4.Theanalysisoftransmediareceptionandtheinteractionsoftheaudienceswithfictionineachcountry;theselectionofthecasetobeanalyzed,ifitwasmadetakingasreferencesomeofthetoptentitlesorelsebyselectingonethat,duetoitssingularity,hashadauniquebehaviorontheInternetoronanysocialnetwork;

5.Thepublicationoftheresultsofthesystematicmonitoringintheyearbookformat,payingspecialattentiontoatopicinparticular.Thetopicoftheyearforthis2013 Yearbookis:Social Memory and Television Fiction.

Ourobservationwascarriedoutbyanetworkofresearchteamsfrom12countriesanddifferentuniversitiesfromtheIbero-Amer-ican region: Argentina, Brazil, Chile, Colombia, Ecuador, Spain,UnitedStates,Mexico,Peru,Portugal,Venezuela,andUruguay.

Themainsourcesofaudiencemeasuringdatawereprovidedbyaudiencemeasurementinstitutesinthedifferentcountries:Ibope(Brazil),Time-Ibope(Chile),Ibope(Colombia,Uruguay),Nielsen-Ibope(Mexico),IbopeTime(Ecuador),IbopeMediaPerú(Peru),Average Monitor Marktest Audimetria (Portugal), Kantar Media

Methodological Note | 19

andBarloventoComunicaciones (Spain),Nielsen (UnitedStates),andAGBNielsenMediaResearch(Venezuela).

Wealsoworkwiththedatageneratedbytheresearchteams,fromothersourcessuchaspressreleases,Internetinformation,au-dioandvideomaterial,aswellas thosefromdirectcontactswithagenciesandprofessionalsoftheaudiovisualmediaineachcountry.

Thestatisticaltreatmentofthedatawascarriedoutaccordingtoproductive typologies (programmingschedule, timeslots,dura-tionofeach fictionproduct, chaptersorepisodes)andmeasuring

typologies (audience ratings and share), which made possible tobuildcomparativetablesoftheofferconditionsandtheproductionprofiles of television fiction in each country,which include suchcategoriesas:programmingamount,formats,producers,scriptwrit-ers,creators,exhibitionstrategies,amongothers.

The general analysis of this Yearbook is divided into threeparts.

Thefirstpart,“FictionintheIbero-AmericanSpace”,presentsa comparative synthesis of fiction in the Obitel countries.Thiscomparisonismadefromaquantitativeandqualitativeperspectivethatallowstoobservethedevelopmentoffictionineachcountry,highlightingtheirmainproductions,aswellasthetopicoftheyear,herein,“SocialMemoryandTelevisionFiction”.

Thesecondpart,“FictionintheObitelCountries”,iscomposedbytwelvechapters(oneforeachcountry),withastructureoffixedsections, thoughsomearemorespecific thanothers.Thesectionsthatmakeupeachofthechaptersarethefollowing:

1.Country’s audiovisual context:Itpresentsgeneralinforma-tionabouttheaudiovisualsectorregardingtheproductionoftelevi-sionfiction:thestory,tendenciesandmorerelevantevents.

2.Analysis of premiere fiction of the year: It is presentedthroughseveraltablesthatshowspecificdataaboutnationalandIbe-ro-Americanfictionthatwerereleasedineachcountry.Inthissection,specialemphasisisplacedontheten most viewed titlesoftheyear.

20 | Obitel 2013

3.Transmedia reception:Hereispresentedandexemplifiedtheofferthatthenetworksprovidetheiraudiencessothattheycanconsume theirproductionsvia Internet, aswell as thedescriptionofaudiences’behaviorswhenwatching,consumingandinteractingwiththeirfictionsthroughpagesandwebsites.

4.Highlights of the year:Themostimportantproductions,notonlyintermsofrating,butalsointermsofthesocioculturalimpactoroftheinnovationthattheygenerateinthetelevisionindustryandmarketarepresentedhere.

5.Topic of the Year,which in this issue isSocial Memory and Television Fiction: Hereisofferedananalysisofthewaysinwhichfictionsworkonstoriesoccurringwhollyorpartiallyinthepast(remoteorclose)andhowtheyalludetothisinstoriessetinthe present.ThisYearbook attempted tomake an analysis of therepresentations,whichcombinesnotonly the trackingofproduc-tionsinopenchannelsofdifferentcountries,butalsotheanalysisofthespaceimagined,remembered,fromwhichemergesaparticularmemory,amedia memoryconstructedbytelevisionfictionoverde-cadesofdailycontactwiththepeopleofanation.

Thethirdpart isan“Appendix”,wherearecollectedthe top ten TV fictions in the Obitel countries withbasicandnecessaryinformationabouttheseproductions.

FIrsT PArT

FIcTIon In The Ibero-AmerIcAn sPAce In 2012

comPArATIve synThesIs From obITel counTrIes In 2012

MariaImmacolataVassallodeLopes,GuillermoOrozcoGómez

ThisfirstpartoftheObitelYearbookpresentsacomparative,syntheticpanoramaofthemaindataofthemonitoringcarriedoutin2012abouttheproductionandcirculationofnewreleasedTVfic-tionshowsintheIbero-Americancountriesthisyear.

Thereportdealswith75broadcastchannels,bothprivateandpublic,withnationalpenetration,basedonthe12countriesthatcon-stitutethegeo-culturalscopeofObitel.1

Table 1. Obitel countries and examined channels – 20122

Obitel countries Private channelsPublic

channelsBroadcaster

total

ArgentinaAmérica2,Canal9,

Telefé,ElTreceTelevisiónPública 5

BrazilGlobo,Record,SBT,

Band,RedeTV!TVBrasil 6

ChileUCVTV,Canal13,Teleca-

nal,Red,Chilevisión,MegaTVN 7

Colombia RCN,Caracol,CanalUnoSeñalColombia,

Canalinstitucional5

EcuadorTeleamazonas,RTS,

Ecuavisa,CanalUno

ECTV,GamaTV,

TCTelevisión7

SpainAntena3,Tele5,Cuatro,

LaSextaLa1,La2 62

1In2012,PerujoinedObitel.2Spainhas30autonomousTVnetworks,notanalyzedinthiscomparativechapter,whichcollectsonlythenetworksthathavenationalofferineachcountry.ThemostsignificantdataontheseregionalorlocalnetworkscanbefoundinthechapteronSpaininthisYe-arbook.

24 | Obitel 2013

United StatesAztecaAmerica,EstrellaTV,

MundoFox,Telemundo,

UniMás,Univisión,V-me

7

MexicoTelevisa,TVAzteca,Cadena

Tres

OnceTV,

Conaculta 5

PeruFrecuenciaLatina,América

Televisión,Panamericana

Televisión,ATV,GlobalTV

TVPerú 6

Portugal SIC,TVI RTP1,RTP2 4

UruguayMontecarloTV,Saeta,Tele-

doce/LaTele

TelevisiónNacio-

nal(TNU)4

Venezuela

CanalI,Globovisión,La

Tele,Meridiano,Televen,

TVFamilia,ValeTV,Vene-

visión

ANTV,Tves,C.A.

TeleSur,VTV,

ViveTV

13

Total 54 21 75Source:Obitel

Fromtheuniverseof75nationalbroadcastchannelsinthe12Obitelcountries,theprivate-ownednetworksrepresented54(72%),that is,more than twice thepublicones,which totaled21 (28%).Theonlycountrythathasabalancebetweenprivateandpublicnet-worksisPortugal.InColombia,EcuadorandMexico,thenumberofpublicnetworksismuchclosertothatofprivateones.Inothercountries,thereisapredominanceofprivatenetworks.TheUnited Statesistheonlycountryinwhichtherearenopublicchannels,inourcase,cateringtoHispanicdemographics.

1. Audiovisual context in Ibero-American countriesSomefactscommandourattentioninthepanorama of com-

municationsinthecountriesoftheObitelscope.Thefirstofthemrefers to the scenarioof transformation thatwehaveobserved inrelation to the newways of consumingTV content.The subject,whichwastheannualthemeofthe2010Yearbook,hasbeenhigh-lightedinthereportsmadebytheObitelsincethen,andstillappearsasoneof thebigchallengesforcompaniesfocusedonmeasuring

Comparative synthesis of the Obitel countries in 2012 | 25

ratingsaccordingtotalksinsomecountries.Newmethodologiesforaudiencemeasurementaresoughtinacontextofencompassingandcomplex transformationsof technologiesofproduction,broadcastandreceptionofmedia,givingorigintotheso-calledcommunica-tionormediaecosystem.

Thesetransformationshaveanotableimpactinthe“artsofdo-ing”andthe“artsofsaying”(DeCerteau,2007)ofthetraditionalmediabasedonverticalityofcommunicationprocesses.Inthiscon-text,itwasnotedinObitelcountries,in2012,anexpressiveincreasein the use of the Internet,mobile phone and the consolidationofdigitalmediaasplatformsofinformationandcommunication.ThedynamicsofthismovementhasasasourcetheriseinthenumberofusersofsocialnetworksandtheincreaseoftheofferingofTVcontentformobileplatforms.

Thechallengethusplaced,asmuchforacademicresearchersasforthoseincompaniesthatmeasureratings,ismainlyinthesearchformechanismsofcomprehensionofnewartsofdoingandartsofsaying that find their locus by excellence in social networks andmobilereceptionanddistributiondevicesofTVcontent,character-izingmassself-communication(Castells,2009).TheconcernwiththissearchisbehindeachchapterfromcountriesthatarepartofthecurrentYearbook,aswellas thesummary thatwepresent in thiscomparisonpiece.

AnotheraspectthatdeservesrecognitionintheIbero-Americanscenariooftelevisionin2012referstothepoliciesofcommunica-tiondevotedtoincreasingtheofferofnationalTVcontent,asisthecaseofArgentina,Ecuadorand,mainly,Brazil.

Panorama of the ratingsIn the scenarioofratings in2012,onecan see theattention

thatMexico, Brazil andPortugalhavegiven to theemploymentofmediationtechniquestomapthemovementofaudiencesthatarenolongercircumscripttothecontentbroadcastexclusivelybythetelevisionplatform.Thismovement,followedbyObitelsince2010,

26 | Obitel 2013

ismarkedbymultiplepossibilitiesofreception,demandingdiffer-entiatedmethodologiestofollow,forinstance,theconsumptionoffictionthroughmobiledevicesandVideoonDemand(VoD).

InMexico, there is a highlight for the broadcast of fictionalcontentfromTelevisaontheVoDplatformNetflix.InArgentina,therewas themaintenance of the general rating of broadcastTVwithAmerica2 leading in ratings and Telefé in share. InBrazil,Globostillleadswithamajoradvantagebothinratingsandshareoffictionprogramming.Meanwhile,inColombia,wenoteanin-crease of Caracol channel, due to its successful fiction program-ming,whichsurpassedRCNinbothratingsandshareforthefirsttimeinalongwhile.InEcuador,theleadingnetworkinratingsandsharewasEcuavisa,whileTCTelevisiónledtheratingsinfictionprogramming.InSpain,Tele5ledintermsofshare.Inthiscountry,thedurationofTVconsumptionhas reached a newdaily record,reaching46minutes per spectator.Not only that, but fictionwastheleadinggenrewiththemostspaceintheSpanishprogrammingschedule.TelevisakeptitsleadershipinMexico,andinPortugal TVI commanded the ratings and share,whileSICgained groundduringprime time through thebroadcastofBrazilian telenovelas.InUruguay, the networkwith the highest ratings and sharewasTeledoce/LaTele,andinVenezuelaVenevisiónkeptitsleadership,withanexpressive80%ofthetotalaudience.IntheUnited States,UnivisionCommunicationsledcomfortablytheratings,especiallywhenyouadd thenumbersof the twosisternetworks (UnivisiónandUnimás),almostreaching70%.

Advertising investmentEveninascenariothatisincreasinglymarkedbythecompeti-

tionwithdigitalmedia,therewasagrowthintheadvertising in-vestment inbroadcastTVinArgentina, Brazil, Colombia, Mex-icoandPeru.

In Spain andPortugal, the economic crisis was blamed asthemaincauseondiminishingadvertisinginvestmentinthesetwo


Iberiancountries.InArgentina,despiteanincreaseinadvertisinginvestment,timededicatedtobroadcastTVadvertisinghasfallen.Eveninasituationofdiminishinginvestment,inPortugal,TVre-ceived75%ofall advertising investment. InPeru, it reached the72%mark,whileinBrazil, EcuadorandMexico,TVhasreceivedmorethanhalfoftheadvertisinginvestment.

InBrazil, themost important advertiserswere those in retail,beautyproducts, financial institutionandbeverages. InVenezuela,theywerefood,health,clothing,and,asahighlight,advertisingofinsurance and security services. InSpain, Ecuador andVenezue-la,amongadvertisers, thepublicinstitutionswereofnote.WhenitcomestoadvertisinginvestmentinInternetandsocialnetworks,oneobservessignificantgrowthinBrazil, Spain, PortugalandUruguay.

Astotelevisiongenres,Colombiaisnotableintimeslotsthatbroadcastfictionasthosewhoreceivedthemostadvertisinginvest-ment,whileinEcuador,itwasverifiedthatbetween2007and2011,telenovelasreceivedathirdofadvertisinginvestment.In Mexico,the highlightwere the so-called “brand telenovelas”, productionsthatutilizedamodelknownas“narrativeadvertising”,aformatthatpresentsacertainbrandasanarrativeelement.

Merchandising and social merchandisingThecountriesoftheObitelareacontinuetoshowcommercial

merchandising,aswellasproductplacement,insertedintheplotofitsfiction.ThepracticeismostcommonincountriessuchasAr-gentina, Brazil, Colombia, MexicoandPeru,andisconcentratedinprimetime.Themostcommonlyadvertisedproductsarehomeappliances,foodandcosmetics.ItshouldbenotedthatthepracticeisprohibitedinVenezuela.

Inmany countries, fictional narratives present social themesdealtwithinaneducationalmanner,theso-calledsocial merchan-dising. In2012, oneof thepresented themeswasdiscrimination,usedinfictioninArgentina,intheminiseriesEl paraíso, Los pibes

del Puente andLa viuda de Rafael; inBrazil, in the telenovelas

28 | Obitel 2013

Avenida BrasilandAquele beijo;inMexico,intheseriesKipatla:

para tratarnos igual;andinPeru,intheseriesSolamente Milagros (seasons1and2)andintheminiseriesConversando con la luna.BullyingwasalsodealtwithintheseriesGraduados,fromArgen-tina,andinthesoapoperaMalhaçãoandinthetelenovelaRebelde,bothinBrazil.Bothcountriesalsopresentedacommonthemeofdomestic violence againstwomen, in the telenovelaMaltratadas,fromArgentina,andthetelenovelasRebeldeandCorações feridos,fromBrazil,aswellasinepisodesoftheseriesTu decides, fromVenezuela.

FictioninBrazilalsoinsertedintheirplotssubjectslikechildadoption,inthetelenovelasSalve JorgeandVidas em jogo,humantrafficking in the telenovelaSalve Jorge andmaids’ rights in thetelenovelaCheias de charme.Mexicopresented thediscussionoffightingdrugdealingintheseriesLa tenienteandworkingcondi-tionsoftheRedCrossintheseriesParamédicos.

An important aspect of social merchandising refers to thesocial-educationalactions thatstronglyaffect insocialcampaignsawayfromthescreen.ThathappenedinBrazilwiththeparticipa-tionoftheactressesfromthetelenovelaCheias de charme inacam-paignformaids’rightspromotedbytheUnitedNationsforGenderEqualityandEmpoweringofWomen(ONUWomen)and the In-ternationLaborOrganization(ILO);andtheactorsofatelenovelafromColombiathatparticipatedinthe“CaminataSolidaridadporColombia”and the“CarnavaldeBarranquilla”,humanitarianandsocialcampaigns.

Communication policiesTwofactsofcommunication policiesgainedrelevanceinthe

scenarioofObitelcountries:theimplementationofDigitalTerres-trialTelevision(DTT)andtheadoptionofspecificmeasuresinrela-tiontotheproductionandtransmissionofaudiovisualcontent.

DifferentstagesareobservedinthecountriesanalyzedwhenitcomestotheimplementationofDTT.Portugalcelebratedtheend


ofanalogictransmissioninApril2012,whileUruguayapproved,inMayofthesameyear, theregulationforthecreationofdigitalTVinthecountry.ThesamehappenedtoEcuador,whichhadap-proved,inOctober2012,thetransitionplanforDTT.AninColom-bia,theimplementationofDTTisundergoing,withcoverageonlyformajorcitieslikeBogotaandMedellin.AsisthecaseinPeru, whichhasstarteddigitaltransmissionsin2010andisstillundergo-ingitsimplementation,inChile,DTTisinasimilarsituation,with-outproperlegislationtosubsideit.Inthecountry,thereisadebateoverthecapacityoftheadvertisingmarkettosupportthedemandsofsegmentationofdigitalchannels,whichareindirectcompetitionwithpayTV.

Asfarastelevisioncontentproductionisconcerned,therewasacommonadoptionofmeasuresandlegislationinallObitelcoun-triestonotonlysafeguardthebroadcastofnationalcontent,butalsotopromotethedevelopmentorstrengtheningoftheirnationalindus-try.InBrazil,themainchangesareaproductofLaw12,485/2012,knownasthe“cablelaw”,whichrequiresaquotaofnationalfictioninsubscriptionchannels.Thispolicyhasbeencausingveryimpor-tantchangesintheBrazilianaudiovisualscenarioandisresponsiblefor the formationof tendencies suchas: the increase in thenum-berofindependentproductioncompanies;migrationofcinemaandadvertisingprofessionals toTV; a proportionality in national andindependentchannels inpackagesofferedbycableoperators;andan increase in resources available for television production. Thisnewproductionforcehasallowedtheuprisingofsomeproductionsmarkedbyexperimentation in themesand fiction formats. InAr-gentina,theLawofServicesandAudiovisualCommunicationhasbeenintheworkssince2009.Notonlythat,buttheInstitutoNacio-naldeCineyArtesAudiovisualesisstillmarchingforwardwiththedevelopmentoftheBancoAudiovisualdeContenidosUniversalesArgentino,whichhaspushednationalaudiovisualproductionfromindependentcompanies.SomethingsimilaristakingplaceinEcua-dor,whichplans toacceleratenationalproductionof audiovisual

30 | Obitel 2013

contenttoadapttothedigitalmodel(throughthePlanMaestrodeTransiciónalaTelevisiónDigitalTerrestreenelEcuador,approvedin2012),sincetheprogramminginthecountryisstronglymarkedbyforeigncontent.

InUruguay,thecreationoftheConsultingCommitteefortherightsofchildrenandadolescents,freedomofexpressionandme-diahascreateddebatesover the lawsofcommunication.Also, inPeru,theConsejoConsultivodeRadioyTelevisión(CONCORTV)hasmadepublichearingacrossthecountrythatbroughttoattentionsubjectssuchasinfancy,genderandequality.

On theother hand,Venezuela highlights that thepolicies ofintervention by the governmentworry journalists, academics andhumanrightsactivists,duetothecontrolofinformationandcensor-ship,whichhaveobscuredtheviolenceinthecountry.InMexico,the popularmovement#YoSoy132 has grown in social networks,denouncingthefavoritismthatthemediahasgiventothen-candi-dateandcurrentpresident,PeñaNieto.Themovement,composedmainlyofuniversitystudents,alsodemandedrights regarding thedemocratizationofcommunications.InPortugal, thegovernmentpresentedprojectsfortheconcessionofpublicchannelsofRTPtoprivatesectorsinanefforttoreducepublicspending.InColombia, therewas the establishmentof a policyof tax reductionwith theobjectiveofattractingforeignfilmproductiontothecountry.

Asforthebroadcastsystem,therearechangesnotedmainlyinChile, Spain andtheUnited States.ThetelevisionmarketinChile continuestopresentchangesduetotheprivatizationofnetworks,thedigital transitionofTVand theacquisitionor fusionbetweennetworks.TheCHVchannel(formerlytheUniversityofChilechan-nel),acquiredin2010byTurnerBroadcastingSystem,fromTimeWarner,releasedanambitiousprojectthatincludesthecreationofnewstudioswiththeintenttoproducecontentforinternationalandnationalTV.Spain sufferschangesespeciallyrelated to thefrag-mentationofthetelevisionsystemandtheeconomiccrisis.In2012,Tele5andCuatronetworksunderwentafusion,whileAntena3ab-


sorbedLaSexta.Inthiscrisissituation,evenautonomousnetworksareinriskofprivatization.TheUnited Statesundergoesamomentofrepositioningofnetworks,whichseekaudienceamongyoungerviewers.TelefuturaisnowcalledUniMás,andtheMundoFoxchan-nelwascreatedwithprogrammingfromColombianRCN.

Public TV Inageneralmanner,public TVchannelsofObitelcountries

arefacingdifficultiestoreachorimpactbiggeraudiences.InBrazil,theonlypublicchannel,TVBrasil, ishavingproblemswithana-logicreceptionwithinthecountry,despitehavinganinternationalchannel, TV Brasil-Canal Integración, which broadcasts throughsatellite to LatinAmerican countries, theUnited States, PortugalandAfrica.PublicTVsfromPortugalandSpainsufferfromtheeconomiccrisisasmentionedearlier,withthepossibilityofjoiningtheprivatedomain.InColombia,despitetheeducationalvalueandthecultureofitsprogramming,publicchannelsarefacinglowrat-ings.Argentina,ontheotherhand,continuestoinvestonitsnation-alpublicnetwork,whichalsobroadcastsopendigitalTVchannels.

Asforfictionalcontent,inMexico,publicchannelssoughttomodifystereotypesofnativespresentedasbeingsubmissiveandig-norant,whilefictionalizinggovernmentalactionsofcombatagainstorganizedcrime.InEcuador,thepublicchannelECTVpresentedthelargestnationalproduction,withfictionalshowsindifferentfor-matsbutalsobroadcastseriesfromtheUnitedStatesandJapaneseand Korean telenovelas. Venezuela presented content importedfromJapan,SouthKorea,China,France,ItalyandtheUK.

Thenational reachofpublicchannelswas largelyutilized inPeru andVenezuela for the placement of commercials from thegovernmentandofficialacts.InPeru,thelastchapteroftheonlyfiction produced in the year by TV Perúwas interrupted for thetransmissionofthepresident’sspeech,whichdidnotallowtheair-ingofthelasttenminutesofthatchapter.

32 | Obitel 2013

Pay TV Also in relation to payTV, it can be observed in theObitel

countriesdiversesituationsthatgofromthegrowthandexpansionofthesector,asithashappenedinBrazil, Colombia, MexicoandUruguay,all theway to thesuspensionofsomeservicesand thestronggrowthoftaxesasregisteredinSpain.

Colombia, Uruguay and Brazil presented a growth in thenumberofsubscribers.InBrazil,oneshouldemphasizetheimpor-tantgrowthinthebaseofpayTVduetotheascensionoftheso-called“newCclass”,afactthathasbeennotedinthelasttwoObitelYearbooks.Also,thereisthestrongstimulusinnationalproductionduetothe“newcablelaw”,establishedin2012.

InArgentina, pay TV possesses great penetration, reaching76%of residencies.Chile andVenezuela demonstrate the inten-tionofreformulatingand/orregulatingthesector in thefuture.IntheUnited States,thesectorshowedlittlemovement,withspecialattention to the expansion of Univisión. In Portugal there werechangesinmethodologiesofmeasuringaudiences,afactthathigh-lightedtheroleofcableTV.ItisinterestingtonotethatPeru reg-isteredthepresenceofinformalpayTVcompaniesoperatinginthecountry.

Information and communication technologies ItwasobservedintheObitelcountries,in2012,thetendency

oftheincreaseintheuseofInternetandmobiletelephony,aswellastheconsolidationofdigitalmediaasplatformsofinformationandcommunication.Televisioncompaniessoughttoexpandtheofferofcontentformobile technologies.Notonlythat,butusersofsocialnetworkscontinuedtogrow.FacebookhasachievedleadershipinBrazil andColombia.InPortugal,theuseofInternethasbecomemoreintenseamongstudentsandinhighersocialsclasses,whileinBraziltheincreaseinInternetuseisduetothegrowthoftheCclass,responsibleforhalftheaccessofFacebookandTwitter.


Asfordigital technology,itcanbenotedinMexico,despitethe ongoing digital transition, that a great part of the populationdoes not own the equipment necessary to receive digital content.Peru,throughAméricaTelevisión,hasproduceddigitalcontentviawirelesstechnologyforcellphoneswithadigitaltunerandBrazil offered its television programming in several mobile screens. InArgentina there is ahighlight in theproductionofwebseries forcellphones,whileinSpainthereisanotableproductionofcontentforiOS(iPhone)andAndroidplatforms.InChileandVenezuela,asfarastelephonyisconcerned,thenumberofcellphonesisnowhigherthanthepopulation.

IntheObitelscope,ithasbeennotedthatin2012therelationbetweentelevisionandInternethasgrowncloseranditisconfirmedbyconvergenceandtransmediationprocesses.

2. Comparison of TV fiction in Ibero-American countries in 2012In thisObitel section, we offer a synchronic and diachronic

comparativepanoramaofthelastfouryearsofobservationinthecountriesmembersofthenetwork.Theresultsoftheanalysisoftheyearreportedareunderlinedforobviousreasons,butaspecialefforthasbeenmadeinordertogiveitahistoricaldimensionsoastohaveatrendperspectiveinthedevelopmentandexchangeofproduction,broadcastandreceptionofTVfictioninthearea.

Table 2. Offer of hours of national and

Ibero-Americanfiction2009-2012National 38%

Ibero- American62%

National

Ibero-American

34 | Obitel 2013

GLOBAL OF-

FER OF HOURS

2012 2011 2010 2009

TO-TAL

Na-tional Ibero Na-

tional Ibero Na-tional Ibero Na-

tional Ibero

10,875 18,915 10,780 20,220 9,510 20,702 9,690 13,769

TOTAL 29,790 31,000 30,212 23,459 114,461

Source:Obitel

Theglobalnational and Ibero-American offer hasdecreasedwithrespectofthepreviousyear,althoughthetotalnationalfictionofferincreasedtoalittleover100hours,partlyduetotheincorpo-rationofPeru,butalsobecausecountriessuchasBrazil, Ecuador and Colombiaincreasedthenumberofnationalfictionhourscon-siderably.

Table 3. Offer of hours of national and Ibero-American fictionpercountry2009-20123

Source:Obitel

Theofferofhoursofnationalfictionisthemostfaithfulevi-denceoftheproductivecapacityoftheindustriesineachcountry.AsitcanbeobservedinTable3,Mexico, Brazil and Portugal formthegroupofcountrieswiththelargestproductionofnationalfictioninthepastfouryears,followedbythesecondgroupformedbyAr-gentina, Colombia andSpain.Thethirdgroupiscomposedbythe

3Inallthetablesanemptyspacerepresentsthecountry’sabsenceinthatreferenceyear.When0appears,itmeansthatthatcountrydidnotsubmitanyreferencedata.

2500

2000

1500

1000

500

0Argentina Brazil Chile Colombia Ecuador Spain USA Mexico Peru Portugal Uruguay Venezuela TOTAL

Nat.2012 965 1,503 631 1,252 234 898 836 2,020 552 1,164 36 783 10,875

Nat.2011 1,094 1,462 717 1,065 189 988 847 2,134 - 943 47 641 10,780

Nat.2010 1,035 1,288 671 1,671 305 657 911 1,194 - 1,351 47 379 9,510

Nat.2009 1,228 1,605 644 - - 1,123 833 1,582 - 1,408 49 1,218 9,870

TOTAL 4,322 5,858 2,663 3,988 728 3,666 3,427 6,930 552 4,866 179 3,021 41,035


United States, Venezuela andChile,andinfourthplace,Ecuador,Peru andUruguay.

Theyearlyofferofnationalfictionhourshasincreasedinmostcountries,whichisanindicatorofmoretimeofnationalfictiononthescreen,withtheexceptionofSpain, Chile, the United States and Argentina,wherethisnumberhasdecreasedascomparedtothepreviousyear.

Source:Obitel

TheObitelcountries thatbroadcast themost Ibero-AmericanfictionsareChile, Ecuador, theUnited States, Peru, UruguayandVenezuela.However,thetendencyisnotthesameinthisrespect,sincewhereasEcuador, theUnited States andUruguayhavede-creasedthenumberofhoursofIbero-Americanfiction,ChileandVenezuelahave increased thebroadcastof this fictionslightly in2012.

PeruisincorporatedtothislistofcountriesthatimportIbero-Americanfiction,sincethenumberofnationalfictionhoursisthreetimessmallerthanthenumberofIbero-Americanfictionhours.ThecaseofBrazil standsoutbecause in2012theydidnotpresentanytitlesofIbero-Americanfiction.

6000

5000

4000

3000

2000

1000


Ibe.2012 677 0 2982 682 2686 284 2329 1556 1820 835 2188 2874 18.910

Ibe.2011 1426 299 2966 807 3060 284 3249 475 - 926 3211 2707 20.220

Ibe.2010 2048 267 2103 951 2288 380 3387 394 - 1032 2629 5222 20.702

Ibe.2009 2168 32 2787 - - 272 1649 444 - 961 2662 1794 13.769

TOTAL 6.319 598.000 10.838 2.440 8.034 1.220 11.614 2.869 1.820 3.754 10.690 12.597 73.601

36 | Obitel 2013

Table 4. Offer of national and Ibero-American fictiontitles2009-2012

Source:Obitel

WiththeexceptionofArgentina,Ecuador and Mexico, whichincreased theproductionoftitlesintheirnationalfiction,andVen-ezuela,whichmaintainedthesamenumberasthepreviousyear,na-tionalproductionoffictiontitlesdiminishedintheremainingObitelcountries.ThecaseofEcuadormustbepointedout,whosefictiontitlesincreased50%inthe2011-2012period.Thedecreaseinna-tionalfictiontitlesinPortugal andthe United Stateswasminimal,whereasintheremainingcountriesitwasupto25%.

60

50

40

30

20

10


Nat.2012 34 35 23 16 8 33 10 28 13 27 3 13 243

Nat.2011 22 41 25 22 4 41 11 23 - 28 2 13 232

Nat.2010 15 49 24 34 5 48 17 21 - 31 3 9 256

Nat.2009 24 41 29 - - 56 7 20 - 28 3 15 223

TOTAL 95 166 101 72 17 178 45 92 13 114 11 50 954

60

50

40

30

20

10


Ibero2012 12 0 45 13 45 4 34 17 27 11 44 45 297

Ibero2011 23 6 46 15 50 6 47 5 - 12 44 48 302

Ibero2010 33 6 30 20 32 6 45 9 - 16 34 58 289

Ibero2009 30 1 50 48 - 5 30 6 - 12 26 15 223

TOTAL 98 13 171 96 127 21 156 37 27 51 148 166 1,111


Whatwouldbe the reasons for suchdecrease?According towhathasbeen reported in eachof the chapters in thisYearbook,somecountrieslikePortugal and Spaindecreasedtheirproductionduetoeconomicproblemsthatheldbackfictionproductioninpub-lic channels. In the case ofBrazil, Colombia andChile, the de-creaseinthenumberoftitlesisduetobusinessfactors,sincesomenetworks that produced fictiondidnot release any titles in 2012,which, like in the caseofBrazil, didnotmeanadecrease in thenumberofhoursoffictionbroadcast.

With the exception of Uruguay, which maintained on itsscreensthesamenumberofIbero-Americanfictionsasthepreviousyear, andMexico,which increased significantly itsproduction inthiscategory,therestoftheObitelcountriesdecreasedtheirofferofIbero-Americanfictiontitles.Atthesametime,Chile, Ecuador, UruguayandVenezuelaincorporatedmorethan40Ibero-Ameri-canfictiontitlesintheprogramoffer.

Table5.Formatsofnationalfictionand number of titles 2009-2012

Source:Obitel

100

90

80

70

60

50

40

30

20

10


Telenovela 34 60 47 33 3 12 28 59 3 32 0 29 340

Series 18 43 27 10 11 99 1 30 4 45 6 12 306

Miniseries 18 22 5 16 0 40 1 0 6 20 3 4 135

TVmovie 0 8 12 0 0 7 0 0 0 5 0 0 32

Unitary 8 0 0 0 0 0 2 0 0 2 2 1 15

Docudrama 0 2 1 0 0 0 0 0 0 0 0 1 4

Others 15 33 12 14 3 22 2 2 0 15 0 4 122

TOTAL 93 168 104 73 17 180 34 91 13 119 11 51 954

38 | Obitel 2013

Table5,whichgivestheexactnumberoffictiontitlesandfor-matsintheObitelmembercountriesfrom2009to2012,evidencesthe sizeof the industries in eachof thesecountries; for example,Spain and Brazilareleadersintermsoftitleproduction,followedbyChileandPortugal,andthecaseofMexicostandsoutinspiteofthefactthat,althoughitonlyhas91titles,itmaintainsitsexportcapacity.ThesamegoesforArgentinaandColombiathatmaintaintheirdominanceduetotheircapacitytosellscriptsorfranchisesoftheirfictions.

In relation to the formats, the telenovela continues to be thequeenoffiction,althoughtheserieshavehadasteadygrowththatthreatenstooverthrowthatdominance,sinceitisonly40titlesshort.Thetelenovelaisstillthemostimportantproductincountriessuchas BrazilandMexico,whichstandoutinthenumberoffictionalproductionswith60and59nationaltitles.Chilehas47telenovelatitleswhileArgentina,Colombia,Portugal, theUnited States andVenezuela are in the range of 30 titles.Ecuador andPeru onlyproduced3titlesinthisfictionformat.

TheseriesformatcontinuestobethehighestrankinginSpain withalmost100titles.Brazil andPortugalfollowwith43and42respectively,whileMexico takes the fourthplacewith30.ThesedataindicateingeneralagreaterproductionintheIbero-Americanfiction series format, although there areObitel countries such asPeruandthe United States thatproducedfewerthan5andUru-guaywith6titles.

Anunequalincreaseamongthecountriesisalsonoticedintheminiseriesformat.WhileSpain producedthemost miniseries titleswith40,Brazil, PortugalandColombiaareinthe20-titlerangein2012.

IntheTVmovieformat,ChileandBrazil, with 12and8titlesrespectively,aretheleaders,followedbySpain,with7titles,andtheyarealmosttheonlyonesproducingthistypeofformat.Argen-tinastandsoutintheunitaryformatwith8titles,followedbythe United States andUruguay,with2each,andVenezuela,withone


title.The remainingObitelmembercountriesdonotproduce thistypeofformator,asitisthecaseofMexico thatdoesproduceit,butdidnotreleaseanytitlesin2012.Astothedocudrama,onlyBrazil, with2titles,Chile andVenezuela,withoneeach,arerepresented.

Table6.Offerofnationalfictionchapters/episodes2009-2012

Source:Obitel

Brazil andMexico stand out here, with over two thousandnational fiction chapters or episodes, followed byColombia andPortugal,withmorethanonethousandfivehundred,allofthemin

3000

2500

2000

1500

1000

500


Nat.2012 1,260 2,186 1,014 1,533 358 970 906 2,136 733 1,504 85 1,081 13,766

Nat.2011 1,180 2,163 1,262 1,501 259 1,104 847 2,201 - 1,372 54 899 12,842

Nat.2010 1,173 1,838 1,304 2,630 313 793 935 1,766 - 1,741 43 580 12,916

Nat.2009 1,279 2,307 1,233 - - 1,652 910 1,995 - 1,874 44 1,426 12,720

TOTAL09-12 4,982 8,494 4,813 5,664 930 4,519 3,598 8,098 733 6,491 226 3,786 52,244

3000

2500

2000

1500

1000

500


Nat.2012 1,260 2,186 1,014 1,533 358 970 906 2,136 733 1,504 85 1081 13,766

Nat.2011 1,180 2,163 1,262 1,501 259 1,104 847 2,201 - 1,372 54 899 12,842

Nat.2010 1,173 1,838 1,304 2,630 313 793 935 1,766 - 1,741 43 580 12,916

Nat.2009 1,279 2,307 1,233 - - 1,652 910 1,995 - 1,874 44 1,426 12,720

TOTAL09-12 4.982 8,494 4,813 5,664 930 4,519 3,598 8,098 733 6,491 226 3.786 52,244

Ibero2012 855 0 3,961 927 2,203 296 2,226 1,336 2,279 1,205 3,052 3,862 22,202

Ibero2011 1,481 531 4,157 1,067 3,515 368 3,249 462 - 1,244 3,406 3,544 23,024

Ibero2010 2,296 447 3,138 1,128 2,497 623 3,265 676 - 1,322 2,691 5,429 23,512

Ibero2009 2,204 54 3,867 - - 340 2,728 610 - 1,166 2,543 1,794 15,306

TOTAL09-12 6,836 1,032 19,936 3,122 8,215 1,627 11,468 3,084 2,279 4,937 11,692 14,629 84,044

40 | Obitel 2013

2012.Thecountrythatrecordedtheleastproductioninthiscategoryis Uruguay,withjust85,followedbyEcuador, PeruandSpain that did not surpass 1,000.However, itmust be pointed out thatbothUruguayandEcuadorhavehadaverysignificantincreaseintheirnationalfictionproductionascomparedtothepreviousyearreported,sincetheirincreaseisaround30%.

Inrelationtothe2009-2012period,BrazilandMexicomain-tainagreatadvantagewithrespectoftherestoftheObitelcountries,for theyhaveover8,000chapters,while theirclosestcompetitorshavearoundfourandthreethousandepisodes.

Thisyearof2012wasanimportantyearintermsoftitlesin-creaseintheObitelscope,sincetherewasagrowthofalmost1,000chaptersorepisodeswithrespectof2011.Itissignificanttothinkaboutthetranslationofthenumberofchaptersorepisodesinlongorshortfictionproductionandabouttheculturalvaluationandpro-ductivecapacitydemonstratedbyacountry.

AstoIbero-Americanfictionchaptersandepisodes,themajor-ityoftheObitelcountriesdecreasedtheirregister.Brazilstoppedbroadcasting Ibero-American fiction altogether and Mexico andVenezuelaweretheonlycountriesthatincreasedtheirbroadcastofIbero-Americanfictionconsiderably,withmorethan1,300cases.Inspiteofthecasesofthesetwolattercountries,asawhole,thereisadecreaseof1,000chapterswithrespectoftheyear2011.

Likewise,thegraphpresentsthosecountriesthatdependonfic-tionimport;forexample,Chile, Ecuador, the United States, Uru-guay,andVenezuela. In2012, Peru,inturn,appearstoshowthattendency, for itwas one of the countries that broadcast themostIbero-Americanepisodes.


Tab

le 7

. Co-

prod

ucti

ons

2009

-201

2

CO

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OD

UC

-T

ION

SA

rgen

tina

Bra

zil

Chi

leC

olom

bia

Ecu

ador

Spai

nU

SAM

exic

oP

eru

Por

tuga

lU

rugu

ayV

enez

uela

TO

-T

AL

2012

01

00

02

31

72

90

25

2011

10

03

60

30

-0

12

16

2010

13

00

0 2

1 1

-1

30

12

2009

30

2-

-6

01

-0

42

18

TO

TA

L 2

009-

125

42

36

107

37

317

471

Source:O

bitel

42 | Obitel 2013

As to co-productions,Uruguay and Peru are the ones thatmadethemostintheyear;theformerstandsoutwithnineandthelatterwithseven.The United Statesfollowsthemwiththree,Spain andPortugalwithtwoeachandMexico,whichisnotmakingco-productionslately,scoresonein2012.Inspiteofthefewcasesofco-productionin2012,itispossibletonoticeanincreaseinrelationto2009,whichmaybeduetothePeruviancase,since18caseswereregisteredin2009and25in2012.

In relation to the2009-2012period,Uruguay andSpain are thecountriesthatusetheco-productionmodelthemost.Thecaseof the United States stands out for it is a countrywhose fictionindustry has grown in terms of this type of process. The case ofArgentinaischaracteristicbecause,althoughithasmadeonlyfiveco-productions,itremainsstrongduetothecreativestructurethatithasbeenknowntoexploitsince2009.

Table8.Timeinwhichthefictionissetpertitle2009-2012

Source:Obitel

Table8showsthetimeinwhichthefictionissetsince2009andthenumberspresentedaretotalsof thatsum.It ispossibletoobserveherethatmostIbero-Americanfictionissetinthepresenttime.Thisdoesnotnecessarilymeanthatthereisnoreminiscenceofthepast,preciselythetopicoftheyearinthis2012analysis,be-causethereconstructionofmemoryisratherportrayedinthewayinwhichwelooktothepastfromthepresent.

200

180

160

140

120

100

80

60

40

20

0

Present

Period

Historical

Others

Argentina Brazil Chile Colombia Ecuador Spain USA Peru Mexico Portugal Uruguay Venezuela TOTAL

84 149 76 61 128 146 192 13 123 97 143 173 1385

0 10 8 2 8 59 4 0 1 8 13 10 31

5 12 11 6 4 5 5 0 6 9 3 66 123

7 1 0 3 0 3 0 0 0 0 0 0 14


Historical fiction is the second in importance, although thenumberoftitlesonlyrepresentslessthan10%ofthetitlesreferringtothepresentamongtheObitelmembercountriessince2009.Pe-riodfictionhas31titlesandthatisduetothehighproductioncostsassociatedwithitsmanufacture.

As to thecountries, Spain is thecountryexhibiting themostperiodfictionfollowedbyUruguay, Brazil, EcuadorandChile. However, in the historical fiction category, it isVenezuela thatstandsoutwithalargenumberoftitles,66,whileBrazilpresents12andChile11titlesofthistypeoffiction.CountrieslikeMexico, Ecuador, PeruandUruguayarepresentedasindustrieswherethepresent is themain time reference in their fictions, although thisdoesnotmeanthatfromthereawarenessisgeneratedaboutcurrentissues,asitdoeshappenwithBrazilor,morerecently,withArgen-tinaandColombia.

3. The ten most viewed fictions in the yearAsitmaybeobserved in thecomparativepresentationofall

thetoptentitlesineachcountry,Brazil continuestobetheonewiththemostfictiontitlesplacedonthisrankingattheIbero-Americanlevel, occupying eight of the first ten spots. The two other titlescorrespondtotwocountries:ChileintheeighthandMexico inthetenthspot.

If this parameter is expanded to the first 20 titles, the ratingsupremacy attained byBrazil and México is combined with theaudience levels achievedby countries likeChile,which has fourtitles,Argentina,withonetitle,and,surprisingly,Uruguay, whichplacedaBraziliantelenovelaonthe19thspot.Allinall,Brazilhas11titlesinthefirst20spots,takingintoconsiderationthatInsensato

corazón, broadcastinUruguay, isaBraziliantelenovelathatwasbroadcastinthatcountry.

44 | Obitel 2013

Table 9. The ten most viewed titles: origin, format, rating and share

Title Aud. %

Share %

For-mat

Chan-nel Network

Private or pu-

blic TV

Coun-try of script origin

Coun-try

where it was aired

1Fina

estampa42.12 67.30

Tele-novela

Globo Globo Private Brazil Brazil

2Avenida Brasil

41.51 66.50Tele-novela


3Cheias de charme



4 Salve Jorge 32.80 56.40Tele-novela


5Tapas & beijos

27.83 48.00 Series Globo Globo Private Brazil Brazil

6Aquele beijo



7A grande família

27.48 48.40 Series Globo Globo Private Brazil Brazil

8Soltera otra

vez26.80 37.00

Tele-novela

Canal13

Canal13 PublicArgen-tina

Chile

9Amor eterno amor



10Abismo de

pasión25.83 37.25

Tele-novela

Canal2

Televisa PrivateMex-ico

Mexico

11Los 80 más

que una moda

25.80 37.50 SeriesCanal

13Canal13A.Wood

PublicSpain/Chile

Chile

12Amores

verdaderos25.64 38.96

Tele-novela

Canal2

Televisa PrivateArgen-tina

Mexico

13Doce de

mãe25.60 47.40

TVmovie


14Guerra dos

sexos24.92 48.20

Tele-novela


15Porque el amor manda


Canal2

Televisa PrivateCo-

lombiaMexico

16 Graduados 23.60 33.43 Series Telefé

UndergroundContenidos/EndemolArgentina/Telefé

PrivateArgen-tina

Argen-tina

17Por ella soy

Eva23.60 35.46

Tele-novela

Canal2

Televisa PrivateCo-

lombiaMexico

18 Pobre Rico 20.70 33.70Tele-novela

TVN TVN Public Chile Chile

19Insensato corazón


Teled-oce

TVGlobo Private BrazilUru-guay

20 Separados 19.50 27.50Tele-novela



21 Dulce Amor 19.27 29.78Tele-novela

TeleféLCAcciónProducciones

/TeleféPrivate

Argen-tina

Argen-tina

22Herede-

ros de una venganza


El Trece

Pol-ka PrivateArgen-tina

Argen-tina

23La que no

podía amar18.73 29.59

Tele-novela

Univi-sion

Televisa PrivateMe- xico

USA

24Abismo de

pasión18.24 28.3

Tele-novela

Univi-sion

Televisa PrivateMe-xico

USA

25Qué bonito

amor18.24 30.19

Tele-novela

Canal2

Televisa PrivateCo-

lombiaMexico

26El hombre de tu vida

18.16 24.46Minise-

riesTelefé 100bares Private

Argen-tina

Argen-tina

27Amores

verdaderos18.16 28.27

Tele-novela

Univi-sion


USA

28 La dueña 18.12 25.83Tele-novela

Telefé Telefé PrivateArgen-tina

Argen-tina

29Amor bravío


Canal2


Mexico

30 Peleles 17.30 25.80Tele-novela

Canal13

TVN Public Chile Chile

31Sos mi hombre


Teled-oce

Polka PrivateArgen-tina

Uru-guay

32Un refugio

para el amor


Canal2

Televisa PrivateVene-zuela

Mexico

33La familia

peluche16.87 27.65 Series

Canal2


Mexico

34Al fondo hay sitio (4thseason)


Améri-ca

Tele-visión

AméricaTelevisión

Private Peru Peru

35Reserva de

Familia16.30 22.40

Tele-novela

TVN TVN Public Spain Chile

36Aquí mando

yo16.30 30.90

Tele-novela


37Por ella soy

Eva15.82 25.46

Tele-novela

Univi-sion


USA

38La mujer

del venda-val


Canal2

Televisa PrivateVene- zuela

Mexico

39Amor bravío


Univi-sion


USA

40Dama y Obrero


TVN TVNyAlce Public Chile Chile

41Mi amor el wachimán

15.42 46.11Minise-

ries

Améri-ca

Tele-visión

DelBarrioProducciones

Private Peru Peru

42El Rempla-

zante15.40 22.50 Series TVN Parox Public Chile Chile

46 | Obitel 2013

43Sos mi hombre


El Trece


Argen-tina

44Dancin’

Days15.10 30.90

Tele-novela

SICSIC/SPTelevisão/TVGlobo

PrivateBrazil/Portu-gal

Portu-gal

45Cachito de

cielo15.05 27.56

Tele-novela

Canal2


Mexico

46Mi proble-ma con las

mujeres

15.98

26.64Minise-

riesTelefé

13 Mares Producciones&VincentEntertain-ment Telefé

Private Peru Peru

47Escobar el patrón del

mal.14.95 38.15 Series

Cara-col Tele-visión

Caracol Televisión

PrivateCo-

lombiaColom-bia

48 Passione 14.80 29.00Tele-novela

Teled-oce


49 El Astro 14.80 25.00Tele-novela

Teled-oce


50Una familia con suerte 1


Univi-sion


USA

51Mi amor mi

amor14.59 22.44

Tele-novela

Telefé

Elárbol EndemolArgentina Telefé

PrivateArgen-tina

Argen-tina

52Escrito en

las estrellas14.50 28.00

Tele-novela

Teled-oce


53 Cuchicheos 14.20 27.50Tele-novela

Teled-oce


54Herede-

ros de una venganza


Teled-oce


Uru-guay

55La reina de las carre-

tillas14.11 43.37

Minise-ries

Améri-ca

Tele-visión


Private Peru Peru

56Violeta se fue a los

cielos14.10 19.20

TVmovie

CHV A.Wood Private Peru Chile

57Fina

estampa14.10 28.00

Tele-novela

Teled-oce


58 ÁguilaRoja 13.80 29.80 Series TVE1 Globomedia Public Spain Spain

59 El capo 2 13.70 21.50Tele-novela

TC RCN PrivateCo-

lombiaEcua-dor

60 Los únicos 13.21 19.55Com-edy

El Trece


Argen-tina

61Un refugio

para el amor


Univi-sion


USA


62 Lobo 13.00 22.32Tele-novela

El Trece


Argen-tina

63

El combo amarillo

3D (3rd sea-son)

13.00 22.20 SeriesEcu-avisa

Ecuavisa PrivateEcua-dor

Ecua-dor

64Louco Amor


TVITVI/PluralEntertain-ment

PrivatePortu-gal

Portu-gal

65El combo amarillo

(2nd

season)12.90 21.30 Series

Ecu-avisa

Ecuavisa PrivateEcua-dor

Ecua-dor

66La mari-

posa.12.49 34.78 Series RCN

FoxTeleco-lombia

PrivateCo-

lombiaColom-bia

67 Dulce amor 12.30 20.00Tele-novela

Monte-carlo

L.C.AcciónProducciones

/TeleféPrivate

Argen-tina

Uru-guay

68 El Joe 12.20 17.40Tele-novela

TC RCN PublicCo-

lombiaEcua-dor

69Corazón

apasionado11.90 17.30

Tele-novela

TCVenevisiónInternacional

PublicVene-zuela-USA

Ecua-dor

70 La faraona 11.88 35.13Minise-

ries

Améri-ca

Tele-visión

AméricaTelevisión

Private Peru Peru

71Tres Mila-

gros11.70 16.20

Tele-novela

TCTeleset/RCN

PublicCo-

lombiaEcua-dor

72La que no


Tele-novela

Améri-ca

Tele-visión


Peru

73 El capo II 11.63 35.06 Series RCNFoxTeleco-lombia

PrivateCo-

lombiaColom-bia

74Cuéntame cómo pasó

11.40 24.80 Series TVE1GrupoGangaProducciones

Public Spain Spain

75Maltrata-

das11.40 25.00 Unitary

Teled-oce

FlorLatina PrivateArgen-tina

Uru-guay

76Fina

estampa11.30 16.90

Tele-novela

Ecu-avisa

OGlobo Private BrazilEcua-dor

77Doce Ten-

tação11.10 28.30

Tele-novela


PrivatePortu-gal

Portu-gal

78Casa de Reinas

11.01 32.36Minise-

riesRCN

RCNTele-visión

PrivateCo-

lombiaColom-bia

79La Mari-

posa10.90 15.80

Tele-novela

TCFoxTele-colombia/RCN

PublicCo-

lombiaEcua-dor

80El man es Germán


TC RCN PublicCo-

lombiaEcua-dor

81Corona de lágrimas


Univi-sion


USA

48 | Obitel 2013

82Corazones blindados

10.87 32.80 Series RCN Teleset PrivateCo-

lombiaColom-bia

83Rafael

Orozco. El ídolo


Cara-colTV

CaracolTV PrivateCo-

lombiaColom-bia

84Mi Recinto (13th sea-son)

10.60 16.90 Series TC TC PublicEcua-dor

Ecua-dor

85¿Dónde

carajos está Umaña?


Cara-colTV


lombiaColom-bia

86Solamente milagros

(2nd season)9.96 35.64 Series

Améri-ca

Tele-visión

AméricaTelevisión

Private Peru Peru

87La que se avecina

9.60 22.70 Series Tele5Alba

AdriáticaPrivate Spain Spain

88 Rosa Fogo 9.60 26.60Tele-novela

SICSIC/SPTelevisão

PrivatePortu-gal

Portu-gal

89¿Dónde

está Elisa?9.55 32.36

Tele-novela

RCNTele-visión

RCNTele-visión

Private ChileColom-bia

90A mano limpia

9.54 30.95 SeriesRCNTele-visión

RCNTele-visión

PrivateCo-

lombiaColom-bia

91 Gamarra 9.47 31.38Minise-

ries

Améri-ca

Tele-visión


Private Peru Peru

92Remédio

Santo9.40 28.60

Tele-novela


PrivatePortu-gal

Portu-gal

93 Isabel 9.30 19.70 Series TVE1 DiagonalTV Public Spain Spain

94La reina del

sur8.90 29.28

Tele-novela

ATVTelemundo/

RTIPrivate USA Peru

95 El talismán 8.62 19.79Tele-novela

Univi-sion

Univisión/Venevisón

Private USA USA

96

Pablo Escobar: El patrón del

mal


Tele-mundo


lombiaUSA

97 Ellaberinto 8.40 24.93 SeriesCara-colTV

CaracolTV/SonyPictureTelevisión

PrivateCo-

lombiaColom-bia

98Doida por

Ti8.40 22.00

Tele-novela


PrivatePortu-gal

Portu-gal

99 Mi gitana 8.20 19.40Minise-

riesTele5

ProduccionesMandarina

Private Spain Spain


100Yo no me

llamo Nata-cha 2

7.99 30.92Minise-

ries

Améri-ca

Tele-visión


Private Peru Peru

101 Aída 7.60 16.50 Series Tele5 Globomedia Private Spain Spain

102

Morangos com Açúcar IX: Segue o Teu Sonho

7.60 21.90 Series TVITVI/PluralEntertain-ment

PrivatePortu-gal

Portu-gal

103Con el culo

al aire7.30 17.20 Series A3 NotroTV Private Spain Spain

104 Fenómenos 7.20 16.60 Series A3ApartePro-ducciones

Private Spain Spain

105 Anjo Meu 6.90 28.30Tele-novela


PrivatePortu-gal

Portu-gal

106 Gran hotel 6.40 14.70 Series A3Bambúpro-ducciones

Private Spain Spain

107Os Compa-

dres6.40 19.80 Series RTP1

RTP1/Cine-cool

PublicPortu-gal

Portu-gal

108Luna. el

misterio de Calenda

6.30 15.30 Series A3 Globomedia Private Spain Spain

109A Família

Mata6.30 19.10 Series SIC

SIC/SPTelevisão

Private SpainPortu-gal

110Corazón de

fuego6.23 22.52

Tele-novela

ATV GrupoATV Private Peru Peru

111Mi ex me

tiene ganas5.38 40.17

Tele-novela

Venev-isión

Venevisión PrivateVene- zuela

Vene- zuela

112 Flor salvaje 5.12 38.16Tele-novela

Te-leven

RadioTelevisiónInterameri-

cana

Private USAVene- zuela

113¡Válgame

Dios!4.64 32.38

Tele-novela

Venev-isión


Vene- zuela

114La casa de

al lado4.64 39.34

Tele-novela

Te-leven

Telemundo Private ChileVene- zuela

115La traicio-

nera4.57 40.32

Tele-novela

Venev-isión

FOXTeleco-lombia

PrivateArgen-tina

Vene- zuela

116Natalia del

mar4.44 30.71

Tele-novela

Venev-isión


Vene- zuela

117Abismo de

pasión4.06 32.49

Tele-novela

Venev-isión

Televisa PrivateMe- xico

Vene- zuela

118La que no


Tele-novela

Venev-isión

Televisa Private USAVene- zuela

119 Emperatriz 3.81 34.52Tele-novela

Venev-isión

TVAzteca PrivateVene- zuela

Vene- zuela

120Retrato de una mujer


Venev-isión

FOXTeleco-lombia

PrivateCo-

lombiaVene- zuela

Source:Obitel

50 | Obitel 2013

Ifsomethingstandsoutinthe120titlesthatmakeuptheabovetable,itisthefactthatthereoccursanexchangeofproductionsand/orscriptsamongtheObitelcountries,especiallyforthecreationofseriesandtelenovelas,whichdoesnotmeanthatagiventelenovelais equally successful in different countries. For example,Amores

verdaderos, from Televisa’s Canal 2, from Mexico, which wasamongthegeneraltopteninitscountryoforigin,onlyreachedthe27thspotwhenviewedonUnivisión,inthe United States.

Asitwasalreadypointedoutinthe2012Yearbook,transna-tionalizationof fictionproducts, inaway,conveysdynamism totheIbero-Americanfictionindustry,butatthesametimeitplaceseachcountryinaspot,whetherbecauseit isabornimporter-ex-porter,asitisthecaseofBrazil andMexico (althoughinthetableresults, the latter country confirms that its presence is becominglessandlessstrong);orbecausetheyareefficientinthecreationandexportofscripts,asitisthecaseofArgentina, ColombiaandSpain,which–inco-productionwithChile–managedtoplaceLos

80 más que una modaasthe11thmostviewedfictionintheObitelcountries;orbecausetheyarecountriesthat,inspiteoftheirindus-tries’growth,stilldependontitleimport,asitisthecaseofPeru, Uruguay, Venezuela and the United States. Ecuador has beendistancingitselfalittlefromthissectorofcountriesand,withaba-sisonthecomedygenre,ithashadanimportantupturninnationalfictionproduction.

Thesametableevidencesthealmostunilateralbusinessrela-tionshipbetweenBrazilandPortugal,whereitseemsthatlanguagereallyconditionstheexchange,theSouthAmericancountrybeingtheonethatprovidestheEuropeanonewiththemosttitles.InthecasesofMexicoandthe United States, thistypeofsymbiosisalsodominates,althoughtheLatinproductionthatismadeinthenorth-erncountryhasbeguntoexpandtheirbusinesstieswithothersfromtheSouth,suchasColombia,VenezuelaandPeru. This,however, hasnotmanagedtodistancetheUnited StatesfromthedominationthatthecompanyTelevisaexertsonitsTVindustry.


This year the business flow occurring among the so-calledsmaller nations is worth-noticing, for the United States, Chile, Venezuela, Uruguay, Peru andEcuador havestartedtoimportandexporttittlesamongthemselves,whichopensuponemorespaceforreflectionbecausethiscouldresultintoanewpanoramainwhichBrazilandMexico(withtheirproductions)orArgentinaandCo-lombia(withtheirscripts)arenotanylongertheonlycountrieswithwhomthisgroupseekstomakeagreementstoimportfiction.

Table 10. Formats and time slots of the ten most viewed titlesCountry Formats Time slot

Tele-nove-

la

Se-ries

Mini-series

TV movie

Uni-tary

Docu-dra-ma

Others Mor- ning

After-noon

Pri- me

timeNight

Argen-tina 5 0 2 0 0 0 3 0 0 10 0

Brazil 7 2 0 1 0 0 0 0 1 6 3

Chile 7 2 1 0 0 0 0 0 1 9 0Colom-bia 3 6 1 0 0 0 0 0 0 10 0

Ecuador 7 3 0 0 0 0 0 0 0 10 0

Spain 0 9 1 0 0 0 0 0 0 10 0

USA 10 0 0 0 0 0 0 0 0 9 1

Mexico 9 1 0 0 0 0 0 0 3 7 0

Peru 4 1 5 0 0 0 0 0 0 10 0

Portugal 7 3 0 0 0 0 0 0 1 9 0

Uruguay 9 0 0 0 1 0 0 0 2 6 2Venezu-ela 10 0 0 0 0 0 0 0 4 3 3

Total 78 27 10 1 1 0 3 0 12 99 9

Source:Obitel

Inrelationtothe2012toptengeneralreportofalltheObitelcountriesandincorrelationtotheformatandthetimeslotinwhichtheyareaired,themostviewedtitlescorrespondtothetelenovelaformat(78titles)andtheyareairedinprimetime.Itisfollowedbytheserieswith27titles,21ofthesewerealsoairedinprimetime,whichunderscorestheimportanceattainedbytheseriesnotonlyintermsofproduction,butalsointermsoftheacceptancethisformat

52 | Obitel 2013

hashadamongtheaudience,especiallyincountrieslikeSpain,al-though countries dedicated to the telenovela format, likeMexico andBrazil,haveincorporatedtheseriesformatsince2009totheirtop ten. Contrariwise, other countries stand out, like theUnited States, UruguayandVenezuela, wherethetelenovelahasastrongpresence.

OtherformatslikeminiseriesandTVmoviehaveincreasedthenumberoftitlesandtheyhaveevenreachedthetoptenincountrieslikeArgentina, Brazil, ChileandSpain; Perustandsoutbecausehalfofitsmostviewedtitlesareminiseries.

Inrelationtothetimeslot, itbecameevidentthatfiction,irre-spectiveofitsformat,isthegenrethatconcentratesthemostaudienceand,consequently,itmonopolizesthebestTVtime,theprimetime,inwhich99ofthe120nationaltitlesbroadcastin2012wereaired.Therestwasairedinthemorning(12)andinthenighttime(9).

Table11.Audienceprofileofthe10mostviewedtitles: gender, age, socioeconomic level4

Country Gender% Age range % Socioeconomic

level %Wo- men Men 4 to

1213 to

1819 to

2425 to

3435 to

44 45+ AB C D

Argentina 56.1 43.9 18.3 22.1 21.3 - 22.3 16.0 21.5 49.7 28.8

Brazil 63.7 36.3 8.8 8.7 9.1 33.7 21.3 18.4 33.1 52.0 14.4

Chile 64.0 36.0 8.0 7.0 10.0 15.0 24.0 36.0 36.1 7.2 50.7

Colombia 61.5 38.5 12.7 21.1 17.7 - 22.5 26.2 47.5 32.5 20.0

USA 61.3 38.7 13.5 5.4 8.8 17.7 25.2 29.4 - - -

Peru 60.7 39.3 15.8 15.7 14.3 18.5 14.7 21.0 20.9 35.1 44.0

Portugal 61.8 38.2 7.8 7.8 11.3 11.3 12.3 49.5 11.5 57.8 30.7

Uruguay 68.5 31.5 5.4 5.8 7.3 11.2 20.7 40.6 23.1 41.2 35.7

Venezuela 63.1 36.9 - - - - - - 23.1 32.5 44.4

Source:Obitel

4Itwasnotpossibletocomparesomecountriesinthistableduetothefactthattheinfor-mationwasnotmadeavailableorbecausetheinformationavailabledoesnotcorrespondtothedesiredindicators.ThecountriesthatwereleftoutareEcuador,SpainandMexico.ThespaceinhyphenscorrespondstodatathatwerenotreportedbytheObitelteams.


AccordingtoTable11,itispossibletospecifythattheaver-ageaudienceoffictioninIbero-Americaisamiddle-classwomanolderthan45years,althoughthisindicatormayvaryincountrieslikeChile, PeruandVenezuela,wherethepeoplewhowatchthemost fiction belong to the lower class. On the other hand, it isworth of noting thatColombia,Chile and Brazil are the coun-triesinwhichthereishigherfictionaudiencebelongingtohigherclasses.

Inrelationtotheages,incountrieslikeArgentinaandBrazil, theaverageageoftheaudiencesisaround34and44yearsold.Ar-gentina, ColombiaandPerualsostandoutbecausetheypresentasimilarbalanceintheiraudiences’ages,Argentina isthecountrywiththelargestnumberofchildrenandyoungaudiences,whichisexplainedbythesuccessenjoyedbyitsfictionsaddressedtotheseagegroups.Intherestofthecountries,theseaudiencesdonotsur-passthe10%barrier.

4. Highlights of the year in the Obitel countriesThroughout2012,fictionproductionintheObitelcountrieshas

opened space for discussion of social problems that cause unrestamong thepopulace, aswewill see in the following country-by-countryanalysis.Theproximitybetween fictionand realitygainsrepercussionandcallsattentiontodiversesocialissues.

In thissense, thedebate that televisionencouragesinsocietybringstothesurfaceimportantissuesthatarenotalwaysdealtwithin other television programs or even other media. This scenariohighlightsthesocialroleoffictionasaninstanceofpublicdebateandofrepresentationofnational identity.Atthesametime, therewas a preference for the light form and humoristic tone of dailythemes.Astowhatconcernstheworkingofthetelevisionindustry,thehighlightwasforpoliciesfortheincentiveofproductionofna-tionalcontent.

54 | Obitel 2013

Social demands and “à la carte” fiction CountriessuchasChile, Colombia, EcuadorandMexicopre-

sentedintheirprogrammingastronginfluenceofthemesconnectedtodrugdealingandthedependencyonillegalsubstances,combatagainstdrugs,ortheyouthintheworldofdrugs,dealingthroughfictionwithproblemsofdailyreality.

“Àlacarte”fiction,sponsoredanddevelopedwithpoliticalintentions,hasonceagainbeenasubjectofinterestinMexico,asithadhappenedin2011.Articulatedalongsidepoliticalmarketing,drugdealingwasthethemeofLa teniente,whichdealtwithcombatagainstthetrafficarmy,makingthemilitaryasheroesinthatfight.AnothercaseofpoliticalmarketingwasexplicitintherealityshowLo que mis ojos ven y mi corazón siente,starredbythefuturefirst-lady,afamousTVactressinthecountry.Madeavailableduringtheelectoral campaign onYouTube, the 23 episodes of the programhadoveronemillionviewsandservedasanimportantcornerstoneforthecampaignofthecurrentpresident.Theshowpresented,asafictionalnarrative,thebackstageofthepoliticalcampaignandtheprivatelifeofthepresidentcandidate,mixingrealityandfiction.InMexico,therewasalsotheclosureoftherating-measurementcom-panyIbopeAGBandthecreationofNielsen-Ibope.

In2012,broadcastTV inChile continued toshowadrop inaudience,afactthathasbeenongoingsince2003.Therewasapref-erence for themes connected to reality, amongwhichwere high-lighted: pedophilia, drug dealing, the educational crisis, bullying,precariousness of family relations, social exclusion, and alcoholandchemicaldependencyrehab.Thebestexamplewas theseriesSolita camino,dealingwith thesexualabuseofminors,producedwithpublicfunds,anddespitenotreachinghighratings,wasoneofthehighlightsinthecountry.Asfortheform,theseriespresentedslower-pacedandintrospectivenarratives,withareducednumberofcharacters.

InEcuador, transmedia fiction has been gaining space. Toprovethis,themainhighlightwasnotinaconventionalformat,but


in the first webnovela,Resaka, funded by TC Televisión, whichreached high ratings. Geared towards a teen demographic, eachtimemorepresentinthevirtualenvironment,thewebnoveladealswith themes related todrugdealing.AlsoworthyofattentionareskitscreatedbytheEcuadoriancollectiveEnchufetvinitsYouTubechannel,whichdealtwithdaily lifewithsarcasmandbecamethemostwatchedprograminthecountry.

InColombia, in 2012, the highlights were four productionsthatdealtwithsocialproblems.TheseriesEscobar, el patrón del

mal,withtheyear’shighestratings,La mariposa,andEl Capo II.Drug dealing, illegality and corruptionwere subjects that causedimpactandgenerateddebateamongthepopulace.Thefourthshowwas thepoliceseriesCorazones blindados,whichshowedpolice-menandagentsfightingorganizedcrimeandviolence.

Controversialthemesthatsoughttoportraysocietyalsowerethe target of productions inArgentina: pornography, psychologi-calproblems,spermdonation,theboxingworld,romancebetweenpeoplefromdifferentclasses,familycomedythatescapesfromtra-ditionalmolds,andpolicecomedy.Throughmelodramatheyhavequestioned classical molds of society and family. Examples are:Graduados,La Pelu andEl donante,thelatteraboutaspermdonorthatfindsout,yearslater,thathehas144children.

Exclusion,racism,violentandsocioeconomicissuesweresomeofthethemespresentinthefictionConversaciones con la luna fromPeru.Therewas theproductionof the telenovelaLa Tyson, a re-makeofthesuccessfulMuñeca brava.Theminiseries,whichweremany(6),hadshortduration,fewepisodesandastrongmelodra-maticcharge.Amongthethemes,themostnoteworthywere:biog-raphies,conflicts,fear,achieveddreams,immigrantstories.

TheyearlyhighlightforBrazilalsoinvolveddailythemes,es-peciallyreferringtothemiddleclass,whichgrewalotinthecoun-try.ThetelenovelaAvenida Brasilhaspolarizedtheattentionofnotonly the customary viewers or commentators of telenovelas, butalsointernationalcommunicationvehiclesthatsoughttounderstand

56 | Obitel 2013

the“phenomenon”ofAvenida Brasil.TheenormoussuccessofthetelenovelaresultedinuncommoneventssuchastheNationalElec-tricSystemtoredimensionenergysupplytodealwithanestimated5%increaseinenergyconsumptionduringthebroadcastofthelastchapteroftheshow.Therewerechangesandevencancellationsofpubliceventsscheduledforthesametimeastheairingofthelastchapter.Thehugesuccesswascreditedgreatlyduetotheplotfo-cusedoncustomsandpracticesofthelifeoftheso-called“newCclass”(aninnovationintelenovelafromGlobo),thehybridizationoftheserialformatmadebyitsauthor,andthecharacterizationofafortunatecastofactors.Theaudienceofthelastchapterreachedan81%share.AllthemediascenariothatwasbeingconstructedduringitsexhibitionmadeAvenida Brasil tobeconsideredasa“popularmediaevent”,which,amongotherthings,changesestablishedrout-ingandimprints ritualcharacteristics that favor the integrationofsocieties(Culdry;Hepp,2010).

The more laid-back daily issuesAnotherthematicaxisofIbero-Americanfictionreferstodeal-

ingwithlighterandmorelaid-backissues,sometimesbytheuseofcomedy,typicalofsitcoms.Unlikepreviousthemes,otherproduc-tionsaired in2012focused infantasy, romantic relationshipsandidealizedbiographies.

Argentina’s attempt to attract the audience is demonstratedthroughthepremieresofSupertorpeandVioletta,dedicatedtochil-drenandadolescents,airedinthemorningslot.InChile,themostwatchedproductionalsohadlighterandlaid-backthemes,likethetelenovelasDama y obrero,Pobre rico andSoltera otra vez.Thelattermixedthetelenovela,sitcomandunitaryformats,andinspiredthe Argentinian telenovela Ciega a citas. The romantic comedySoltera otra vezdealswiththechallengesofmodernlifeofaprofes-sionalthat,alongsidethreefemalefriends,facesamorousrelation-shipandinfidelityproblems.TheplotwasoneofthemostwatchedaudiovisualproductsinChileantelevision,reachinga90%share.


Colombiahadamongitshighestratedshowsin2012lighterproductions connected to Caribbean culture, such as the minise-ries Casa de reinasandthetelenovelasRafael Orozco, el ídoloand¿DóndecarajosestáUmaña?.Thetelenovela¿Dónde está Elisa? and the seriesEl Laberinto also depicted adverse situations in alightheartedmanner,inwhichmoralvaluescomeoutontopattheend.TheseriesA mano limpiaescapesthesocioculturalstereotypes,portraying the union of social classes that overcomeprofessionalandeconomicdifferences.

ComedyisalsothestrongpointinEcuador,where,forthesec-ondyearrunning,telenovelasdidnotmakethetopten.Humorhasbeenthemostusedformoffictiontoreachaudiences,withsarcasmandirreverenceinitsplots,beitovertelevisionorInternet.

InSpain andVenezuela therewere strong fantasy themes in2012fiction.InVenezuelasomefictionshowedastronglinkwithmythicalandreligiousthemes,suchasTraición y perdón.InSpain,thenetworkthatranthemostself-producedtitlesin2012,Antena3,aired fiction shows that dealt with paranormal phenomena, were-wolves, and adventure. The other network of note is Tele5, witheightshowsin2012.Tele5’shighestratedfictionshowswereLa que

se avencinaandAída,whichdealwithlove,family,andfriendship.

The audiovisual production scenario and the audienceIn some countries, the year’s highlights do not refer solely

tofictioncontent,butalsochanges in theaudiovisualmarket, thetransnationalization, and audiencebehavior.Thatwas the case inSpain,wherethefictionproductionmarketfindsitselfininapro-cessoftransnationalization,withthesaleofshowsandformatsforseveralcountries.AmongthehighlightsisÁguilaroja,whichhadover sixmillionwatchers in the country andwas sold to twentycountries,followedbyCuéntame como pasó,another long-lastingsuccess,withoverfivemillionwatchers.

In theUnited States, the focus in2012wasnot on thepro-ductions themselves, but on the reorganization of the Hispanic

58 | Obitel 2013

television industry in the country through new alliances betweennetworks.Hispanicproductionfrustratedtheoutlookfor2012.TheprimetimetelenovelaEl talismán,aUnivisiónco-productionwithVenezuelanVenevisión,didnotreachexpectations.Morethanfivemillion spectators on its premiere were not enough to avoid theshorteneddurationor thechange toanafternoon slot.Other thanthat,themostdealtsubjectsbyHispanicmediaweretheOlympicsandthepresidentialelection.

InPeru,thetelenovelaAl fondo hay sitioreceivedinternationalattention,anditsfourthseasonreachedthe800chaptermark,whichreachedthehighestaudienceat50points,whichisuncommonforthecountry.Thisworkoffictionhasbeensoldtofivecountries.

OneoftheratinghighlightsinPortugalwastheremakeoftheBrazilian telenovelaDancin’ days, co-produced with Globo. Es-peciallynotablewas theproductplacementaction that tookplacewithin thework.Brazilian telenovelasalsohadgoodratingswiththererunofPáginas da vidaandthepremiereof Avenida Brasil.Itisalsoworthnotingthattheleadingfictionchannel,TVI,hadasahighlighttheairingof26TVmoviesfromtheFilmes TVIproject.

InUruguay the production of the first national sitcom andliterary adaptationswere the highlights in 2012,with the unitarySomosandtheseriesBienes gananciales,whichmixedfictionandreality.Theproductionswithinternationalfinancingorco-produc-tionswerestrategicforthecountry.InVenezuela,therewaspublicfinancing for fictionprogramming,whereprogramminghadbeendecreasingsince2010.

Public incentive and encouraging independent productionGovernment incentiveprograms in Ibero-Americancountries

haveincreasedthenumberofnationalproductionsandofferedmoresecuritytodeveloperstoworkinnewformats,narrativeandaesthet-icstyles,besidesencouragingindependentproductionorsmallpro-ductionstudios.Themainformsofincentivewerefund-gatheringassistance,sponsoringorfinancingoffictionworks.


InPortugal, 2012productionhasundergone several chang-essuchasdecreaseintitlesperchannel,characteristicsoffictionworks and supply and demand, opening space for new forms ofproduction of fiction content in the country. The production ofpublicchannelRTPhasbeenmaintainedfromthepreviousyear,despite theeconomiccrisis.Dealingwithdiversified themeswasemployedasastrategytoreachdifferentaudiences.Byjoiningin-formation and fiction,RTP produced a series of 12TVmovies,Grandes histórias: toda gente conta.Another facthighlighted inPortuguesepublictelevisionwasthepartnershipwithuniversitiesfortheproductionoftheseriesContos de Natal,connectingmarketandacademia.FormatinnovationsalsohappenedinArgentina,infictionworkswithgovernmentfinancing,whichpresentednewfor-mats,stylesandgenres,expandingtheterritoryfornewproductioncompanies and increasing competition for audience.Meanwhile,inUruguay,aestheticinnovationhappenedduetolackofresourc-es.TNU,thecountry’spublicchannel,demandedREC: una serie

casera,markingitsreturntoproductionsinbroadcasttelevision.Intheseries,ayoungmancreateshisownvideowithaestheticsandstyle that, reflecting the title, refers to lackofmeans for amoreelaborateproduction.

InVenezuela,thehighlightscanbegroupedinfourtypes:1)nationalization of fiction; 2) fictional production from communalspaces;3)serialfictionlinkedtomythicalandreligiousaspects;and4)public financing for audiovisualproduction.Public funding fi-nancedthetelenovelaTeresa en tres estacionesthatportraysthelifeofVenezuelanwomen.Someseriesalsocountedonthatfinancing,amongthem:Barrio sur;Hotel de locura;Nos vemos en el espejo;La residencia;El diario de Bucaramanga.

AndinChile,thehighlightwastheseriesSolita camino,alsoproducedwithpublicinvestment.Evenwithoutreachinggoodrat-ingsduetocompetitionwithoneofthetopten,“El reemplazante”,theworkoffictionwasawatermarkallacrossthecountryfordeal-ingwiththemessuchaspedophilia,bullying,fearandpowerwith

60 | Obitel 2013

afoundationinaplotregardingtheworldofteenagers,withadeepemotionalcharge.

5. TV fiction and transmedia reception: interaction through net-works5

EversinceObiteldecidedtoincorporatetransmediareceptioninitsanalysisin2009,wehavereportedhowwhatstartedasamar-ginalpractice,encouragedbytheuseoftheInternet,butnotvaluedenoughpreciselyforitstransmediapotential,hasbecomeakeyele-mentfortheinterconnectionsthatareestablishedfromthefiction,bothwithotherscreensandwiththenewhabitsthattheiraudiencesare generating. These habits range from recognizing its widenedconsumption (OrozcoGomez, 2011) to their evenmore constantinteractivityactions(Lopes,2009).

Thisreflectsastrong,profoundsocioculturalchangethat,how-ever, still has not generalized in the type ofmedia-audiences in-teraction,sinceitisstillpossibletoobserveatransitmovementofmediaaudiencestousers/contentproducers.

Yearafteryear,theTVfictionfans–inthe12countriesmem-bers ofObitel– have been giving out signs that indicate little bylittle that theemotivenessthatmovestheminthesocialnetworks(Facebook,Twitter,YouTube,etc.)totalkabouttheirfavoritefic-tionsisleadingthemtogenerateanothertypeofcontentsthatarebeginningtosurpassmerecompilationpractices(editingvideosofthecrucialmomentsintheirtelenovelas,forexample,theromancebetween themain characters) to place themselves in the creationofanother typeof storytelling.Though theyare still far from thetransmedia storytellingthatisatpresentdevelopedwithmoviesandseries,especiallythosefromtheUnitedStates,thisisafirststepfortheaudiencestoendupappropriatingtheIbero-Americantelenove-lasandseriesfromtheproduction.

5WearethankfulforthespecialsupportgivenbyDarwinFranco,fromObitelMexico,onthissectionanalysis.


Likewise,wehaveillustratedhowtheTVindustriesfromthe12Obitelcountriesaremakingmultipleefforts tomutate towhatScolari(2008)calls“hyper-television”,whichimpliessimulatingoremulatingtheinteractiveinterfacesthatareofferedbytheInternetatpresent.Inaspeciesof“Tvmorphosis”(OrozcoGomez,2012),televisionhasbeenlookingforwaystointeractfurtherwiththeirau-diencesandtogenerate,fromthatrelationship,multiplereceptionsthatwoulduseitasthemainreferentofthenewmediapractices.That iswhy, as itwasexplainedat thebeginningof this section,transmediareceptionhasbecomeanimportantlinkbetweenfictionanditsaudiences.

Transmedia reception in the Obitel countriesFor the2013Yearbook, theanalysisof transmedia reception

underwentsomechangesinitsmethodology,since,unlikethepre-viousyears,inthepresentyeartheanalysisdidnotcenteronpre-sentingallthetransmediaofferofthetoptenineachoftheObitelcountries,buton that fictionselectedamong the favorite fictions,whetherduetotheimportanceofthefictiontitleitselforbecausea title resulted into an interesting case because of its specificallydeployedtransmediaproposal.

Inanyofthecases,theanalysisconcentratedonthewayinwhichtheaudiencesinteractedwiththeirfiction,whetherthroughthesocialnetworksortheofficialwebsitesoftheseriesortelenove-lasselected.Thecenterofattentionfocusedontheanalysisofthecomments, opinions and practices the audiences made there, butalsoonthewaysofappropriationandontheproductionsthatmighthavebeengeneratedinthisrespect.

62 | Obitel 2013

Chart 1. The 12 titles selected and their transmedia offer

Country Title Format Top ten Transmedia offer

Argentina Graduados Series 1stplaceOfficialwebsiteFacebookpageTwitter

BrazilAvenida Brasil

Telenovela 2ndplace

OfficialwebsiteFacebookpageBrazilNovelaTwitterBlogOioioiStoreOutofHomemedia

ChileSoltera otra vez

Telenovela 1stplace

OfficialwebsiteFacebookTwitterYouTube

ColombiaEscobar, el patrón del mal

Dramatized 1stplace

FacebookOfficialwebsiteTwitterYouTube

Ecuador EnchufetvWeb-com-edy

No


Spain El barco Series NoOfficialwebsiteFacebookTwitter

USA El talismán Telenovela 9thplace


MexicoTe presento a Valentín

Webnovela NoOfficialwebsiteFacebookTwitter

PeruAl fondo hay sitio

Telenovela 1stplace


PortugalDancin´ Days.

Telenovela 1stplaceOfficialwebsiteFacebookpage

UruguayREC. Una serie casera

Series NoOfficialwebsiteFacebookFacebook

Venezuela Flor salvaje Telenovela 2ndplaceOfficialwebsiteFacebook

Source:Obitel


One of the first elements to be underlined in the transmediaofferofthe12titlesselectedbytheObitelcountriesishowstrongthe social networks became as base platforms for the transmediaprocessesoftheIbero-Americanfiction.In2011,theofficialweb-sitewasthecentralnodeinthisprocess;however,nowayearlater,thatimportanceissharedbysiteslikeFacebook,Twitterand,toalesserdegree,YouTube,whicharenowsitesfromwhichtheIbero-American fictions seek to expand networks to interactwith theiraudiences beyond the TV set.Many titles inChart 1 establishedstrategies(basedonpromotionsandonvideo-chatswiththemaincharacters) thatconsisted incontests thatmade theaudiencesusetheirdifferenttransmediaofferstosolveonthemthequestionsoractivities thatwouldhave themparticipate in thechatswith theirfavoritecharacters/actors.

Inthisrespect,Avenida Brasilisoneofthebestexamplesoftheabove,sincethisGlobotitlemanagedanunheardofconnectionwithitsaudiencesviaTwitter,forinitslastfewbroadcaststhehashtag #AvenidaBrasilrankedasoneofthemostrepeatedonaworldwidelevel,whichmeansthattheinteractionatthemomentofthebroad-castofthetelenovelawasalsooccurringinparallelthroughtheso-cialnetworks.

This phenomenon, although to a lesser degree, is somethingthatisbeginningtooccurinalltheObitelcountries;however,thecaseofBrazilwassignificantbecause itconfirmsGlobo’sbet togeneratenotonlyamulti-platformstrategy,butalsoaninteractivitythatunfoldsinrealtimewiththeirtelenovelafansthroughplatformslikeYouTube.

Itmustbepointedoutthatthreeofthe12countriesanalyzedproductscreatedonorexclusivelyfortheInternet,whichisasec-ondstepforIbero-Americanfictionthatupto2011hadtransferreditsproductionstotheWeb,butfeweffortshadbeenmadetopro-ducefictionthatwouldbebroadcastsolelyonline.

Ecuador, in a format similar to the videoblogs, selected thewebcomedy Enchufetv. This proposal makes two-to-five-minute-

64 | Obitel 2013

longmicrofictionsthatareuploadedtotheTouchéFilmsYouTubechannel.Theyhaveover2millionsubscribersintheirsiteandtheirvideoshavebeenplayedover250million times.Thisnumberoffollowersistransferredtotheirprofilesonsocialnetworksanditisaveritablebetoninteractivity,butnotontransmedia.

Another novelty element for2012was the emergenceof thewebnovelas;countrieslikeMexicoandEcuador releasedtwo tele-novelasfortheirexclusivebroadcastontheInternet.Te presento a

ValentínwasthefirstproposalbyTelevisatoexploretheexpansionof its telenovelas on the Internet; in turn,Resaka, sponsored andfinancedbyTCTelevisión,was an experimental proposal by theInstitutoSuperiordeEstudiosdeTelevisión,ITV,basedonGuaya-quil,whichwaslateradoptedbytheEcuadorianTVnetwork.

Te presento a Valentín, aproductioncreated for its exclusivebroadcast on the Internet and for its distribution throughmobiledevices throughoutMexicoand inpartsof the United States,at-temptedtoestablishanewinteractivitywiththeMexicanaudiences;however,itspenetrationwaspoorbecause,beyondtheloveadviceitgaveonTwitter,itneverpromotedactualaudienceparticipation.Theeffectremainedjustintheviewing.ThesamethinghappenedwithResaka,whichhasnotmanagedtoachieveastrongpenetra-tion,asdidEnchufetv inEcuador itself.

Spain, with El Barco, explored the transmission of “twit-tersodes” that complemented the TV fiction plots by means ofthe tweets that the characters (not the actors) posted in real timeonTwitter,nodoubtaninnovativemodelwithintheObitelscopewherethoseconnectionsaremadefromtheproduction,butnotdi-rectlyfromwhatafictionalcharactermayfeelorthink.

Argentina, forexample,didconductadirectquestioningofitsfansonTwitterorFacebook,butitdidnotdosothroughitscharac-ters,butthroughquestionsthatfanscouldansweraboutwhatwouldhappenornotwithsomeofthecharactersofGraduados,thefictionselected.Nevertheless, little is known aboutwhatwas donewiththatinformationthattheseriesgeneratedwithover250,000tweets


postedbyitsfollowers.MaybeinthisexampleandtheoneaboutSpain,itwouldbeconvenienttoaskourselves,whatistheuseofthesecomments forproduction?Could theybecomerawmaterialtochangetheplotsorthecharactersoreventhestorytellingitself?

Figure 1. Summary of the transmedia offer of the 12 titles selected in 2012

Source:Obitel

Asithadalreadybeenexplained,inthe12titlesselected,the

useofFacebook,Twitter,orYouTubehelppromotetheinteractionswith theaudiences,sinceit initiallyoffers themmorechannels towatchand learnabout the fiction,but italso indicates thegreaterinterestoftheproducersortheTVnetworksinmultiplatformstrate-gies,asithadbeenoccurringin2011.

However,theaudiencesthemselvesandthefansaretheoneswhohavegeneratedtheexpansionofthestorytelling,creatingpro-files, accounts,or#hashtagswhere their tastesor interactionsarewidened,butalsotheyhavebeencapableofcreating–outsidethesespaces–forumsandblogswheretheydonotonlytalkaboutwhat

• Character Profile

• Photos and videos

• Making-Of

• Viewing Chapters

• Test

• Games

• Making-Of

• Technical

• Contests

• Comments

• Chapters

• News

Wikipedia

Facebook

• Official Profile

• Fan Pages

• Character Profile

• Central Page

• Official Chat

• Official Store

Official Website• Official Account

• Characters Account

• Director Account

Twitter

Youtube

• Official Channel

• Fans Channel

• Video Fans

Instagram

Foros e Blog

• Technical

• Synopsis

• Characters Blog

• Fans Blog

• Official Account

• Fans Account

66 | Obitel 2013

theywouldorwouldnotliketosee,butalsotheyhavefoundawaytodeviate thecontrols that theofficial sitesorYouTube itself,attherequestoftheTVnetworks,havebeengeneratingtoprotectthecopyrights.

Inresponse,thefanshavecreatedtheseothersiteswheretheythemselvesrecordthetelenovelaswiththeircellphonesanduploadthemso thatotherpeople canenjoy themwithout restrictions. Ingeneral terms, there is little interactivitywith theaudiences, foramercantilesensestillprevailsinthetransmediaoffersandtherearebutafewcasesthatinvitetheaudiencestocreateorbeanactivepartoftheproductions.

UruguaywiththeseriesREC,isapeculiarcase,becausefromitsFacebookprofile, theproduction invitedanybody interested toparticipateasanextra,publishingthedayandtimeofthelocationswhereshootingwouldoccur.

TheTVnetworks’skepticismandindecision,asVenezuela ex-poses,isoneofthemainproblemsconcerningthetransmediaoffersthatmaybefoundamongtheObitelmembers.Inthecaseof thiscountryand theselected titleFlor s alvaje, this“impasse”occursbecausewhatwasofferedontheofficialwebsiteandonitssocialnetworkprofilesstillhesitatedbetweentheideaofbeingtrulyin-teractive (the production used a game tomeasure howmuch theaudienceknewabout the telenovela),orusing these Internet sitesto facilitate viewing and exclusivematerials such as “behind thecameras”.

Inaddition,therewereotheroffers,likeinPortugal,withthe“FacebookHour”,aspacewhere theactors/charactersofDancin´

Days talked with the users about their lives and what would orwouldnothappenwiththecharacterthattheywereplaying.Inthesecases,justlikeithappenedinColombiawithEscobar, el patrón del

mal,priorityisgiventotheviewingaccompaniedbysomeinterac-tivityactions,astheabovementionedvideo-chat.

Inrelation to theColombianfictionthatportrayedthe lifeofdrugtraffickerPabloEscobar,theopportunitytoattainagreaterin-


teractionwaswasted,because,sinceitdealtwitha“high-profilehis-toricalevent”,theproductiondidnotassesstheconflictingfeelingsthat itgeneratedamong the fans,whoweredivided in theircom-mentspostedonthesocialnetworksinto“theactivitiesperformedbythedruglordandthecharacterportrayedintheseries”.Perhapsthatwouldhavebeenagoodopportunitytomakeatransmediapro-posal inviting theaudiences togeneratealternativeendings in thefashionoffan-fiction.

InPeru,withthetelenovelaAl fondo hay sitio, thetransmediaoffersuffers fromthesameshortcomings,because theaudiences’involvementisnotfullyused,whetherbecauseinteractionfromthewebsites isdifficultorbecause theofficialpagedoesnotmake iteasyforfictiontointeractwithitssocialnetworks.

This step, as we had already announced, has not been fullyachieved,becauseasitisestablishedinthechapterabouttheUnited States,theTVnetworksseethefanswithanexclusivelymercan-tileinterest,whichavoidsrecognizingorrathermakesitdifficulttoacknowledgethatthroughtheirmediapracticesandmultiplerecep-tions the fans are “the best ambassadors of their contents”, sincetheyshareor retweet theircontents for free.That is, fansexpandpromotionandthatishealthy,asithappenedwithEl talismán,thetelenovelathatmanagedgoodInternettrafficduetothepromotionthatthefans(notsomuchtheproduction)madeonthesocialnet-works,generatingaconstantimpactbecausetheykeptthephenom-enon“talkingaboutthis”goingallthetime.

Thiscapacityofbringingbackandforthmediacontentsthroughthesocialnetworkshadcausedthefictionsorevensomecharacterstotranscendthelimitsoffictionandtoberegardedasopinionlead-ersinreality.InChile,ArgentinetelenovelaSoltera otra vez, star-ring the characterCristinaMoreno, became amedia reference aswellasareferenceinmattersoftheheart,sincefromherFacebookprofileaswellasinthecolumnswrittenbythischaracterinsomeChileanmedia,sheadvisedtheChileanpublicgivingthemtipsonhowtogetthe“idealman”.

68 | Obitel 2013

Nodoubt,skepticismandindecisiononthepartoftheTVnet-worksingeneralpreventedthetransmediareceptionfromfollowingnewpathsin2012,althoughinparticularthereareeffortsmadebylargeandsmallTVstationsnotonly tohavetheirfictionsplayedontheInternet,butalsotohavethemstartfromittogenerateatruetransmediation supportedby the interactionand interactivitywithitsaudiences.

Interaction, the opening up of the industry Since2011,ObitelhasbeenreportinghowtheIbero-American

audiencesgraduallybegantogenerateabiggercommitmenttotheirfictions,whichwasobserved in interactivityprocesses.However,thisemergingphenomenonhasbeenmeetingsomelimitsintheof-fers and real possibilities of interactionoffered from theTVnet-works,inadditiontothelimitsderivedofthecompetencesthattheaudiencesaredevelopingfromtheirinteractionswiththeso-callednewtechnologies.

Thestepweglimpsed,whichwentfromthetransmediaoffersupportedonmarketingstrategiesandpromotionofcontentstotherealincorporationofthefans’practicesontheInternet,issomethingthatdoesnotseemtohavebeenachievedin2012yet. Interactiv-ityandinteractionaretwophasesunderconstructionintheObitelscope.

InthemethodologyusedbyObiteltomeasurepreciselysaidin-teraction,commoncriteriawereproposedtomakeamorehomoge-neousclassificationamongthe12countriesthatarenowpartofthisYearbook.TheclassificationhasbeenguidedbytheObitelmethod-ologicalprotocolanditismadeupofthefollowingcategories:• Interactive: it is possible to interactwith respect of the fic-

tion’scontent,butthechapterscannotbewatched.• Interactiveinrealtime:itquestionstheaudiencesduringthe

fiction’stransmission.• Viewing: it is possible towatch the chapters, but comments

cannotbeposted.


• Interactiveviewing:commentscanbepostedanditispossibletointeractwithotherpeoplewhovisitthesite.

• Networkinteractiveviewing:itispossibletowatchthefic-tion,postcommentsandredirectallthecontentsofthesitetotheusers’socialnetworks.

• Transmediaviewing: exclusiveproducts forviewingon thewebaswellasinteractiondynamicswiththefictionareofferedonthesite.

Amongthe12titlesselectedbytheObitelcountries,39itemswereobtainedinrelationtothetypesofmediainteractionthatwereofferedbytheproducersintheselectedtitles.

Graph 1. Types of interaction proposed by the producers in the titles selected

Source:Obitel

Unlike 2011, here other interaction levels stand out as pro-posed from the industry,which are closer toprocessesofgreaterdynamismamongthefictionsandtheiraudiences.Inthisyear,26%concentratedonthetransmediaviewing,whichpresupposesthatinmosttitles’sitesexclusiveproductsforwebviewingaswellasin-teractiondynamicswiththefictionareoffered,afactthatincoun-trieslikeMexicoandEcuadorwentevenfurtherwiththeestablish-mentofwebnovelasorinSpainwiththecreationof“tweetsodes”.

Thenetworkinteractiveviewing(20%),theinteractiveview-inginrealtime(18%),andtheinteractiveviewing(18%)continuewiththischangeofvisionfromtheproductionoffiction.Thisin-

Interactive

Interactiveinrealtime

Viewing

Interactiveviewing

Networkinteractiveviewing

Transmediaviewing

5%

18%26%

13%

18%20%

70 | Obitel 2013

creasewithrespectofthepreviousyearrespondstotheuseofso-cialnetworksasameanstoquestion–inrealtime–theaudiencesaboutwhat theyarewatchingon their screensandalsowhy they(accordingtodatadisclosedinalloftheObitelcountries)havein-creasedthetimetheydedicatetothesocialnetworks.Inthispoint,itisworthnoticingthatsaidinteractivityismoreincisiveincoun-trieslikeSpain, Brazil, Argentina, the United StatesandMexico,wherethelevelsofconnectivityaregreater.

The interactive and viewing proposals were left behind, al-though they prevailed years ago and dominated the transmediastrategiesofferedfromtheproductionandtheTVnetworks,whichpresupposesthatthetransmediationandtransmedialityprocessbe-tweentheTVandtheInternetinIbero-Americaisaphenomenonthat,thoughslowly,hasbeenmakingprogressyearafteryear.

Interactivity, what the audiences have achieved and what the pro-ducers permit

Theresultsinrelationtointeractionpresupposeanopeningupofthefictionproducerswithrespectofthewaysinwhichtheycanbecomeinvolvedwiththeiraudiences,butalsothewaysinwhichthe latter (outside theofficial proposals) areoperating tobecomeinvolvedandtoappropriateoftheirculturalproducts.

Thisstepormigration,however,isaculturalprocessthatdoesnotdevelopinthesamewayinalltheObitelcountries.Tomakeanapproximation tohow theprocessof interactivityoccurs, the fol-lowingcategorieswereestablishedinthemethodologicalprotocoltoanalyzeinteractivity.• Passive interactivity: when the user consumes the contents

withoutfeedback.Interactionis barely reactiveastothecon-tent.

• Activeinteractivity:theuserrespondstoastimulusgivenjustwithintheconditionsofferedbythebroadcaster,forexample,participationinsomesurvey.Interactionispropositiveorcriti-calastothecontent.


• Creativeinteractivity:theuserbecomestheproducerofcon-tents,creatingsomethingnewfromthatwhichtheyweregiv-en.Stimulatedbytheoriginalproducerofthecontentstoissuesomeresponse,thewebuserproduces,transposinghiscondi-tionasreceiverandattainingthelevelofproducer.(Lopesetal.,2009).

Graph 2. Levels of interactivity proposed by the producers in the titles selected

Source:Obitel

The increase thatactive interactivityhad thisyear is remark-ablehere.Takingintoaccountthatnowtheanalysiswasconductedinjust12titlesandnotwithallthosereferredtointhetopten,78%oftheinteractivitybetweenfictionsandfansin2012wereactive,whichimpliedtheaudiences’responsetothemultiplestimulithatthe producers offered this year. Polls, surveys, games, dynamicstoobtainprizes,chatsandvideo-chats,inadditiontoparticipatingcommentingorgiving“likes”tothechapters,weresomeexamplesofthispractice.

Nevertheless,thisisstillanemerginglevelofinteractivityingeneral;perhaps,itismoreintenseorgeneralizedinsomecountriesthaninothers.Thesteptowards“creativity”(8%),thecategoryinwhichtheaudiencesbecomecontentproducers,creatingsomethingnewfromwhattheyweregiven,issomethingpracticallyinexistentintheObitelcountries,wherepassiveinteractivity(14%),themerereactiontowhatiswatched,isevengreater.Thisfactallowsusto

Passiveinteractivity

Activeinteractivity

Creativeinteractivity

8% 14%

78%

72 | Obitel 2013

observethat,eventhoughtheproducersoffernewways,participa-tion and creation of contents (in general) is not amedia practiceamongtheaudiences/usersinthe12participatingcountries.

However, it is necessary tomention that active interactivity,thedominantoneinthefictionsselected,mustbeexplainedfromwhateachfictioninparticularallowstheaudiencestodofromtheirofficialsitesorprofilesonthesocialnetworks,sincenotallthepro-ductionswerefullyopentoparticipatedirectlywiththeaudiences;ineachoftheObitelcountriesthesenuancesareperceived,ononehand,bywatchingtheproducers’offerand,ontheother,byanalyz-ing the audiences’ prevailing practices,which –in effect– are ac-tive commenting and exchanging aboutwhat theywatch, but notproducing unreleased contents of their own. The following chartillustratesthelevelsofinteractionandinteractivity,aswellasthepracticesthatprevailedamongtheaudiencesinrelationtoeachtitle.

Chart 3. The 12 titles selected, transmedia offer, types of interac-tion, levels of interactivity and the users’ prevailing practices

Country Title Transmedia offer

Trans-media

interaction types

Levels of inter-activity

Users’ prevailing practices

Argentina Gradua-dos

Officialwebsite

Trans-media viewing

Active

CommentInterpretationRemixParodyRecommendationImitationCelebrationCritiqueCollectionStorageSharingDiscussion

Facebook Interactiveinrealtime

Twitter Interactiveinrealtime


BrazilAvenida Brasil

Officialwebsite


ActiveInterpretationSharingPlayfulnessRecommendation

Facebookpage

Trans-media viewing

Creative

InterpretationCommentSharingRecommen-dationDiscussionCelebrationPlayfulnessCollectionReviewParodyRemix

BrazilNovelaTrans-media viewing

Creative

InterpretationCommentSharingRecommen-dationDiscussionCelebrationPlayfulnessCollectionReviewParodyRemix

TwitterViewing


ActiveInterpretationCommentSharingDiscussion

BlogOioioi Interactiveviewing

ActiveConsumptionRecommendation

StoreOutofHomemedia

Viewing Passive Interpretation

Chile Soltera otra vez

Officialwebsite

Trans-media viewing

Creative

CommentRecommendationCelebrationReviewStorageSharingDiscussion

FacebookNetworkinteractiveviewing

Active

TwitterViewing


Active

YouTubeInteractiveviewing

Active

74 | Obitel 2013

ColombiaEscobar, el patrón del mal

Facebook Interactiveviewing Active Comment

InterpretationRecommendationCelebrationReviewCollectionSharingExtensionDebateInterpellation

Officialwebsite


Active

Twitter Interactiveviewing Active

YouTubeInteractiveinrealtime

Active

Ecuador Enchufetv

Officialwebsite

Viewing Passive CommentInterpretationRemixParodyRecommendationImitationCelebrationCritiqueCollectionStorageSharingDiscussion

FacebookTrans-media viewing

Active

TwitterViewing


Active

YouTubeNetworkinteractiveviewing

Spain El barco

Officialwebsite

Trans-media viewing

ActiveHistoryInterpretersReviewsHumorCurrentissuesAudiences

Facebook Interactive Active

TwitterInteractiveinrealtime

Active

United States

El tal-ismán

Officialwebsite

ViewingPassive Comment

InterpretationRemixParodyRecommendationImitationCelebrationCritiqueCollectionSharingDiscussion

FacebookTrans-media viewing

Active

TwitterInteractiveinrealtime

Active

YouTubeTrans-media viewing

Active

MexicoTe pre-sento a Valentín

Officialwebsite

Viewing Passive

CommentDiscussionRecommendationImitation

Facebook

NetworkinteractiveviewingTrans-media viewing

Active

Active

TwitterNetworkinteractiveviewing

Passive/Active


Peru Al fondo hay sitio

Officialwebsite

Trans-media viewing

Active

CommentInterpretationRecommendationParodyCritiqueDiscuss

FacebookNetworkinteractiveviewing

Active

Twitter Interactive Active

YouTubeNetworkinteractiveviewing

Active

Portugal Dancin´ Days

OfficialwebsiteFacebook

Trans-media viewing

Active

CommentCelebrationRecommendationSharingInterpretationReviewCollectionStorageDiscussion

UruguayREC. Una serie casera

Officialwebsite

Interactiveviewing

Active

CommentCelebrationFacebook Interactive

inrealtimePassive

FacebookGroup

Interactive Active

Venezuela Flor salvaje

Officialwebsite

Trans-media viewing

ActiveCommentNewsSpecialannounce-mentsonthetele-novelaReviewsPollsRecommendation

FacebookInteractiveviewing

Active

Source:Obitel

In relation to theusers’prevailingpractices, theactivity thatstoodoutthemostinthe12fictionsselectedwas“comment”,fol-lowedby“sharing”and“discussion”.Thesethreeactivities,facili-tatedbytheinterfaceofthewebsiteswheresaidtitleswereposted,express that theusers arewilling to interactwith their series andtelenovelas,but thepoorofferon thepartof theproducersor thelack of capabilities prevent them from doing other activities like“remix”,“parody”or“imitation”.Althoughthistypeofactivityis

76 | Obitel 2013

performed in countries likeArgentina, Brazil, Ecuador, United States or Mexico,theirreferenceincludesreactiveratherthanpro-activeactivities,sincethemajorityofthefictionfansthatloginonthesitesthatofferseriesortelenovelasalmostexclusivelydosotowatch theirepisodesand, from time to time,commentsomethingabout them, as it happens inChile, Colombia, Spain, Portugal, Peru,UruguayandVenezuela.

Allinall,observingwhatisofferedandwhattheaudiencesdointhe12titlesselected,itisclearthattransmediareceptionwillbeareality,atleastintheObitelscope,notonlywhenthefictionproduc-ersattachmoreimportancetothecommentstheyreceiveonadailybasisfromtheiraudiences,butalsowhentheaudiencesrecognizetheircapacityasagentsandtheybegintoexplorenewwaysofinter-actingwiththeirfictions,and,whynot,whentheybecomeawareoftheircapacityascontentcreatorsandbecomeabletogeneratetheirownchannelstoproducefiction,asithappenedinEcuador.

6. Topic of the year: social memory and television fiction in Ibero-American countries

Thechoiceofinter-relationbetweentelevisionfictionandso-cialmemoryastopicofthe2012ObitelYearbookhadtheobjectivetorevealnewaspectsoftheimportanceoftelevisionfictionfortheObitelcountries,aswellasbringlightinthemannerbywhichtele-visionfictionparticipatesintheconstructionofsocialmemoriesandculturalidentitiesofthesenations.

Thetrajectoryoftheseinter-relationsineachofthecountriesreveals agreatdeal about the socialpractices, thediscoursesandtheirusesthatareproducedaroundtelevisionfiction.ThistaskhasturnedouttobecomplexnotonlyduetothesocialimportanceoftelevisionfictioninIbero-Americancountries,butalsodueto thedifferentperspectivesthatwereopenedbystudiesregardingsocialmemoryrelatedtothemedia.

Thestartingpointwastotaketelevisionfictionasa“placeofmemory”(lieu de mémoire,Nora,1989)anddocumentofatimeand


understanditasnarrativeofconstruction,maintenanceanddiscus-sionofsocialmemory,thatis,as“communicativeresource”(Lopes,2009)ofconstructionofidentity.

Theinter-relationofsocialmemoryandtelevisionfictionwasobservedintheObitelcountriesinseveralways:(1)bygenreofhis-toricalfictionthatseekstoportraythepastinafictionalform;(2)ashistoricalarchiveinwhichfictionistransformed;(3)bythework-ingsof theplots,by theuseof self-referentialdiscourse, remem-beringthemselves;(4)throughresourceslikeremakesandreruns.Thesemeansof(re)constructionofadiscourseaboutthepastservedtorevealaspectsandusesrelatedtothefictiongenreand,inspecial,tomelodramaasa“culturalmatrix”(Martín-Barbero,2001).

“Televisionmemory”wasalsotakenaspartof“mediamemo-ry”(Neigeretal.,2011).Inthepermanentuseofcollectivememoryinpublicformsofritualsandceremonies,televisionoperatesasanagentofthismemorybyrecovering,throughnarratives,thememoryofhappenings.Thisresultsinanattempttocomprehendhowtelevi-sionfictionand,inspecial,thetelenovela,consideredasa“narra-tiveofthenation”(Lopes,2004),producemeaningsandfeelingsofbelongingandidentitythatanchorsocialmemory.

It is in this dialog between past and present that the fictiongenreactsasculturalmediation thatallowsmemory toact selec-tivelybringingthepasttothepresent,reassigningmeaning,show-ingnewsidesandforgettingothers.ThismovementofupdatingthepastishighlightedbyRicoeur(2004).Tohim,whilememoryworksbringing thepast to thepresent, historymakes theoppositepath.Evenifhistoryisacriticalinstanceregardingthepast,andmem-orypresents the tendency to interpret it frombothcategoriesandviewpointsof thepresent, there is interdependencybetweenboth.Memoryismorethanafundamentalsource,itistheverysourceofHistory,circulatingitsinterpretations.Inthisway,itisacomplexand conflicting relation between two forms of representation andinterpretationofthepast.

78 | Obitel 2013

The reconstruction of the past, according toMeyers (2007),presentsthreemainaspects:(1)theprocessofselectingsomeeventsandnotothersthatareomitted;(2)thequestionofauthorityofwhopresents thenarrative;and(3) theconsiderationof implicitmoraljudgment for the recovery of memory and institutionalization ofprocessofwhatwillmakeitintosocialmemoryornot.Referringmoredirectlytotelevision,Edgerton(2001)arguesthatitisameansthroughwhichpeoplecanlearnhistory.Inthisway,wecanconsider“televisionasahistorian”.

Televisionisapowerfulinstrumenttonarratethepastandin-fluence theway of thinking of the public, especially through thetelenovela, which is considered a cultural phenomenon in LatinAmerica.Thetelenovela,asapopulargenre,createsapublicspacetoshareanation’sexperiencesanddiscussions(Lopes,2009).Ac-cordingtoPorto(2011),representationoftelenovelastendstodrawaparallelbetweensocialandpoliticalrealities.Inthisway,themesacquire importanceandstart to influenceaudiences, since,asob-servedbyLopez(1995),livingthenationthroughthetelenovelaisaconcretepossibility.

TelevisionfictionanalysesmadebycountriesinthisYearbookshow telenovela narratives as agents of reconstitution of the pastthat constructs collectivememories.According to Jelin (2002, p.22),“thecollectiveofmemories is theentanglementof traditionsandindividualmemories,indialoguewitheachother,inaconstantstate of flux”. Sturken (1997) points that, unlike photographic orcinematographicimages,memoriesdonotremainstaticovertime–theyarereformulatedandreconfigured,disappearorarerewritten.

Wespeak,then,oftelevisionmemoryaspartofmediamemoryandtelevisionasahistorian.AccordingtoEdgerton(2001),televi-sion acts as historian andmust be seen asmeans throughwhichgreataudiencescanknowhistoriesandfiguresofthepast,andbecaptivatedby them.Memories are part of an archive that is bothpersonalandcollective,and,assuch,areportrayedandreproducedbythemediawiththeintentofmakingthemeternal.Inthisway,the


mediageneratesnewmeansofmodelingmemoryandformaninev-itablepartofeverydaylife.Sowegetamixof“placesofmemory”(Nora,1989),“collectivememory”(Halbwachs,2006)workedbyinstitutions,andtheindividualmemoryofthe“reminder/narrator”(Benjamin,1986).

Andnow,weseektofind,basedontheprincipleofintercul-turalitythatrulestheObitel,somepathtrailedbycountries,anditisimportanttonotethatthedetailingofeachoftheanalysesheresummarizedcanbefoundonthechapterofeachofthecountriesinthisbook.

Television fiction and memory themesThe greatest highlight of the theme of the year in the 2012

ObitelYearbookwaspresent inthehistorical televisionfictionasameansofarchivingnationalityand/orquestioningofficialhistoryaswasdoneinChile, Colombia, Ecuador, Portugal, MexicoandUruguay.However, inmanycountries, theconstructionofsocialmemoryandofsharedknowledgeofthepastremainsthroughthehegemonicvisionofhistory.TheworksoffictionthatfollowthistrendwerehighlightedbySpain, Peru andPortugal.Theconstruc-tionofahistoricalmemory,whichexaltshappenings,reconstructscharactersand localizes references toexplaincurrentphenomena,isthewaythroughwhichfictionworksinChile, Peru, MexicoandVenezuelatotrytoreachatrueportraitofcurrentsocialmemory.It dealswithwaysofnarrating, comprehending, constructingandreconstructingnationalidentity,beitbyevokinghistoricalfactscir-cumscribedtoadeterminedhistoricalperiod,beitbyevokingandcounterpointingfactsofadistantpastwiththoseofamorerecentpast.These forms are directly related to theproductionofmean-ings of nostalgia in a time constantly consideredmore organizedandhappier.

Argentinatacklestheconstructionofsocialmemorythroughtelevisionbyhighlightingfiction’scapacitytoelucidateeventsfromthepast,discussingthememoriesproducedbytelevisionfictionand

80 | Obitel 2013

itsroleintheconstructionofthispast.Italsofiguresintothedebatethedistinctionbetweenmemorygeneratedbythemediaandthesememories that depend on an aesthetic, political or historical dis-course,andthatgobeyondthemediaitself.Inthememoriesgener-atedbyArgentiniantelevision,therearethreesidesbeingpresented.Thefirstof themrefers toreiterationofgenericmoldsofpopularcultureinwhichcharactersandtheatricalskitsarerecoveredwithamythicalatmosphere,withdisregardtotemporality,asisthecaseoftheseriesYo soy porteño(1962to1966and1976to1982).Thesec-ondiscomposedbymemorablemediacasesinwhichpolicenewsreportsorthrillersserveasabackdropforfictionalplots.Thatisthecase of the telenovelaVidas robadas (Telefé, 2008),which dealswithtrafficandmissingpersons.Andthethirdaspectreferstothecasesofmediarememberingitself,withtheuseofbiographic data of known people who gained recognition by doing fiction.ThatisthecaseofthetelenovelaLa dueña(Telefé,2012),inwhichthepri-vatelifeofactressMirthaLegrandpresentssomepointsincommonwiththelifeofthecharactersheplayedand,inthatway,realityandlifeareinterwoven.

The reconstructionof themost recentpoliticalperiodofAr-gentina is connected, in general, to government initiatives. Themannerinwhichhistoricaleventsaredemonstratedinfictionworksallowsfor thedisplayofdifferent forms throughwhichStateandsocietyconstructcollectiveidentity.Thehistoricalreconstructionsconnected to the traumaticperiodofdictatorshipshowthe forceddisappearanceofcommonpeople,asinTelevisión por la identidad (Telefé,2007).Inthisreconstruction,wefindtwoviewpoints:thatofdefendersofthedictatorshipandthatofitsvictims,whichwasthecaseoftheminiseriesVolver a nacer(TelevisiónPública,2012).Thisquestionacquiresrelevancenotonlyduetotheimpactfromasocialpointofview,butalsobecauseitisdirectlyrelatedtothelossand recoveryofnational identity. In thisway, thepast cannotbethoughtofasaclosedworldanylonger.


Brazilhasasitsstartingpointtheanalysisoffictionairedsince2006,theyearofbeginningofObitelactivity,until2012.Inmeth-odological terms,whenanalyzingtherelationshipbetweentelevi-sionfictionandmemory,thiscountryishighlightedbythecapac-ityandauthorityof televisiontooperateasanagentofcollectivememorybythreeaspects.Twoofthosearerelatedtothemediumitselfasasystemofproduction:TVremembersfictioninrerunsandremakes;TVremembersthepastinhistoricalandperiodnarratives;andthethirdisrelatedtotheproductionofmeaningofmemorythatisanchoredinthereappropriationoftelenovelasbyasambaschoolinaparadeduringRiodeJaneiro’scarnival.

Thereruns,remakes,miniseriesandtelenovelasworkasmem-orydevicesof television fiction.Since1980,Globohasaired theprogramVale a pena ver de novo,whichrerunstelenovelasfromthenetwork.In2010,GlobolaunchedthesubscriptionchannelCanalViva,withprogrammingconstitutedofoldshowreruns,consideredTVclassicsandthathaveachievedsuccess,appearingamongthemostviewedchannelsofpayTV.Thisaudiencetranslatesmanyoftheprocessesofremembrance,memoryandhistoryinthelivesofitsviewers.OtherchannelslikeSBTandRecordalsoreruntelenovelasandminiseriesintheirprogramming.Theremakesallowtoviewerstheproductionofnewmeaningtopreviouslyseenstoriesthatarebeingretold.Theyalsoworkasawaytorescue“mediamemory”made of previously experienced sensations for peoplewho knewtheoriginalstoryandcompareditwiththeremake,debatingonso-cialnetworkswithpeoplewhohadnotseentheoriginalandwatchthe remake as a newwork. It is not only about recovering emo-tions, sensationsof the firstviewing,but also theconstructionofnewmeaningsthatareprocessedbytheconstantrelationofpresentandpast.In2012,Globoproducedtworemakesoftelenovelas:Ga-

briela,arunawayhitfrom1975,andGuerra dos Sexos,from1984.Also of note were narratives that remembered historical as-

pectsofBraziliansociety,showingthattherelationofmediawithhistory is built from the central role that television plays in cur-

82 | Obitel 2013

rentdays.Wenotice thememoryofhistorical facts inminiseriesthattacklehistorical,socialandpoliticalthemesofthecountry.Forinstance, themilitary regimewith JK (Globo, 2006) andAmor e

Revolução(SBT,2011),biblicaltimeswithA história de Ester, Rei

DaviandSansão e Dalila(Record,2011),andperiodbiographieswithMaysa–Quandofalaocoração (Globo,2009)andDalva e

Herivelto(Globo,2010).Telenovelasalsoofferedhistoricalthemes,beitfictionalorreal,likeCordel Encantado(Globo,2011),whichtookplaceinearly20thcenturyinafictionaltown,andLado a Lado (Globo,2012),withadetailedreconstitutionofthecityofRiodeJaneirointheearly20thcentury.Inthisway,thememoryofthepastis brought to current perception of the present through televisionfictionportrayal.

Brazil also noted that the recovery of the past of telenovelahassurpassedconventionalmedia(otherscreens,magazines,booksetc.)andwasathemeforthe2013carnivalinRiodeJaneiro.Grê-mioRecreativoEscoladeSambaSãoClementehasaparadeontheSambodromo(specificplacefortheparade)withitsversionofthehistoryoftelenovelainBrazil.Insymbolicterms,therewasthecon-junctionoftwoofthemainmatrixesofBrazilianculture,carnivalandtelenovela.Therewastheparadeofthemes,scenes,charactersand plots thatmarked thememory of audiences through 54 tele-novelas,allGloboproductions,pickedthroughpollingmadeontheInternetbythesambaschoolitself.Thisresultedinaretelling,fromtheaestheticsofcarnival,offivedecades(1960-2012)withempha-sisonthe70sand80s,throughsambatheme,music,dance,chore-ographyandallegories.Onecansaythatthetwomediaevents–tele-novelaandcarnival–haveintandemnarrateda“popularhistoryoftelevision”, activatingmechanismsofmemoryand recognition inmillionsofviewersthatwatchedtheparade.

Chile highlighted the productions of historical fiction of thecountry especially through TV movies and documentaries. Thethemesexploredwere:biographyofChileanpersonalitiesfromthefirst100yearsofthenation,thedailyroutineandmilitaryandpoliti-


callifeofthesesubjects;thePacificWar;andthehistoryofChilesince itsdiscoverybySpainuntil the celebrationof100yearsoftheRepublic.Thecountryclassifiesinthreecategoriesitsfictionalproductionrelatedtomemoryinthelastthreeyears:(1)historicalfictionsthatrelatepastfactsfromthecountry’sdistantpast;(2)theperiodfictionsthatnarratethedictatorialpast;and(3)thefictionsthatportraymorerecentsocialmemory.

Chile’sdistantpastisportrayedthroughgroundbreakinghap-peningsforthenation,fromthepointofviewofmonumentalhis-tory(representationofhistoricalfactsthatfoundedthenation),re-coveringepisodesofcrisesandconflicts.WithinthiscategoryareworksoffictionlikeHéroes, Epopeya, PazandAlgo habrán hecho.Thememoryof themost recent dictatorial period is presented inperiodfictions,withoutthepresenceofrealcharactersoffact,likeinLos 80andLos archivos del cardenal.Bothseriesdealtwithhu-manrights’violations,defendingtheimportanceoftestimonialasdenunciationofthattime.Finally,contemporarymemoryisrepre-sentedbytheworkoffictionEl reemplazante,airedin2012.Ittakesplaceinaschoolinapoorneighborhood,anditsuggestsnewwaystorelatetothepastfromamemorythathasnotyetbecomehistory,involving thestudentmovement.All theseworksof fiction listedwerefinancedbytheConsejoNacionaldeTelevisión.

Colombiaalsoemphasizesthefactthattelevisionhas,throughthe years, portrayed the periods of discovery, conquest and inde-pendence,withaestheticrealism,mixingfictionandreality.Theseworksoffictioninvitedspectatorstoquestiontheirbeliefsaboutthecountry’shistory.Thecountryalsohighlightstherelationbetweensocialmemoryandhistoryfromabriefrecapofhowthepastwasrecreatedbytelevisionandwhichweretheirideologicalandpoliti-calreasonstodoso.

InColombia,historicalfictionsshowedhistoryfromprocessesand social, church, government or popular confrontations. How-ever,someportrayedhistoricalfactsinadifferentwaythanthatofhistorybooks, likeLa Independencia; La vida y obra de Bolívar;

84 | Obitel 2013

Los pecados de Inés de Hinojosa; andLa Pola.Italsohighlightsacontroversytothemannerinwhichtheproduceroftheshowsinter-pretshistoricalfacts,sincesuchapersoncouldprivilegevisionsofhappeningsaccordingtothepointofviewofsponsors.Thisraisesthe debate on the social and political commitment that televisionmusthavethroughthedebateregardingdemocracy,socialinclusionandculturaldiversity.ThisbringsexampleslikeLa Saga; Negocio

de familia; La historia de Tita;and Amar y temer.Inthe1990s,telenovelainColombiaattainsnotablerelevance

by regional and national representation, amplifying its influenceto a global level of promotionof the country’s image.With this,telenovelahasintensifiedthedebateregardingthemeaningof“na-tional”andtheroleofcultureaccordingtohistoricalpastandpres-ent.Agreatchallengefortheproductionoftelevisionfictionisthetreatmentofthepoliticalandsocialconflict,whichmarksandde-termines the historical and current development of each country.Fictionbecomesasymbolofconstructionofreality,sharedrepre-sentations,anddevelopmentofsocialmemory.

The United StateshighlighttherealityofMexico,transformedbythedrugdealersinanxietyandlossofhopeforMexicancitizens.Itemphasizeshowthesocialdishearteninghastakenplaceduetothesituationofviolenceandbrutalitythatthepresenceofdrugtraf-fichasbroughttothecountry,influencingthecultureandmodify-ingvaluesandtraditionsfromoldtimesbyanewtypeoforganizedcrime, inwhichmoneyreplacesoldvalues.Thispointofview isusedtodiscussthethemesoftelenovelasthatportraythelifeofdrugdealersinasubgenrechristened“narconovelas”,whichhavebeengarneringgreatsuccessinHispanictelevision,aswasthecaseofLa

reina del sur,airedduringthepreviousyearbyTelemundo.TheUnited States also remember the intrinsic relation be-

tweentelenovelaandsocialreality,sincefictionbecomesadrama-tizedreflectionofsocialrealityandthelatterinfluencesthethemesofplotsthatareairedinHispanictelevision.Inthiscontext,thereisadiscussiononhowthereconstructionofthepastofpopularculture


is influencedby thevaluespresented inworksof fiction.Televi-sion, as themost powerful instrument to narrate the past, createsapublicspaceinwhichtheexperienceofanationistakenbythethemeofdrugdealing,imposinganewsystemthatdecharacterizesthetraditionalmelodramaandopenswayfortherepresentationofnakedrealityofLatinAmericaandtheUnitedStates.AcriticismismadetothethemespresentedbyTelemundo,especiallyconsider-ingthegreatsuccessofLa reina del surandthecontinuoususeofthethemeinfutureproductions.Consideringtheimmensesuccessofthethemeofdrugdealing,theprogramsbringglamourtothelifeofdrugdealersand,inaway,giveaveneerofinnocencetotheseillegalactivities.Intheirdefense,thenetworkarguesthatitisonlyofferingtoviewerswhattheywant.

Spain haswitnessed in the last fewyears an increase inpe-riodpieces,inaclearrecoveryofhistoricalmemory.In2012,theeconomic crisis has affected theproduction rhythm, especially inpublicnetworks.However,thecrisisitselfhasintroducedimportantinnovationsinthesenseofconstructingandreconstructingimagesof historical culture and its emblematic periods such as theHighMiddleAgesandreignofitsCatholickings.Thefourworksoffic-tionclassifiedashistorical(Toledo; Isabel; Concepción Arenal;andLa conspiracion)mix“past”and“pastime”(Silverstone,1999,p.132),thatis,raisingBuonanno’s(2012,p.200)questioning,accord-ingtoRicoeur’saffirmation,thatitisnecessarytothinkoftheowndistinctionbetweenpastandhistory.

Whenitcomestotheproductionofperiodfiction,SpainmadeitsdebutwithCuéntame cómo pasó (2001), the“groundzero”ofareflectionthatsplitsworks that takeplaceinapastby“before”and “after” the democratic transition. The country’s fiction trav-elsthroughhistoricalperiodsandphasesthat,bybeingportrayed,transformthemselvesintoolsofcomprehension,constructionandreconstruction of their identities. Thus, one can see Roman con-questinHispania, la leyenda(2010)andinImperium(2012),whileToledo(2012)andIsabel(2012)dealtwiththeconstructionofthe

86 | Obitel 2013

kingdomofSpain,mixingrealityandfiction.ThebaroqueSpainisportrayedinÁguilaRoja,aseriesairingforfouryears,takingplaceinthe17thcentury.The1920sareportrayedinLa memoria del agua and,mainly, inGran hotel, acarefulvisual recreationofSpanisharistocracyofthetime.Thenotablycostlyandlong-lastingCuén-

tame cómo pasótakesplaceinthetransitionalperiodattheendofthe1970sandisonits13thseason,reflectinganilluministpolicy.

ThesocialmemoryinSpanishfictionhadasanotableexampleAmar en tiempos revueltos,airedbetween2005and2012andthat,in2013,willreturninanewphaseasAmar es para siempre.Asaperiodpiece,thisisanexampleoftheeducationalcharacterthatfic-tioncanreach,dealingwithsocialissueshappeningbetween1936and1956,withagreatdealofarchivalfootage.Amar en tiempos re-

vueltosalsoresultedinspinoffsintheformofTVmoviesandthreetelenovelas,andalsobeingsoldtoseveralLatinAmericancountriesandtheUnitedStates.

Ecuadorhighlightstherelationbetweenmemoryandaudiovi-sualintwoways:fictionofferselementstorememberandservesasasourceofmemoryarchives.Despitetelevisionproductionthatdealswith past elements and stories being in short supply, the countryhighlightsthreemomentsoffictionrelatedtosocialmemory.Thefirstreferstothefirstexperiences,inthe1960stothe1980s,withtheseriesNarcisa de Jesús(1961)andEl Cristo de nuestras angus-

tias(1967)andthetelenovelaLa casa de los Lírios(1974).Thesefictionshaveworked thememory inamoreconservativemannerwith the intent of recovering Ecuadorian traditions and religiouscustoms.The secondmomenthappens in the1990s,with theen-counterofliteratureandtelevisionfiction.Thetimewastheheightoffictionrelatedtoelementsofsocialmemory,seekingtorecoverthememoryfromliteraryworksofnationalauthors.Sevenworksexpressthisfunction,allbyEcuavisa:Cumandá;Los sangurimas; A

la Costa;El Chulla Romero y Flores; 7 lunas, 7 serpientes;El cojo

Navarrete;andPolvo y Ceniza.Thethirdandlastnoteworthymo-mentinfictionisthe21stcentury,whichcouldbecalledamoment


onnon-memory,sincethereislittlefictionthatrecoversthesocialmemory.Two titles canbementioned:Sé que vienen a matarme (2007)andOlmedo, el castigo de la grandeza(2009).

Ecuador highlights theimportanceofpublic televisionasanopportunity for socialmemory, since it does not suffer from thesamemarketpressurethatprivatetelevisiondoes.Thepublicchan-nel focuseson journalisticshowsanddocumentaries,but in2012nationalproducersweresummonedtopromotefiction,maybecon-figuringthechancetocreatefictionwithfocusonsocialmemory.

InthecaseofPeru,fictionregardingthepastistheresultofadaptation of literary works with popular elements. Among theworkshighlighteduntilthe1980sare:Tradiciones peruanas (1959),teleplaythatpresentsasetof traditions thatpassforwardthehis-toricalpastsincethecolonyuntiltheyoungrepublic,consideredamajorpieceintheconstructionofnationality;Matalaché(1964),re-gardinganinterracialaffairduringtheageofslavery;andNuestros

héroes de la guerra del Pacífico(1979),duringthecentennialofthewaragainstChileandthemilitarygovernmentinPeru.The1980sportray a tension in fiction between looking at a recent past andinterpreting a remote past. This tension between the two pasts isfoundintheworksoffictionGamboa(1983),whichrecreatesac-tualfilesfromPeru’sinvestigativepolice,Bajo tu piel(1986),andMalahierba(1987),withsocialthemessuchasmedicalnegligenceanddrugdealing.

However,itisintheminiseriesthatonefindsthebestlinkbe-tweentelevisionfictionandmemoryinPeru,especiallyinthelate1980sandearly1990s.Theminiseriesof thetimeimagineapastwithhistoricalcharactersandreportsandemblematicexperiences,like thewarbetweennativesandtheSpanish,classconflicts,andnarratives based on real characters from the country’s history. In1994,alandmarkforthecountry’sidentityinfictionwasthetele-novelaLos de arriba y los de abajo,whichhasportrayedPeru as a culturallydiversifiedcountry,unlikethehegemonicdepictionfrompreviousworks.

88 | Obitel 2013

Portugal highlighted productions that remember importantmoments in the country’s sociopolitical history. Themes such asthe fallof themonarchy, the first republic,and familyandsociallifeoftheNewStatewereturnedintofiction.Portugueseproduc-tionthatcanbeconsideredhistorical,withplotstakingplaceinpastperiodsand/orregardingreal themesandpeople, totaled35titles,fromwhich40%takeplace in therecentpast (between1930and1970),26%areadaptationsofworksfromcanonicalauthorsfromthe19thcenturyand20%takeplaceinthefirsttwodecadesofthe20thcentury(theFirstRepublicandsubsequentgovernmentinstabil-ity).In2012twohistoricaltitleswereidentified,Perdidamente Flo-

rbelaandBarcelona, cidade neutral(TRP1),andoneperiodpiece,Anjo meu(TVI).Comparingchannels,onecannoticethatthepublicchannelbetsinthiskindofcontent(27titles)whileprivatechanneldoessoirregularly.

Inaconstantnegotiationbetweenpastandpresent,televisionfic-tionfromMexicoreconstructsthepastfromtwonarrativeaxes:rurallifeandthegoldenyearsofMexicancinema.Thenetworks,inpartwiththesupportoflocalgovernments,haveemphasizedtheruralset-tingwheretypicalfamilydramasfromthecountry’snationalidentityinthe1940shavetakenplace.Theworksoffictionclearlyshowthetransitionfromthe ruralsetting, the infinitesourceof typical land-scapes,themesandstories,likeinAmor bravío andAbismo de pasión

fromTelevisaandLos Rey andLa mujerfromTVAzteca,andthecurrenturbansetting,withthemesrelatingtodrugdealing,abortionandhomosexuality,emphasizingthedramaofnationalidentity.Withgreatvisibility towards ranchmusicand incostumedesign, fictionhasbroughttothepresentaperiodenvironmenttoreassignmeaningtothecurrentlifeofthecountry.Therescueofruralpatrimony,thatoftherancher,wasalmostomnipresentintelenovelasfrom2012.Theconstantvisualsandsoundsshowthereturntothiselement,suchasrancherclothesandmariachimusic.Bothelementswerecentral inMexicancinemathroughoutthe20thcenturyandhadtheirmeaningsconstantlyreassignedbytheculturalindustry(especiallytelevision).


Wecouldsay that the telenovelas inhabitasortof“differenttime”relatedtopre-revolutionaryMexico.Toussaint(2013)distin-guishesapast inwhich richeswere firmlyanchored to farmland,and extends thismovement from telenovela all theway to 2013,withexamplessuchasCorazón indomable;Amores verdaderos;andLa mujer del vendaval,allfromTelevisa.

Uruguay tackles the theme of the year by discussing socialmemoryandtelevisionfictionbasedontherelationbetweenfictionand reality, incorporating the complex relation between memoryand history.We chose a few imported television fictionalworkswith a historical basis such asPablo Escobar, el patrón del mal;

Cuéntame; Graduados;andContámela en colores.Suchworksoffiction are discussed considering the Aristotelian assumption ofthe limitbetween truthandplausibility in the formationof socialmemoryand,thus,acceptingthattherelevantelementinfictionisverisimilitude,inotherwords,thatitisnottrue,butseemstobe.Inthisway,fiction,throughplausibility,allowsviewerstoexperienceothersubjectivitiesthroughthecharactersand,inthisway,increasetheirsymbolicrepertoireaswellasshapecollectivememories.Inthissense,televisionfictioncanbeconsideredapartoftheprocessofconstructionofcollectivememoryforsociety.

Socialmemory,orthenarrativeofthepast,presentstwosideswhenoneobservestelevisionfictionfromVenezuela.Ononeside,thereisrecentmemory,connectedtothesociopoliticalsituationofthecountryrepresentedbythetelenovelasBarrio SurandTeresa en

tres estaciones,and,ontheotherside,thereisthehistoricalmemorywith the role of praising and exalting happenings and charactersfrom the pastwith the intent to comprehend current phenomena.This content are originated in the so called “cultural telenovela”,withexamples like:Por estas calles (1992);Amores de fin de si-

glo(1995);Ciudad bendita(2006);andAmores de barrio adentro (2004).Othercontentrelatedtosocialmemoryisbasedonpoliti-cal happenings likeEstefanía (1979);Gómez I (1980);Gómez II (1981);andLa dueña(1984);and / or based on important historical

90 | Obitel 2013

epochsas Pobre negro(1976);Sangre azul(1979);andGuerreras

y centauros (2012-2013). It isalsopossible tonotea typeofcul-turalmemorythatappearsinfictionalcontentrelatedtoimportanttimesofthehistoryofthecountryandthatdealwiththemessuchasheroism, ethnic issues and independencemovements. In2012,Venezuelantelevisionfictionhasresortedtoaromanticviewofthepastwithgrandiloquentnarrativesoffightandstruggleforpower.

Final considerations Withinthenewcontemporaryculturalandcommunicativesce-

nario, theObitelYearbookyearly themehasallowedus tonoticethatwe live throughanexplosionofmemory, aharkening to thepast,partlymarkedbythearchivingphenomenon.Fictionisthecre-atorofasharedrepertoireandwasunderstoodbythe12countriesasaplacewherememorycanbeexercised,asaplacewhererep-resentationsandimaginariesregardingthewayoflifeofaperiodareguardedforposteriorreappropriation.Itis,thus,simultaneously,memory,archiveandidentity,acomplexlocusofidentityconstruc-tionandreconstruction,aplacewhereisgatheredthenarrativeca-pacityoffictionaltelevisionnarrativetoconnecttemporaldimen-sions of present, past and future, (re)creating collective memorywithinthenation.

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second PArT

FIcTIon In obITel counTrIes In 2012

1ArgenTInA: growTh oF nATIonAl

ProducTIon And ITs sTyles

Authors: GustavoAprea,MónicaKirchheimer

Team:MaríaBelzunces,MaríaVictoriaBourdieu,VictoriaDeMichele,

NoeliaMorales,LauraOszust,EzequielRivero

1. Audiovisual context in the country

1.1. Broadcast television in Argentina As from year 1990, Argentina’s broadcast television system

consists of approximately five networks with national coverage.Fourof thesenetworksaremanagedprivatelyandoneof themisowned and managed by the State. Digital Television (Televisión

Digital Terrestre or TDT,inSpanish)hasbeenoperatingsince2010andbytheendof2012itcovered80.6%ofthecountrythrough16networks(fiveofthemmanagedprivatelyandelevenstate-owned)thatreachthefullareacoveredbyTDT.

Chart 1. Broadcast televisions with nationwide coverage

PRIVATE CHANNELS (4 ) PUBLIC CHANNELS (1 )América 2

Canal 9Telefé

El TreceTelevisión Pública

TOTAL CHANNELS = 5Source:ObitelArgentina

96 | Obitel 2013

Three of the networks offer national coverage through theirpertainingsystemsofaffiliates:TelevisiónPública,TeleféandElTrece.Thestate-ownednetworkistheonethatreachesthehighestproportionof thenational territory(99.5%),althoughitsaudiencelevels in thegreatmetropolitancentersarenotcomparable to thelevelsreachedbycommercialnetworks.ElTreceandTelefécoveralltheprovincesthroughownershipof,orassociationwith,themainlocalnetworks.TelevisiónPública,Telefé,Canal9andAmérica2broadcasttheirprogrammingtotheentirecountrythroughDigitalBroadcastTelevision(Televisión Digital Abierta or TDA,inSpan-ish),thedigitaltelevisionsystemcreatedandsustainedbytheAr-gentineGovernment.NoneofthenetworkslocatedoutsidethecityofBuenosAiresmakesitsprogrammingscheduletranscendthelo-calboundaries.

During2012, theBoardofDirectorsofArgentineRadioandTelevision–StateSociety(RadioyTelevisiónArgentina–Sociedaddel Estado or RTASEinSpanish)wascreated,pursuanttothere-quirementsoftheAudiovisualCommunicationServicesLaw2010(Ley de Servicios de Comunicación Audiovisual 2010),with rep-resentatives from theArgentineExecutivePower (1), theFederalCouncilofAudiovisualCommunication(2)andthethreefirstpar-liamentaryminorities(3).ThisentitymanagesthecommunicationmediathatareunderthechargeoftheState.

América2formspartoftheAméricaMediosgroup,whichisthepropertyofbusinessmanDanielVilaandofUnogroup.Canal9isanintegralpartoftheAlbavisióninternationalgroup,ownedbyMexicanÁngelGonzález,whichmanagestentelevisionnetworksinCentral andSouthAmerica. InArgentina,Albavisión also ex-ploitstheradiobroadcastingstationLaRedandtheTDTnetworkSuri TV, which is devoted to rebroadcast programs from SouthAmericancountries.Telefé isownedbyTelefónicadeArgentina,asubsidiaryoftheSpanishcompanybearingequalcorporatename.InArgentina,thegroupcarriesoutactivitiesrelatedtolandlineandmobile telephoneaswellas Internet services,and it isassociated

Argentina – Growth of national production and its styles | 97

with several owners of domestic television networks.ElTrece isexploitedbyClarínholding,agroupthatownsnewspapers,broad-castTVnetworksandcableTVnetworksthroughoutthecountry,adigitalTVcompany,Internetserviceprovidersandwebsites,andthatco-ownsanewsagency,theonlyfactorymanufacturingnews-printpaperandalsoasignificantnumberofcompanieswhicharenotrelatedtomasscommunicationmedia.

During2012,thenetworkswithnationalrangemaintainedapo-sitioningsimilartothepreviousyearandgrantedasimilarspacetothefictionscope.TeleféandElTrecewerethenetworksachievingthehighestaudiencelevelsand,withintheframeworkofageneral-interestproposal,placedfictionasacornerstoneoftheirprogram-mingschedule.Telefébuiltitsfictionalprogrammingscheduleonthebasisofco-productionswithlocalcompanies,bearinginmindtheirinternationalsale,whileElTrececentereditsfictionprogramsonitscaptiveproductioncompany,givingprioritytothelocalmar-ket.1América2organizeditsofferbetweenentertainmentandinfor-mationandCanal9specializedintheareaofentertainmentandfic-tion.Withinfiction,Ibero-Americanproductions–severalofthemwerereruns–wereusedtocovertheeveningtimeslotsandsporadicpresencesintheprimetimeoflocalprogramsproducedwithGov-ernmentfunding.TelevisiónPública,inturn,grantedacentralspottoArgentinefictionproducedwithStatefunding,sharingitsplaceintheprogrammingschedulewithpoliticalinformationandsportsprograms.

1.2. Audience trends during year 2012Forthefirsttimeinseveralyears,thebroadcasttelevisionaudi-

encedidnotfallinrelationtothepreviousyear.In2012,theaverageratingperyear for theentirebroadcast televisionwas31.2 ratingpointsincontrasttothe30.8pointsachievedin2011.

1WhileTeleféContenidossoldintheinternationalmarketsevenofitsprogramsorcon-tentsgeneratedduring2012,ElTreceplacednoneabroad.

98 | Obitel 2013

Chart 2. TV audience

TV network %América2 13.3TVPública 8.3Canal9 14.6Telefé 34.4ElTrece 29.4

Source:IbopeArgentina-ObitelArgentina

Chart 3. Share

TV network Individual share %

Telefé 20,9 35%ElTrece 17,7 29%Canal9 8,8 15%

TVPública 4,9 8%

Canal2 8 13%


ForthesecondconsecutiveyearTeleféwasthemostwatchednetwork.Notonlydidithavethehighestannualaudiencelevel,butitalsomaintainedthislevelthroughoutthewholeyearandairedtheprogramwith thehighestaverage rating: thedailycomedyGrad-

uados.

Chart 4. Offer by genre in TV programming

Genres Hours %Fiction 4,451:30 11.4

Journalistic 12,375:55 31.7

Entertainment 3,917:00 10.0Religious 493:30 1.3Sports 2,227:20 5.7Cultural 762:45 2.0Humorous 962:00 2.5Others 13,903:25 35.6Total 39,093:30 100


13%

8%

35%

13,3% América2

TVPública

Canal9

Telefé

ElTrece

8,3%

14,6%

29,4%

34.4%

35%

Telefé

ElTrece

Canal9

TVPública

Canal229%

15%

13%

8%

31,7

Fiction

Journalistic

Entertainment

Religious

Sports

Cultural

Humorous

Others

11,4

5,7

35,6

10

1,3

2,52


Eventhoughtherewasanincreaseinthenumberoftelevisionfictionprogramspremieredduring2012,thefictiontimeonscreendecreased4%withrespectto2011.Thedeepeningofthetrendtopresent short series and the appearance of programswith shorterdurationduring2011wasintensifiedin2012.

1.3. Investments of the year in TV advertisingDuring2012, the total investment inadvertising inbroadcast

televisionwasARS39,212,744,551.00.A75%ofsuchamountwasconcentrated in theBuenosAiresmetropolitan area,which com-prisesbarely35%ofthepopulation.2AccordingtothedataprovidedbytheArgentineChamberofMediaAgencies(Cámara Argentina

de Agencias de Medios Publicitarios),inabsoluteterms,theinvest-mentamountinTVadvertisinggrewinrelationto2011,althoughasfarasthephysicalvolumeisconcerned–amountofsecondsusedin television–, a decrease of 4.6%was recorded.3 Furthermore, alargerdecreaseisverifiedintheinvestmentinbroadcasttelevisionadvertising–particularlythedomesticone–ratherthanincableTV,InternetandCinema.

1.4. Merchandising and social merchandisingInfictionprograms,themerchandisingwasgreaterintheprime

timeprograms,particularlyinGraduados,thesuccessoftheyear.Inthecourseofthetransmissions,theproductplacementwasconsis-tentlypresent,thankstothefactthatoneofthemainsponsorswasadomesticappliancesstore.Theproductswerepromotedinthestoryscenesaswellas insequenceseparators thatwerenotpartof thecommercialbrakes,butwere includedwithin thefictionsegment.Inadditiontothisproveninclusion,othermoretraditionaltypesofpromotionappear,suchas theonesshowingstreetbillboards,ve-

2Accordingtodatafromthe“GlobalInvestmentReport2012”(Informe global de inver-siones 2012)preparedbyMonitorMediosPublicitariosS.A.3Accordingtothe“ArgentineAdvertisingActivityReportforYear2012”(Informe de la actividad publicitaria argentina del año 2012),availableathttp://www.agenciasdeme-dios.com.ar/inversiones-publicitarias/.

100 | Obitel 2013

hicles,andshopwindowsthatformpartof thecitylandscape.Atthesametime,owingtothesuccessobtained,Graduadosgeneratedaseriesofcommercialproductsthatrescuedconsumptionsfromthe1980s,duringwhichpartoftheplotunfolds:musicCD,concertsofartistsofthattime,an“eightyish”megaparty.Withinthescopeoftheusualmerchandisingin2012,thepresenceofproductsforchil-dren–magazines,albums,CDs–decreased,giventhefactthatonlyoneprogramofthisstylewaspremieredinamarginaltimeslot.

Asfarassocialmerchandisingisconcerned,during2012therewasnorecordofthepresenceofsocialproblemsincludedwithinapedagogicalordiffusionproposalasitoccurredinpreviousyears.However, the intentional inclusionofsocialmatters in the fictionplotswasoneoftheprevailingcriteriaintheselectionofprojectspresentedinthepromotionandencouragementsystemssponsoredbytheNationalInstituteofCinemaandAudiovisualArts(Instituto

Nacional de Cine y Artes Audiovisuales or INCAA,inSpanish).Thegender-basedviolence issue is theaxisaroundwhich theplotsofMaltratadasrevolved,thediscriminationproblemstakeupacentralspotinEl paraíso,Los pibles del puente or La viuda de Rafael.Bul-lyingandobesityareincorporatedinGraduados.

1.5. Communication policiesTheAudiovisualCommunicationServicesLawpassedin2009

isnotappliedinfullyet,mainlyregardingtheapplicationofthesec-tionthatregulatestheamountofnetworksalicenseholdercanownatthelocalandnationwidelevel.OnOctober1,2009,Claríngroupchallengedthisaspectofthelawandachievedtheorderingofapre-cautionarymeasurethatdelayedtheapplicationofthelawtilltoday.OnMay22,2012,theSupremeCourtofJusticeissuedanorderde-mandingtherelevantcourttodeliverjudgmentonthematter,withdeadlineonDecember7.Onthisbasis,theFederalAdministrationofAudiovisualCommunicationServices (Administración Federal

de Servicios de Comunicación Audiovisual) requested the twentybusiness groups thatwere in breach of the regulations contained


in thementioned lawtosubmitanadjustmentplan toconformtotheconditionsrequiredbythementionedlaw.Nineteengroupsan-sweredtotherequestandonlyClarínappealedthemeasure,delay-ingonceagainthefullapplicationofthelaw.

Otherrelatedaspectsofthepublicpolicieshavehadagreaterapplication level.The INCAA continued todevelop theArgentin-eanAudiovisualBankofUniversalContents(Banco Audiovisual de

Contenidos Universales Argentino or BACUA, inSpanish) thankstothefactthatnewproductioncompaniesfromdifferentlocationsofthecountrymanagedtogetfundingtoproduceprogramsintheTDA.Severalof suchprogramswerebroadcast in theprime timebyTelevisiónPública.Thus,programsfromproductioncompaniesoftheinteriorofthecountrywereseenforthefirsttimeatthena-tionwidelevel.Inaddition,thecalltoindependentproductioncom-panies for the contestofminiseries andunitaries tobe shownbyprivatenetworkswasrepeated.

1.6. Public TVWithintheframeworkofthepublicpoliciesdefinedbytheAu-

diovisualCommunicationServicesLaw,thestate-ownedtelevisionsystemacquiresanactiverolethatmustcover33%oftheaudiovi-sualrangeavailablethroughnational,provincial,municipaloruni-versitynetworks.Since2008,thenetworksthatareunderthechargeof theArgentine andprovincialGovernments are gathered in theFederalCouncilofArgentineBroadcastTelevision(Consejo Fed-

eral de Televisión Pública),whichcomprisestwelvelocalnetworksandonenetworkwithnationwidecoverage.Inturn,since2006,theArgentineAudiovisualUniversityNetwork (Red Nacional Audio-

visual Universitaria) was created, which gathers the productioncentersfromnationaluniversitiestakingpartinseveralmannersinthedevelopmentofaudiovisualprojects.Withinthisgroupofinitia-tives, thecentralportion is theoneoccupiedbyRTASE,which ismanagedbytheArgentineStateandcoverstheentirenationalterri-tory.AlongwiththeTelevisiónPúblicanetwork,BroadcastDigital

102 | Obitel 2013

Televisionnetworksaredeveloped,insomecasesavailableinpre-pay television:Encuentro (educational),PakaPaka (forchildren),INCAATV(diffusionofcinema),Tecnópolis(scientificdiffusion)andDeportv(sportstransmissions).

Inthefieldoffictionproduction,thepublicsystemmaintainstheBACUA, inwhichprogramsfundedbytheINCAAareofferedthroughseveralpromotionways.Tenof themwerepremieredbyTelevisiónPúblicain2012.

1.7. Pay TVAccordingtothedatafromtheLatinAmericanMultichannel

AdvertisingCouncil4,paytelevisionin2012covers76%ofArgen-tinehomes;61%ofthecoverageisachievedwithdigitaltechnologyand39%withanalogicaltechnology.Themarketishighlyconcen-trated.Onlyoneoperator,CablevisiónfromClaríngroup,controls45%of themarket5 andhas237 licenses throughout the country.Thissituationcontradictsthepresentregulationthatadmitsonly24licenses per license holder and a share in 35%of the offer.ThismatterisoneofthemainaxesaroundwhichthedisputebetweentheArgentineGovernmentandthebusinessgrouprevolves.Asfarasfictionproductionisconcerned,nationalcablenetworksdonotusu-allyincludepremiereswithintheirprogrammingschedule.In2012onlyone fictionwasproduced forcable television.CosmopolitanTVbroadcastbetweenSeptemberandDecembertheminiseries30

días juntos,aromanticcomedystarredbyNicolásPaulsandMaríaEugeniaSuárezforProductoraGeneralownedbyDiegoVilla.

4Initsreportavailableathttp://www.lamac.org/argentina/publicaciones/investigaciones/informe-de-tv-paga-argentina-2013. 5AccordingtotheFederalAdministrationofAudiovisualCommunicationServices,tak-ingintoaccountthepopulationdensity,thecablenetworksownedbyClaríngroupcover58.1%ofthepaytelevisionmarket.


1.8. Trends in Information and Communication Technologies (ICTs - internet, cell phones, digital TV, VoD, etc.)

In 2012Argentina exceeded 30million Internet users underdifferent connection modalities. According to data from InternetWorldStats6, in June201268%of theArgentinepopulationhadaccesstotheInformationandCommunicationTechnologies(ICTs).Onthebasisofofficialestimates,itisconsideredthatthispropor-tionreached75%bytheendoftheyear.Thereare40.1milliontele-phonelines,outofwhich12%areequipmentswithInternetconnec-tion.Itisestimatedthatthebasisofcomputersinuseis15.5million.Despitetheremarkablemarketenlargement,nofictionproductionfor that type of productswas consolidated yet.During 2012, themaininnovationsinthatregardwerecenteredintheconnectionpos-sibilityofTDAnetworkstotelephoneservicesandtheproductionofafifteen-chapterwebseries:Vera Blum.TeleféandTerraNetworklaunchedthisstorywithseven-minuteepisodesthattellthestoryofanArgentinerockbandofthe1980s.

2. Yearly analysis: premiere of national and Ibero-American fic-tion

Table1.Premierefictionsin2012perchannelandcountry

6Availableathttp://www.internetworldstats.com/stats2.htm#americas.

NATIONAL TITLES IN PREMIER –34

Telefé – 9 national titles1.Dulce amor(telenovela)2.El Donante(miniseries)3.El hombre de tu vida(miniseries)4.Graduados(comedy)5.La Dueña(telenovela)6.La Pelu*(comedy)7.Mi amor, Mi amor(comedy)8. Mi problema con las mujeres (miniseries)9. Supertorpe (comedy)

IMPORTED TITLES IN PREMIER – 12

Telefé – 2 imported titles1.El fantasma de Elena (telenovela–USA)

Canal 9 – 8 imported titles2. Amorcito corazón(telenovela–Mexico)3. Dónde está Elisa(telenovela–USA)4. Dos hogares (telenovela–Mexico)5. Eva Luna(telenovela–USA–Venezuela)

104 | Obitel 2013

Source:Obitel-Argentina

*La Peluisalivefictionthatcommentsondailynews.

El 13 – 7 national titles10.Condicionados(series)11. Herederos de una venganza (telenovela)12. Lobo (telenovela)13.Los únicos(comedy)14.Sos mi hombre(telenovela)15.Tiempos compulsivos (series)16. Violetta (comedy)

Canal 9 – 7 national titles17.23 pares (miniseries)18. Babylon(miniseries)19. Decisiones de vida (unitary)20.Los Sónicos(miniseries)21.Amores de historia(unitary)22. TV x la inclusión (unitary)23.Proyecto Aluvión (unitary)

Televisión Pública – 11 national titles

24.Perfidia (miniseries)25.El Paraíso(miniseries)26.En Terapia(series)27.Entre Horas(miniseries)28.Los pibes del puente(miniseries)29.Volver a nacer(miniseries)30.La defensora(miniseries)31.Muñecos del destino(miniseries)32.Memorias de una muchacha peronista (miniseries)33.La viuda de Rafael(miniseries)34.Rutas misteriosas(miniseries)

6. Los herederos del monte(telenovela–Colombia)7. Un refugio para el amor(telenovela–Mexico)8. La que no podía amar(telenovela–Mexico)9. Mañana es para siempre(telenovela–Mexico)

Televisión Pública – 3 imported titles10.Los misterios de Laura (series–Spain)11.Los hombres de paco (series–Spain)12.Amar en tiempos revueltos (telenovela–Spain)

TITLES IN RERUN – 12

Telefé1.Alma Pirata(telenovela)2.Casados con hijos(comedy)3. Floricienta(comedy)4. Los Simuladores(series)

Canal 95. María la del barrio (telenovela-Mexico)

6. María Mercedes (telenovela-Mexico)

7. Marimar (telenovela-Mexico)8. Rosalinda (telenovela-Mexico)9. Yo soy Betty, la fea (comedy-Colombia)

América 210.Mitos crónicas del amor descartable (series)

11.Maltratadas(unitary)12.Todas a mí(comedy)

TOTAL OF TITLES BROADCAST: 58


Comparedto2011,Argentinepremierefictionincreasedaround50%(itgoesfrom22titlesto34titles).Nevertheless,thequantityofhoursonscreenhasbeensomewhatlowerthanthepreviousyear.IncontrasttowhathappenswithArgentinefiction,Ibero-Americanfictiondecreasesaround50%(itdropsfrom23titlesto12titles).

Table2.PremierefictionofIbero-Americanoriginin2013

Country Titles % Chapters/Episodes % Hours %

NATIONAL (total) 34 72.3 1260 59.5 965:30 58.8

IBERO-AMERICAN (total) 12 27.7 855* 40.5 677:25* 41.2

ARGENTINA 34 72.3 1260 59.5 965:30 58.8

Brazil 0 0.0 0 0.0 00:00 0.0

Chile 0 0.0 0 0.0 00:00 0.0

Colombia 1 2.1 42 2.0 23:00 1.4

Ecuador 0 0.0 0 0.0 00:00 0.0

Spain 3 6.4 122 5.8 99:05 6.0

USA (Hispanic production) 3 6.4 125 6.0 99:00 6.0

Mexico 5 10.6 500 23.6 404:10 24.6

Peru 0 0.0 0 0.0 00:00 0.0

Portugal 0 0.0 0 0.0 00:00 0.0

Uruguay 0 0.0 0 0.0 00:00 0.0

Venezuela 1 2.1 66 3.1 52:05 3.2

Latin American (Obitel) 46 100 2,115 100 1,642:55 100.0

Latin American (not Obitel) 0 0 0 0 0 0

Others (productions and co-produc.of other Latin Am./Ibero-Am. countries)

0 0 0 0 0 0

TOTAL 46 100 2,115 100 1,642:55 100


*OnlythetotalnumberofIbero-Americantitles,chapters/episodesandfictionhoursarestated,countingoncepertitleinthetotalamounts,whereasinthepartialamountstheyarecountedrepeatingquantitiesforco-productionsaccordingtothemethodologicaldecisionofcountingtherecordofone and one.

106 | Obitel 2013

Eventhoughthetotalamountoftitlesofferedexceedsthetitlespremieredin2011,thetotalamountofhoursassignedtofictioncon-tinuestodrop.Theremaybetworeasonsforthat.Ontheonehand,the quick adoptionof theminiseries format –stimulated from thepoliciesofpromotionofstateproduction–,whichsupposesalowerquantity of transmissions for a single title and is the reasonwhyfiction premieres take placemore frequently, and thereforemoretitlesarepresented,buttheydonotcompensatetheprogrammingoffictionswithformatssuchascomedyortelenovela,whichsupposealongduration.Ontheotherhand,broadcastswithshorterchaptersappear,whichreinstatethehalf-hourbroadcasts.Thisway,agen-eralreductionofthespacesassignedtofictionintheprogrammingschedulesisobserved,whichareconcentratedintheprimetimeslot.


Table3.C

hapters/episodesandhourspertimeslots

Tim

e sl

otN

atio

nal

Iber

o-A

mer

ican

Tot

al

C/E

%H

%C/E

%H

%C/E

%H

%

Mor

ning

(06:

00-1

3:00

)*245

19.4

184:20

19.1

424.9

23:00

3.4

287

13.6

207:20

12.6

Aft

erno

on (1

3:00

-21:

00)

00

00

785

91.8

624:30

92.2

785

37.1

624:30

38

Prim

e T

ime

(21:

00-2

4:00

)1,

005

79.8

773:30

80.1

283.3

29:55

4.4

1033

48.8

803:25

48.9

Nig

ht (0

0:00

-6:0

0)10

0.8

07:40

0.8

00

00

100.5

07:40

0.5

TO

TA

L12

6010

0965:30

100

855

100

677:25

100

2,115

100

1,642:55

100

Source:IbopeArgentina-ObitelA

rgentina

Table4.FormatsoftheNationalandIbero-Americanfictions

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

%

Telenovela

514.7

433

34.3

353:20

36.6

1083.3

827

96.7

647:25

95.6

Com

edy

617.6

529

42.0

421:50

43.7

00

00

00

Seri

es3

8.8

866.8

61:15

6.3

216.7

283.3

30:00

4.4

Min

iser

ies

1647.1

176

14.0

99:40

10.3

00

00

00

Telefilm

00

00

00

00

00

00

Uni

tary

411.8

372.9

29:25

3.0

0 0

00

00

Doc

udra

ma

00

00

00

00

00

00

Oth

ers

(soa

p op

era,

etc

.)0

00

00

00

00

00

0

TO

TA

L34

100

1,261

100

965:30

100

1210

0855

100

677:25

100

Source:IbopeArgentina-ObitelA

rgentina

108 | Obitel 2013

Table5.Formatsofthenationalfictionpertimeslots

Formats Mor- ning % After-

noon % Prime Time % Night % Total %

Telenovela 0 0 0 0 5 16.7 0 0 5 14.7

Comedy 2 100 0 0 4 13.3 0 0 6 17.6

Series 0 0 0 0 3 10.0 0 0 3 8.8

Miniseries 0 0 0 0 16 53.3 0 0 16 47.1

Telefilm 0 0 0 0 0 0.0 0 0 0 0.0

Unitary 0 0 0 0 2 6.7 2 100 4 11.8

Docudrama 0 0 0 0 0 0.0 0 0 ‘0 0.0

Others (soap op-era, etc.) 0 0 0 0 0 0.0 0 0 0 0.0

TOTAL 2 0 0 0 30 100 2 100 34 100


Table 6. Fiction time period

Time period Titles %

Present 27 79.4

Period piece 0 0.0

Historical 3 8.8

Other 4 11.8

TOTAL 34 100


In2012thenumberoffictionstakingplaceinmorethanoneperiodof timegrows. In thiswaysomestoriesappearcombiningthepresentwiththerecentpastfromdailylifespaces.Thestoryofyoungsters in theeightiesandnineties, rockmusiciansor thepri-vatelifeofdistinguishedcharactersinthesixtiesandseventiesareportrayedcombiningthepresenttimewithlinkstothatrecentpast.Thenarration“intwostages”makesthestructuremorecomplexandmakes itpossible toquestion therecentpast.Besides,some titlesaddressinghistoricalfacts,suchastheonesrelatedtoPeronism or socially-relevantcasesthathavemadethenews,aremaintained.


Table 7. The 10 most watched titles: origin, format, share

Title

Country of origin of the original idea

or script

Producer Chan-nel

Name of the screenwriter or

author of the original idea

Ra- ting%

Sha- re%

1Gra- duados Argentina

UndergroundContenidos/EndemolArgentina/Telefé

Telefé

OI:SebastiánOrtegaS:ErnestoKorovsky,SilivinaFrejkesandAlejandroQuesada

23.60 33.43

2Dulce amor Argentina

LCAcciónProduccio-nes/Telefé

Telefé

OI:QuiqueEstevanezS:QuiqueEste-vanez,MarceloNacciandLauraBarneix

19.27 29.78

3

He-rederos de una ven-ganza

Argentina Pol-kaEl Trece

OI:AdriánSuarS:LeandroCalderone

19.07 30.17

4El hom-bre de tu vida

Argentina100bares/Telefé

Telefé

OI:JuanJoséCampanellaandMarcelaGuertyS:JuanJoséCampanella,MarcelaGuertyandPamelaRementeria

18.16 24.46

5La dueña Argentina Telefé Telefé

OI:MartínKwellerandNachoVialeS:MarceloCaamaño

18.12 25.83

6

Mi problema con las mujeres

Peru

13 Mares Producciones&VincentEntertain-ment/Telefé

Telefé

OI:FrankPérezGarland,PaulVegaandChris-tianBucckeyS:SebastiánRot-steinandAlbertoRojasAspel

15.98 26.64

7Sos mi hombre Argentina Pol-ka

El Trece

OI:AdriánSuarS:LeonardoCalderone

15.27 21.86

8Mi amor, mi amor

Argentina

ElárbolEndemolArgentina/Telefé

Telefé

OI:PabloEcharriyMartínSeefeldS:MaxHoldo

14.59 22.44

110 | Obitel 2013

9Los únicos Argentina Pol-ka

El Trece

OI:AdriánSuarS:LeonardoCalderoneandMarianoVera

13.21 19.55

10 Lobo Argentina Pol-kaEl Trece

OI:LilyAnnMartin,CeciliaGuertyandPabloJunovicS:LilyAnnMartin,CeciliaGuerty

13.00 22.32

Total of productions: Original scripts: Foreign scripts::

10 90% 10%


Table 8. 10 most watched titles: format, duration, time slots

Title Format Genre

Number ofchap./

ep.(in 2012)

Date of the firstandlast

issue(in 2012) (*)

Time slot

1 Graduados Comedy Comedy 178 12/3-19/12Primetime

2 Dulce amor Telenovela Melodrama 23523/1(contin-uesin2013)

Primetime

3Herederos de una ven-ganza

Telenovela Melodrama 249/1-13/2(startedin2011)

Primetime

4El hombre de tu vida Miniseries

Romanticcomedy

1122/4-5/7Secondseason

Primetime

5 La dueña TelenovelaMelodrama /Investigation

32 18/4-21/11Primetime

6Mi prob-lema con las mujeres

MiniseriesRomanticcomedy

13 10/9-27/11Primetime

7Sos mi hombre Telenovela Melodrama 89

21/8(continuesin2013)

Primetime

8Mi amor, mi amor Comedy

Romanticcomedy

1828/11-28/12(continuesin2013)

Primetime

9 Los únicos ComedyInvestiga-tion/Sciencefiction

5315/2-11/5Secondseason

Primetime

10 Lobo Telenovela Fantastic 53 6/2-16/5Primetime



All the top-ten fictionswereprogrammed in theprime time,which in the case of Argentine fiction ranges from 09:00 pm to00:00 am, after the central news shows. This space concentratesthelargestaudiencenumbersandfictionscompetewitheachotherwithinthistimeslot.

Just like inpreviousyears, thenetworks leading in audienceareTeleféandElTrece.UnlikeElTrece,whichonlyproducesfic-tionwithitscaptiveproductioncompanyPol-ka,Teleféhasastrongassociationwithmultipleproductioncompaniesandspacesforthegenerationof content. In thisway, the themeand style variety ismorerepresentedbyTelefé.

Table 9. Themes of the 10 most watched titles

Titles

PREVAILING THEMES

(UP TO 5 MORE REL-EVANT THEMES)

SOCIAL THEMES(UP TO 5 MORE RELEVANT

THEMES)

1 Graduados Identityproblems,familyrelationships,friendship.

Newfamilies,inter-generationalrelationships,adultpeopleimmatu-rity,nostalgiaofthepast.

2 Dulce amorPassionatelove,familylife,ambition,fightsforpower.

Disputesovercommercialinterests,businesswomen,familybusiness.

3Herederos de una venganza

Betrayals,hierarchystruggles,deceptions,mystery,personalcon-frontations.

Secretsocieties,betrayal,concen-trationofpower,economicandpoliticalcorruption.

4El hombre de tu vida

Misseddates,falsero-mances,everywoman’sidealman.

Middle-ageloneliness,parentingproblems.

5 La dueñaAmbition,familydisputes,adultery,ven-geance.

Familybusiness,questfortheeter-nalyouth,economicandpoliticalcorruption.

6Mi problema con las mu-jeres

Searchforthetruelove,professionalsuccess.

Emotionalimmaturity,psychologi-caltreatment,friendship.

7Sos mi hom-bre

Passionatelove,sacrificefortheothers,struggleforsurvival.

Boxingworld,helptothepeopleinneed,disputeforchildren.

8Mi amor, mi amor

Bigamy,deception,lovehesitancy.

Newgenderroles,socialdiffer-ences.

112 | Obitel 2013

9 Los únicosConfrontationbetweengoodandevil,crossedloves,superpowers.

Pursueofjustice.

10Lobo Lycanthropy,identity

problems,ambition,pas-sionatelove.

Laborconflicts,extortivekidnap-pings,geneticexperiments.


Table10.Audienceprofileofthe10mostwatchedtitles: gender, age, socioeconomic status

Title Chan-

nel

Gender % Age group % Socioeconomic status %

Wo- men Men 4-12 13-

1819-24

35-44 45+ ABC1 C2 C3 D

1Gradua-

dos Telefé 55.4 44.6 17.4 23.7 22.2 21.9 14.8 24.4 24.7 25.8 25.2

2Dulce amor Telefé 55.2 44.8 19.1 23.3 22.1 20.6 15 26.4 23.2 23.7 26.7

3Herede-

rosEl Trece

55.2 44.8 17.8 17.7 21.6 22.9 20.1 12.7 22.3 31.2 33.8

4El hom-bre de tu

vida Telefé 51.5 48.5 14.5 25.9 25.3 19.7 14.6 19.6 27.6 25.4 27.4

5La

dueña Telefé 58.7 41.3 18.6 23.1 21.6 20.9 15.8 24.9 24 26.1 25

6

Mi problema con las mujeres

Telefé 57.5 42.5 17.8 23.1 23.7 22.2 13.2 27.1 23.3 23.7 25.9

7Sos mi hombre

El Trece

54 46 16.8 19.5 16.9 25.7 21.1 19.7 21.9 27.7 30.8

8Mi amor, mi amor Telefé 56.8 43.2 19.3 24.5 22 21 13.1 21.1 22 27.1 29.7

9Los

únicosEl Trece

52.6 47.4 23.1 22.5 18.9 22.7 12.9 16 23 28.2 32.8

10 Lobo El Trece

56.1 43.9 19.3 17.7 19 24.6 19.4 23.4 24.5 23 29.1


The female audience is the one prevailing in fiction propos-als. The titlesmore related to genres traditionally built were theonesmost chosen by the audiences of lower economic resources(HerederosandLobointhetelenovelaspaceandLos únicosinthecomedyspace,withsciencefictionandcomichints).Thejuvenileaudience,inturn,losesgeneralprominenceandfindsinLos únicos


thespaceinwhichtotakeshelter,duetothefactthatithasstronggenres and schematic contents that are suitable for all audiences.Itmaybe thought that thedistancingof these segments from therating is due to new consumptionmodalities in other transmediascreens,whichdonotobeythebroadcastinglogic,buttoanaudio-visualmenu“ondemand”.

Themostwatchedfictionof2012,Graduados,givenitsthemeandtreatment,generatesabalancedaudiencebetweentheageseg-mentsrangingfrom13to44yearsold.

3. Transmedia receptionContinuingwithwhatTeleféproducedas institutionalspaces

foritspreviousfictions,Graduadoshadastrongpresenceandmajorparticipationin themostfrequentedsocialnetworks.Thecomedyhasitsownpagewithintheframeworkoftheinstitutionalwebsite,whichmakesavailableall thechaptersthenetworkhasinaYou-tube channel, and createdTwitter and Facebook accounts,whichremainedactiveaftertheendoftheshow.

Graduados’ Twitter accountThe activityofGraduados inTwitter explodedduring2012,

althoughitcommenceditsactivityin2011.Itservedthepurposeofpromotingtheseries,sharinginterviewstothecastortheproduc-ers,andpromotingthecharacters.ThisaccountiscurrentlyactiveandhighlysupportsTelefé’sfictionprogramming.Ithasmorethan17,000followers.

OnAugust21,2012,Graduadosreached251,319tweets,ac-cordingtothe#SocialTVreportofTribatics.7Asperthestudycon-ductedby@realtimerating,Graduadoswas themost twittedpro-graminSeptember2012,with244,459tweets,beatingShowmatch andLa Voz.TheactivityofGraduadosinTwitterremainsaftertheendoftheshow.

Available at http://blog.tribatics.com/2012/09/06/tribatics-presenta-la-edicion-agosto-de-su-estudio-de-socialtv-para-la-tv-argentina/.

114 | Obitel 2013

ThetransmissionofthelastchapterwasconstantlyanticipatedinTwitter(anditscontentwasreplicatedinFacebook)priortoandduringthetransmission.

Graduados’ Facebook accountThecomedyannounceditspremiereviathesocialnetworks.Its

FacebookaccountwasopenedinJanuary2012.Photos,recordingbackstage, chapters and interactive contestswere published thereforthefans.Thesiteexceededthe700,000followers.Theaccountisstillactive,evenaftertheendoftheseries,asacloselinkbetweenTeleféanditsaudiencewherethenetworkpromotesnewfictions.

As far as theGraduados’Facebook space is concerned, it isworth highlighting that it has 610,438 followers, exceeding the599,852followersreachedinyear2012(figureobtainedthroughastudyconductedbyhttp://www.socialbakers.com).

Among the multiple interchanges present in Facebook, thelinkagemodalitiesthefictionandnon-fictionrecordsundergohavebeengivenpriority.Ontheonehand,theprofilesofthefictionchar-actersareavailable,andontheotherhandtheactorsinteractwiththe comments posted by viewers.Alongwith these unfolded ap-pearancesofcharactersandactors, thefictionspace is filledwithbackstagephotographs, interviews to the actors, testimonies, etc.,particularlyaftertheendoftheshow.

Figure 1. Number of “likes”, comments and “shares” in Facebook

Date Number of comments Number of likes Number of shares

13/12/2012 723 3600 168

14/12/2012 938 9004 618

16/12/2012 419 3994 213

17/12/2012 903 7305 493

18/12/2012 3604 29010 2303

19/12/2012 66748 119526 9503Total of the week 73.335 172.439 13.298

Source:ObitelArgentina


Theinterchangetheseriesproposesisassociatedwithadirectandpersonalquestiontothefollowers:“WhatdidGraduadosmeantoyou?AnswerandbepartofthespecialshowofGraduados”or“Gastónfromthepool!Hesayshi,look”.Thelinkleanstowardsthestorytellingspace,withafocusonaconativefunction.Inadditiontothesefeatures,themajorpartofthecommentsandmaterialsharedbythefollowersisstrictlyrelatedtothenarrationthemes.Althoughthere are comments exceeding the fiction space, these generatelowerinterestinthefollowers.Fromthestandpointofstorytelling,centralityiscenteredintheplotandnotinthefollowersthemselves,asproposedbythesite.

Duringthelastweektheprogramwasaired, itwasobservedthatthenumberofpostsfromtheshowincreased,exceedingthirtypostsonthelastday.Thisway,theamountofcomments,likesandsharedcontentalsoincreased.Afunnytipisthatmanyofthelastday’spostsaresharedwithTwitterandmadeduringthefinalshowanditsrun-up,inthetheateralongwiththecast.Thesepostsgener-atedplentyofonlineactivityinaveryshortperiodoftime.

Table 11. Transmedia proposal: types of interaction and prevailing practices

Fiction Broad-caster Web

Transmedia types of inter-

action

Interaction levels (active,

passive, creative)

Type of prevail-ing practices

Gradua-dos

Telefé

Officialpage

Facebookpage

Twitter

YouTube

Transmediaviewing

spectatorship

Active

CommentInterpretationRemixParodyRecommendationImitationCelebrationCriticismCollectionStorageSharingDebate


Source:ObitelArgentina

116 | Obitel 2013

Themostremarkablecommentsaretheonesreferringtojudg-mentsaboutthemaincharacters’activities.Thisisthewayfollow-ersapproveordisapprovethedecisionsthemaincharactersmake.Oneofthepostsstates“Idon’tthinksheisinlovewithpablo,it’sjustthatsincesheissoinsecure,asshehasbeenherwholelife.itishardforhertogetridofthatpartofherlifeandfacehowgoodandyis”.

Towardstheendofthecomedy,thepostsofGraduadosweremuchmorelikeadirectquestiontotheaudience.Oneoftheques-tionsrepeatedis:“WhatdidGraduadosmeantoyou?”AnswerandbepartofthespecialshowofGraduados”.Herewefindanswersfrom the audience’s biographies: “I felt very identified for livinghighschooltothefullandthosematterskillme”;“Iwentbacktothe80s,mychildhoodhownice,youaregeniuses,I’mgonnamissyou”.

Otherusers leavethank-youcommentstothecomedy:“ValeFaggianothanksvikiIwanttobeapsychiatrist”;“verygoooood……it’sapitythatitends”;“dudeIcrieeeeed,becauseit’sendingxP”;“Iwillmissyou…thebestofnationalrock!!!Thanksforthegoodmsgyouleftaboutschooldiscrimination!!!”.

Besides, due to the fact that the chapters have awide diffu-sionpolicyfortheironlinevisualization,thedelaysinthechapters’availabilitygeneratedclaimsbythefollowers,whofoundinthedif-ferentsitesapossibilityof recoveringepisodes theyhadnotseenoroffollowingthecomedyexclusivelyonline.Thisisrelatedtoadecreaseintheyoungaudience,whichprobablyemigratedtonewscreensinthesearchfortheirownprogramming.

4. Highlights of the yearThe broadening of the fiction offer in 2012 strengthens the

trendsinitiatedin2011onthebasisofhavingputintopracticethepromotionsystemsgeneratedbytheArgentineGovernment.Withinthiscontext,threestrategiesmaybeconsolidated.


Undoubtedly, the most successful strategy was the one ap-proached byTelefé.Not only did it place the fiction programofgreateraudienceoftheyear,Graduados,butalsogeneratedanof-ferbasedonnationalpremieres,appealing toseveral formatsandgenres.Centeredina“familyTV”proposal,itworkswithinratherwidelimits.Someofitsprogramsmaintain,withoutfearofexagger-atingthem,proposalsthatappealtothemelodramaticmatrixforms.Dulce amor andLa dueña sustaintheirsuccessbasedonthisaes-thetics.Dulce amortransferstheafternoontelenovelamodeltotheprimetime;itsstoryisapassionatelovebetweenabusinesswomanandherdriver.La dueñamarksthereturntofictionofMirthaLe-grand,aformercinematographicstarwho,between1968and2011,anchoredAlmorzando con Mirtha Legrand,aTVprogramofinter-viewscenteredinherdivapersonality.InthenarrationofLa dueña,thereisamixbetweenanobsessionforeleganceandeternalyouth,familyfightsandotherparallelsbetweenthecharacterofthepro-tagonistandtheactresswhoincarnatesit.Inthisprogram,thetrendpresentinseveralshowsthatworkswiththeappearanceoffiguresofatelevisionintraandextrafictionworldreachesitstoplevelandendsuparticulatingthestory.

Besides,Teleféproposesacontinuationpolicyofprovenfor-mulae.Itbroadcastsasecondseasonoftheprevious’yearsuccessEl hombre de tu vida, buys a Peruvian format for theminiseriesMi problema con las mujeresandmakesanadaptationofahitoftheninetiesinMi amor, mi amor.Thisaspectoftheprogrammingscheduleistheoneachievinglowersuccess.El hombre de tu vida doesnotobtaintheaudiencelevelsreachedin2011andMi amor,

mi amordoesnotmeettheexpectationsgenerated.InGraduados,

El donante or La Pelu, Telefé seeks to renew the classicmoulds. Graduadosrecoversthefamilycomedygenre,butthroughfamiliesthatdonotrespondtoausualmodel:therolesoftheirmembersareconfusing,parentsdonotknowhowtoofferadvicetotheirchildrenand there are always problems to justify traditional values.Withthisshow,UndergroundContenidosconsolidatesafictionstylethat

118 | Obitel 2013

combinesthehybridizationoftraditionalgenresreadintheformofaparodywithacertainlevelofnarrativecomplexity.El donante is oneoftheprogramsfundedbytheINCAAthattellsthestoryofamanwhousedtodonatesperminhisyouthanduponmaturityhediscovershehas144children.Withminimalpromotionandbroad-cast in a network that puts into competition a project presentingseveralthematicandformalinnovationssuchastheintroductionofanimations, itachievesaudience levels thatalmost triple theonesobtained throughotherexhibitionchannels.Lastbutnot least,La

peluisafictionprogrambroadcastliveintheunusualtimeslotofthenoon.StarredbythetransvestiteFlor de la V,itnarratesafunnystoryinwhichcommentsandcharacterslinkedtothemediapresentareintroduced.

Canal9takesadvantageofthespaceleftavailableandmain-tains itsafternoonprogrammingscheduleon thebasisofproduc-tionsfromTelevisainwhichrerunsofprogramsofovertenyearsaremixedwith premieres repeating the formulae of the old tele-novelasuccesses.Atthesametime,during2012theonlypremieresdevotedtochildrenandadolescents,Supertorpe(Telefé)andViolet-

ta(ElTrece),areshiftedtothemorningslot.Thischangeimpliesatransformationoftheaudienceprofile,whichbeginstoconcentrateinchildren.

During2012,ElTreceanditsproductioncompanyPol-kare-peataproposal,whichhasbeensuccessfulsofar,thatcombinestheuseofclassicgenreswithanaestheticsoflocalcustomsandman-ners.However,thenewproductsarefarfrommeetingtheexpecta-tionsgeneratednotonlyasfarasaestheticsisconcerned,butalsointheaudiencelevelsexpected.Thisledtotheinterruptionofsomeprogramsaheadoftheinitialschedule.Theprimetimetelenovelassought originality, going back to the boxingworld, as inSos mi

hombre,orrehearsingrelationshipswiththeworldoffantasy,asinLobo.Notwithstandingallthis,theadoptionofamanner-likestylereducestheattractivesideoftheoffers.Thesamehappenswiththesecond seasonof adventures ofLos únicos and the seriesCondi-


cionados, about thepornworld,andTiempos compulsivos,whichapproachestheuniverseofpsychiatricproblems.Thetwocasesim-plyingahigherrisk(i.e.,LoboandCondicionados)weretheonescancelled.

WithinthecontextoftheArgentinetelevisionfictionsofyear2012,thespaceinwhichmoreinnovationswereperceivedintermsof format –duration variety and quantity of episodes–, styles andgenresistheonethatreceivesGovernmentfundingandissustainedthroughcallstocontests.InthesecondeditionofthePrimeTimeContest,theINCAAsupportedproductioncompaniesalreadyestab-lishedandprogramswerebroadcastbyCanal9andTelefé.Thanksto the establishmentof a fund forTDA,TelevisiónPública airedprogramsof newproduction companies, several ofwhich are lo-cated in the interior of the country.Thisway, innovations in thetechnical and formal levelswere generated, alongwith a greaterthemerange8 (theTucumánproductionMuñecos del destino,Per-

fidia ¿Cuáles tu límite?,Ruta misteriosa or La viuda de Rafael).Certainstylesareconsolidated,suchastheonedefinedbyGastónPortalinLos sónicos,whichwascontinuedduring2012byBaby-

lon,astorythatcombinesthecomicaestheticswithadetectivestorypresentedasacomedy.

TheStatepromotionsustainstherenewaloffictionsinacon-textinwhichoneofthemainnetworks,ElTrece,closesthespacetoinnovationsaswellastonewproductioncompaniesandtheothermain network, Telefé, introduces successful innovations throughthealliancewithestablishedcompanies,suchasUnderground,En-demolorLC.Consequently,notonlydoestheStatewidenthespacefornewproductioncompanies–it fundedfifteenof thosecompa-nies–,butalsoopensawayforinnovation,whichisharderforthenetworkssubmergedinthedisputefortheaudience.

8Thenewproposalsdelimittheplaceofcertaindidacticismthatcharacterized,in2011,theselectionofprograms,especiallyinwhatisrelatedtoacertainideaofwhatis“politi-callycorrect”.In2012,theunitaryTelevisión por la inclusión,theonebettermadeandwiththehighest impactintheaudience, triumphedinthecontestandwontwoEmmyawardsfortheperformancesofCristinaBanegasandDaríoGrandinetti.

120 | Obitel 2013

5. Topic of the year: social memory and television fictionOvermore than sixtyyears, theArgentine television records

anon-continuouspresenceofnarrativeprograms that recover thepast,inrelationtothereconstructionofdifferentkindsofhistoricalfactsaswellasinthesettingoffictionstoriesindistanthistoricalperiods.Inrecenttimesthereisanexpansionofthistypeofworkswhichparticipateintheconstructionofsocialmemoryand,atthesametime,qualitative transformationsareobserved in theway inwhichtelevisionrecallspastevents.

Forthepurposeofdescribingtheformsinwhichsocialmemo-riesareshowninArgentinetelevision,themechanismusedtorecallaspectsof thepast in fiction televisionprogramsmaybeadoptedasorganizationalcriterion.Inthissense,afirstdistinctionmaybemade between those programs that are sustained on thememory

generated by the communication mediaandthosethatarefoundedonanideaofthepastthatgoesbeyondthemediaframeworkandfindssupportinthe aesthetic, political or historical discourses.

Within the first group, in turn, different types of approacharedistinguished.The firstway inwhichArgentine fictionswereconnectedwith this formofmediamemorywas appealing to therepetitionofgenericmouldscomingfromthepopularculture.Thefollowing titlesmaybecitedasexamplesof this strategy:Yo soy

porteño (Canal13,1962to1966and1976to1982)whichrecoverscharactersandsituationsofthetheaterinterludeslocatedinamythi-calenvironment,theconventillo(Argentina’soldtenementhouse),withoutworryingtoomuchfortimeframeprecisions.TelenovelassuchasMemorias del tiempo lindo(Canal9,1966)resorttoasimi-lar modus operandi:setatthebeginningofthe20thcenturyinBue-nosAires,itrebuildstheperiodthroughtheconventionsspreadbythetangomelodramasoftheArgentineindustrialcinema.Anothermodalityofthesocialmemoryisexpressedthroughtherecoveryofmemorablecasesfromtheinformationmedia.Withinthisperspec-tive,thereareanumberofunitaries:Cosa juzgada(Canal11,1969to 1971), Sin condena (Canal 9, 1995 to 1996),Botines (Pol-ka,


2005)or the first seasonofMujeres asesinas (Pol-ka,2005).Thestories toldwere set in a recent past inwhich detective episodesserveasabasisforthedevelopmentofnarrationsappearingfilteredbydifferentgenericconventionssuchastheonesfoundindetectivestories or in suspense.Within this perspective, butwith a formatswitch, the telenovela Vidas Robadas (Telefé Contenidos, 2008)rebuildsacaseofpeopletraffickinganddisappearanceofpersonswithstrongnationwideimpact.

Evenwithintheframeworkofmedia memories,thetypeofpro-gramming schedule inwhich television reminds itself takes up aremarkableplace,especiallyoverthelastyears.9Withinthisscope,programssuchastheminiseriesMitos, crónicas de amor descart-

able(Rosstoc,2009)maybepointedout,inwhichthemainchar-acter,duetoafailedloveaffair,isobsessedwithhisteenagesexualfantasiesandgetsintouchwithsomeofthemostfamousTVfiguresofthe1980s.InthetwoseasonsoftheminiseriesTodos contra Juan (Rosstoc and Farfan Producciones, 2008 and 2009) the story re-volvesaroundthemisfortunesofJuanPeruggia,themaincharacterofaprogramoftheninetiesforchildrenandteenagers,interpretedandproducedbyGastónPauls(who,inturn,isaformermainchar-acterofaprogramofthesametypeandperiod).Theuseofthemaincharacter’sknownbiographicalfeaturesasakey–whoiseasilyrec-ognizable–isalsooneofthecoremattersofthetelenovela.InthecaseofLa dueña(EndemolArgentinaandTeleféContenidos,2012)theprotagonistisMirthaLegrand,anArgentinecinemaandtelevi-sionstar.There, thebiographyofSofíaPonte, interpretedbyLe-grand,hasmanypointsofcoincidencewiththeonesoftheactress,

9Asdataaccountingfortherelevanceoftheconstructionofatelevisionmemoryaboutitself,itisworthconsideringtheimportancethemetatelevision(Carlón,2004)haswithinthecontemporarytelevisioncontext,thepermanentrecallsofitsmostremarkablecharac-ters’careers,andtheimportancegiventothemaintenanceandcirculationoftheprogram-mingschedulealreadyairedinnetworkssuchasVolver–incableTVsince1994–whichareorganizedinamannerthatexceedsthemerererunofpastsuccesses(Kirchheimer,2003).

122 | Obitel 2013

whicharehighlightedwhenthefictioncharacterusesmanyphrasesthatbecamepopularduringtheprotagonist’sTVanchorcareer.

Over the last few years, on top of the intertextual referenceexposed, another distinctive feature in the setting of correlationsbetween the present and the past may be pointed out. A certainconsolidationof a typeof story is found inwhich–contrary to astrongtrendoftheTVprosefiction–thestoryisdevelopedintwotimeperiodsinparallel.Thisisthecaseofprogramsofdissimilargenresandstyles,suchthecomediesUn año para recordar (Under-groundContenidosandTeleféContenidos,2011)andGraduados

(UndergroundContenidos,EndemolArgentinaandTeleféConteni-dos,2012);theminiseriesappealingtocomedy,suchasLos sónicos

(GPproducciones,2011and2012)andBabylon (GPproducciones,2012);ortheonesthatfallwithinthesuspensegenre,suchasPer-

fidia¿Cuálestulímite?(Cisnefilms–BACUA,2012),ormakeahistoricalreconstruction,asEl pacto (Tostaki Oruga Films,2012).Inthereferred-tocases,apartfromthebreak-upofthenarration’schronologicallinearity,thevaluationoftherecentpastisrevealedasasourceofpersonalorgroupidentificationandthetrend–sharedbyotherdisplaysoftheaudiovisuallanguages–tomaketheactofthe recalland the recalled factsvisible in thedevelopmentof thestory.10

Beyondthevaliditygivenbymediamemorytothereconstruc-tionof thepast,Argentine televisionmaintainsversions that lookfor their authenticity following theguidelinesofdiscursive seriesexceeding the framework ofmassmedia.Within this scope, twotypesofproposalsmaybeidentified:fictionssetinatimedifferentfromproductionandfictionswithaprecise time anchoringrelatedtoidentifiablehistoricalfacts.

10Thedevelopmentof stories thatworkout thepresentand thepast inparallel isnotexclusiveofthereminiscentprograms.DuringthefourthseasonofCasi ángeles(CrisMorenaGroup,2007to2010)theactionfluctuatesbetweenthepresentandanearfuture.Aprea,GandKirchheimer,M.(2011).


Periodpieceprogramshaveadoubleorigin.Ontheonehand,itisatrendshownduringthefirstthreedecadesofArgentinetele-visionwhich consists in the adaptation of famous literaryworks–especially romanticand realisticnovels–whosedramatization issetintheperiodwhentheyhavebeenpublished.ThemostvaluedexampleistheseriesLas grandes novelas (Canal7,1969to1971)directedbySergioRenán.Ontheotherhand,thetrendfinallypre-vailingisassociatedwiththeuseofperiodreconstructions,whichgivestheshareofexoticismrequiredinthenarrationoftelenovelas,thusfollowingafeatureof themelodramatic tradition.Alongthisline,itispossibletohighlightmilestonessuchasLa extraña dama (Canal9Libertad,1989),setatthebeginningofthe20thcenturyinArgentinaand Italy,orMás allá del horizonte (Canal9Libertad,1994),whichtakesplaceduringthesecondhalfofthe19thcenturyatbothsidesoftheborderbetweenaboriginalcommunitiesandtheArgentineState.Inlinewithanewboomperiodoffictionprogram-mingduringthefirstdecadeofthe21stcentury,greatperiodproduc-tionsappear:Hombres de honor (Pol-ka,2005), set in thecityofBuenosAireswithinamafiaenvironmentduringthe1940s,andPa-

dre Coraje (Pol-ka,2004),whichtakesplaceinthefictitiousvillageofLaCruzatthebeginningofthe1950s.Beyondtheuseofgenericconventions accepting double-personality heroes, secret societies,quasiBiblicalplaguesandmiraculouscures,historicalpersonalitiessuchasJuanandEvaPerón,ErnestoGuevara–beforebecoming“El

Che”–andboxerJoséMaríaGaticaare introduced.Thepresenceofpublic figuresactivelyparticipating inanadventurous story intheborderlinewithfantasyexpressesachangeofperspectiveintherepresentationofhistorical figures rather thananewconstructionmodeofperiodfictions.

In recent years a new type of period reconstruction appears,whichislinkedtoanearerpastintime.Withoneprecedent,there-constructionofthe1980sinCostumbres Argentinas(IdeasdelSur,2003to2004),thenearpastappearsinacomicaltone.Thisway,Los

sónicosshowsamythicaloriginforArgentinerock&rollandBaby-

124 | Obitel 2013

lon,whichisdescribedinacomic-likemanner,recallsthe1970s.Themostimportantsuccessofyear2012,Graduados,posestherootofitsplotinagroupofteenagersfromtheendoftheeighties.Thereconstructionof the recent past has to dowith aspects linked todailylifemorethanwiththerecallofahistoricalfact,characterorperiod.Fromaworldofupheaval,thefashion,dailybehaviorandmusic–especially rock&roll–arepickedup. InGraduados, thistype of reminiscence takes up a central spot in some episodes inwhichstarsfromtheArgentinerockinterpretthemselves.Thisway,adisplacementisobservedfromanexoticpast,whichisfarfromtheproductionmoment,toanotherpast,whichisclosetoandsharedbytheproducersandmostoftheaudience.

Historical reconstructioninArgentinefictiontelevision,eventhough it is present almost from its origin, ismore sporadic and,generally speaking, related to Governmental initiatives. A retro-spective lookon themanners inwhich televisionapproachedhis-toricalfactsmakesitpossibletoaccountforthedifferentwaysinwhichtheArgentineStateandsocietyimplementedtheconstructionofacollectiveidentity.Fromthisperspective,transformationsintheconstructionofanepicgenreareobserved.Inordertounderstandthelogicofthesechanges,thedifferencesbetweentwostoriesmaybepointedout;thesestoriesareBouchard. Un héroe del mar(Canal7,1964),centeredinthefigureofanindependencehero,andLos

gringos(Canal7,1984),centeredinthelifeofthreeimmigrantfam-iliesatthebeginningofthe20thcentury.Thepassagefromavisionlinkedtoanepicgenregovernedbytheschoolsystemtoanotherinwhichprominenceandheroismaretransferredtowardscommonpeopleisobserved.Thisway,thereisapassagefromaportraitofthosewhobuildthepoliticalhistorytoastoryinwhichhistoricalfactsframethelifeofthemaincharacters;thatis,apassagefrommaincharacterstowitnesses.

Since the Bicentennial of the Argentine Republic, in 2010historicalfictionswithstoriescenteredintheinfluenceofhistoriceventsinthelivesofcommonpeopleareencouragedagain.Among


theprogramsproducedwithStatesupport,thisperspectiveappearsinfictionssuchastheminiseriesMemorias de una muchacha per-

onista (AlejandroRobino,OmarQuirogaandProyectoWeb,2012)inwhich,throughthelifeofaradiojournalist,socialandpoliticaltransformationsproducedduringthefirstPeronistgovernmentsareportrayed.InProyecto Aluvión (MCProducciones,2011to2012),episodesaretoldinvertingthesenseofsomeofthetopicsrelatedtoPeronism,misrepresentingPeronistcitizensfromvictimizers tovictims.IntheunitaryAmores con historia (TostakiOrugaFilms,2012)moments that are key to theArgentine history are revivedthroughlovestoriesaffectingfictionalcharactersorcharactersthathadasecondaryrolewithinpoliticalevents.

Withinthissameperiod,fictionsrecallingaspectsofthelivesoffigureswithastrongincidenceinpubliclifearefocusedonas-pectsmorerelatedtotheirprivatelifethantotheirrecognizedactiv-ity.InEl pacto,theappropriationofthecompanyPapelPrensaistoldthroughthepersonalstoryofthewidowthatlosesthepropertyandthefemalejudgewhoinvestigatesthecase.Thesixchaptersofthe unitaryLo que el tiempo nos dejó (UndergroundContenidos,EndemolArgentinaandTeleféContenidos,2010)showmomentsoflifeinwhichpoliticalfigures,suchasEvaPerón,areseenfromthe standpoint of common people, celebrities, such as the singerAdaFalcón,arepresentedin theirprivacyandhistoricalepisodesareseen throughwhathappens topeoplewithoutapubliccareer.TheunitaryHistorias clínicas(UndergroundContenidosandGrupoCrónica,2013)addresseshealthproblemsofcelebritiessodissimi-larasEvaPerón,thesingerandactressTitaMerello,thepresidentDomingoFaustinoSarmientoor thewriterHoracioQuiroga.Theclose-uptothepersonalproblemsofpublicfigureserasesthelimitsbetween“celebrities”and“people”.Allofthemseemtobememo-rable.

Within the frameworkofhistorical reconstructions, a specialplaceistakenupbythosewhichrecoverthetraumaticpastlinkedtothelastcivil-militarydictatorship.Thethemeoftheforceddisap-

126 | Obitel 2013

pearanceofpersonsstandsoutwithintheArgentinecinematogra-phy.However, in television–although there isaprecedentdatingfromyear1984,Dar el alma(Canal9)–thistypeofstoriesappearswithstrengthonlyin2004,with thesuccessful telenovela Monte-

cristo(TeleféContenidos).ThetelenovelaisafreeadaptationofthenovelbyAlejandroDumasandincorporatesthesubjectofmisap-propriationofchildrenduringthedictatorshipperiod.ThematterisresumedbytheunitaryawardedanEmmyin2008,Televisón por la

identidad(TeleféContenidosandAbuelasdePlazadeMayo,2007).This program is based upon the impact achieved byMontecristo intheprocessofrecoveryofappropriatedchildren’sidentitiesandformspartofawiderprojectthatincludesactivitiesinotherspacessuch asTeatro por la identidad or Rock por la identidad.Volver

a nacer (Astro Films andAtuel Producciones, 2012) fallswithinthe productions funded by the State and broadcast by TelevisiónPública.Ittellsthestoryoftwotwinsisters,oneofwhichremainsinthehandsofappropriatorsandtheotheroneisgiveninadoptiontoafamily.Inthisway,thetraumaticstoryisshownfromtwoop-posedstandpoints:thedictatorship’sadvocatesandvictims.Gener-allyspeaking,addressingthissubjectacquiressignificancenotonlybecauseoftheimpactitmayhavefromasocialstandpoint,butbe-causeamongthedramaticquestionsthatcharacterizetheArgentinerecentpast,theappropriationofchildrenisdirectlyrelatedtooneofthekeyreasonsofthetelenovelatradition:thelossandrecoveryoftheidentity.

After a summaryof themain variationswhich over timede-votedthemselvestothereconstructionofthepastinArgentinetele-vision,itisworthmentioningsomesignificantdifferencesthatmakeitpossible todescribe thegreat trends in theconstructionmodali-tiesofsocialmemory.Withinthecontextofacomplexprocess,itisworthcharacterizingthefeaturesoftwoimportantmannersofre-constructingthepast.Inafirststage,thedifferenthistoricstagesarepresentedthroughadistantlookthattendstoseparatethemomentofevocationfromtheperiodevoked.Fromthisperspective,therecon-


structionmayactasanornament tostrengthen theconventionsofcertaingenresorconstituteabackdropforthedevelopmentofaplotinwhich theperiodenvironment is sustainedespeciallyby theat-tractionprovidingitwithanexoticismthatgetsawayfromdailylife.Atthesametime,thereisamarkeddifferencebetweenthefictionsappealingtoperiodreconstructionaspartoftheshowlogicandtheonesthat,basedonhistoricalevents,trytosetacollectiveidentitymodelfromaperspectivethattendstoaneducationalstance.

Overthelastfewyears,adifferenttrendisconsolidated.Theperspective changes frombeingglobal anddistant to being closeandnearintime.Therepresentedpastcannolongerbethoughtasaclosedworld.Itisnowaconstructionthatgathersfragmentarylooksandisfocusedonindividualcases.Proximityisbuiltonthebasisoftwomechanisms:ontheoneside,theapproachoverthecharac-tersthattakepartinevocationemphasizesaspectsoftheireverydaylifeand,ontheother,inmanycasesitemphasizesaspectsoftheirprivacy.Thisimpliestheexistenceofatypeofcharacterwhosepsy-chologicaldimensionbecomesmorerelevantthanitssocialmodelcondition.Inthissense,anidenticalstandpointissustainedfortheintroductionofcharacterswhoseactionisdevelopedinthepublicsphere,the“celebrity”,andthosewhoappearas“ordinarypeople”;differenthistoricalcharactersarematchedwithothercharacterscre-atedforfiction.

6. ReferencesAPREA,G.(Comp.)(2011)Filmar la memoria. Losdocumentalesaudio-

visualesylareconstruccióndelpasado,LosPolvorines:UniversidadNacional

deGeneralSarmiento.

APREA,G.YKIRCHHEIMER,M.(2011)“Argentina:Continúalacaída

de la ficción, crece laproducciónnacional”enOrozcoGómez,Guillermoy

VassallodeLopes(coord.),Anuario 2011 del Observatorio de Ficción Iberoa-

mericana,OGloboUniversidad,SanPablo,Brasil.

CARLóN,M.(2004)Sobre lo televisivo. Dispositivos, discursos y suje-

tos,BuenosAires,LaCrujíaEdiciones.

JELIN,E.(2002)Las políticas de la memoria,BuenosAires,SigloXXI.

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KIRCHHEIMER,M.(2003)“Memoriayrecuerdo:lasformasdelpasado

enla televisión”,enRevista Figuraciones 1/2,BuenosAires,AsuntoImpreso,

2003.

LATINAMERICANMULTICHANNELADVERTISINGCOUNCIL–

LAMAC(2013)“InformedeTVPaga–Argentina2013”.http://www.lamac.

org/argentina/publicaciones/investigaciones.

NICOLOSI,A.(2006)“Merchandisingsocialycotidianoenlatelenovela

brasileña.Apuntesteóricossobreeldiálogoentrelaficciónyrealidad”,enRe-

vista Questión,FacultaddePeriodismoyComunicaciónSocial,UNLP.

POLLACK,M.(2006)Memoria, olvido, silencio. La producción social

de identidades, LaPlata,AlMargen.

TRAVERSO,E. (2005)Lepassé,modesd’ emploi.Histoire,mémoire,

politique,París,Lafabrique.

2brAzIl: TelenovelA As medIA evenT

Authors:MariaImmacolataVassallodeLopes,

MariaCristinaPalmaMungioli

Team:ClaudiaFreire,ClariceGreco,LigiaMariaPreziaLemos,

IssaafKarhawi,HelenN.Suzuki

1. Audiovisual context in the countryDuringanotheryearof television,2012wasthestageof two

meaningfulfactsthatwillleaveamarkbothontheindustryandtheBrazilianaudience.OnbroadcastTV,itwasthethunderousnationalphenomenonofthetelenovelaAvenida Brasil,amajormediaevent,aTVfictioncornerstone, inshort,a“narrativeof thenation”.OnpayTV,we saw thegrowthof nationalTVproduction inside aninternationalspacesuchisthesubscriptionTVservices’.Resultofthe“newcablelaw”,thisproductionhasahistoricalopportunitytocreateanewstandardoftelevisionfictioninBrazil.Certainly,thesearethemajorhighlightsin2012.

1.1. Broadcast TV in Brazil InBrazil,wehavesixnationalbroadcastnetworks,fiveprivate

ones–Globo,SBT,Record,Band,andRedeTV!–andapublicone–TVBrasil–.In2012,withtheexceptionoftwoofthem(TVBrasilandRedeTV!),alltheotherproducedandairedtelevisionfiction.

130 | Obitel 2013

Graphic 1. National broadcasting television networks

PRIVATE NETWORKS ( 5 ) PUBLIC NETWORKS ( 1 )

Globo TVBrasil

Record

SBT

Band

RedeTV!

SUM OF NETWORKS = 6

Source:ObitelBrazil

Broadcast TV ratings in 2012 2012wasmarkedbyexperimentationofnewmethodsofview-

ershipmeasurementduetoanenvironmentthathadgreatmobilityandsegmentationoftelevisionaudiences,especiallyofmobileTVinmediasuchascellphonesandInternet1.

Graphic 2. Individual TV audience by network (TL)23

Network Individual rating %

Globo 6.03 40.7

SBT 2.10 14.2

OCN 2.09 14.1

Record 2.06 13.9

Band 0.77 5.2

RedeTV! 0.24 1.6

TVBrasil 0.15 1.0

Other3 1.37 9.3

TOTAL 14.81 100.0

Source:Ibope

1 Ibope measures mobile TV in partnership with Video Research, from Japan, andNielsen,throughmethodsfromtheUnitedStates.2TL(TotalLigados):thesumofviewershipofallTVnetworks.DatafromtheNationalTelevisionPanel(PainelNacionaldeTelevisão,PNT),from7amtomidnight.3 “Other” includesdata fromMTV,RecordNews,otherdevices,and frequencies thatcouldnotbeidentifiedorwerenotregistered.

SBT14%

TV Brasil1%

OCN14%

Other9%

Globo41%Record

14%

Band 5%

Rede TV2%

Brazil – Telenovela as media event | 131

Regardingindividualaudience,Globoisstilltheleadingcom-panywith40.7%ofbroadcastnetworks.SBTcomesinsecond,with14.2%,followedbyRecord,with13.9%.Theclosecompetitionforsecond place shows, for the first time since 2008, SBT ahead ofRecord.Wealsonotice,inthelastfewyears,theincreaseofOCN(otherchannels)viewership,whichincludespayTV.Thesegmentgrew 16%when compared to 2011 and 60% compared to 2009,fragmenting the audience and affecting broadcast TV, which nolongergetsthehighratingsobtainedtenyearsago.

Graphic 3. Individual share by network in 201245

Total television sets (TLE)4

Individual share %

Globo 44.6Record 15.4OCN 14.8SBT 14.7Band 5.6

RedeTV 1.7TVBrasil 1.2Other5 2.0

TOTAL 100.0

Source:Ibope

Amongviewerstunedexclusivelytotelevisionchannels(TLE),Globohas44.7%oftheshare,aslight decreasewhencomparedto2011.InsecondplaceisRecord,with15.4%,alsoasmalldrop.SBTappears in third place,with 14.4%, somewhat stable since 2010.Bandplacedfourth,followedbyRedeTV,whichhadthebiggestdrop,32%whencomparedto2011.TVBrasilcomesinsixth,with1.2%.Globoalsoconfirms itshegemony inprogramming, taking

4 TLE (Total Ligados Especial): the sum of rating of all TV networks and excludesVCR,pay-per-view,videogame,DVD,Internet,CCTV,audiochannels(AM/FMradioprogramming),andcomputermonitor.TLEallowsforthecalculationofnetworksharebasedon“pure”ratingoftelevision.DatafromPNT,from7amtomidnight.Individualuniversein2012:57,936,745.5“Other”includesdataregardingMTV,RecordNews,otherdevices,andfrequenciesthatcouldnotbeidentifiedorwerenotregistered.

Record15%

TV Brasil1%

OCN15%

Outros9%

Globo45%

SBT 15%

Rede TV2%

Band 5%

132 | Obitel 2013

intoconsiderationthatthe47mostviewedshowsof2012belongtothebroadcasting.Thefirstshowfromanotherchannel,in48thplace,istheminiseriesRei Davi,fromRecord6.

As to audience by medium, broadcast TV still leads in thecountry (96%), followed by extensive media and radio. Internetis now fourth (56%), leapfroggingpayTV (40%) andmagazines(36%)7.Withoutadoubt,thegrowingpurchasingpowerofthe“newmiddleclass”isadeterminantfactorforthepenetrationofmedia.BroadcastTVstillleadsthesegment(98%),evenwiththeincreaseofpayTV,games,andDVD.Themediathathadthemostgrowthinpenetrationinthissocioeconomicgroupweredigitalout-of-home8,payTV,andmagazines.

Graphic 4. Genre and hours offer on TV9

Broadcast genres Broadcast hours %Information 12,917:00 25Fiction 10,083:55 19Entertainment 9,296:45 18Religious 4,800:45 9Sports 2,672:05 5Educational 312:45 1Political 107:55 0Other 12,271:35 23TOTAL 52,462:45 100

Source:Ibope

Theinformationandfictiongenreshave, together,respondedfor44%ofprogramming.Fictionrepresented19%ofthetotal,withadropsince2010,whenitwas21%.

6Withroomtospare,Globohasthetop47showsmostwatchedin2012. Portal UOL. 06/11/2012.7DatafromTargetGroupIndex,researchdonebyIbope.8Strategicallyplacedmonitorsthattransmitsegmentedprogramminginplaceslikesu-permarkets,malls,elevators,buses,subway,trains.9 Genres: Entertainment: live studio audience, game show, comedy, musical, realityshow,show,prizes,female,fashionandmakingof;Sports:sportsandsoccer;Fiction:telenovela,series,miniseries,movies,cartoons,childprogramming;Information:docu-mentary,interview,news,reporting;Other: infomercials,rural, tourism,health, lotterydrawing,entrepreneurialspace.

Other23%

Information25%

Fiction19%

Entertain-ment18%

Religious9%

Sports5%

Political0%

Educa-tional1%


1.2. Advertising investment: in TV and fiction Totaladvertisinginvestmentinmediain2012reached94.9bil-

lion reais (about45billionUSdollars), a7%growth from2011.From that total, 54% were directed towards broadcast TV, 10%morethan2011.Newspapersfollowed,with18%ofthetotal,payTV,with8%,andmagazines,with7.2%.ThebiggestgrowthwasthatoftheInternet,with7%(a21%increasefrom2011)10,reflec- tingnewhabitssuchase-commerceandthegrowingengagementofusersonsocialnetworks.

Table 5. Advertising investment by medium in 2012

Medium Investment (R$) %

TV 51.3 54Newspaper 16.8 18PayTV 8 8Magazine 7.2 8Internet 6.5 7Radio 4.2 4UrbanMobile 0.5 1MovieTheater 0.3 0Billboard 0.1 0

TOTAL 94.9 100

Source:Ibope

The segments that received the biggest chunk of advertisingbudgetintelevisionwereretail,responsiblefor25%ofallinvest-ment,followedbypersonalhygieneandbeauty,financialservicesandinsurance,drinks(beer),andservices11.

1.3. Merchandising and social merchandising in fictionProductplacementisstillpresentedinfiction.In2012,asinthe

yearsbefore,themainadvertisingsegmentswerecosmetics,retail,vehicles,food,andfinancialservices.

10EvolutionMonitordata,fromIbope.Valuestakeintoconsiderationthepriceofeachmedia.11Source:IbopeMedia–MonitorEvolution.

4%

54%

18%

7%

8%

8%

TV

Newspaper

PayTV

Magazine

Internet

Radio

UrbanMobile

MovieTheater

Bollboard

1% 0% 0%

134 | Obitel 2013

Weknowthat the insertionof scenes that, inanexplicitandpedagogicalsense,exposesocialproblemsofthecountryisauniquetraitofBraziliantelenovela.Duetothis,in2012,thesocalledsocialmerchandising12,orsocio-educationalactions,wasagaindisplayedon thecountry’sTV.Social approachonGlobo telenovelasdealtwith:childabandonmentandlabor,inAvenida Brasil;culturaldi-versity,illegaladoptionandhumantraffickinginSalve Jorge;work-ing conditions andmaid’s rights inCheias de Charme; historicaleventsfromtheearly20thcenturyandtraditionsoftheblackpopula-tioninLado a Lado;missingchildreninAmor Eterno Amor;childrightandprejudicedue tosexualorientationinAquele Beijo;andinclusionandrightsforpeoplewithdisabilities,bullyingandyouthengagementinsocialactionsinMalhação.Recordhasshownseg-mentsaboutdomesticviolence,Downsyndrome,AIDSprevention,andadoptioninVidas em Jogo;andbullyingandalcoholisminRe-

belde.OnSBT,Corações Feridosdealtwithalcoholism,domesticviolenceanddruguse.

OneexampleofsocialactionthathasreverberatedbeyondfictionhappenedwiththecharactersPenha(TaísAraújo)andLygia(MaluGalli)whowere,respectively,maidandemployerinthetelenovelaCheias de Charme.Theactresseshaveparticipatedona campaignaboutdomesticworkers’rightspromotedbytheUnitedNationsfortheEqualityofGenderandFemaleEmpowermentandtheInterna-tionalWorkers’Organization.Anotherexampleisthethemeofhu-mantraffickinginSalve Jorge,whichmobilizedmediaandsocialnet-workswithdebateonthetopicandinternationalpressrepercussion.

1.4. Communication policies Aswehadforeseen,the“newpayTVlaw”or“newcablelaw”

hasmadeitsimpactondiscussionsregardingtheConditionedAc-cessService(ServiçodeAcessoCondicionado/SeAC)13onbroad-castandtelecommunicationpolicies.Suchrulesarealreadydeeply

12Currentlynamed“socialresponsibilitythemes”byGlobo.13Lawnumber12,485wassanctionedinSeptember2011.


changing the audiovisualmarket throughout the countrywith theentryoftelecommunicationcompaniesasoperatorsandthemanda-toryminimumsofnationalcontentinpaychannels.

Wehavewitnessedthebeginningofanotabletransformationin the Brazilian audiovisual market because, with this new law,paychannelswillhavetoair210minutesofnationalcontentdur-ing prime time by 2015 (half ofwhichmust bemade byBrazil-ianproductioncompanies).Thisprogressiveimplementation14hasalreadysown importantchanges in theaudiovisual field, suchas:increaseinthenumberofnationalindependentproductioncompa-nies15;migrationofprofessionalsfromadvertisingandcinemaintoTV;proportionalityofnationalandindependentchannelsinopera-torpackages16;andtheincreaseofavailableresourcesfortelevisionproductions.Andstillin2012therewerethefirstdebatesregardingtheInternet Civil Framework17,whichintendstoestablishrightsanddutiesofserviceprovidersandusers,aswellasdiscussingnetneutralityissues.

1.5. Public TVIn2012,TVBrasil’sfictionprogramming,theonlypublicnet-

work,wascompletelyfocusedonyoungerdemographics,withthefirstrunofimportedfictionfromcountriesbeyondtheObitelscope.Thechannelstillpresentstechnicaldifficultiesintuningitsanalogsignal, but in itswebsite, throughWebTV, it offers24hourpro-gramming,aswellashavingapresenceonsocialnetworks.Mean-while, TVBrasil-Canal Integración, the only public internationalchannelinBrazil,broadcastsviasatelliteforLatinAmerica,UnitedStates,PortugalandAfrica.

14Mandatoryairingof70minutesofnationalcontentperweekduringprimetimeinthefirstyearofthelaw’senactment(Sept.2012toSept.2013)and140minutesonthesecondyear(Sept.2013toSept.2014).15In2011therewere170independentproductioncompaniesassociated;in2012,therewere265.Data:ABPITV.16 For every three channels offered in a package, at least onemust beBrazilianwithqualifiedspace.17Internetregulationthatisalreadypresentinseveralcountriesthroughouttheworld.

136 | Obitel 2013

1.6. Pay TVPayTVchannelsareundergoinggreatchangesduetothe“new

cablelaw”thatwassanctionedtostimulatenationalproductioninthisenvironmentgreatlyoccupiedbyinternationalchannels.Ifwealsotakeintoconsiderationtheaccessbyconsumersfromthe“newCclass”(anupward-movinglower-middleclass),interestedinpayTVandInternet,onecannoticethat2012wasnotablyproductive.PayTVreached16.2millioncontracts,whichwouldamounttoac-cessby53millionBrazilians18,a28.3%yearlygrowth.Fromthetotalnumberofsubscribers,morethan40%belongtoCclass,andit isworthnoticing that numberwas just 22% in200819.Despitethisandthestrongexpectationofgrowth,IbopedatashowthatthepenetrationofpayTVinBrazilisstillshy,with30%ofallhouse-holds,whencompared tootherLatinAmericancountries suchasArgentinaorColombia,whicharearound81%ofallhouseholds.

Fiction on pay TVDuetothistransformingenvironment,itisinterestingtoshow

somedataregardingnationalTVproductiononpaychannels.Na-tionalchannelsthatproducedfictionforpayTVin2012wereMul-tishow,GNT,Futura,andTBSBrasil20,whiletheinternationalones,FoxandHBO,haveshownco-productions.

18Anateldata.IBGEassumesanaverage3.3peopleperhousehold.19Obiteldata,2009Yearbook.20Brazilianpaychannel,partnerofTVBandeirantes,airingcomedy,moviesandseries.


PREMIERE NATIONAL TITLES – 18 FICTIONS

Multishow – 10 national titles1.Adorávelpsicose(3rdseason)2.Doamor(1stseason)3.Meupassadomecondena(1stseason)4.Malícia(2ndseason)5.Morandosozinho(3rdseason)6.Openbar(1stseason)7.Osbuchas(1stseason)8.Querosersolteira(1stseason)9.OscarFreire,279(1stseason)10.EdMort(1stseason)

GNT – 1 national title11.Sessãodeterapia(1stseason)

Canal Futura - 1 national title12.Famíliaimperial(1stseason)

TBS – 1 national title13.ElmiroMirandaShow(1stseason)

FOX – 1 national title14.AvidadeRafinhaBastos(1stseason)

HBO – 4 national titles15.Destino:SãoPaulo(1stseason)16.Mandrake(3rdseason)17.FDP(1stseason)18.Preamar(1stseason)

LATIN AMERICAN TITLES (Obitel ambit) – 2 FICTIONS

HBOLatino–2fictionshows1.Capadócia–Mexico(3rdseason)2.Prófugos–Chile(1stseason)

TOTALNATIONALTITLES:18TOTALLATINAMERICANTITLES:2

Source:ObitelBrazil

Regardingcontent, therewasapredominanceof thecomedygenreforateen/adultdemographic,withexperimentsinproductionformatsasderivationsfromblogsandwebseriesandacollaborativetelefilm.Alsoofnoteweredramaseries,likeSessão de terapia,aBrazilianversionoftheIsraeliBe Tipul, extremelywellreceivedbythecritics;Destino: São Paulo,whichpresentedthedailylifeoffor-eigncommunitiesinthemetropolis;andFamília imperial, a series geared towards children that revisitsBrazilianhistory.As ratingsgo21,theyareratedfrommostvieweddown,asfollowing:A vida de

Rafinha Bastos;Oscar Freire, 279;Adorável psicose;Meu passado

me condena;andEd Mort.

21Source: IbopeMedia–MediaWorkstation–Paytv.Householduniversedata2012:5,226,185.

138 | Obitel 2013

1.7. ICTs (Internet, mobile, Digital TV, VoD)Brazilregisteredin2012morethan90millionInternetusers22.

Facebookhas35millionpeople23andhasbecomethemostaccessedsocialnetworkinthecountry.OnTwitter,Braziliansaccountforthesecondbiggestaudienceintheworld,with33millionusers24.TheCclasshasbeenresponsiblefor56%ofallaccesstoFacebookand55%onTwitter.Wenoticedtheeverincreasinguseofnetworkstodiscuss television fiction, especially the telenovela. The finale ofAvenida BrasiloccupiedsevenofthefirsttenTrendingTopicsBra-sil25onTwitter,makingitintotheworldwidelist.Datashowsthat73%ofviewersaccesssocialnetworkswhilewatchingTVshows26.Inthisway,thetendencyoftheaudiovisualmarketistoofferpro-gramming on multiple screens: tablet, smartphone, smartTV, orevenregularTVconnectedtoagamingconsole.

On this path areGlobosatwithMuu, andNet ServiçoswithNow,seekingtosatiatethepublic’sdesireforondemandcontent(VoD),inthesamewayasUSA’sNetflix,whichhasBrazilasitsmainmarketinLatinAmerica.Theofferingofamenuwithmov-iesandTVshowsonlineforsubscribersconfirmsaworldwideten-dency,anticipatingproductionspecificallyforthissegment.Globo,BandeirantesandRedeTValsooffertheirradioandTVprogram-minginmobilephonesandtablets.Therefore,inthisenvironmentofmediaconvergenceandtransmediation,weseetelevisioncompa-niesactingwithInternettechnologyand,atthesametime,InternetcompaniesproducinganddistributingTVcontent.

22Brazilreaches94.2millionInternetusers.INFO Online.12/14/2012.23Facebookleadsdisplayofadvertising.Meio e Mensagem.02/08/2012.24BrazilisthesecondcountrywithmostusersonTwitter.Exame.02/02/2012.25AvenidaBrasil’sfinaledominatessocialnetworks.A Tarde.10/20/2012.26 In the world, 62% of people use social networks while watching TV. Teletime.08/28/2012.



BrazilianTVnetworks invested in traditional formats, keep-ing the telenovela as itsmain representative.Other formats, suchasseriesandsoapopera(Louco por elasandMalhação)presentedrenewedseasons,confirmingthechoicefortitlesknownbythepub-lic.Theseasonrenewalalsocovered the telenovelaRebelde(twoseasons),ararefactinBrazilianTV.Twonetworks(BandandTVBrasil)didnotpickanynewfictionshowsandtheabsenceofim-portedpremieretitlesconfirmsthepredominanceof100%nationalproduction.

Table 1: Productions broadcast in 2012 and its respective networks

NATIONAL PREMIERE TITLES – 35

Globo - 23 national titles1. A grande família –12thseason(series)2. A vida da gente (telenovela)3.Amor eterno amor (telenovela)4.Aquele beijo (telenovela)5.As brasileiras (series)6.Avenida Brasil (telenovela)7.Cheias de charme(telenovela)8.Como aproveitar o fim do mundo (miniseries)9.Dercy de verdade (miniseries)10.Doce de mãe(telefilm)11.Fina estampa (telenovela)12.Gabriela (telenovela)13.Guerra dos sexos (telenovela)14.Lado a lado (telenovela)15.Louco por elas –1stseason(series)16.Louco por elas –2ndseason(series)17.Malhação –19thseason(soapopera)18.Malhação –20thseason(soapopera)19.O brado retumbante (series)20.Salve Jorge (telenovela)21.Suburbia (miniseries)

IMPORTED PREMIERE TITLES – 0

RERUN TITLES – 20:SBT1. A usurpadora (telenovela-Mexico)2.Amigas e rivais (telenovela) 3. Canavial de paixões(telenovela)4. Fascinação (telenovela)5.Gotinha de amor (telenovela-Mexico)6.Maria do bairro (telenovela-Mexico)7.Maria Mercedes (telenovela-Mexico)8.Marimar (telenovela- Mexico)9.Marisol (telenovela)10.Pequena travessa (telenovela)11.Pícara sonhadora (telenovela)

Globo12. Da cor do pecado (telenovela)13.Mulheres de areia (telenovela)14.Chocolate com pimenta (telenovela)

Record15. A história de Ester (miniseries)16.Rei Davi (miniseries)

2. Yearlyanalysis:premiereofnationaland Ibero-Americanfiction

140 | Obitel 2013

Source:ObitelBrazil

ThemostinterestinghappeningonBraziliantelevisionfictionin2012mightbe the fact that100%of thepremiere showswerenationalproductionswithnoimportedproduction.Ingeneral,Bra-ziliannetworkshaveinvestedintraditionalfictionalformats,keep-ingthetelenovelaastheirmainrepresentative.Otherformats,likeseries(A Grande Família,Louco por Elas,Tapas & Beijos,Globo)andsoapopera(Malhação,Globo), receivednewseasons.Ararefactoccurredintheairingofasecondseasonofatelenovela(Re-

belde,Record).BandandTVBrasildidnotairfirstrunfiction.Thesum(ofpremiereandreruns)addsupto55fictionshows

in2012,downfrom67thepreviousyear,witha17.9%drop.Astopremierefiction,Globostillleadsthepackwith65.7%,followedbyasignificantmarginbyRecord,with25.7%,andSBTinthird,with8.5%.Astothe20reruns,thenumberhasnotchangedfromthepre-viousyear,15beingnationaland5imported.Allimportedreruns(fromMexicannetworkTelevisa)wereairedonSBT.Thenetworkwasresponsiblefor55%ofreruns,followedbyGloboandRecord,bothwith15%,TVBrasil,with10%,andBand,with5%.

22.Tapas&beijos–2ndseason(series)23.Xingu (miniseries)

Record - 9 National titles 24. Balacobaco (telenovela)25.Fora de controle (series)26.Máscaras (telenovela)27.Milagre dos pássaros (telefilm)28.Rebelde –1stseason(telenovela)29.Rebelde –2ndseason(telenovela)30.Rei Davi (miniseries)31.Tragédia da rua das flores (telefilm)32.Vidas em jogo(telenovela)

SBT - 3 National titles33. Amor e revolução (telenovela)34.Carrossel (telenovela)35.C orações feridos (telenovela)

17.Vidas opostas (telenovela)

TV Brasil18. Brilhante F. C.(miniseries)19.Vida de estagiário (series)

Band20. Julie e os fantasmas (series)

TOTAL AIRED TITLES: 55


Table2.Premierefictionin2012:countriesoforigin

Country Ti-tles %

Chap-ters/

Episodes%

Broad-cast

hours%

NATIONAL (total) 35 100% 2,186 100% 1,503:40 100%

IBERO-AMERICAN (total) 0 - 0 - 0 -

Argentina - - - - - -

BRAZIL 35 100% 2,186 100% 1,503:40 100%

Chile - - - - - -

Colombia - - - - - -

Ecuador - - - - - -

Spain - - - - - -

USA (Hispanic production) - - - - - -

Mexico - - - - - -

Peru - - - - - -

Portugal - - - - - -

Uruguay - - - - - -

Venezuela - - - - - -

Latin American (Obitel scope) - - - - - -

Latin American (Outside Obitel scope) - - - - - -

Other (productions and co-productions from other LatinAmerican/Ibero-American countries)

- - - - - -

TOTAL 35 100% 2,186 100% 1,503:40 100%

Source:ObitelBrazil

Withthetotalofnationalproductionsin2012,thecountryhad35premieres,downfrom41in2011,a14.6%drop.Twonetworks,BandandTVBrasil,hadnopremieres,whileGlobodecreaseditsproduction.Despitethedropintitles,therewasaslightincreaseinrunningtime,about2.7%.

142 | Obitel 2013

Table3.C

hapter/Episodesandbroadcasthoursbytimeslot

Tim

e sl

ot

Nat

iona

l

Ib

ero-

Am

eric

an

Tot

al

C/E

%

H%

C/E

%H

%C/E

%H

%

Mor

ning

(6:0

0-12

:00)

00

00

--

--

00

00

Aft

erno

on (1

2:00

-19:

00)

573

26.2

312:20

20.8

--

--

573

26.2

312:20

20.8

Prim

e tim

e (1

9:00

-22:

00)

1,081

49.5

826:45

55.0

--

--

1,081

49.5

826:45

55.0

Nig

ht (2

2:00

-6:0

0)

532

24.3

364:35

24.2

--

--

532

24.3

364:35

24.2

TO

TA

L21

8610

01,

503:

4010

00

00

02,

186

100

1,50

3:40

100

Source:O

bitelB

razil

Table4.FormatofnationalandIbero-Americanfiction

For

mat

Nat

iona

l Ib

ero-

Am

eric

an

Tit

les

%C/E

%H

%T

itle

s%

C/E

%H

%

Tel

enov

ela

1851.4

1,739

79.6

1,275:55

84.9

--

--

--

Seri

es7

20.0

131

6.0

74:35

4.9

--

--

--

Min

iser

ies

514.3

522.4

39:15

2.6

--

--

--

Telefilm

38.6

30.1

10:40

0.7

--

--

--

Uni

tary

00

00

00

--

--

--

Doc

udra

ma

00

00

00

--

--

--

Oth

er (s

oap

oper

a, e

tc.)

2 5.7

261

11.9

103:15

6.9

--

--

--

TO

TA

L35

100

2,18

610

01,

503:

4010

00

00

0Source:O

bitelB

razil


Nationalprime timewastheleaderwhencomparedtootherslots,concentrating49.5%ofchapters/episodesand55%ofbroad-casthoursin2012.Duringtheafternoon slot,valuesdidnotchangeinfictionproductionwhencomparedto2011.Inthenight slottherewas a drop in almost 10% in hours due to the decrease in seriesusuallybroadcastatthattime.In2012therewasnoairingforIbero-Americantitles.

Onceagain,themostprominentformatisthetelenovela with18titles,fourmorethanin2011.TheincreaseisduetothefactthatSBTandRecordproducedanextratwotelenovelasthanusual.Glo-bokeptthe10telenovelasbroadcastasin2011,representingmorethan55%ofthetotalofshowsinthatformat.Theincreaseoftitlesdidn’tinfluencethetotalofhours(withanextra50hours).Thisisdue to the twoseasonsofRebelde,whichchanges thenumberoftitles,butnothours,andduetotheshorterdurationofchaptersandtelenovelasonSBTandRecord.

Thetotalamountofserieshadamajordecreaseoffiveshowswhencomparedtothe13titlesofthepreviousyear.In2011,Glo-boproduced11series,whileitonlymadesixin2012.Miniseries,on the other hand,were basically stable; five in 2012 and sevenin2011.Thetelefilmandotherformatsmaintainedthreeandtwotitles,respectively.Therewerenounitaries or docudramas.

Table5.Formatofnationalfictionbytimeslot

Format Mor- ning % After-

noon % Prime time % Night % To-

tal %

Telenovela - - 3 60.0 10 100 5 25.0 18 51.5

Series - - - - - - 7 35.0 6 17.1

Miniseries - - - - - - 5 14.3 6 17.1

Telefilm - - - - - - 3 15.0 3 8.6

Unitary - - - - - - - - - -

Docudrama - - - - - - - - - -

Other (soap opera, etc.) - - 2 40.0 - - - - 2 5.7

TOTAL 0 0 5 100 10 100 20 100 35 100

Source:ObitelBrazil

144 | Obitel 2013

Telenovelashavedominatedtheprime time,reaffirmingitselfasthemostimportantformatonBrazilianTV.Thediversificationofformatsonceagainispresentonthenight slot,withtelenovelas,series,miniseriesandtelefilms.Prime timewashometo10tele-novelas,sixfromGlobo(Aquele beijo, Cheias de charme, Guerra

dos sexos, Fina estampa, Avenida Brasil, and Salve Jorge).RecordairedtwoseasonsofRebelde,and SBT,whichdidnotproducefic-tion in2011,aired two telenovelason this slot (Corações feridos

and Carrossel).Thenight slotconcentratedthebiggestnumberofnationalfic-

tion,consolidatingthesametendencysince2010,theslidingprimetime into later hours. The slot presents the biggest concentrationofseriesandminiseries.In2012,sevenserieswereaired,sixfromGlobo(A Grande Família, As Brasileiras, Tapas & Beijos, O Brado

Retumbante, andtwoseasonsofLouco por elas)andonefromRe-cord(Fora de controle), aswellasfiveminiseries,fourfromGlobo(Como Aproveitar o Fim do Mundo, Dercy de Verdade, Suburbia,

and Xingu)andonefromRecord(Rei Davi).Stillonthenightslot,ofthe20showsaired,fiveweretelenovelas–onefromGlobo(Ga-

briela),onefromSBT(Amor e revolução),andthreefromRecord(Vidas em jogo,MáscarasandBalacobaco)–andthreeweretele-films–twofromRecord(Milagre dos pássaros andTragédia da rua

das flores)andonefromGlobo(Doce de mãe)–.The afternoon slot,beforeprimetime,wasoccupiedbyGlo-

bowiththreetelenovelas(A vida da gente, Amor eterno amor, andLado a lado)andtwoseasonsoftheteensoapopera Malhação.Themorning slot stillhasnofiction.

Table6.Timeperiodoffictionalprogramming

Time period Titles %Present 29 83

Period 5 14

Historical 1 3Other - -TOTAL 35 100

Source:ObitelBrazil


Since the start of Obitel research in 2006, there has been apredominanceoffictionsetinthepresent.In2012,thetrendwasmaintainedwith83%ofnarratives.Unlike thenotablenumberofhistoricaltitlesfromlastyear(six),in2012therewasonlyone,theminiseriesXingu.Mostfictionsweresetinthepresent or period,thislastcategoryrepresentedbytheminiseriesDercy de Verdade,

O Brado Retumbante, Suburbia, andthetelenovelas Gabriela and

Lado a lado,allfromGlobo.

Table 7. The top ten most watched titles: origin, rating, share

Title

Country of origin

of original idea or plot

Produc-tion

company

Net-work

Scriptwriter or author of the original

idea

Rating Share

1Fina estampa

Brazil Globo GloboAguinaldoSilva

42.12 67.3

2Avenida Brasil

Brazil Globo GloboJoãoEmanu-elCarneiro

41.51 66.5

3Che-ias de charme

Brazil Globo Globo

FilipeMiguezandIzabeldeOliveira

33.92 58.3

4Salve Jorge

Brazil Globo Globo GloriaPerez 32.80 56.4

5Tapas & beijos

Brazil Globo GloboClaudioPaiva

27.83 48.0

6Aquele beijo

Brazil Globo GloboMiguelFalabella

27.49 50.3

7A grande família

Brazil Globo GloboOduvaldo

ViannaFilho27.48 48.4

8Amor eterno amor

Brazil Globo GloboElizabethJhin

26.16 49.6

9Doce de mãe

Brazil Globo Globo

JorgeFurtadoandAnaLuizaAzevedo

25.60 47.4

10Guerra dos sexos

Brazil Globo GloboSilviodeAbreu

24.92 48.2

Total production: 10 Foreign scripts: 0

100% 0%

Source:ObitelBrazil

146 | Obitel 2013

For thesixth runningyear,Globo titlesmakeup the top ten most watched fictions,withnationalproductionsandoriginalplots.Inthefirsttwopositionsarethe9pmtelenovelas,Fina estampa andAvenida Brasil. Alsonotable,inseventhplace,isthelengthoftheseries A Grande Família,airingsince2001,andthefactthatithasbeeninthetoptenofeveryyearresearchedbyObitel.Newauthorsmake the list, like FilipeMiguez and Izabel deOliveira (Cheias

de charme),joiningfamousnames,likeAguinaldoSilvaandJoãoEmanuelCarneiro.Alsoimportantistheaverageratingofthetemmostwatchedfictionshows,up5.4%whencomparedto2011.Theshare,whichindicatesaudiencefidelity,hasstayedstable.

Table 8. Top ten most watched titles:

format, duration, time slot

Title Format Genre

Number ofchap./

ep.(in 2012)

First and last airing (in 2012) (*)

Time slot

1Fina es-tampa

Telenovela Drama 72 01/02to03/24Primetime

2Avenida Brasil

Telenovela Drama 179 03/26to10/20Primetime

3Cheias de charme

TelenovelaRomanticComedy

143 04/16to09/29Primetime

4 Salve Jorge Telenovela Drama 62 10/22(cont.)Primetime

5Tapas & beijos

SeriesRomanticComedy

37 04/03to12/18 Night

6 Aquele beijo TelenovelaRomanticComedy

74 01/02to04/14Primetime

7A grande família

Series Comedy 37 04/05to12/20 Night

8Amor eterno

amorTelenovela Romance 161 03/05to09/08

After-noon

9Doce de

mãeTelefilm Comedy 1 12/27 Night

10Guerra dos

sexosTelenovela

RomanticComedy

80 10/01(cont.)Primetime

Source:ObitelBrazil


Table 8 shows seven telenovelas among the top ten most watched titles in 2012, confirming theBrazilian predilection forlongseriality;twoareseriesandoneisatelefilm,Doce de mãe,aformatthatgracesthetoptenforthefirsttime.

Whenitcomestogenre,onecanobservethestrongpresenceofromanticcomedies,followedcloselybydrama.Amongthero-mantic comedies are three telenovelas and one series; while thethree9pmtelenovelasarefromthedramagenre.Comediesarerep-resentedbyaseriesandatelefilm.Romanceisrepresentedbya6pmtelenovela.

Sixtelenovelasfromthetoptenarefromtheprime time,be-ing the two topmost ones and the fourth place occupied by 9pmtelenovelas.Thenight slothasshowntwoseriesandatelefilmandtheafternoon slotalsopresentedatelenovela.Referringtotogenre,thereisanongoingtraditioninBraziliantelenovela:6pmtelenovelaisaromance;7pmtelenovelaisaromanticcomedy;9pmtelenovelaisadrama.Amongthetoptentherewasanexpressivedropintheaveragenumberofchapters/episodes:64.6against92.1in2011.

Table 9. Themes on the top ten titles in 2012

Titles MAIN THEMES(UP TO FIVE)

SOCIAL THEMES(UP TO FIVE)

1Fina estampa

-Honestyandworkassocialvalues-Inequalityandconfrontationbetweensocialclasses-Secretsofthepast-Childdispute-Extrasensorialperception

-Domesticviolence-Childandteenrights-Incentivestoreadingandwriting-In vitrofertilizationandassistedreproduction-Prejudiceandsexualdiscrimina-tion

2Avenida Brasil

-Marriageofinterestandinfidelity-Revenge,secretsofthepastandidentitychange-Dailylifeoflower-middleclass(Cclass)-Theuniverseofsoccer-Firstlove

-Identityoftheascendinglower-middleclass(Cclass)-Incentivetoreading-Childabandonment

148 | Obitel 2013

3Cheias de charme

-Folksyshowbusiness-Dailylifeofmaids-Maid/employerrelations-Workandfamilyofthecontemporarywoman-UseoftheInternet

-Maidworkers’rights-Graffiticulture-Fatherlyresponsibilityinraisingchildren

4 Salve Jorge

-Interculturality-Organizedcrime-Searchoffamilyroots-Illegaladoption-Familyrelationships

-Humantrafficking-Sexualexploration-SecuringtheMorrodoAlemão-Parentalalienation-Oniomania(compulsiveshop-ping)

5Tapas & beijos

-Friendship-Extramaritalaffairs-Friendshipamongwomenover30

-Suburbanculture

6Aquele beijo

-Identityplottwists-Transsexuality-Socialandracialprejudice-Corruptionandorganizedcrime-Childabandonmentandabuse

-Childandteenrights-Cultureandartdissemination-Formaleducation/literacy-Sexualharassment-Illegalactivitiesandcorruption

7A grande família

-Familyrelationships-Neighbourlyrelationships-Dailylifeoflowerclassfamilies

-Femaleprotagonism-Suburbanculture

8Amor eterno amor

-Pastlives,regression,spirits-Childhoodlove-Searchforasoulmate-Kidnapping-Greedandmoney

-Missingchildren-Spirituality

9Doce de mãe

-Oldage-Family,friendshipandcamaraderie

-Problemsofoldage

10Guerra dos sexos

-Genderrelationsanddisputes-Splittinginheritances-Inequalityandsocialconflict-Ambition

-Genderrelationships-Tobaccocontrol

Source:ObitelBrazil

Mostofthedominatingthemesinthetoptenfictionsof2012re-fertothematrixofmelodramaticgenreasfamilyrelations,revenge,ambition,adultery,identityplottwists,socialdisputes,racial,gen-derandsocialprejudice,childabandonment,andcorruption.How-ever,inthedevelopmentofthesethemesanditsappropriationinthe


Braziliansocialuniverse,wenoticetheappearanceofapproachesthat,ifnotmarkedbytheirinnovation,attheveryleastquestionthestatusquo.Thiscanbeseeninthemessuchas:homosexualityandtranssexuality,childrightsorcorruption,oreventherecognitionofnewsocialactorswiththeascensionofasignificantpartoftheBra-zilianpopulaceknownasthe“Cclass”.Therefinementofthesedis-cussionsandtheirsocialimplicationsgainsstrengthbydealingwithsocialthemesinfictionalplots,especiallyintelenovelas,afactthatcharacterizesthemas“communicativeresource”(Lopes,2009).Bydoingthis,notonlyissueslikewomen,domesticworkers’andchil-drenrightsgainspace,butalsobringtolightnewconsumptionhab-itsandsocialpracticesoflayersofsocietythatwereforgotteninthenationaleconomicenvironment.Thisapproachtakenbytelenovelas(suchasFina Estampa, Cheias de Charme, Avenida Brasil, Salve

Jorge), and also series (A Grande Família, Tapas & Beijos), en-ticesdebatesthatcharacterizethecurrenttransformationofcurrentBrazilian society.Considered a defining element in theBraziliantelenovelanarrative, social themeshavedevelopedalong theplotindifferentcores,allowingittodealwiththesubjectfromseveralperspectives,complementaryandantagonistic,whichconferstothetelenovelatheconditionof“complextelevisionnarrative”(Mittell,2012)sincethe1970s.

Table10.Audienceprofileofthetoptenmostwatchedtitles: gender, age, socioeconomic class

Title Net-

work

Gender % Age % Socioeconomic class %

Fe-male Male 4-

1112- 17

18- 24

25- 34

35- 49 50+ AB C DE

1Fina es-tampa

Globo 62.95 37.05 8.9 8.5 9.7 17.1 23.5 32.1 32.0 52.7 15.3

2Avenida Brasil

Globo 62.23 37.77 8.9 8.5 9.7 17.7 24.0 31.2 33.6 52.3 14.1

3Cheias de charme

Globo 65.66 34.34 9.6 8.8 9.7 16.3 22.9 32.7 31.5 52.7 15.8

4 Salve Jorge Globo 62.20 37.80 8.6 8.8 9.6 17.2 23.9 31.9 33.4 51.7 14.9

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5Tapas & beijos

Globo 62.40 37.60 9.3 9.5 11.4 19.1 24.4 26.2 35.4 51.3 13.2

6Aquele beijo

Globo 65.89 34.11 8.1 7.6 9.2 15.6 23.4 36.1 31.0 52.6 16.4

7A grande família

Globo 61.91 38.09 9.5 9.6 10.5 19.0 24.3 27.1 35.5 51.8 12.6

8Amor eterno amor

Globo 67.11 32.89 7.6 8.2 9.7 14.7 22.6 37.2 31.3 52.0 16.7

9Doce de mãe

Globo 62.93 37.07 8.6 9.2 11.2 16.2 23.7 31.2 36.4 52.2 11.4

10Guerra dos sexos

Globo 64.49 35.51 9.1 8.8 9.4 15.6 22.8 34.3 31.8 51.6 16.6

Source:ObitelBrazil

Thesampleofaudience profile for the top tenmostviewedtitlesshowsthatthefemale audience isstillpredominantintelevi-sionfictionand,despite6pmand7pmtelenovelasattractingtheirattentionmorestrongly,itcanbeobservedthatthereisanincreaseonthepercentageofthemalepubliconthecompositionoftheaudi-enceafter9pm(thetelenovelasAvenida BrasilandSalve JorgeandtheseriesA Grande Família and Tapas & Beijos).ThedatafromA

Grande Famíliacontinuestoshowanincreaseonmaleaudienceformorethanthreeyears.

Abouttheage groups,Cheias de Charme,the7pmtelenovela,hasreachedthesameaudienceasthe9pmone–withmorethan70%oftheover25public–.TheseriesA Grande FamíliaandTapas &

Beijos,despitetheirlatehours,bringmorediversifiedageranges,withanotableyoungerdemographic.Thoseover50preferredtheplotsofthetelenovelasAmor Eterno AmorandAquele Beijo.

Regardingtosocioeconomic level,theCclasswasthepredom-inantaudienceinallfictioninthetopten.SpecialattentionshouldbepaidtoDoce de mãe,atelefilmairedinlateDecember,whichcalledtheattentionoftheABclass,followedbytheseriesA grande

família andTapas & Beijos.


3. Transmedia receptionThe telenovela Avenida Brasil has marked Brazilian televi-

sionhistorywhen it comes to theway it engagedaudienceswithitsprimetimefictionplot,reverberatinginasurprisingwayonthecurrentcontextofspreadingaudiencesandtheconsumptionofmul-tiplatformcontented.Oneofthereflectionsofthissuccesswasthevolumeofcontentgeneratedbyproducersandusersontheshow,propagatedbysocialnetworks,afactthatwasnoticedbytheinter-nationalpress27.The#avenidabrasiland#oioioi(+chapternumber)hashtagswere,duringthelastweekofitsrun,toptrendsonTwitterworldwide.Changestothepresident’sscheduleandtheoverflowofthetelenovela’sthemesonallofGlobo’sprogrammingreinforcesexpectationsbyviralizationof shows,on theeveof theairingofthelastchapteronTV,whicharealsoindicativeofthephenome-non.OntheInternet,twofactorscontributedtotheengagementandtransmediationofthecontentofAvenida Brasil:BraziliancustomsofwatchingTVwhileseekingandgeneratingcontentregardingthescheduleonsocialnetworks,28andthevolumeofcontentgeneratedbytheproducerontheRedeGlobofanpage29andonthetelenovela’sofficialFacebookpage30thathadapproximatelyhalfamillionfans.

27Source: Groundbreaking soap opera grips Brazil.Availableat:http://www.bbc.co.uk/news/world-latin-america-20001198.Accessedon:10/19/2012.28Accordingtothe“SocialTV”researchbyIbope,amongBrazilianInternetusers,43%havethehabitofwatchingTVwhilesurfingtheInternet.Youngadultsbetween20and24arethemostadepttothisbehavior,whileteensbetween15and19aretheonesgener-atingmostTV-themedcontentontheInternet.Telenovelasarethesubjectthatreceivedmostcomments.29Availableat:http://www.facebook.com/RedeGlobo.Accessedon:03/12/2012.30 Available at: www.facebook.com/AvenidaBrasilNovela. Accessed on: 12/15/2012.Morethan2,700postsand4thousandpicturesweremadeavailablebyproducersonthefanpageduringtheairingofAvenida Brasil.

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Table11.Transmediafiction: types of interaction and dominating practices

Chosen title

Net-work Internet page

Types of transmedia interaction

Level of interac-

tivity

Users’ dominating practices

Avenida Brasil

Globo

Officialwebsitetvg.globo.com/novelas/aveni-da-brasil/

Networkinteractivevisualization

Active

InterpretationSharingPlayful

Recommendation

Facebookpagehttp://www.facebook.com/AvenidaBrasil-

Novela

Transmediavisualization

Creative

InterpretationCommentarySharing

RecommendationDiscussionCelebrationPlayful

CollectionCriticismParodyRemix

Twitter@Globo_Av-

Brasil

Transmediavisualization

Creative


RecommendationDiscussionCelebrationCriticismParodyRemix

OioioiBlogInteractiveinrealtimevisualization

Active


Discussion

StoreInteractivevisualization

ActiveConsumption

RecommendationOutofHome

MediaVisualization Passive

Interpretationinbusesandsubway

Source:ObitelBrazil

Virals31 intheformatofphoto-messagesplacedonFacebookwere appropriated anddisseminated by users on social networks.

31Source:NovelanaInternet:relembrealguns“virais”deAvenida Brasil.Portal Terra.10/09/2012. http://diversao.terra.com.br/tv/novelas/avenida-brasil/novela-na-internet-relembre-alguns-virais-de-avenida-brasil,ab09c1851366a310VgnCLD200000bbcceb0aRCRD.html?vgnextfmt=fmtExpandedPics.


Another importantpoint referred to appsdevelopedbyproducersthatgeneratedahugevolumeofappropriation:themostfamousonewas“CongeleseuAvatar”32,whichallowedfanstofreezephotosontheirprofile.

The telenovela’sofficialwebsiteoffered thenationaland in-ternational soundtracks and theOioioiBlogbroughtupdatedplotpointsasanimatedGIFs,allowingaccesstoscenesandcommentar-ies.GamesandcharacterrecipesfromNina,afictionalcharacter,weresharedwith thepublic through theofficialwebsite.Avenida

Brasilwastransformedinthewebseries Novela Brasil withalmost2millionviewsonYouTubeandlateradaptedintoaplaywiththesamename33.ThetelenovelawasalsothethemeofSãoClementecarnivalsambaschoolinRiodeJaneiroin2013.Oneshouldnotethemanytransmediaoperationsthatthetelenovelausedtoengageproducers,fans,actors,andculturalagents.

EmpiricalresearchconductedonYouTubeduringthelastweekofairingoftheshow(10/15/12to10/20/12)revealed37publishedvideosby23users.Thesevideoshad1,254,011views,5,927likesand441dislikes.Asumof2,082commentswereposted.Apostedvideo of the show’s last episode (ÚltimoCapítulo daTelenovela[Avenida Brasil]34) wasthemostviewedoftheweek,beforebeingremovedduetocopyrightclaims.However,creativeYouTubeap-propriationshappenedthroughfanworkintransposingthecharac-ter’sstoriesintoRio’sfunkmusic.

AccordingtoLaignier(2012),Rio’sfunkischaracterizedbythemusicalappropriationofpopularcharacterthatincludeselementsfortheunderstandingofcertainurbancontemporarycontexts.Despitethat,theseappropriationsareseveraltimesseenfromafaranddis-criminatedassuperficial.Theappropriationsofstoriesofcharacters

32Source:http://tvg.globo.com/novelas/avenida-brasil/Fique-por-dentro/noticia/2012/08/me-congela-transforme-suas-fotos-com-o-efeito-do-final-de-avenida-brasil.html. Ac-cessedon:08/22/2012.33Source:http://televisao.uol.com.br/noticias/redacao/2012/09/14/aprovada-pelo-elenco-de-avenida-brasil-parodia-da-novela-vira-peca-de-teatro.htmAccessedon:14/09/2012.34 http://youtu.be/kHZvj4KFAPQ.

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inAvenida Brasilintofunkhasbroughtupdiscussionsaboutbetray-al,polygamy,beautystandardsoftheBrazilianwoman,andworkingconditionsofdomesticworkers inDança do Amendoim35, starringthecharacterZezé,whichworkedinTufãoandCarminha’shouse.ThecharactersNinaandCarminhaalsoreceivedthefunk Me Serve

Vadia, Me Serve36andFunk da Carminha37,whichdealtwithven-geanceamongprotagonists.Othercharactersalsoreceivedhomagesthroughfunk,amongthemareTufão,Suélen,Ágata,andCadinho.

4. Highlights of the year“ThereneverwasatelenovelalikeAvenidaBrasil.”38

Sinceitspremiere,Avenida Brasil (Globo,2012)–writtenbyJoãoEmanuelCarneiroanddirectedbyRicardoWaddington,Amo-raMautnerandJoséLuizVillamarim–wasahighlightonallmedia(radio,TV,Internet,socialnetworks39)thataffectedtheimpactofthe9pmshow.Thisimpactgainedstrengthduringits179chapters,culminatingwith the polarizationof attentionnot only of regularaudiencesorcommenters,butalsointernationalmedia(Forbes,TheGuardian,LeFigaro),whichsought tounderstand the“phenome-non”ofAvenida Brasil.Amongthemanyfactsthatallowtofullytakeinthe“socialcommotion”(Mulgan,1990)causedbythetele-novela,twoofthemare:(1)theactionsoftheOperadorNacionaldoSistemaElétrico(theNationalElectricServiceSuperintendency)todealwith anestimated increaseof5% inelectric consumptionduring theairingof the last chapterof the show; (2) thechangesandevencancellationofplannedpubliceventsforthesametimeasthetelenovela’sairing.Ofspecialinterestisthecancellation,during

35 https://www.youtube.com/watch?v=ZSYUc_8P4b8.

36 http://youtu.be/BHLCMZYT34s.37 http://youtu.be/6Z1uhIgmkBY. 38Anovelaquemudouoespectador, Época,10/18/2012.http://revistaepoca.globo.com/cultura/luis-antonio-giron/noticia/2012/10/novela-que-mudou-o-espectador2.html.39 Considered a true event in social networks during its run, the telenovela swampedsocialnetworksinitslastepisode(10/19/2012).Therepercussionoftheshowinsocialmediaisanalyzedinthethirdpartofthischapter.


mayoralcampaignseason,ofanimportantpoliticalrallyinwhichthe Presidentwould participate. This scenariomakes us considerthe“phenomenon”of Avenida Brasilasa“popularmediaevent”,thatis,asaneventthat,amongotherthings,“breaksthedailyrou-tine,butinaroutinelyway”withritualcharacteristicsandhavinga role in the integrationof societies (Couldry;Hepp,2010,p.8).We observe in these relationswith the telenovela the creation ofcommunitiesof feelings (or collective feelings) throughmedia intheconstitutionof“conditionsofreading,criticismandcollectivepleasure”(Appadurai,2004,p.20).

Itisalsoimportanttohighlighttheimportanceoftheso-calledBrazilian“newCclass”onthis.IsitafictionalconstructionelementoramirrortoarealitythatbloomsinthecountryandredimensionseconomyandBraziliansociety?Thiswasthemajorthemeanddrivefor several articles regarding customs and consumption habits ofcharactersineconomyarticlesonnewspapersandmagazines40.Theconstantgrowthofengagementofaudiencethroughouttherunofthe showhas resulted in the development of ad campaigns up tosixmonthsaheadoftimetotapintotherecord-breakingaudienceexpectedforthefinalchapter.Thischapterhadover500national,regionaland localadvertisers,whohad theiradsairedamongthe122stationsofthenetwork41.Intermsofhouseholdaudience,thelast chapterhad56%of ratingand81%of share,data thatmakecleartheimportanceoftheplotinthe2012BrazilianTVenviron-ment.Numbers,percentages,investmentdataandaudiencethatontheirownright translate theengagementofmillionsofBraziliansaround theplotofAvenida Brasil,but that,even then,need tobeanalyzedintermsofdiscourseandsymbologysowecandimensiontheimpactofthistelenovela.

40 In the2011and2012Yearbooks, thequestionof theriseof the“newCclass”washighlightedinouranalysis.Amongseveralarticles,"AvenidaBrasil":umretratodoBra-silemergente, Exame.com,10/10/2012.Availableat: http://exame.abril.com.br/estilo-de-vida/entretenimento/noticias/avenida-brasil-um-retrato-do-brasil-emergente.41'AvenidaBrasil':QuemmatouoMax?Sódepoisdelongoscomerciais.O Estado de S. Paulo,10/19/2012.

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Avenida Brasil is the Divino suburban Weunderstand the telenovela and its effect from the quality

ofproductiveenvironmentbasedonBuonanno(2004),LopesandMungioli(2011)andintheroleofTVproductionincontemporarysociety (Mulgan, 1990) and more specifically of the telenovelaonBraziliansocietyanditsconstitutionasnarrativeof thenation(Lopes,2009).

TheplotofAvenida BrasilhasasitsmainarctherevengeofRita/Nina(MelMaia/DéboraFalabella)againsthermother-in-law,Carminha(AdrianaEsteves).Undertheclassicguiseofrevengeandseekingreparation, theplotofAvenida Brasilpresentsanarrativeandaesthetictreatmentthatgarneredattentionofaudienceandcrit-ics alike since its first chapter.However, the success and impactofAvenida Brasilareduetoaseriesoffactorsthat,toourunder-standing,haselevatedthedemandoftheaudienceandcritictonewheights.Thislevelischaracterizedbytheadoptionofnarrativeandaesthetic tools thatmakesAvenida Brasil asawatershedevent intermsofthetelenovela.AsithappenedwithBetoRockfeller(Tupi,1968)–telenovelaconsideredresponsibleforthecreationofanewparadigmbytheadoptionofanewwayofnarrating(Lopes,2009)andrepresentingtheBrazilianpeopleonTVfiction–,Avenida Bra-

sildealtwiththemesandproblemsalreadyseenonothertelenove-las.Butitdidsoincorporatingandtranslatinginasuperbmannertheesprit du tempsofacountryinwhichgreatsocialchangesthatcreatesymbolicspacesthatreverberatethediscoursesofnewpro-tagonistshappen.AmongthesesocialchangesistheriseofmillionsofBrazilianintothe“Cclass”.

Thisascensionisrepresentedinthetelenovela,despiteitsste-reotypicalportrayal, fromtheenunciationofsuburbancharacters:thefictionalDivino.Thiswastheplacewherealmostallcharacterslivedandinwhichpulsatedgreatpassionofitsinhabitants,theDi-vino FutebolClube (Divine SoccerClub).A suburb that did notworkasabackdropfor theunfurlingof theactions,but that tookitselftheconditionofprotagonistandthat,alliedtothediscourses


ofcharacters,constitutedarhetoricsystemstructuredwiththestyleofuse,wayofbeingandwayofdoing(Certeau,2007).Inthisen-vironment,wecanseetheenunciationoftheidealizedsuburb:bartalksaboutsoccerandwomen,thecurbsideseating,thesolidarityamongneighbors,thefolk“pagode”music,theintensityoffamilydrama,butalsothesuburbofviolenceandpovertyrepresentedbythelandfill,aplaceofentryandexitofprotagonists.

InAvenida Brasil,andintheDivino,thesoccerteam,themeet-ingsof theboardofdirectors, the landfill, thepopular stores, theloudspeakers announcing promotions and playing popularmusic,and the popular language of conversations update the imaginedspace and confront the practiced space allowing for the observa-tionofthelayersofculturalpalimpsestthatcomposethegreatur-bancentersofthecountry.Thecomplexityofthetessitureofthisimagined/practicedsuburballowsustoanalyzeitasamatrixspace(Martin-Barbero,s/d) thatanchors itself inacomplex intertextualandinterdiscoursivenetwork.

ItisinthisspacethattherevengeofNina/Rita(DéboraFala-bella) againstCarminha (AdrianaEsteves) gains its body,which,despitehavingasitsmainnarrativearconeofthemostcommonandsuccessful of feuilleton andmelodrama, incorporates the ambiva-lenceaskeypointoftheprotagonists,givingthemhuesthatarenotrestrictedtothegoodandevildichotomy.Itshouldalsobenotedtheoutcomeoftheplot,Carminha’sarrestconviction,andafterhersen-tenceisfinished,theostracisminthelandfill–thehomeofhersuf-feringandtormentasachild–.Aself-imposedexileaspenanceforhersins.ThemelancholycurtaincalloftheambitiousandcriminalwomanisfilledwithsymbolismandpointsforareckoningnotonlybetweenNinaandCarminha,butbetweensocietyandthevillain.Itisalsoworthmentioningthatthestructureofthescriptischaracter-izedbythequickrhythmofactionsandagiledialogue.Also,strongdramatichooksareemployedattheendofeachchapter(recoveringandupdatingacommontechniquefromtelenovelasfromthe1970-1980),whichconferredauniquecharacterintermsofimpact.

158 | Obitel 2013

5. Topic of the year: social memory and television fictionNowadays,digitalmediaallowsustofindartifactsandnarra-

tivesofourculturalheritageinunimaginablemediaandplatforms.Accessibility to written, visual, sound and audiovisual resourceshasincreasedatanastoundingpace.WewouldliketopointoutinthisObitelYearbook about televisionmemory as part of “mediamemory”(Neigeretal,2011).Theseare,forastart,acomplex,mul-tidimensionalandinterdisciplinaryphenomenonintegratinglargerfieldsofstudyofmemoryandmedia.

Accordingto thehistoryofmentalities,oralmemoryandthestoriesoflifeactuponofficialhistorysincetheycanbringuphid-den and contradictory viewpoints. In “sites of memory” (Nora,1989),“collectivememory”(Halbwachs,2006),workedbyinstitu-tions,andindividualmemoryof thereminder/narrator(Benjamin,1986)aremixedandmakethedescriptionofnarrativetobediffer-entiatedandalive,showingthecomplexityofthehappeningbeingremembered.Thebloomingofthepastcombineswiththepresentprocessofperception,sinceitisfromthepresentthatstartsthecalltowhichremembranceresponds.Thesearethe“worksofmemory”(Bergson,2000).

Collectivememoriesdonotexistinabstract.Itspresenceandinfluencecanonlybeperceivedthroughitspermanentuse,suchaspublicformsofrituals,ceremonies,commemorationsandmeansofcommunication.

Sohereareplacedthequestionsofcapacityandauthorityoftelevisiontooperateasacollectivememoryagentandthebordersofcollectivitiesbecominginseparablefromtheuseofthismedium.Ingenres(news,documentary,docudrama,fiction),inproduction-reception processes (cultures and social classes), and in differentmedia(television,press,radio,newmedia)arethespacesandplacestonarratethememoryofanation.


Television narratives and social memoryTheroleofmemoryinBraziliantelevisionfictioncanbeex-

plainedfromthesignofrevivalofsocialandaffectivememories.We seek to comprehend how television fiction and telenovela inparticularcreatethroughtracksleftbynarratives–butalsobychar-acters and social time (Elias, 1983) and its representations– pro-ductionsofmeaning that resize feelingsof belonging, of identitythatanchor theconstructionof socialmemory.Barbosa (2007,p.25)arguesthat“tracksaresignsofrepresentation.Followingtracksmeanswalkingthroughapathalreadycrossedbymenofthepast”.Thetrackswefollowleadustopathsthatblurandcrossatseveralmoments,butitscharacteristicsallowtheobservationoflayersofpalimpsestthatcomposethem;asaprivilegedplacetodimensionhownarrativesofBraziliantelenovelasfulfilltheroleof“narrativeofanation”(Lopes,2004).

Throughoutthelast50years,televisionfictionhascometotheforefront, amongother aspects, as a “formofmemory that regis-ters,throughthecourseoftime,theprocessofchangeinBraziliansociety”(Motter,2000-2001,p.76).Suchmemoryelaboratesitselfthroughtheconstantinterplaybetweenpresentandpastthatenunci-atesitselfthroughdiscourses,butalsobyfictionalspacesandtem-poralitiesthatremits,inaninerasableway,toahistoricalandsocialmoment.Thisgameallowsforthecreationofa“complexrhetoricalstrategyof social reference” (Bhabha,2003,p. 206). It is on thisaspectofprocessualconstructionofcollectivememoryandmean-ingofbelongingthatLopes(2004,p.135)emphasizes“thecapacityof television toconnect temporaldimensionsofpresent,past andfuturethroughthecelebrationandconstructionofacollectivemem-ory(…)provoking,evenifelementary,afeelingofbelonging”.

Thememoriesarepartofanarchive that isat thesametimepersonalandcollective,andthiswaytheyareportrayedandrepro-ducedbythemediawiththeintentofmakingthemeternal.Thus,beyondthehistoricalanddocumentalfactsanddailyculturalprac-tices,memory can appearor be reactivatedby television that, by

160 | Obitel 2013

participatingactivelyof theprocessofconstructionandrescueofaspecificmoment,createsastrongeremotionalandaffectiverela-tionship.Thisaffection,inthecaseoftelevision,acquirescollectiveproportions.Nowadays,theinfluenceofmediationofnewtechnol-ogyandmediaworks“asavehicleforallformsofmemory”(Huys-sen,2000,p.20-21).

TV remembers fiction: reruns and remakesOneofthemosttraditionalmemorydevicesoftelevisionfic-

tion is thererun.Globoairseveryafternoonsince1980theshownamed Vale a Pena Ver de Novo,whichrerunstheirowntelenove-las that were important in past times. From 2006 to 201242 thatamountedto17telenovelas.AlsoamongtheinitiativesofGloboforthepreservationofthenetwork’smemoryistheProjetoMemóriadasOrganizaçõesGlobo (GloboMemory Project), hosted on theMemóriaGlobo43website asitsonlinearchive.Throughitonecanaccess scenes, facts, trivia and information regardingproductionsairedsince1965.Theprojectalsopublishedfivebooksregisteringshows,testimonialsandabiography.

Globoreleasedin2010CanalVivaonpayTV,airingrerunsofminiseries,series,films,telenovelasandavarietyofshowspro-ducedbythenetwork,mostofthembeingiconsoftheirtime.Thechannelhasalreadyaired12telenovelasfromthe80sand90s.Try-ingtocatertoanaudiencecomposedofhousewivesandthegrowingCclassdemands,whichisconstantlymigratingtopayTV,thechan-nel has among teens a considerable audience that comments andsharestheprogrammingonsocialnetworks.Currently,CanalVivaisabovetheaverageofgrowthofthepayTVmarketandthegrowthofsubscriptions,beingpartofthetenmostwatchedpaychannels44.

42Forthedevelopmentofthisyear’stheme,wetookthetimetoanalyzetheyearsbetween2006a2012,whichis thetimeof theObitelmonitoringsurvey,reportedinthesevenYearbooksreleasedsofar.43http://memoriaglobo.globo.com/.44CanalVivacresceemcoberturaeaudiênciaeentranoTOP10daTVporassinatura.UOL.04/18/2012.


SBTandRecordalsoreruntelenovelasandmiseries,evenonprimetime,sometimeseveninthesameyearasitspremiere.ItisworthnotingthatSBThadrerunmemorabletelenovelasfromthedefunctManchetenetwork:in2008theyairedPantanal(1990);in2009-2010,Dona Beija (1986); and in 2010-2011,A História de

Ana Raio e Zé Trovão(1990-1991).Throughtheproductionofremakes,audiencesareledtopro-

ducenewsignificationsofstories toldandalso to therescueofamediamemorymadeofsensationspreviouslyexperienced.In2006,Globoproducedtwotelenovelaremakes,O Profeta(1977)andSin-

há Moça (1986), andRecord aired the telenovelaBicho do Mato (1972).In2008,GloborerecordedthetelenovelasCiranda de Pedra (1981),in2009,Paraíso(1982),andin2010,Ti-ti-ti(1985).Stillin2010,RecordadaptedtheminiseriesA História de Ester(1998)andSBTadaptedthetelenovelaUma Rosa com Amor(Globo,1973).In2011,Globoairedaremakeof the telenovelaO Astro,writtenbyJaneteClairin1977.

In2012,GloboproducedremakesofthetelenovelasGabriela,basedonJorgeAmado’snovel,andairedwithenormoussuccessin1975,andGuerra dos Sexos,originallyairedin1984.In2013,twogreatsuccessesfromthe1970sshouldfollowthetendencyofbeingremade:GlobowithSaramandaia(Globo,1976)andRecordwithDona Xepa(Globo,1977).

TV remembers the past: history and time Sincethemediasystemhastakenadecisiveroleintheprocess-

esofconstructionofsociety(itsomnipresenceinourdailylife,itspredominanceincurrentcollectivememory),onecanponderovertherelationshipbetweenmediaandhistory,asEdgerton(2000)didinhisarticle“TelevisionasHistorian”:

Television is themainmeans bywhichmostpeoplelearncurrenthistorysincetelevisionhasdeeplyaffectedandchangedallaspectsofcon-

162 | Obitel 2013

temporarylife–family,education,government,businessandreligion–thenon-fictionalandfic-tionalportraitsofthisvehiclehavetransformedequally themannerof thoughtof tensofmil-lionsof spectators regardinghistorical figures(2000,p.1).

ThenarrationoffactsfromBrazilianhistoryappearswithmorefrequency in theminiseries format aired byGlobo, the so-called“Brazilianminiseries”,thoughthisformatisnotbeingexclusivelydedicatedtoperiodorhistoricalnarrative.Withadifferentaesthetictreatment,fromitsfirstproduction,Lampião e Maria Bonita(1982),Globo’sminiseries tackle, in productionswith original scripts oradapted from literary works, social and political facts that havemarkedthehistoryofthecountry.

Let’s lookat the2006-2012period.In2006,Globoairedtheminiseries JK, which portrayed the life of ex-president JuscelinoKubitschek,fromtheyears1902to1976.In2008,anotherminise-ries fromGlobo,Queridos Amigos, takingplace in1989, remem-beredthefightingagainstthemilitaryregimeinBrazilduringthelate1960s.SBTaired,in2011,thetelenovelaAmor e Revolução,dealingwiththemilitarydictatorshipinBrazil.Theplotsettinginthepastwithhistoricalrootisfoundinfictionfrombiblicalthemes,like in theminiseriesA História de Ester,Rei Davi, andSansão

e Dalila, airedbyRecord in2011.Other examplesarebiograph-icminiseries of singers, reconstructing certain times ofBrazilianmusic.GloboproducedMaysa– Quando Fala o Coraçãoin2009,basedonthelifeofsingerMaysa,portrayingthedecadesof1950an1970;andDalva e Herivelto,airedin2010,showingnotonlythelovelifeofprotagonists,butalsothe“EraoftheRadio”inBrazilbetween1930and1960.AlsofromGloboistheminiseriesChico

Xavier,aboutthemediumwhospreadthespiritdoctrineinBrazil,andthedocudramaseriesPor Toda Minha Vida,which,since2006,hasshown15biographiesofpersonalitiesofBrazilianfolkmusic.


Fictionalsoremembersthepastwhenittellsstoriesthattakeplaceinothertimesandportraysitscustoms.In2006thetelenovelaAlma Gêmea(Globo)wasaired,takingplacein1920,whileBang

Bang (Globo) dealt with the North AmericanWildWest. OthertelenovelaswereOs Ricos Também Choram(SBT),portrayingthe1930s;Paixões Proibidas(Band)withanearly19thcenturysetting;andCidadão Brasileiro (Record),whichchronicled the lifeof itsprotagonistthroughthesecondhalfofthe20thcentury.

In2007,GloboairedtheminiseriesAmazônia,whichportrayedthe establishment of the region and its environmental problemsthroughoutthe20thcentury,aswellasA Pedra do Reino,setduringthe14thand19thcenturies.ThenetworkalsoairedthetelenovelasDesejo Proibido,depictingthecoffeecrisisofthe1930s,aswellasEterna Magia,whichtookplaceinthemiddleofthe20thcentury.In2008,GloboairedtheminiseriesCapitu,adaptedfromMachadodeAssis’novel,takingplaceinthe19thcentury,andthetelenovelaCi-

randa de Pedra,whichportrayedthe1950s.Asforspecials,Recordaired OsÓculosdePedroAntãoandSertão: Veredas,adaptationofliteraryclassics,whileGloboairedO Natal do Menino Imperador,portrayingthearrivalin1808ofthePortugueseroyalFamilyinBra-zil.In2009,GloboairedthespecialandminiseriesDecamerão–AComédia do Sexo, basedon the short storiesofBoccaccio,whileRecord aired the telefilmUns Braços, adapted fromMachadodeAssis’shortstorythattakesplacein1875.

In2011,GloboairedthetelenovelaCordel Encantado,setinthebeginningofthe20thcenturyandtheminiseriesO Bem-Amado,remakeofastorysetinthe1970s.RecordairedtheunitaryAs Mãos

de Meu Filho,adaptationofÉricoVeríssimo’sshortstorydepict-ingthe1920s,aswellasthetelefilmMenino Grapiúna,basedonJorgeAmado’snovelsetinthe1920s.In2012,throughthecarefulreconstitutionofthecityofRiodeJaneirointheearly20thcentury,thetelenovelaLado a Lado(Globo)tackledthesocialconflictsre-sultingfromtheabolitionofslaveryandfemaleemancipation.Thegoodratingscertainlywerealsoduetothememoryofthepastseen

164 | Obitel 2013

initsconfluencewiththeperceptionofthepresent(Bergson,2010).Finally,theminiseriesSuburbia (Globo)showedthedailylifeofablackcommunityinRiodeJaneirointhe1990s.

The spectacle of memory: carnival remembers the telenovelaGoingbeyonditspresenceinseveralmobilemedia,ontheIn-

ternet, inmagazines,booksandpayTV,thetelenovelawashigh-lightedduringcarnivalinaconvergence,ifwemaysayso,oftwotrue “media events” in the country’s culture. The samba schoolGrêmio Recreativo Escola de Samba São Clemente became thememoryplaceoftelenovelawhenitusedsocialandaffectivemem-ories in its parade at the Sambódromo. Even before, it producedawebsite and an electronicmagazine45 revealing all the retrievalprocessoftelenovelasindetailaboutthecriteriaforthisselectionofmemory.Thesambaschool researchedmost remembered tele-novelas(duetotheaffectiontheyreceive)fromthepublicaskingabout200peopleon the streets,onFacebookandon thewebsite“Whichtelenovelaleftamarkinyourlife?”.Withtheseanswers,remembrancewas reelaborated, resemanticized, reappropriated inthe creation of a theme: after all, “bymemory, the past not onlycomestothesurfaceofpresentwaters,mixingitselfwithimmediateperceptions,butalsopushes,‘dislocates’those”(Bosi,1987,p.9).Portrayingcharactersandsituationsoftheuniverseoftelenovelas,thethemespokeofspectators,producersandartists,aswellasoftitles, chapters, scenes andcharactersof54 telenovelas.AllwerefromGlobo, being 28 produced in the 1970s (Selva de Pedra,O

Bem-Amado,Roque Santeiro,Dancin’Days)andthe1980s(Ti-ti-

ti,Sinhá Moça,O Salvador da Pátria).Thisfactinitselfonlyre-iterates the importanceof thisperiod fornational teledramaturgy.

45 Link: <http://www.saoclemente.com.br/>Retrieved onApril 6th 2013.Revista ele-trônica G.R.E.S. São Clemente: <http://www.eupensomais.com.br/revista/saoclemente/?pg=auth&evento=revista&id ConviteDestino=saoclemente#/SAO%20CLEM-ENTE/14>.Accessedon:04/06/2013.


Ahistoryoftelenovelawasrememberedandairedanditpre-senteditselfasasung,danced,choreographedandparadednarrativebya sambaschool. Itwouldbe important to speakof a“populartelevision history”, configured through the intersection of exer-cisesofdramatization,argumentativecondensation,simplification,ductiletreatmentofthepastandsharing,asaspaceofmediation,ofan“imaginedcommunity”,ofacertaincommonmemory.Thismemoryisnaturallyfedbyexistentialreferential,whichallowsforpracticesofidentificationguidedbymechanismsofremembranceandrecognition.

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BUONANNO,Milly.Laqualitàdellafiction.Dalprodottoall’ambiente

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CERTEAU,Michelde. A invenção do cotidiano:1.Artesdefazer.Petró-

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COULDRY,Nick;HEPP,Andreas.Introduction:Mediaeventsingloba-

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EDGERTON,Gary.Televisionashistorian:anIntroduction,In:EDGER-

TON,G.R.;ROLLINS,P.C.(eds)(2001)Television Histories: Shaping Collec-

tive Memory in the Media Age.Lexington,KY:UniversityPressofKentucky.

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ELIAS,Norbert.Sobre o tempo.RiodeJaneiro:JorgeZahar,1984.

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HUYSSEN,Andreas.Seduzidos pela memória.RiodeJaneiro:Aeropla-

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LAIGNIER,PabloCezar.Pedagogiasdofunkcarioca:DeuseoDiabona

terradosom.MATRIZes,v.6,n.1,2012.

LOPES,MariaImmacolataVassallode.Telenovelacomorecursocomu-

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LOPES,MariaImmacolataVassallode.Telenovela: Internacionalização

e Interculturalidade.SãoPaulo,Loyola,2004.

LOPES.MariaImmacolataVassallode;MUNGIOLI,MariaCristinaPal-

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NEIGER,Motti,MEYERS,Oren;ZANDBERG,Eyal(eds).On Media

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NORA,Pierre.Betweenmemoryandhistory:Leslieuxdemémoire.Re-

presentations 26,Spring1989.

3chIle: chAnges In The IndusTry1

Authors:ValerioFuenzalida,PabloJulioPohlhammer

Team:VerónicaSilva,ConstanzaMujica,LuisBreull,AlejandroBruna


1.1. Broadcast TV in the country

Chart 1. Broadcast TV national channels in the country

Public University Private – University Private

TVN UCVTV Canal13

TelecanalRed

ChilevisiónMega

Number of channels: 7

Chart 2. TV audience per channel (households)

Channel Household rating (%)

Household share (%)

Canal13 7.4 25.7TVN 6.3 22.0CHV 5.9 20.6Mega 5.6 19.4LaRed 2.3 7.8UCV 0.8 2.7Telecanal 0.5 1.8

Source:TimeIbope

1ThisreporthadthefinancialsupportofthecontestCreación y Cultura sponsoredbytheDirectorateofArtandCulture(DAC)oftheVicePresidencyofResearch(VRI)attheUniversidadCatólicadeChile.

Canal13

TVN

CHV

Mega

LaRed

UCV

Telecanal

3%

22%

2%

19%

26%

22%

8%

168 | Obitel 2013

Chart 3. TV audience per channel (individuals)

ChannelIndividual

rating (%)

Individual share (%)

Canal13 2.7 25.3

TVN 2.4 22.5CHV 2.1 20.1Mega 2.1 19.8LaRed 0.8 7.7UCV 0.3 2.7Telecanal 0.2 1.8

Source:TimeIbope

Chart 4. Offer by genre in TV programmingGenre Hours (%)

Fiction 19,653 36%Information 11,120 20%Entertainment 11,418 21%Service 5,822 11%Sports 1,111 2%Others 5,396 10%Total 54,519 100%

Source:TimeIbopeandObitelChile

1.2. TrendsTheChileanbroadcastTVhaschangeddramaticallyinthelast

twodecades.First, therehasbeenanevolutiontowardsprivatiza-tion;broadcastandmassiveuniversityTVhasalmostdisappeared(Canal13oftheUniversidadCatólicadeChileandCanal11oftheUniversidaddeChile);bothchannelshavebeenprivatized:Canal11becomesTurner’sCHV;Canal13isprivatizedina67%,andthatprivatepercentagecouldincrease.Thesevenbroadcastchannelsarenow broken down into a completely university channel (UCV –TV),apublicchannel(TVN)and5privatechannels,3ofwhicharelargechannels,thatcompeteamongthemselvesandwiththepublicchannelTVN.Theothertwoprivatechannelsaresmaller(TelecanalandLaRed).Thus,thereisagroupoffourhighlycompetitivechan-nels:3privateandthepublicone.

Canal13

TVN

CHV

Mega

LaRed

UCV

Telecanal

3%

22%

2%

20%

25%

20%

8%

Fiction

Information

Entertainment

Service

Sports

Others20%

2%

11% 36%

21%

10%

Chile – Changes in the industry | 169

Secondly,theshifttowarddigitalizationiscomingandtheonlythingdefined is theJapanese-Brazilianstandard; the legislation isstill under discussion and there are no known plans of the chan-nels for this new technological scenario. If newdigital broadcastchannels,segmentedbytheme,areimplemented,therewouldbeanewcompetitionscenariowithpayTV,astherewouldbetwotech-nologicallycompetitiveofferingswithsegmentedemissions.Thisquestion arises: is theChilean advertisingmarket able to supportmorechannelsinbroadcastTV?

Thirdly,ontheindustrialscenariooftheChileanaudiovisualahugechangehasoccurred.CHV(formerchanneloftheUniversidaddeChile)wasacquiredin2010byTurnerBroadcastingSystemofTimeWarner. In the comingmonths,CHVwillmove to its newstudios in therefurbishedoldlocalof theMachasaIndustry.Thissubstantialinvestmentinnewstudiosistheresultofanevaluationwhich aims to turnCHV into a producer/exporter companywithinternationalhorizons,firstlytotheHispanicmarket.CHVisthusthe first project inChile in the audiovisual sectorwhich aims toovercomethenationalproductionandbroadcastinordertoinsertit-selfintoaglobalaudiovisualmarket.Theprojectseekstoovercomethemerenationaladvertisingfundingofbroadcasttelevision.Mega,privatechannel,islookingforastrategytoenterintothetelephonymarket;Canal13,oftheLuksicGroup+UCconsidersopeningintothestockexchangeasastrategyforraisingcapitalandfacethenewformsofcompetition;thisgrouphasalsoexpandedagroupofradiostations. This new economic-industrial scenario poses challengesandquestionstoTVN(thepublicchannel)regardingitsfinancingandcapitalization.

170 | Obitel 2013

1.3. Investment in media advertising

Table A. Distribution of advertising investment – 2011

Share (%) 1985 1990 1995 2000 2005 2007 2008 2009 2010 2011

Television 46.3 44.2 46.3 42.8 47.4 48.2 48.4 51.5 48.2 44.9

Newspapers 35.0 34.5 35.3 34.5 29.4 28.6 28.7 25.9 27.0 26.6

Radios 10.5 10.9 7.9 10.5 8.2 6.9 7.2 7.5 6.8 6.8

Magazines 5.8 7.3 3.5 5.0 3.2 3.1 2.9 2.3 2.2 1.9

Thoroughfare 2.2 2.9 6.7 6.7 8.4 9.5 8.7 7.6 7.5 8.6

Cinema 0.3 0.2 0.2 0.4 0.3 0.3 0.2 0.3 0.3 0.3

CableTV 1.7 1.9 1.7 2.0 3.9 4.6

Onlinemedia 1.4 1.6 2.3 2.8 4.1 6.2

Source:ChileanAdvertisingAgenciesAssociation(ACHAP)

TheChileanAdvertisingAgenciesAssociation(ACHAP)datafor 2012 are not yet available,which iswhywepresent data for2011.Between 2005 and 2011,TV cable and onlinemedia haveaugmentedtheirparticipationinadvertisingtoa10.8%altogether;thisgrowthissustainedandwithlessannualfluctuations,whicharedisplayedbythepercentageparticipationofothermedia.

1.4. ICT trendsAccordingtoinformationoftheSub-SecretaryofTelecommu-

nicationsofChile(Subtel), toMayof2012mobile telephonyhashadan importantdevelopment: there is apenetrationof130%ofmobiledevicesintheChileanpopulation.Onthecontrary,fixedte-lephonymaintainsaslowbutsteadydecline,reachingonlya19.4%penetrationper100inhabitants.Fixedandmobilebroadbandreachaltogether 50%of households; 3Gmobile broadband has alreadyexceeded fixed connections, and4G is being introduced. Internetaccess,accordingtoSubtel,reached40.7%oftheChileanpopula-tionin2012.


Theimportationofcomputerequipmenthasadaptedtomobili-ty:desktopPCshavedescendtoasecondplaceamongtheimportedequipments,andthefirstplaceisnowheldbynotebooks(64%ofthe imported equipment), but tablets have had a huge percentageincreasethatplacestheminthirdplace,beatingnetbooks(ChamberofCommerceofSantiago).

According to the II Census of Education Computing of theMinistryofEducation(www.Enlaces.cl/Mineduc), Internetaccessinmunicipal schools rose to66% in2012, reducing thegapwithprivateschools.Thecomputationalequipmenthasalsoincreasedinpublicschoolsandthereisnowonecomputerforeverysixstudents.

2. Yearly analysis: premieres2 of national and Ibero-American fic-tion

Table 1. TV Fiction premiere programs broadcasted in 2012

NATIONAL TITLES WITH PRE-MIERES – 23

IMPORTED TITLES WITH PRE-MIERES – 45

Canal 13 – 4 national titles with premieres

Canal 13 – 4 imported titles with premieres

Los 80 más que una moda(series) Insensato corazón(telenovela-Brazil)Peleles(telenovela) Mujeres apasionadas (telenovela-Brazil)Soltera otra vez(telenovela) Passione(telenovela-Brazil)

Vida por vida(series)Tititi la pasarela del amor(telenovela-Brazil)

CHV - 4 national titles with pre-mieres CHV - 6 imported titles with premieresGordis la gorda más rica del mundo (telenovela) Amar de nuevo(telenovela-Mexico)La Doña(telenovela) Aurora(telenovela-USA-Hispanic)

La Sexóloga(telenovela)Corazón apasionado(telenovela-Vene-zuela)

Violeta se fue a los cielos(TVmovie)El fantasma de Elena(telenovela-USA-Hispanic)

Mega - 5 national titles with pre-mieres El talismán(telenovela-USA-Hispanic)

Bkn el campamento(series)Una maid en Manhattan(telenovela-USA-Hispanic)

2ThetermpremiereisreferredtothefirstexhibitionoftheprogramonTV.

172 | Obitel 2013

Cobre poder y pasión(miniseries)La Red – 14 imported titles with premieres

Decibel 110 el amor suena fuerte (telenovela) Amorcito Corazón(telenovela-Mexico)Maldita(telenovela) Como dice el dicho(series-Mexico)Solita Camino(series) Cuando me enamoro(telenovela-Mexico)TVN - 10 national titles with pre-mieres El secretario(telenovela-Colombia)

Aquí mando yo(telenovela)Hasta que el dinero nos separe(telenove-la-Mexico)

Dama y obrero(telenovela)La rosa de Guadalupe(docudrama-Mexico)

El diario secreto de una profesional (series)

Las muñecas de la mafia(telenovela-Mexico)

El reemplazante(series) Mar de amor(telenovela-Mexico)Escena del crimen(docudrama) Mi pecado(telenovela-Mexico)

Esperanza(telenovela)Mujer casos de la vida real(docudrama-Mexico)

Pobre rico(telenovela)Operacion jaque(miniseries-Colombia/Spainco-production)

Reserva de familia(telenovela) Rafaela(telenovela-Mexico)Separados(telenovela) Soy tu dueña(telenovela-Mexico)Su nombre es Joaquín(telenovela) Triunfo del amor(telenovela-Mexico)

Mega - 10 imported titles with pre-mieresAbismo de pasión(telenovela-Mexico)Amor bravío(telenovela-Mexico)Amores verdaderos(telenovela-Mexico)Dos hogares(telenovela-Mexico)La diosa coronada(telenovela-Colombia)La fuerza del destino(telenovela-Mexico)La que no podía amar(telenovela-Mexico)Mi corazón insiste(telenovela-USA-Hispanic)Por ella soy Eva (telenovela-Mexico)Relaciones peligrosas(telenovela-USA-Hispanic)Telecanal - 5 imported titles with premieresEl último matrimonio feliz (telenovela-Colombia)La vida es una canción(series-Mexico)Pasión morena(telenovela-Mexico)Pecados ajenos(telenovela-USA-His-panic)


Sortilegio(telenovela-Mexico)TVN- 5 imported titles with premieresContra viento y marea(telenovela-Mexico)Heridas de amor(telenovela-Mexico)La esclava Isaura(telenovela-Brazil)Los plateados(telenovela-USA-Hispanic)Niñas mal(telenovela-Colombia)

TOTAL TITLES WITH PRE-MIERES: 68

Source:ObitelChile

Table2.Premierefictionbroadcastedin2012bycountryoforigin


NATIONAL(total) 23 34 1,014 20 631:05 17

IBERO-AMERICAN(total) 45 66 3,961 80 2982:30 83

Argentina 0 0 0 0 0:00 0

Brazil 5 7 386 8 407:35 11

CHILE 23 34 1,014 20 631:05 17

Colombia 4 6 281 6 190:40 5

Ecuador 0 0 0 0 0:00 0

Spain 1 1 121 2 14:00 0

USA–Hispanic 8 12 485 10 368:50 10

Mexico 25 37 2,608 52 1,950:00 54

Peru 0 0 0 0 0:00 0

Portugal 0 0 0 0 0:00 0

Uruguay 0 0 0 0 0:00 0

Venezuela 1 1 79 2 49:20 1

Co-production 1 1 1 0 2:05 0

LatinAmerican(Obitel) 68 100 4,975 100 3,613:35 100

LatinAmerican(notObitel) 0 0 0 0 0:00 0

Total 68 100 4,975 100 3,613:35 100

Source:ObitelChile

174 | Obitel 2013

Consideringthenumberoftitlesreleased,Chileanfictionpre-mierehasshownadownwardtrend:29titlesintheyear2006,31in2008,29in2009,24in2010,25in2011,and23in2012.Intermsofhours,nationalpremierefictionproductionhasalsoundergonefluc-tuations:667hoursintheyear2008,644hoursin2009,707hoursin2010,717hoursin2011,and631hoursin2012.Whilepremieretitlesinnationalfictionrepresenta34%,innumberofhourstheyrepresentonly17%(631hours).AccordingtoTable4,intheIbero-Americanpremiereproduction,39of45titlesaretelenovelas,witha totalof2,416:30hours. In the totalof23Chilean fiction titles,only14aretelenovelas;i.e.,nationalproductionreaches9titlesinotherfictionalgenres(6seriesand3othergenres).

TVNisthechannelthatpremieredmoreChileantitlesin2012:10of23titles,doublinginnumberthenextchannel(Mega,with5titles).Mexicoremainsas themost importantexternalsupplieroffiction:25 titlesagainst21 in theyear2011.AfterMexico is theUSA-Hispanicproductionwith8 titles.ChannelsexhibitingmoreimportedfictiontitlesareLaRed,with14titles,andMega,with10titles.


Table3.C

hapters/Episodesandhoursbroadcastedbytimeslot

Tim

e sl

otN

atio

nals

Iber

o-A

mer

ican

Tot

al

C/E

%H

%C/E

%H

%C/E

%H

%

Morning(6:00-12:00)

242

14:25

266

26:30

090

220:55

1

Evening(12:00-20:00)

175

17122:50

193,343

842,595:45

873,518

712,718:35

75

PrimeTime(20:00-24:00)

749

74447:00

71541

14373:05

131,290

26820:05

23

Night(24:00-6:00)

667

46:50

711

07:05

077

253:55

1

Tot

al1,

014

100

631:

0510

03,

961

100

2,98

2:25

100

4,97

510

03,

613:

3010

0

Source:T

imeIbopeandObitelC

hile

Table4.FormatsofnationalandIbero-Americanpremierefiction

For

mat

sN

atio

nal

Iber

o-A

mer

ican

T%

C/B*

%H

%T

%C/B

%H

%

Telenovela

1461

910

90552:05

8739

873,116

792416:30

81

Series

626

879

66:00

103

7341

9156:40

5

Miniseries

14

101

6:35

11

21

02:05

0

TVmovie

14

20

2:40

00

00

00:00

0

Unitary

00

00

0:00

00

00

00:00

0

Docudrama

14

50

3:50

12

450

313

407:15

14

Others

00

00

0:00

00

00

00:00

0

Tot

al23

100

1,01

410

063

1:05

100

4510

03,

961

100

2982

:25

100

*Chapter/Broadcast

Source:T

imeIbopeandObitelC

hile

176 | Obitel 2013

Bothevening(12:00–20:00)andprimetime(20:00–24:00)increasingly concentrate the broadcast of the fiction premieres: a98%ofthehoursofexhibition.But,asinpreviousyears,Chileanfictionismostlybroadcastedinprimetime(447:00hours);the71%oftheChileanfictionpremieresoccursinthistimeslot.TheIbero-American fiction keeps the tendency of settling in the afternoontelevision: 2,595:45 hours broadcasted in this time slot show theconcentrationthereof87%ofitsexhibition;accordingtoTable4,telenovelaisthemorebroadcastedgenrewith39ofthe45importedtitles.

Telenovela is the imported genre overwhelmingly present on the screen:ofthe45importedtitles,39aretelenovelas.Ofthepreviousyear’s46importedtitles,36weretelenovelas.Thenumberofhourswhenimportedtelenovelasarebroadcastedincreasedfrom1,924:57hoursin2011to2,416:30hoursin2012.

Previously, in 2009 therewere 40 telenovelas of the 50 im-portedtitles;in2010,22of30importedtitlesweretelenovelas;36in2011;and39 in2012.Thisshows thesuccessof telenovela inthe internationalscenario,butalso thedifficultyofcreatingotherfictionalgenresthatwereacceptedandcouldcirculateintheIbero-Americanscenario.ThisdifficultymaybeanobstaclefortheexportofthecurrentChileanproductioninotherfictionalgenres;ifthereisnointernationalcirculation,theeconomicsustainabilitybasedonlyintheinternalChileanaudiencebecomesdifficult.

Table5.Formatsofnationalpremierefictionbytimeslot

Formats Mor- ning % Eve-

ning % Prime Time % Night % Total %

Telenovela 1 100 2 67 10 59 1 50 14 61

Series 0 0 1 33 4 24 1 50 6 26

Miniseries 0 0 0 0 1 6 0 0 1 4

TVmovie 0 0 0 0 1 6 0 0 1 4

Unitary 0 0 0 0 0 0 0 0 0 0

Docudrama 0 0 0 0 1 6 0 0 1 4Others 0 0 0 0 0 0 0 0 0 0Total 1 100 3 100 17 100 2 100 23 100Source:TimeIbopeandObitelChile


Placingeachnational titleinthepredominanttimeslotwhereitisbroadcasted,wecanseethatthedominanttimeslotfornationaltelevisionpremierefictionisprimetime.Fourteenof23titlesaredisplayed inprimetime,which isdominatedby telenovela:11of14titlesdisplayedinthistimeslotaretelenovelas;butprimetimeisalso thespaceofseries,miniseriesandTVmovies.During theevenings,twonationalpremieretelenovelashavebeenbroadcasted(accordingtoTable8,oneofthemamongTopTen)onatimeslotoncesuccessfullycolonizedbyLatinAmericantelenovela3.

Table6.Historicaltimeofthefiction

Time Titles %

Present 19 83

Past 2 9

Historical 2 9

Other 0 0

Total 23 100Source:TimeIbopeandObitelChile

Weconsideredhistoricalthosefictionssetmorethan50yearsinthepast.

Ingeneral,thepredominanttendencyremainstolocatefictionsinthepresent.Buttwoserieswithabigaudience–oneofwhichhas5seasons(“Los80,másqueunamoda”)–refertothedictatorshipyears(1973–1990).Thesecasesareanalyzedinthefollowingsec-tionsofthisChileanchapter.

3NationalproductionoftelenovelaforthistimeslothashadCNTVcontributionsspecifi-callydesignedtoenhancethattimeslot.

178 | Obitel 2013

Table 7. The 10 most viewed titles: origin, rating, share

Title

Country of origin

of the original idea or script

Pro-ducer

Chan-nel

Name of the screenwriter or author of the original

idea

Rat-ing (%)

Share (%)

SOLTERA OTRA VEZ

Argentina Canal13Canal

13Marcelo Castañon

26.8 37.0

LOS 80 MAS QUE UNA MODA

Spain/Chile

Canal13andA.Wood

Canal13

RodrigoCuevas

25.8 37.5

POBRE RICO Chile TVN TVNAlejandroCabrera

20.7 33.7

SEPARADOS Chile TVN TVNDanielaCast-agno

19.5 27.5

PELELES Chile Canal

13RodrigoCuevas

17.3 25.8

RESERVA DE FAMILIA

Spain TVN TVNPabloIllanes,LarissaCon-treras

16.3 22.4

AQUI MANDO YO Chile TVN TVNDanielaCast-agno

16.3 30.9

DAMA Y OBRERO ChileTVNandAlce

TVNJoséIgnacioValenzuela

15.5 33.0

EL REEMPLA-ZANTE

Chile Parox TVNHernánRodrí-guez

15.4 22.5

VIOLETA SE FUE A LOS CIELOS

Chile A.Wood CHV AndrésWood 14.1 19.2

Total of productions: 10 Foreign scripts or ideas:

100% 30%


ThreeofthetoptenfictionsareformatsororiginalideasfromSpainandArgentina.Fourof the top ten fictionsareproductionsbetween TV channels and independent producers, including twoproductionsofaudiovisualproducerAndrésWood.TVNremainsasthemostsuccessfulchannel,exhibitingsixofthetoptentitles,followedbyCanal13,withthreetitles.


Table 8. The 10 most viewed titles: format, length, time slot

Title Format Genre C/Bin2012

First and last broadcast

Time slot

SOLTERA OTRA VEZ Telenovela Comedy 4427/05/12-05/09/12

Primetime


Series Drama 1223/09/12-16/12/12

Primetime

POBRE RICO Telenovela Drama 17823/04/12-Continuesin

2013

Primetime

SEPARADOS Telenovela Comedy 3922/10/12-Continuesin

2013

Primetime

PELELES Telenovela Comedy 9Comes

from2011-15/01/12

Primetime

RESERVA DE FAMILIA Telenovela Drama 12319/03/12-22/10/12

Primetime

AQUI MANDO YO Telenovela Comedy 80Comes

from2011-23/04/12

Primetime

DAMA Y OBRERO Telenovela Drama 14111/06/12-Continuesin

2013Evening

EL REEMPLAZANTE Series Drama 1201/10/12-17/12/12

Primetime


TVMovie Drama 203/04/12-04/04/12

Primetime


Ontheotherhand,telenovelaremainsthegenreofnationalfic-tionwithhighestratesofaudiences:8ofthetoptenbelongtothisgenre.

Table 9. Themes in the 10 most viewed titles

Title Dominant themes Social themes

SOLTERA OTRA VEZ

love-lifecycle-friendshiprela-tionships–familyrelationships

conceptionoffamilyandmar-riage–socialnormsregardinglifecycles–economicproblems


militarydictatorship–humanrights–love–familyrelation-ships–friendship

militarydictatorshipinChile-hu-manrights–politicalmovements-economy–socialroleofwomen

180 | Obitel 2013

POBRE RICOconsanguineousrelations–fa- milyorigin-love–socialin-equality–familyrelationships

socialinequality–conceptionoffatherhood–economicpower–medicalmalpractice

SEPARADOSlove-divorce-friendship–mas-culinity

divorce–alimony-homosexuality–genderroles–identity

PELELESmasculineidentity–love-labor–crime

masculineidentity–laborcon-flicts–crime–socialinequality

RESERVA DE FAMILIA

familyrelationships–winegrowing-love–resolutionofcrimes-revenge

wineproductionandculture–am-nesicdisorder–familytraditionsandlegacies

AQUI MANDO YO

love-familyrelationships–developmentofprofessionalpractice(HR)–genderroles

genderrolesathomeandworking–professionaldevelopmentandinsertioninthelaborworld-divorce–roleofhousekeepersinthefamilies

DAMA Y OB-RERO

love–socialinequality–deve- lopmentofprofessionalprac-ticesandtrades(construction)

socialinequality–constructionasatrade-socialconventionsaboutmarriage-disease–incest

EL REEMPLA-ZANTE

Publiceducation–youthidentity–socialmarginal-ity–professionaldevelopment(teaching)–love

Academicandsocialdeficienciesinpubliceducation–youthsocialmarginality–crisis-teacher'srole-studentmovement–teachersandstudentsrelationships


BiographyofChileansingerVioletaParra–developmentofprofessionalpractice(popularsongandfolklore)–amorousdisappointments

folkloreandpopularsongculture–Chileancountryside–position-ingoftheartistintheinternation-alpoliticalcontext–depressionandsuicide

Source:ObitelChile

Thethematicanalysisshowsthattelenovelaisintroducingcur-rentsocialaspectsofthenationaldebate,likeinequalityinsocietyandineducation,identityandfamilycrisis;theseriesgenreof“Los

80”hasallowedforseveralyearstoshowinfictionthehistoricalpe-riodofthedictatorship.Inallfictions,themesarerepresentedfrommelodramapointofview,i.e.,fromtheprivateandeverydayexperi-encesofafamily.


Table10.Audienceprofileofthe10mostviewedtitles: gender, age, socioeconomic status

Title Chan-nel

Genre Age group Socioeconomic status

F M 04-12

13-17

18-24

25-34

35-49

50-64

65-+ ABC1 C2 C3 D

SOLTERA OTRA VEZ

Canal13

69 31 7 10 16 21 24 14 8 11 29 29 31


Canal13

65 35 6 6 13 18 28 18 11 11 27 31 32

POBRE RICO

TVN 64 36 16 8 8 15 22 17 15 6 17 29 48

SEPARADOS TVN 63 37 8 5 9 15 21 20 22 8 21 28 43

PELELESCanal

1359 41 9 10 10 22 25 16 8 6 24 34 36

RESERVA DE FAMILIA

TVN 64 36 6 4 6 10 23 26 26 7 19 24 50

AQUI MANDO YO

TVN 67 33 9 7 9 14 22 22 18 6 17 29 48

DAMA Y OBRERO

TVN 69 31 8 4 8 12 23 21 24 5 18 27 50

EL REEM-PLAZANTE

TVN 59 41 7 6 14 13 24 18 17 8 21 27 44


CHV 59 41 5 5 10 13 26 25 17 11 15 33 41


In 2012, the general proportion of telenovela viewing was56.9%forwomenand43.1%formen.Inthecaseofthenationaltopten, theproportionofwomenexceeds thegeneralaverage,whichindicates theattractionofnationalproductions.Three top ten fic-tions break the proportion ofmore than 60%of female audienceandattractamenpercentageofmorethan40%(“Peleles”,“Elre-emplazante”, and “Violeta se fue a los cielos”). In general, it isconfirmedthatmassive fictions attract audiences of all ages and social segments.

182 | Obitel 2013

3. Transmedia reception 4

InChile,oneofthe2012phenomenawastheadaptationandbroadcast by Canal 13 of the successful Argentinean telenovela“Soltera otra vez”.ThestoryofCristinaMoreno,awoman look-ingfortheidealmanafterdiscoveringthatherpartner,Monito,de-ceivedherwithanotherwoman,wasthemostviewedfiction,with26.8ratingpointsinprimetimeandashareof37.0,fromMay2012toSeptember2012.

However,itwasnotonlyaboominmediaterms:withonly44chapters,itwasoneofthemostcommentedtelenovelaoftheyear,earningcoversofnewspapersandmagazines; themaincharacter,CristinaMoreno,evenended“writing”acolumnaboutdatesandalsohadherownFacebookpage,withmorethan120,000follow-ers.“Soltera otra vez”wasarealphenomenoninthevarioussocialnetworks.

Whenanalyzing the typeof transmediatic interactionofferedby the producers’websites,we have to keep one factor inmind:unlikeprimetimetelenovelasofTVN,broadcastedfromMondaytoThursday,“Soltera otra vez”ofCanal13wasbroadcastedfromSundaytoWednesday.Wewillanalyzeitslastweekonair,whenthelastchapterwasbroadcastedandtheonline“finalcountdown”tookplace.Theanalyzedperiodgoes,then,fromThursdayAugust30 toWednesdaySeptember 5, date inwhich the telenovela fin-ishedairing.Therefore, therearethreedayswithouttransmission,andfourdayswithtransmissionofthetelenovela.

“Soltera otra vez”hasanofficialpageonthewebsiteofCanal13,anofficialFacebookpage,anaccountonTwitterandaYouTubechannel.Therearealsothefanpages,butthesearenotincludedintheanalysis.TheofficialFacebookpagehad357,986followersor“fans”,and621peopletalkingor“commenting”onthepage.Thefollowingtablebreaksdownthetotalnumberofcommentsmadeintheweek,thetotalnumberof“likes”,thenumberofcomments,and

4ContributionofAlejandroBruna,journalistandscreenwriter.


thenumberof“shares”oftheposts.Intotal,fromThursday,August30,toWednesday,September5,therewere8.127“shares”,187.331“likes”,35.679commentsand126reviews.

Table 11. Activity on the Facebook page of “Solteraotravez”

Date Posts Comments Likes Share

30-ago-12 14 4,995 23,976 1,432

31-ago-12 14 1,303 8,420 590

01-sep-12 15 213 2,961 0

02-sep-12 15 3,517 871 0

03-sep-12 24 5,498 24,353 0

04-sep-12 18 3,630 29,867 599

05-sep-12 26 16,523 96,883 5,506

Total 126 35,679 187,331 8,127

Source:Facebookpageoftheseries

TheofficialFacebookpageof“Soltera otra vez”functionsasan interactive online viewing,with a level of active interactivity.Thepostsare,ingeneral,contentoftheofficialwebsiteorrelatedtweetsfromtheTwitteraccount,i.e.,whatistweetedinrealtime,inmostofthecases,alsoisreplicatedintheofficialFacebookpage.

Theparticularityof“Soltera otra vez”isthat,forthefirsttime,thecontentoftheofficialwebsiteisinpartcreatedbytheviewer:there is a section called “Upload your story” and another called“Yourstory”,wheretheaudiencecanwritetheirstoriesofrelation-ships,or things thatarehappeningwith theircurrentpartners, re-latedtothesubjectofthetelenovela,andifitisapprovedtheyarepostedinthespace“Yourstory”withthenameofitsauthor.Thismakes theofficial page a transmediaticviewing (it allowsdown-loading images and there ismore thanmere viewingswith com-ments),witha“creative”levelofinteractivity,asusersbecomepro-ducersofcontent,creatingsomethingnewfromwhatwasgiventothem(the“mainproduct”,i.e.,thetelenovela).

184 | Obitel 2013

Table12showsthedominantpracticesofusers;whatwasmoreabundant in the different spaceswere comments about situationsofCristina“Cristi”Moreno,recommendationsonhowtofindtruelove,criticisms,eventsandcontentsshare,withdiscussions(some-timesbetweentheviewers).Thecharacter,sobelovedbyviewers,neverraisedaparodyorhostility,althoughthecommentscouldbenegativefortheirrepeatedquestioningofherrelationshipsandemo-tions,called“clumsy”and“basic”.

Table 12. Online practices of Canal 13’s “Solteraotravez”

WebsitesType of

transmedia interaction

Interactivity levels Dominant users’ practices

Officialwebsite

Transmediaviewing

CreativeComment,recommendation,celebration,criticism,share,magazine,discussion

Facebookpage

Interactiveonlineview-

ingActive

Comment,recommendation,celebration,criticism,contentshare,discussion

TwitterRealtimeinteractivity

ActiveComment,interpretation,parody,recom-mendation,celebration,criticism,content

share,discussionYouTubechannel

Interactiveviewing

ActiveComment,recommendation,celebration,

criticism,contentshare,discussion

Source:ObitelChile

4. Highligths of the year

4.1. Innovation from hybrid and versatile portraits 5

Watchingthe2012ChileanTVfictionsinperspectiveisload-edwithsensationsofpleasureanddispleasure.Somefictionscausedisturbingandattractivepainbytherawnessoftheirthemes(espe-ciallytheseries);othersarehilariousanddistendedportraitsofso-cialstereotypes,thatrangefromlightcomedytelenovelastomelo-dramasinthepurestLatinAmericanclassicstyleofthe1960–70.

WhilebroadcastTVhadanotheryearofgeneraldeclineinitsratings(anaverageof29ratingpointsin2012,inconstantdecline

5ContributionofProfessorLuisBreull.


since2003whenitreached37.3points),fictionhadanambivalentmedialimpact.Someprojectswereamongthemostviewedintheindustry;otherswereinabsoluteinvisibilityastheywereofferedinchannelsnotfavorableforthatkindofcontent.Seriesandtelenove-lasweretransformedintoa“place”–undertheconceptualizationoftheanthropologistofhypermodernity,MarcAugé6–,asaspaceofcommonrecognitionoftheaudiencesaroundwaysoflifeandtrans-versalidentitythemes.“Places”astheantithesisof“non-places”orpublicareasofanonymoustraffic,empty,regardlessoftheotherortheothernessasabasisforintegratedandproactivesocialization.

4.2. The overwhelming other side of school educationTheburstinoftheseries“El reemplazante”ofParoxproduc-

tions,onMondaysat11pmonTVN(11episodesof60minutes,broadcastedfrom08/10to17/12),allowedustoconnectascitizen-shipwithasymbolicspacefulloftheurgentneedofgivingsensetoourcountry.Thecitizens’proteststoimprovethequalityofedu-cation have been part of the hegemony of social demands of thepastdecade,especiallyintheyears2011and2012.Adramaticandoverwhelmingreality,focusedinasubsidizedschoolinapopulardistrictofSouthSantiago,where theeducationsystemreveals itsmoreviolent,exclusionary,shameless,miserableandantagonisticface.Theplotisaboutaneducationalmodelofdisguisedachieve-mentsinadespicablebusinessofdeceptionsandself-deceptions,ofundoubtedscarcity,wheretheleadingrolelieswithasuccessfulandsnobbishengineerdedicatedtolargespeculativeinvestments,whofailfruitofhisambitionandwho–afterastintinprison–redeemsworkingassubstitutemathematicsteacher.

This fiction catches in its absolute displeasure. It has a darkvisual format and it is realistic,mixing a cast ofprofessional ac-torswithnon-actors,asstudents.Theuseofsubjectivecamerasorinmovement prevails, aswell as a dramatic structure that stands

6Augé,Marc."Lavidaendoble:Etnología,viaje,escritura",chapter11.BuenosAires,EditorialPaidós,2012.

186 | Obitel 2013

on permanent conflicts such asmarginality, exclusion, drug traf-ficking,nonsense,crisisoftheeducationalmodelasabusiness,theprecarious nature of family relationships in homes at social risk,deceptionanddisillusion.Littlespaceisleftfortheconstructionofloverelationshipsandpositiveemotions;however,theseriesshowswaysout of those realities, like self-improvementof the studentsinavertiginousenvironmentwhere–slowly–hopeisrevealedasaresultofpersonalandcollectiveeffort.

4.3. Pedophilia, bullying, fear and power“Solita camino”wasanotherof theoutstandingexponentsof

the year, despite the little audience obtained in its broadcasts onMondaysat11:15pm,inMega,inthesametimeslotthat“El re-

emplazante”. Itwasa seriesof twelve60-minutechapters,onairfrom01/10to17/12,madebytheproductioncompanyCircusanddirectedbyCristiánMamani.ItwonpublicfundsofCORFOandCNTV,andtoldthestoryofateenagegirlofanupperclassfamilywhoisabusedbyherstepfather,asuccessfullawyeranduniversityteacher,whoultimatelyturnsouttobehisbiologicalfatherandusesallhispowertosilenceher.Theplot,abouttheworldofteenagersinextremelifesituations,washighlyemotionalandrequiredasixmonth investigation, including interviewswith psychologists andpsychiatrists,tobuildthelifeofManuelaIzquierdo,theprotagonist.

Theformatalsousedaworkingmodelthathasbeguntosettlein the fieldofnationalseries in recentyears:acast limited tonomore than20characters,halfof themstable.Thiswas functionaltothecharacterof thisseries,withaslow,introspectivenarrationandastrongpresenceofincidentalmusic,reinforcingtheintimateandoverwhelminglookoftheexperiencesofvictimsofpedophiliaorchild/adolescentabuse (sensitive topicon thepublicagenda inrecentyears,withhighimpactcomplaints).Evenso,itdidnotstayinthevictimizedmelancholy,butitdidinstallthestorywithabe-lievableclimax.


Somethingthatdrawsattentionisthattheserieswasscheduledon the sameday and time slot as “El reemplazante”–both co-fi-nancedwithpublicresources–andhadlittleaudience(athirdoftheoneofitscompetitor).Anadditionalfactorthatmighthavecontrib-utedtothiswasthechannelonwhichitwasbroadcasted,special-izedinmasscontents,mostlyofpopularhumororaction,farfromthecharacterofthisfiction.Itshardnessrememberedof“Volver a

mí”,seriesof2010onCanal13–broadcastedonSundaysmidnight,after“Los 80”–aboutpatientsinarehabilitationcenterforalcohol-icsanddrugaddicts(ithadoneseasonandleftthestorytruncated).

4.4. Love, commitment, bachelorhood and freedomInthefieldoftelenovelastherewerethreemassiveexponents

ofverydifferentcharacter:thepostmeridiemmelodrama“Dama y

obrero”andtheeveningcomedy“Pobre Rico”inTVN,andthewin-nerinaudiencesandinnovation“Soltera otra vez”onCanal13,oneofthemostviewedprogramsoftheyearinallthelocalTVindustry(broadcastedonSundaysat11pminitsfivefirstchaptersandafterfromMondaystoThursdayswith44episodesfrom27/05to05/09).Thisproductioninnovatedfromtheromanticcomedy,mixingthetelenovela,seriesandsitcomformatswithunitarychapters,orcasesresolvedin twoepisodes,plusa transversalplot thatgaveconsis-tencytothestory.

“Soltera otra vez”wasaproductofhighimpactinthegeneralaudience,buttargetedinyoungwomenandyoungadultsofhighso-cioeconomicsegments,whereitobtainednearly90%ofshare.Thisshows the effectiveness and focus of its plot around a post-mod-ernprofessional, living invertiginousandverycurrentexistentialcodes:difficultytohaveacouple,infidelity,desiretobelongversuslonelyutilitarianismandPresentismfruitofinhabitingintheuncer-tainty.Otheraspectsofthecharactermakeherhumanandlovableasanti-heroine,clumsy,absent-mindedandcleveratthesametime.Sheusestosolveherlifewiththeadviceofthreefriendsofherageandprofilesorlifechoicesquitejuxtaposed.Thestorywasinspired

188 | Obitel 2013

by“Cita a ciegas”,telenovelaoftheArgentinepublicTVbasedontheblogoftheArgentineanwriterCarolinaAguirreandwillhaveasecondseasonin2013,reaffirmingitsinnovation:telenovelawithserialtreatmentandevolutionbyseasons.

4.5. SynthesisChileanfictionof2012–beyond“Los 80”,aserialblockbuster

thatalreadyhasfivesuccessfulseasons–hadinnovationwithimpactonthesocialagenda,moreabilitytosettleonhumorandsensitiveandhardissues.Itportrayedthecurrentlifestylesandalsoperme-atedwithitscodestherealityTV.Makingseriesortelenovelashasnotbeennorwillbecheap.Also,itisnotrisk-free,butitprovedtobeamassive, powerful and truthful window to reality.

5. Topic of the year: social memory7 and television fiction

5.1. The images of memory 8

ThemainspacewhereWesternculture relatesand lives itscommunitymemoryistherealmofimages.Thewayweinteractwith everyday life and its evolution is visual,mediated by im-ages:imageisnolongerjustapartofeverydaylife,itbecameitscenter.

Kineticandphotographic image isoneof themost recurrentspaces of interpretive tension and assignment ofmeanings to thepast.ThestoryofthepastinvisualimagesandfilmsisstudiedwithenthusiasmandinterestfromtheemergenceoftheCulturalStudies.However, this assault of imageswasunderstood as a speech thatextendedthehegemonicinterests.

The image appears to replace the memory. “Unlike photo-graphicor filmimages,memoriesdonot remainstaticover time,

7ContributionofProfessorConstanzaMujica,PhD.8This section is taken fromConstanzaMujica's thesis to obtain thePhD inSpanish-AmericanLiterature, "Paisajes de lamemoria chilena en telenovelas de época (1995-2005)".


theyarereformedandreconfigured, theyvanishorare rewritten”(Sturken,TangledMemories:21[CM]).Hence,Sturkendescribestheimagesasspacesofemission,butalsoreplacement,deformationandblockingofuncomfortablememories thatwouldwork as thefalsememorieshidingtraumasdescribedbyFreud’spatients.Thisreplacementpowerassignedtophotographicandaudiovisualrepre-sentationswaslinkedtotheillusionoftransparencyofthe“natural-izing”representationofitsconnotativenature.

Cinematographic and television images built plots and argu-ments(inthesensethatWhiteunderstandsthem)thatcollideamongeachotherandmove.Thesecontents(articulatedthisway)canbere-experiencedassocialmessagesthatapprehendtheexperienceasanacceptableaccountoranactivere-elaborationofthe“difficult”culturalmemorycontents.

Inthiscontext,Sturkenestablishesthatoneofthecoreelementsof the relationshipbetween television languageand thepast is re-enactment:thecreationofnarrativesfromthepastthatgivesensetotraumaticepisodesasawayofpromotinghealingofpsychicwounds(Sturken,TangledMemories24).Thisnewexperience transformsimagesintoaspaceinwhichthetraumaticeventisexperiencedandre-elaboratedinaspaceofcatharsis,whichenablesitsinsertionintothestoryofculturalmemory,conceivedasHalbwachsdoes.

ChileanTV fictionof thepast fiveyearshasproduced threetypesofmemorynarratives:historicalfictionschroniclingthedis-tantChileanhistory,epochfictionsnarratingthedictatorialpastandfictions that elaborate recent socialmemory. The first two typeshadalreadybeendiscussedinpreviousreportsofObitel(2009and2012)andthelastisjuststillaseed,onlydetectedthisyear.

5.2. The memory of the distant pastHistorical fictions are those depicting historical events “sig-

nificant” for the nation (RodríguezCadena,Histories ofMexico:Personification6).Theyincluderealhistoricalcharactersandrelatethemwithcompletelyfictionalcharacters.

190 | Obitel 2013

In these fictions the foundationalmoments of the nation areseenfromtheperspectiveofthemonumentalhistory,asNietzscheunderstoodit,i.e.,asarepresentationofthepastfromthegreatnessthatitisbelievedexisted.Thisrepresentationrecoversepisodesofcrisisandconflict,soittendstofocusontheactionsofaheroicfig-urethatembodiesthatfoundingmoment.Thatcharacterisportrayedasarolemodel,similartowhatschoolhistorybooks,oralhistory(cf.RoweandSchelling50–111)and thepopularsocial imagina-tiondoontheseepisodes(cf.RodríguezCadena,“Contemporaryhi(stories)ofMexico:Fictionalrecreation”49).

InthecaseofChileandasstatedonObitel2009report,alreadyin 2007 –driven by the closeness of theBicentenary of the FirstGovernmentJunta–themainchannelslaunchedprojectssetinhis-toricaleventsofthecountry.

In 2007 and 2008, Canal 13 broadcasted the TV movies“Héroes”,withlongdurationunitaryepisodesthat toldthelifeofsixcharactersfromthefirsthundredyearsoftheChileannation,inadoublecode:thegreatmilitaryandpoliticalheroicdeedmixedwithdailyanddomesticlifemarkedbymelodramaticcodes.TVNbroad-castedthedocu-report“Epopeya”(2008)andtheminiseries“PAZ”(2009),abouttheWarofthePacific,andproducedtheArgentineanformat“Algo habrán hecho”(2010),narratingthehistoryofChilefromtheSpanishdiscoverytothecelebrationof thefirsthundredyears of theRepublic. The latter program, aswell as theArgen-tineanoriginal,mixedrecreationsofepisodeswithrealactorsandcartoonswithinterventionsofcontemporarywriterswhotravelledtroughthepast,thusjoiningtogetherthedescriptionofpasteventswiththeperceptionsofthecitizensofthepresent.Itsconcern,then,wasnotthereproductionofhistoricalfacts,butmakingthemdia-loguewiththerecentmemory.

Inthelastyear,Megaalsobroadcastedahistoricalseries,“Co-

bre”(2012),setatthebeginningofthetwentiethcentury.Thefic-tion,whichdidnot succeed in rating, narrated thebeginning and


consolidationofthecopperindustryfromthepersonalepicofthefirstworkersandentrepreneurs.

5.3. Recent memoryInthelastfewyears,epochfictionshavebeenbroadcasted,i.e.,

setinthepast,butwithouttheinterventionofrealhistoricalcharac-tersandsetinthemilitarydictatorship.Thechannelsbroadcastingthemare,again,Canal13withtheseries“Los 80”,whichisprepar-ingitssixthseason,andTVN,producingthesecondseasonoftheseries“Los Archivos del Cardenal”.

Aswealready stated in the2012 report, these series showachangeinthemechanismsofrepresentationofthepast.Theyseemtobemanifestingthetransitfromafearfulmemory,expressingthetrauma of dictatorship throughmelodrama, to amemory thatwedescribedasopenly.Ifinthefirstseasonsof“Los 80”melodramaconstitutedas“astrategyofmediationthatallowedthenarrationoftraumaticmomentswhoseviolencewasnotyetintegratedtoChil-eandailyroutine”today,thatmediationlosesvalidityandscenesofkidnapping,tortureandconfrontationareexplicitlyshown.

Aswe said in 2012, both series are pluralist since they col-lectmanyof the subjectivepositionsagainstviolationsofhumanrights–thevictim,theonewhodoesnotknow,theonewhoseeks,theonewhotortures–,butsuggestaclearethicalposition:theneedfor testimony.Aviewercannot stayneutralwhenhewatches thepainofthetortured,theconcernofafamilybytheexiledormissingdaughter,thetearingofthewomanwhoselovehasbeenkilled.Thisknowledgeforceshimtotakeresponsibilityfortheother’sterror,tobecomeawitness.

That testimony becomes more powerful by the inclusion ofthesefiguresinthedailylifeoftheviewer,acharacteristicofbroad-casttelevision.Thescenesofpain,then,involvecontemplatingtheterrorofsomeonewhoisappreciated.Forthisreason,refusingtobeawitnessisimpossible.

192 | Obitel 2013

5.4. Contemporary memoryThe broadcast during 2012 of the series “El Reemplazante”

(TVN),setinasubsidized9schoolinapopularneighborhood,sug-gests the seed of a newway of relatingwith the past, by takingcharge of amemorywhich is not yet history, that of the studentmovement.

Theseries,whichwillalsohaveasecondseasonduring2013,tells thestoryofastockagentwho,afterbeingaccusedof fraud,is forced tomake classes in a school.His students, like him, aredisenchanted,andaretherebecausetheyhavenootheroption.Theschool isa spaceofcontrol,whichprevents the students tobe incontactwithcrime.Butschoolisnoteventhat,becauseattheexitpupilstrafficandgettogetherwithgangmembers.

Theschoolisownedbyarealestatebusinessmanwhodivertsfundsfromtheschoolforhisownbenefit.Whiletheinfrastructureoftheschoolisbecomingmoreprecarious,hefillshispocketswithpublicfunds.ThisprofitformisoneofthemaincriticismsofthestudentmovementinChile,veryactivefrom2011.

Thenew teacher andhis students overcome themutualmis-trustandseeapossibilityofchange.Theyunderstandthattheycandreamaboutdifferentthings,withbeingprofessionalsor,atleast,haveaschoolthatgivesthemopportunities.Thesolution:purchas-ing the school through a cooperative formedby students, parentsandteachers.

Thedemandsofthestudentmovementareembodiedthroughthesestudentsfightagainstabusesoftheowneroftheschoolandagainsttheapathyofsometeachers.Someofthemostemblematicimagesofthismovementarerescued:studentsmakingaflashmobandprotest.

9Theseareprivateschools,buttheyarefinancedwithStatefundsandamonthlypaymentbythefamiliesofstudents.


5.5. To end...Inthissectionwehavefocusedonthefictionsthatexplicitly

describe phenomena of Chilean cultural memory. This analysisdemonstratesthatthistypeofstorieshavebecomeawidespreadandlong-standingphenomenon.

AlloftheseproductionshavebeenfundedbytheChileanStatethroughitsNationalTelevisionCouncil(CNTV).Discussionaboutthepossibilityoftheexistenceofthesestoriesiftherewerenosuchsupport–towhichitisnecessarytoapplyprojectbyproject,yearbyyear–isstillpending.Despitethesuccessinaudiencesofthesebets,channelshavestillnotbetwiththeirownfunds.

ReferencesFUENZALIDAV.,CORROP.,MUJICAC. (2009).Melodrama, Subje-

tividad e Historia en el cine y televisión chilenos de los 90.Santiago:Consejo

NacionaldelaCulturaylasArtes–FacultaddeComunicacionesUC.

HALBWACHS,M.(1992).TheSocialFrameworksofMemory.On Col-

lective Memory (pp. 37-167).Ed.LewisCOSER.Chicago:TheUniversityof

ChicagoPress.

InformeObitel2009.

InformeObitel2012.

MUJICA,C. (2010)Paisajes de la memoria chilena en telenovelas de

época (1995-2005).ThesistoobtainthePhDinSpanish-AmericanLiterature

atPontificiaUniversidadCatólicadeChile.Santiago.

RODRÍGUEZCADENA,M.delosA(2004).Contemporaryhi(stories)

ofMexico:Fictionalre-creationofcollectivepastontelevision.Film and his-

tory.34:49-55

RODRÍGUEZCADENA,M.delosA.(2002).HistoriesofMexico:Per-

sonificationofthePastinHistoricalNovelsandHistoricalSoapOperas.PhD

thesis.UniversityofMichigan.

ROWE,W.,SCHELLINGV. (1991).Memory and modernity. Popular

culture in Latin America.London:Verso.Impreso.

STURKEN,M.(1997).Tangled Memories: The Vietnam War, the AIDS

epidemia, and the politics of rememberin.LosAngeles:UniversityofCalifor-

niaPress.

4colombIA: vIolence, enTerTAInmenT

And AudIovIsuAl sPecTAcle1

Authors:BorysBustamante,FernandoAranguren

Team:HernánJavierRiveros,AlejandraRusinque,DianaMendoza.

1. Audiovisual context in the countryTheyear2012representedforthecountrytheproblematiccon-

solidation exercise of government, led byPresident JuanManuelSantos,varyingbydistancefromthepositionsoftheextremerightcharacteristics(suchasthemandateofhispredecessorAlvaroUribe“inherited”)toacenter-rightpolicy,capableofdialogueandconsul-tation,bothinternallyandinternationally,withthosesectorsiden-tifiedas theirmainenemiesand/oropponents.We referhere, forexample,tothebeginningofthepeacetalkswithFARC,andalsototheredefinitionofrelationswiththenowdefunctPresidentHugoChavezandgenerallywiththeleftistgovernmentsintheregion.

Inthissociopoliticalcontext,inturn,verypositivemacroeco-nomicindicatorsarerecorded,withwhomthecountry’simagewinsintheinternationalarena,whichbecomesoneofthemostprofitableinvestmentsforinternationalcapital,inadditiontothenumbersofeconomicgrowthandfinancialsecurityguarantees.Butalongsidetheseindicators“tobeshown”,alsoslipthosenegativerecordsthatindicatethewideninggapbetweenrichandpoor(Colombiaisoneof thecountrieswith thehighest levelsof inequality in theconti-

1ForthedevelopmentofthisacademicresearchwehavetheinvaluablecontributionofIBOPEColombia,acompanythatkindlyprovideduswithdataandstatisticalstatementsthatsupportedthisstudy.

196 | Obitel 2013

nent),the“statisticalformalization”ofemploymentandunderem-ployment,theintensificationofbureaucraticandpoliticalcorruptioncases,aswellasthealreadybustledinformationaboutparapoliticsinthecountry.

Thisparadox,whichmarksthepresentandtheimmediatefu-tureofColombia,ispartandcontinuesinthehistoricalandpoliticalprocessinrecentdecades,inwhichviolenceinitsvariousmanifes-tationsandimpactshasemergedasacorecomponentoftheback-groundofnationalevents.Neithereconomicgrowthnorthecurrentgovernment’spoliticalshiftmanagetoreducetheindicesandmani-festations of violence (conflictwith the guerrillas, paramilitaries,drugtrafficking,criminalgangs,commoncriminals,etc.).

Andthisisthebackgroundthatholdsanddeterminesthedy-namicsoftheColombianaudiovisualproductionasdemonstratedinthischapter.Inthecaseoftelevision,whichremainstobetheenter-tainmentmediumwithincreaseddemandandimpact,therecreationofviolenceinitsepisodeshasbecomeoneofthetopicswhosepro-grammingoffersbetterresultsintermsofaudienceandprofitabil-ity.Accompaniedbyinformationproductionandrealityshows,theymonopolizethemostsuccessfulareasofthesmallscreen.However,becauseof theeffectof technologicalconvergence,drivenby theaccelerateddigitizationofmediaprocesses,thetelevisioncontentsexpandtheirflowandamplifyitsresonanceinvirtualplatforms(in-ternet,mobilephone,digitalTV,socialnetworks,etc.)inwhichthenationalquotidianisincreasinglyrepresentedwithculturalpower..

1.1. The open television in ColombiaThelandscapeofopentelevisioninColombia,involvingfive

nationalchannels,providesthefollowingcomposition:

Colombia – Violence, entertainment and audiovisual spectacle | 197

Graph 1. National channels of television in Colombia

PRIVATE CHANNELS (3) PUBLIC CHANNELS (2)RCNSnail

CanalUnoSeñalColombia

CanalInstitucionalTOTAL CHANNELS = 5

Theexistenceof these fivechannels,distributed in3privateand2publicones,functionallyisfartoachievearepresentativebal-ancesinceduetotheamountofbroadcastcontentandtheconsolida-tionoftheratings,theprivateonesalmostcompletelymonopolizetheattentionfromtheaudience.

Graph 2. TV audience per channel

TV network %Caracol 51.2RCN 45.8

CanalUno 1.6SeñalColombia 1.0

CanalInstitucional 0.4

As shown inGraph2, the indicesof theTVaudience in thecountry are distributed quite unequally amongprivate and publicchannels,tothepointthatthelatteronerarelyregistersindicatorsfor1-2%.Inturn,thiswilldirectlyimpactonboththequantityandqualityofTVproductionthatisgeneratedinbothfields,withthecorrespondingdecreaseintermsofthecapacityofpublictelevisionto competewith theprivateone (while recognizing theeffortsofSeñalColombiatoimprovethequality,originalityandauthenticityoftheprogramsproducedandbroadcast).

Caracol

RCN

CanalUno

SeñalColombia

CanalInstitucional

2%

51%

1% 0%

46%

198 | Obitel 2013

Graph 3. Share by Channel

TV network Individual share %

Caracol 73.54 51.7RCN 65.39 46

CanalUno 2.38 1.7SeñalColom-

bia0.66 0.4

CanalInstitu-cional

0.18 0.2

The figures in this case confirm the abovementioned findingastothepredominantroleofprivatetelevisioncomparedwiththepublicone.Thetworangesthatdominatethetelevisionmarketinthecountry,CaracolandRCN,arefightingallkindsofpublicpref-erences, thereby encouraging open competition between the twochannels,whichalsoinvolvesthecompetitionforformatsinnova-tion,qualityandnumberofprograms,formulaspursuitofpartner-shipswith international channels, etc.And as for the preferencesoftheyear,itshouldbenotedthatforthefirsttimeinalongtimeCaracolmanagedtounseatRCNbyissuedfictionprogrammingintheperiod.

Graph 4: Genres offer in TV programming

Broadcast genres

Exhibition hours %

Information 4,029:15:37 10.8Fiction 4,957:55:10 13.2

Entertain-ment

12,622:03:34 33.7

Religious 88:47:52 0.2Sport 1,379:58:26 3.7

Educational 1,895:17:57 5.1Political 2,281:28:26 9.0Others 9,121:09:59 24.3Total 37,462:17:48 100

AsshowninGraph4,themajorgenresinTVprogramming–entertainment,fictionandinformation–accountforthehighestrates

2%

52%

0% 0%

46%

Caracol

RCN

CanalUno

SeñalColombia

CanalInstitucional

0%

34%

%

11%

9%

4%5%

24%

Information

Fiction

Entertainment

Religious

Sport

Educational

Political

Others


intheofferofthemedium,andthiscorrespondstothehighestlevelsofdemandbytuning.

1.2. Audience trends in 2012ThestructureoftheColombiantelevisionprogrammingshares

many issueswithother countries in the region,whichbecomesafortressandalsoareasonforpromotingwhatisspecificinnationalproduction.Inthislineofthought,alsoonaudiencetrendsitispos-sible tonotesimilaritiesanddifferences thathelp tohighlight theimportanceofthemediainitssocialandculturaldimension.

TheColombiantelevisionaudiencein2012focusedprimarilyontelevisionblockssuchasinformation(privatechannels),enter-tainmentandfiction(privatechannels),sportsandotherentertain-mentprograms(publicandprivatechannels).Asforentertainmentandfiction,itisimportanttohighlightthemarkedpredominanceoftherealities(notlessthan10highimpactprograms,9ofthemis-suedbythetwobigchannelsandanotheronebychannelCityTV),alongwithfictionprograms:series,telenovelasanddramatized,inwhichit isworthnotingthat thisyear theseriesoutnumberedthetelenovelasregardingaudience,whichisaconditionthatdeservesthecorrespondingmonitoringandanalysis.Theotherbigblockoftelevisioncontentwhichisrelevanttoaudienceisthesportsbroad-castinbothnationalandinternationalorder.

Whatdoesthisrevealregardingthetrendsontheaudience?Inouropinion,thefirstthingthatcanbenotedisthecloseharmonybe-tweenthemedia’scapacitytointerpretthetastesandexpectationsoftheviewersandofferandprovidefeedbackofaprogrammingthatmeetsthesedemandsandconsolidatestheloyaltyofaudiences.Thisisclearlyreflectedintheopenconfrontationthatoccursbetweenthetwolargechannelstoofferprogramsthatensurethehighestpossi-blelevelsofaudienceaswellasthefeedbackofthetransmediationpractices,whichincreasinglymakecareerinthemedia.Thesecondthinghadtodowiththeaccommodationand,somehow,thesatisfac-tionof largeaudienceswiththeofferedcontentandthetreatment

200 | Obitel 2013

ofthemmoreandmoretechnicallyrefined,socommunicativeandculturalexperienceofthemediawouldbe,apparently,sufficientlyrewarded.

1.3. Advertising investment during the year: in TV and fiction2

Theinformationrelatedtothemanagementofthenamedad-vertisingpie(investmentonadvertisingpermedia)clearlyconfirmsthetendencytoconcentrate thehighestpercentagesof investmentintelevision(national,48%;regional,2.9%),followedbyradioandnewspapers (eachwith 21%), andmagazines (with 5.1%),whichcoincideswiththehighdegreeofpositioningandimpactthatisat-tributedtotelevisioninthisarea.

IfweaddtothisthefactthatinColombia,during2012,adver-tisinginvestmentonmediagrew1.3%comparedwiththepreviousyear,itisobvioustoseethatthisgrowth,becauseofthevolumeofinvestment,thatintelevisionwas0.7%,exceedshighparticipationrecords,of4.9%inradioand3%innewspapers.

In turn, regardingadvertising investmentconcentratedon thetimeslots,programsandformatsoftelevisionfictionitispossibletoinfer,byaudiencesvolumeandvarietyofprogramsoffered,highlysignificantfigures,sincefictionformatscover30%oftotaladvertis-inginvestmentontelevision,wellabovethe21%thatarehandledforinformationalandtheaveragelessthan10%ofotherformats.Thisrecognizesthat,bypresentingthecentralfictioninprimetime,facedbymajorbroadcastchannels,bothadvertisinginvestmentanditsoutputachieve thehighestbenefits in termsof theseprogram-mingspaces.

1.4. Merchandising and social merchandising InColombia,mediahasdevelopedanorganicrelationshipwith

themerchandisingandthepositioningoftheirproductionsbeyond

2Thedataused todevelop this sectioncomes fromASOMEDIOSandANDIARIOS.Consolidatedofadvertisinginvestmentinmedia2012.


thescreens.Thus,thetelevisionprogramsarepartoftherangeofproductsthataredisplayed,negotiatedandpromotedwithintheso-ciety’sdynamicsofconsumption.This,addedtothesensationalismofitsdiscoursesandaggressivecampaignsinitsowncommercialspaces,involvesothertypesofmediasuchastheuseofpublictrans-portation,billboardsandmultitudinousreleasestopromoteaudio-visualproductions.

Recently,thepromotionalandvisibilityspaceofmediaprod-uctshasbeenexpanding inaconsiderableextentwith the impactandcommercialbenefitbythesystematicuseofvirtualnetworks.This isespecially recognizable in thecaseof television fiction inwhichtheproductionsarereleasednotonlyaspartofthechannel’sprogramming,butbecomeaspectacletomatchinformationallevelsandintegratesvariousbusinesssegmentsinthechainandintheme-diaandvirtualspacesnetworkassociatedtherewith.

Now,intermsofsocialmerchandising,initstwodimensions,theone thataims torespondtosocialcontextsaswellas theonethatdevelopsthroughnetworks,televisionhasimplementedaseriesofcampaignsseekingsupportandawarenessaboutdifferenteventsandissuesofsocialconcernbothnationallyandlocally.Thisisthecaseoftheparticipationofstarfiguresofthesmallscreenineventsof importanceas theSolidarityWalkForColombia, theCarnivalofBarranquillaandsimilarcelebrationsthatarepresentwithfloatsand alluding to television productions.Also they do the same inconductinghigh-impactsocialprogramsasTelethonandcampaignsto raiseawarenessandcitizensolidarityaroundhumanitarianand

socialcauses.

1.5. Communication policies (laws, reforms, incentives, digital TV, etc.)

TheColombianlegislationfor2012openeddefinitivespacefordigitizationasoneofthemajorobjectivestomeetinasocioculturallevel.Inthiscontext,itisofvitalimportancetodevelopthe“ViveDigital”plan,whichbecomesthemaininitiativepromotedbythe

202 | Obitel 2013

Ministry of InformationTechnologies andCommunication (Min-isterio de las Tecnologías de la Información y la Comunicación,MINTIC), inwhich the objective is to achieve not only a higherInternet penetration in the nation, but also establish the essentialfoundationsofadigitalcultureinthenation.

On theotherhand, in thecaseof theaudiovisual circuit, theincentivepromotedtofilmproductionintermsofcostsandtaxesishighlighted.Thus,theLaw1556promotesthecountryastheset-tingforthefilmingofcinematographicworks,forwhichprovidesaconsiderationof40%oftherecordingservicechargesand20%inlogisticscostsinordertoreducecostsandencouragethenationasaspaceforfilmproduction.

Inregardtospecificpoliciesaroundthetelevision,in2012,thenullityoftheadjudicationprocessofthethirdchannelwasdeclared,relegatingthepossibilityofanewtenderuntil2013.Thedecisionwasmadeafterhavingasingleproposerandconcludingwith theneedtostartagainthequestionofadjudicationsinceitsinception.Moreover, regarding the implementation of the digital terrestrialtelevision,itisinfulldevelopmentandwithcoveragethatextendsonlytothemostimportantcapitalsofthecountryandintermsofchannelshasonlynationwidesupplyoftheprivateones,whilethepubliconeslimittheirspectrumonlytoBogotaandMedellin.

1.6. Public TV Thepublictelevisionlandscapeinthecountryhasnotsubstan-

tiallychangedinrecentyears,whichaffectsitsverylittlepresenceand influenceon its ability to reachand impact larger audiences.Undoubtedly in recent years, public communicationpolicy statedtheimportanceofstrengtheningthismedia,toincreaseitscoveragetoprovideitwithasecuretechnologyandresourcesallowingittopromoteanambitiousprogramthatmakesitcompetitive.However,betweenthewillandthewordsandtheconcreterealityofthemar-ketandtheenvironment,thereisafarinsurmountablebarrierthatmakesourpublictelevision,exceptforsomecontentandprograms


committedtoregionalculturalidentitiesandtheaudienceawarenessaround values and customs of the great national tradition, some-what diminishedbefore the avalancheof supplyof entertainmentandspectacleof theprivatechannels.It isnecessary,however, torecognize the educational value and cultural bet exhibited by the

programmingofSeñalColombia.

1.7. Pay TVDuring2012thewayhowColombiashowedalargeincrease

incoverageandnumberofsubscribersmemberstopayTVishigh-lighted.Largeconglomeratesofthissystem,dominatedmainlybythecompaniesClaroandDirectTV,reportedsharpincreasesintheirprofitsandanopeningtoamarketinwhichtheimportanceofsuchsystemshasbecomeclear.Also,withintheirservices,thesupplyofchannels,suchasHBOandMoviecity,alsorecordedasignificantincreaseinsubscribers,demonstratinganinterestintheaudiencesbytheofferedcontentthroughthesechannelsandcoveringawiderangeofgenresandformats.Infact,withinthecurrentshapeofthetelevisionsysteminColombia,thepaymentappearsasthestrongestcontenderincompetitionwithlargeprivatechannelsforcontrolofmassivetuning.

1.8. Trends of the ICTs (Internet, mobile phone, digital TV, VoD, etc.)

On innovationanddigital technologydevelopment, it isper-tinent to emphasize the continued and accelerated expansion ofvirtualplatformsand,thereby,theoperationalconcurrencyoflead-inginformationandcommunicationtechnologiesthatpopulatethenationalmediahorizon.So,itisworthmentioningthatthemobilephonecoveragepointtoppedalmostalltheterritorywitharecordclose to fifty million subscribers, along with the super dynamicgrowthoftheacquisitionofsmartphonesandothernextgenerationmobiledevices.ThegrowthandexpansionofbroadbandInternet,

204 | Obitel 2013

landlineandmobileiskeptintheorderof18.2%annuallyinclud-ingmore than7millionsubscribers (according to theMinistryofInformationandCommunicationTechnologies).Itisalsothecasetoemphasizethatthemainexpectationinthisarealiesintheim-minentarrivalof4GtechnologywhichissupposedtocauseamajorreconfigurationinthemarketbecauseClarohasbeenrestrictedtoparticipateonit.

Astheabovefiguresindicate,theexpansionofInternetinthecountry,althoughcenteredinlargecities,isindicativeofprofoundchangesandtransformationsinwaysofsocialinteractionandpar-ticipation.ThemainusesoftheInternet(MINTIC)showthefollow-ing composition: access to social networks: 96%; searches: 94%;multimediacontent:78%;email:72%;information:70%;interac-tioningroupsandcommunities:68%.Associalnetworkingiscon-cerned,accordingto thesource,Facebookis the leaderwith90%market shareandanaverageof492.5usersperminute, followedbyWindowsLivewith26%andTwitterwith21%.Thesenumbersrankthecountryin14thplaceinworldwidelevelintheuseofFace-book,andBogotainninthplace.Finally,inthecaseoftheuseofVideoonDemand(VoD),itbecomesnoticeabletheexpansionthatthepaytelevisionindustryhashadregardingtheprivatebroadcastchannels,inwhich,aswithCaracol,thecontentisofferedthroughthissystem.



Table 1: Fictions broadcast in 2012 (national and imported ones; premiere and reruns, co-productions)

Source:Ibope-Colombia

PREMIERE NATIONAL TITLES – 16CARACOL – 7 national titles1.El Laberinto (dramatized)2.Escobar, el patrón del mal(dramatized)

3.Rafael Orozco, el ídolo(dramatized)4.Amor de Carnaval(telenovela)5.¿Dónde carajos está Umaña?(tele-novela)6. Mujeres al límite(dramatized)7.Tu voz estéreo(dramatized)

RCN – 9 national titles8. Historias Clasificadas(dramatized)9. asa de reinas (dramatized)10.Corazones blindados (dramatized)11.¿Dónde está Elisa? (dramatized)12.El Capo 2 (dramatized)13.La Mariposa (dramatized)14. Pobres Rico (telenovela)15.A mano limpia (2ndseason) (series)16.Infieles anónimos (dramatized)

PREMIERE IMPORTED TITLES – 13Caracol – 8 imported titles1. Los simuladores(series-Mexico)2.Familia moderna(series-USA)3.Corazón Apasionado(telenovela-Ven-ezuela-USA)4.El Cuerpo del deseo(telenovela-USA)5.Emperatriz(telenovela-Mexico)6.Relaciones peligrosas(telenovela-USA)7.Blanco humano(series-USA)8.Engáñame si puedes(series-USA)

RCN – 7 imported titles9. Abismo de pasión (telenovela-Mexico)10.Abrázame muy fuerte (telenovela-Mexico)

11.Por Ella soy Eva (telenovela-Mexico-Televisa)12. Un refugio para el amor (telenovela-Mexico-Televisa)13.Triunfo del amor (telenovela-Mexico-Televisa)

RERUNS – 20

CARACOL – 5 titles1. Los caballeros las prefieren brutas II (series)2. Casados con hijos (dramatized)3.Nuevo rico, nuevo pobre (telenovela)4.Nadie es eterno en el mundo (tele-novela)5.Niní (telenovela)

RCN – 14 titles6. Alicia en el país mercancías(drama-tized)7.Así es la vida (dramatized)8.Enigmas del más allá (dramatized)9.Carolina Barrantes (telenovela)10.Me llaman Lolita (telenovela)11.Milagros de amor (telenovela)12.El ultimo matrimonio feliz (tele-novela)13. Las trampas del amor (series)14.Como dice el dicho (series)15.La rosa de Guadalupe (series)16.María la del barrio (telenovela)17.Aquí no hay quien viva (telenovela)18.Las noches de Luciana (telenovela)19.Tan cerca y tan lejos (telenovela)

CANAL UNO – 1 title20. Hombres de honor (dramatized)

TOTAL BROADCAST TITLES: 49

206 | Obitel 2013

It is pertinent to highlight, as illustrated inTable 1, that thebroadcastfictionduringtheyearwassupportedfundamentally,bothbythenationalaswellasimportedone,intheformofseriesandminiseries(dramatized),whichisaninterestingvariationinrelationtotheprevalenceinthislinethattelenovelaalwayshad.

Table2.Thepremierefictionin2012:countriesoforigin

Country Titles % Chapter/Episodes

% Hours %

NATIONAL 16 55.2 1,533 62.3 1,252:20 64.7IBERO-AMERICAN 13 44.8 927 37.7 682:40 35.3Argentina - - - - - -Brazil - - - - - -Chile - - - - - -COLOMBIA 16 55.2 1,533 62.3 1,252:20 64.7Ecuador - - - - - -Spain - - - - - -USA(Hispanicproduction) 5 17.2 240 9.7 177:40 9.2Mexico 7 24.1 593 24.1 448:00 23.2Peru - - - - - -Portugal - - - - - -Uruguay - - - - - -Venezuela 1 3.5 94 3.9 57:00 2.9LatinAmerican(Obitel) 29 100 2,460 100 1,935:00 100LatinAmerican(notObitel) - - - - - -Other(productionsandco-productionsfromotherLatinAm./Ibero-Am.countries)

- - - - - -

TOTAL 29 100 2,460 100 1,935:00 100Source:Ibope-Colombia

Regardingpremierefictioninthecountry,itispertinenttonotehownationalproductionisalmostsimilarquantitativelytotheLatinAmerican(Obitelscope)one; thismayresult inacomplementarybettingintreatmentandrealizationofthethemes,aswellasprefer-encesregardingtheadoptionofcontentandformatsprovidedwithhighpreferencefornationalaudiences.


Table3.C

hapters/episodesandhoursbroadcastbytimeslot

T

ime

slot

sN

atio

nal

Iber

o-A

mer

ican

Tot

alC/E

%H

%C/E

%H

%C/E

%H

%M

orni

ng (6

:00

to 1

2:00

)38

2.5

34:00

2.7

250

27.0

236:00

34.6

288

11.7

270:00

14.0

Aft

erno

on (1

2:00

to 1

9:00

)567

37.0

510:20

40.8

450

48.5

304:10

44.6

1,017

41.3

814:30

42.1

Pri

me

tim

e (1

9:00

to 2

2:00

)678

44.2

566:10

45.2

10.1

1:15

0.2

679

27.6

567:25

29.3

Nig

ht (2

2:00

to 6

:00)

250

16.3

141:50

11.3

226

24.4

141:15

20.7

476

19.3

283:05

14.6

TO

TA

L15

3310

01,252:20

100

927

100

682:40

100

2,460

100

1,935:00

100

Source:Ibope-Colom

bia

Table4.N

ationalandIbero-Americanfictionform

ats

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%C

hap.

%H

ours

%T

itle

s%

Cha

p.%

Hou

rs%

Tel

enov

ela

318.8

363

23.7

255:25

20.4

969.2

808

87.2

608:50

89.2

Seri

es1

6.3

140.9

16:00

1.3

430.8

119

12.8

73:50

10.8

Min

iser

ies

--

--

--

--

--

--

Telefilm

--

--

--

--

--

--

Uni

tary

--

--

--

--

--

--

Doc

udra

ma

--

--

--

--

--

--

Oth

er (d

ram

atiz

ed)

1275.0

1156

75.4

980:55

78.3

--

--

--

TO

TA

L16

100

1,533

100

1,252:20

100

1310

0927

100

682:40

100

Source:Ibope-Colom

bia

208 | Obitel 2013

Itshouldbenoticedthattheprimetimeslotisfullyoccupiedbytheexhibitionofnationalproduction,which,inrelationtoTable3,breakstheabovetrendfromthequantitativepointofview,andmakesus thinkabout therecompositionoffictionalprogrammingaccordingtothepreferencesoftuning,inthiscaseclearlyinclinedbythenationalone.

Weinsistonthefactthatthelargestnumberofformatsusedinnationalfictionthisyearwastheseriesand/orminiseries(catalogedbythechannelsasdramatized),withtheresultingchangeinimpor-tanceandacceptanceorderofthisformatopposedtothetraditionaldominanceofthetelenovela.

Table5.Formatsofnationalfictionpertimeslot



tal %

Telenovela - - - - 2 10 1 50 3 18.7Series - - - - 1 10 - - 1 6.3Miniseries - - - - - - - - - -Telefilm - - - - - - - - - -Unitary - - - - - - - - - -Docudrama - - - - - - - - - -Other (drama-tized) - - 4 100 7 70 1 50 12 75.0

TOTAL 0 - 4 100 10 100 2 100 16 100


Accordingtowhatwasobservedearlier,theprimetimeinCo-lombiain2012wasdominatedbythefictionformatseries/minise-ries(catalogedbythechannelsasdramatized).

Table6.Timeperiodoffiction

Time period Titles %Present 13 81Epoch 0 0Historical 2 13Other 1 6TOTAL 16 100



Thetrendofthebroadcastproductionsremainsregardingthepredominanceof topics, areas and situations, recreated in fiction,alwaysaroundpresenttime,makingthetreatmentofthepastsome-thingalmostexceptionalinthiscase.

Table 7. The 10 most watched titles: origin, rating, share

Title

Country of the

original idea/script

Producer Channel

Name of the scriptwriter or author of the original

idea

Ra- ting Share

1

Esco-bar el patrón del mal

ColombiaCaracol Televisión

Caracol Televisión

JuanCamiloFerrand

14.95 38.15

2La mari-posa

ColombiaFoxTeleco-lombia

RCN GerardoReyes 12.49 34.78

3El capo II

ColombiaFoxTeleco-lombia

RCNGustavoBolívar

11.63 35.06

4Casa de reinas

ColombiaRCNTele-visión

RCNMiguelAngelBaquero,Eloí-saInfante

11.01 32.36

5

Cora-zones blinda-dos

Colombia Teleset RCN

RafaelNoguera,AnaMaríaLondoño,JuanAndrésRendón

10.87 32.8

6Rafael Orozco, el ídolo

Colombia CaracolTVCaracol TV

AndrésMar-roquín

10.76 32.55

7

¿Dónde carajos está Umaña?

Colombia CaracolTVCaracol TV

JohnnyOrtiz 10.35 30.42

8¿Dónde está Elisa?

ChileRCNTele-visión

RCNTelevisión

PabloIllanes 9.55 32.36

9A mano limpia

ColombiaRCNTele-visión

RCNTelevisión

DiegoViv-anco,AndrésGuevara,JulioContrearas.

9.54 30.95

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10El la-berinto

Colombia

Co-pro-ductionofCaracolTVandSonyPictureTelevision

Caracol TV

MauricioMiranda

8.40 24.93

Total of productions: 10 Foreign scripts: 1

100% %10


Whenreviewingthe10mostwatchedtitlesinColombia,itisinterestingtoconfirmthatCaracolmovedRCNfromthefirstplacein termsofdrama televisionproductionswith the seriesEscobar,

el patrón del mal.Thisisofinteresttotheextentthat6ofthetoptenprogramscomefromRCN,channelthathastraditionallymain-taineddominanceinthisfield.

Table 8. The 10 most watched titles: format, length, time slot

Title Format GenreNumber of chap./ep.(in 2012)

Date of the firstandlastbroadcast (in

2012) (*)

Time slot

1Escobar, el patrón del mal

SeriesAction-Drama

72chapters28/05/12to19/11/12

Prime

2La mari-posa

SeriesAction-Drama

48chapters16/01/12to

22/03/12Prime

3 El capo II SeriesAction-Drama

76chapters 17/09/12to31/12/12(cont.)

Prime

4Casa de reinas

Minise-ries

Comedy 43chapters19/11/12to

31/12/12(cont.)Prime

5Cora-zones blindados

SeriesAction-Drama

100chapters(cont.)

03/09/12to31/12/12(cont.)

Prime


Tele-novela

Drama 81chapters20/11/2012to31/12/12(cont.)

Prime

7

¿Dónde carajos está Umaña?

Tele-novela

Comedy178chapters 07/05/2012to

31/12/12(cont.)Prime



Tele-novela

Action-Drama

115chapters12/03/2012to02/09/2012

Prime

9A mano limpia

Series Drama27chapters(cont.)

10/12/12to31/12/12(cont.)

Prime

10El laber-into

Series Suspense 76chapters10/01/2012to

03/05/2012Prime


Amongthe10mostwatchedtitles,itisconfirmedtheriseofseries(dramatized)withinfictiontelevisionproductioninColombiain2012.This,asalreadynoted,makestothinkaboutthewaytheseformats,seriesandtelenovela,arerelatedtoeachother,tothepointthatsometimesthedifferenceseemspointlessandwouldbeessen-tiallydependentofcriteriathatareonlyestablishedanddeterminedby theproductionhousesaccording to theirownparameters. It isworthmentioning,insomeoftheproductionsofthislist,asortofcombination between action and drama resources,which becomekeyfactorforevaluatingthecharacteristicsofthemostwatchedfic-tion.Itisalsopossibletohighlightthetrendtowardscomedy,mys-teryandsuspense,therebydetermininghowfictionislocatedintheentertainmentfieldasakeydriveroftheproductionsofthismassmedia. In termsof length,8programsare located in the segmentlengthof50minutes to1hourand two in the formatof30min-utes,andwithoutexceptiontheyarepartoftheprimetime(18:00to21:00).

Table 9. Themes in the 10 most watched titles

TitlesKEY TOPICS

(UP TO 5 MOST IMPOR-TANT THEMES)

SOCIAL TOPICS(UP TO 5 MOST IMPOR-

TANT THEMES)


Death,cheating,drugs,vio-lence,illicitenrichment

Drugtrafficking,crime,smug-gling,emergingColombian

cartels,justice

2 La mariposaLove,embarrassment,easymoney,deceit,betrayal

Moneylaundering,justice,policepersecutions,family

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3 El capo IIViolence,love,death,re-venge,familybreakdown

Drugtrafficking,functioningofJustice,subcultureofcontract

killings,mafialife

4 Casa de reinasLove,revenge,intrigue,

jealousy,cheating

Socioeconomicascent,justice,singlemothers,smuggling,

corruption


Love,crime,cheating,revenge,death

Policelife,kidnapping,prostitu-tion,justice


Love,intrigue,violence,revenge,fame,power

culturaltradition,personalovercoming,infidelity

7¿Dónde carajos está Umaña?

Love,cheating,escape,intrigue

Familyunion,survival,failure,bureaucraticobstacles


Money,power,forceddisappearances

Paranoia,revelationsofstoriesfromthepast,recriminations

9 A mano limpia Violence,intrigue,cheatingAttemptedmurder,despair,

judicialinvestigation

10 El laberintoLove,sex,infidelity,

revenge,deathSeduction,inefficientjustice,

lossoffreedom


In this list,wemustnote thecontinuityas in recentyears intermsofmoresuccessfulthemesandcontent,withmoreacceptanceandharmony, among thepredominantdrug-relatedviolence in atleast4or5oftheseprograms.Asdiscussedindetailelsewhereinthisreport,therecentColombianpastisgreatlyinfluencedbytheimprintofthedruganditsabilitytonegativelyinfluencevariousas-pectsofsociallife.Also,contentsrelatedtootherformsofviolence,fromtheworldofillegality,commoncrime,traffickingofpersonsandtheirrespectivevariantsarewarned,whichthemediakeepsde-velopingandmakingakindofimmediatemirroronwhichaudienceswatchsomesensationalismanddramatizationoftheproblem.Otherissuesarerelatedtothesomewhatromanticandmelodramaticexal-tationoftheroleoflawenforcementandtheirprivatelivesturnedintomatterofpubliccommentfollowingthefiction.Also,otheris-suesarepresentsuchastherecreationofsocialinteractionbetweenindividualsfromoppositesocialclassesorsectorsand,finally,the


retakingofregionalfolkloreelementslinkedtolocalidiosyncrasiesortheatmosphereofthelifeofapopularcharacterconsecratedbysuccessasamusicalperformer,whichisthecaseofRafaelOrozco,thevallenatosingerwhoissopopularandhaslotsofremembranceamongthecrowds.

Table10.Audienceprofileofthe10mostwatchedtitles: gender, age, socioeconomic level

Titles Chan-nel

Gender% Age groups%Socioeco-

nomic level%

Wo-men Men Chil-

dren12-17

18-24

25-39

40 + AB C DE


Caracol TV

49 51 14 16 15 21 34 50 30 20

2 La mariposa RCN 58 42 12 18 20 22 28 45 35 203 El capo II RCN 56 44 13 23 19 21 24 50 30 20

4Casa de reinas

RCN 59 41 20 24 16 20 21 60 25 15


RCN 59 41 11 25 23 21 20 40 40 20


Caracol TV

58 42 16 20 14 20 30 60 25 20

7¿Dónde carajos está Umaña?

Caracol TV

53 47 17 17 15 19 32 55 25 20


RCN 63 37 12 17 20 24 28 40 50 10

9 La mariposa RCN 56 44 20 27 16 17 20 40 35 25

10 El capo IICaracol TV

48 52 12 24 19 20 25 35 35 30

Source:Ibope-Colombia(thereporteddataistheclosestonetotheavailablerecords)

Table10referstothetypesofaudiencesthatprevailinrelationtothetenmostwatchedtelevisionfictionprogramsin2012,andthefirstaspectwecancompareinthisrespecthastodowiththegendercompositionoftheseaudiences,amongwhichthefemaleviewingstandsoutin8outofthe10selectedprograms,insomecaseswithafairlyhighpercentagecomparedtothemale,asthecaseof¿Dónde

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está Elisa?withadifferenceof26points.Itisintheprogramdedi-catedtoEscobarwherethemaleaudienceexceedsthefemaleinjust2points,raisingthequestionofhowrelevantisthatspecificdiffer-ence.Asfortheagegroupsitisnoteworthythatthegroupofpeopleover25yearsoldandthegroupof40y.o.ormorealwaysmakeuphalformoreoftheaudienceofalltheprogramsthatintegratethislist,whichcorrespondstothecharacteristicofbeingamainlyadultprogramming.Attheoppositeextremeisthechildaudiencewatch-ingtheseprograms,withanaverageof14%to16%oftheaudience,a trend that also applies to all programs.And finally there is theaudiencebetween12and24yearsoldrepresenting25%to35%ofaudienceofthesespaces.

3. Transmedia receptionWith the current scenario of digitization as an essential and

centralelementofcommunicationprocesses inColombiaand theworld,thephenomenaoftransmediationbecomefundamentalsce-nariostoresizetheculturalroleoftelevisionfiction.Thisstrength-ensandpromotes televisionandreaffirmsitsdiscursivepotential.SocialnetworkslikeFacebook,TwitterandYouTuberedefineandaltertheroleoftheaudience,openchannelsforinteractivity,feed-backandpublicinvolvement,allowingthemtoexpressoutopenlyabouttheirprogramsandfavoritesubjects.Withthis,notonlytheaudiencegainsbutmainlytheproducers,whousethisinformationtoleveragetransmediamarketingyields.

Inourcase,andfortheyear2012,inthistopicthechosenfic-tionwasthemostwatchedandlikewisethemostrepresentativeintermsof their commitmentand transmediaoffer.ThisproductionwasEscobar, el patrón del mal,onwhichaninformationresearchwas carriedout basedon Internet different digital platforms.Theresearchwasconductedinordertoidentifythetypesandlevelsofdominantinteractivity,activeorpassive,theinteractionswithothersupportsandmedia,notonlyaudiovisualbutalsoprintmedia,thecharacteristicviewingsofthisprogramontheseplatforms,andthe


effectthatthisphenomenon,relativelynew,hasamongthepublic,givenitsconnectionwiththeissueofviolenceandtherecreationofoneofthemostdramaticmomentsofourhistory.

Forthisresearch,thesocialnetworkFacebookwaschosen,asthisprovidestheopportunityforfanstoparticipateactively.Noin-teractionoccursinrealtime,thoughtheirservicesmayonlybeclas-sifiedasinteractiveviewing,withsomefeaturesand/orelementsofinteractiveviewingonthenetandtransmediaviewing.Regardingkeylevelsofinteractivity,wecansaythatthereisactiveinteractionbecauseusersmayparticipatebymakingcommentsandrespondingtoconversationthreadsandthediscussionaboutthecontentsoftheseries.

Now,inadditiontotheitemsthathavebeenlinkedpreviouslyontelevisionfictionanditstransmediation,herewecanseethepre-vailingpracticesofusersintheprocessofinteractionwithalldigitalplatformsfromwhichitispossibletomakeadvanceinsuchactions,asrecordedinTable11.

Table11:Thetransmediafiction:

types of interaction and key practices

Selected fiction Channel Web pages


Levels of

inter-activ-

ity

Key practices from users

Escobar, el patrón del mal

Caracol Tele-visión

Facebook page

Interactive viewing

ActiveCommentInterpretationRecommendationCelebrationReviewCollectionSharingExtensionDebateInterpellation

Official website

Interactive viewing on the net

Active

Twitter page

Interactive viewing

Active

YouTube page

Interactive in real time

Active

Duringtheobservationweek,themonitoringofthesocialnet-workFacebookcorrespondingtothelastdaysoftransmissionofthe

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selectedprogram,fromNovember14thtoNovember19th,allowedto observe the following quantitative movement: on the numberoffans,86,471peoplelikethispageand465aretalkingaboutit.Abouttheposteddatapublishedduringtheweek,thebusiestdayswereNovember16th,with9posts,and19th,with11;othersdonotexceed3postperday.Thetotalis27postspublishedduringthefi-nalweekoftheseries.Abouttheresultsofthenumberoftimesthatfansshared,likedandcommentedoneachpostduringeachofthefourdays,thefollowingnumberswereobtained:November14th:Ilike:1.108;share:205;comments:245;November15th:Ilike:155;share:13;comments:35;November16th:Ilike:1,793;share:132;comments:289.November17th:Ilike:246;share:35;comments:70;November19th:Ilike:5.022;share:509;comments:1,290.Fora total ineach interactionoptions: I like:8.324;share:894;com-ments:1,929.

Turningtothequalitativeanalysis,allcommentspostedduringtheweekwerecollected,chosenandselectedaccordingtothethemostfrequenttypes,whatgavestarttoataskofdiscourseanalysisofthefansinordertounravelindividual,social,virtualandpublicbehaviorpresentedonthispage.

ForbeingaseriesbasedonahistoricalfactofhighimpactforColombians,fansreflectedcontradictoryfeelingsabouttheactionsofthetrafficker,fuelingthedebateaboutthemeaningofthefactandofthemaincharacterforthecountry.Thediscussionalsodrewfrompresssourcesofthetime,commentsfromwebsites,andmaterialsthatcirculateonnetworks(YouTube,DiscoveryandElEspectador).

Thefictionremainedfaithfultotheofficialreportsofthetime,aboutcircumstantialfactsastheendofthe“capo”.However,acriti-cal attitude is evidencedandparticipantsopenlyexpressed suspi-cious about information from the news transmitted by themediaandthedifferentwaysitcandistortthatinformation.Thetopicalsoledtoflashpointsclashesbetweenantagonisticpoliticalpositionsinconnectionwithwhat thefigureof this“capo”anditsdestructiveconsequencerepresentsfortheaverageColombian.Itisimportant


to state here that this research showed some transnationalization,with somepublished posts fromother countries such asArgenti-na,Mexico,PeruandChile,wheretheserieshasarrivedonDVD,through cableTV, or is about to premiere on openTV, fact thathighlightsthequalityoftheseriesandtheactors.

4. Highlight of the yearAsindicatedintherespectivetable,Escobar¸elpatrondelmál

wasthemostsuccessfultelevisionfictionproductioninColombiain2012notonlyforthereachedratingsbutalsobythesocialandculturalimpactthatthisserieshadforthecountry.Thestagingofthelifeandthelethalactionofthebossofthebossesalsohadanout-standing technicalachievementandconsiderablenarrativebreath,agileandconvincing,withconstantuseofexternallandscapesandtheconditionsofthecinematographictreatment.Thesesetoffac-tors,coupledwiththedisastrousculturalimprintofdrugtraffickingandparticularlyofPabloEscobar,withthesequelofpain,tearingandtragedythatconnotesforColombians,actedasaprotrudingfac-tortograbtheinterestoftheaudience.Inturn,therewereepisodi-cally some debates and controversies,manywith emotional toneaboutapossiblevindicationofthemaincharacterandhisnegativeinfluenceontheyoungergeneration.Itisessentialtonoteherethatin-depthdiscussionaboutthedrugproblemanditsimpactonsoci-etyandcultureofColombiaisstillapendingtasktoperform.

La Mariposa, a series thatwas the secondmostwatched oftheyear, ispartofthetelevisionproductionsinvolvingfunctionalswiftlyanddifferentcomponentsofanaudiovisualnarrativesetontheaxisofviolencethatincludedrugtrafficking,corruption,moneylaunderingandindiscriminatepenetrationofvaluesandidealsasso-ciatedwiththissubcultureamongpopulationgroupswhicharevul-nerabletothem.Itisnoteworthyhowthisprograminsistsonshow-ingtheinternationalillegalanchorsofdrugtraffickingnetworksandallthepracticesassociatedwithit,involvedinafunctionalstructureinwhichofficials,bureaucrats,lawenforcementofficersandcrimi-

218 | Obitel 2013

nalsofalltypeconcur,whobecomeimpregnatedbythesamespiritofthebody.

El capo IIrankedthirdandalmostintegratesablockwiththetwopreviousprograms,theblockinwhichthedominantthemeinColombiantelevisionfictioncondensesarounddrugviolence.Thisrecreationsummarizesandresizeswhatthefirstparthadadvancedaroundthefigureofthe“capo”ofthefictionastheprototypeofma-fiaman,notonlyColombian,butalsoLatinAmerican,withinter-nationalinterestsandwithafrontalfightwiththeU.S.authorities.Theseries,basedonthefreerecreationgrantedbyfiction,isabletoengageelementsandreferencesofareality taintedbythespecterofconstantillegalityunfoldedbydrugsubculturebetweendifferentsectorsofthepopulationandinstitutionsandauthorities.Somehowitwarnswith thedevelopmentof theworkthat thestainofdrugshasspreadandembeddedineverydaylifeinbroadsectorsofsoci-ety.Fromthis,itconstantlydevotesspacestorecreateissuesrelatedwiththeintimateandemotionallifeaswellaswiththefeelingsofthecharacters,sotheatmosphereissaturatedandsomehowshowsthattheboundarybetweenwhatisforbiddenandwhatispermitted,whatisillegalandlegal,isasfragileasitcanbeatcertaintimesandcircumstancesunderlyingmoralvaluesandethicsofindividuals.

Skippingtheorderofthemostwatched,Corazones Blindados

isinfifthplace,aseriesprogramwithrelativesuccessfulacceptanceandimpact,despiteitsprominentlocationwithinfictionprogram-ming,whichacclimates and recreates the rolesof security agentsandpoliceofficersofcombatingdifferentformsoflawlessnessandcrimepresentintheurbanenvironment.Beautifulpolicewomenandsecretofficersandagentsembodytheheroicfigureofselflessof-ficerswillingtoovercomeallobstacles,outragesandinjusticesthatareabletoprovoketheiropponents,whoareevil,uglyandwicked,andalso,onmanyoccasions,theirsuperiorsorsubordinates,withdifferentkindsof intrigues, jealousiesandbetrayals.Finally, inamixtureofhappyending,good tension andmelodrama, thegoodones,andwiththemthegood,theorderandthejustice,imposeforsocialbenefit.


Thisblock,besides the thematicsimilaritiesandgoodaccep-tancebytheaudience,letsusclearlyseehowfictiontelevisionwithmoredemandandrecognitionofaudiencesidentifiesitselfwiththeexposedcontents,withthetypesofenvironmentsandbuiltcharac-ters andwith the framesand solutionsprovidedby the televisionmediatosocialandculturalissuesthatonewayoranotherarein-volvedinsuchprogramsdevelopmentandvisualtreatment.

Asecondblockamongthemostwatchedreferstoplaces4,6and7,correspondingtoaminiseries,Casa de reinas, andtwotele-novelas,Rafael Orozco, el ídoloand¿DóndecarajosestáUmaña?.HerethefictionrevolvesaroundthesettingoftheparticularitiesoftheColombianCaribbean regional culture, using for this, amongotherpretexts,theexegesisofthelifeoftheidol,performerofval-lenatoRafaelOrozco,orthestories,adventures,setbacksandsatis-factionsofanindividualnamedUmaña,aroundwhomtheeventsofatypicalpopulationoftheregionreconfigure;storytellingthroughwhichtheaudiencegetscaughtbythedetailsofthesocialeverydayexposed.Casa de reinastakesadvantageofthefreeuseofhumor,saturatingitandtakingittoastageofculturaldeformation,whichcausedacentraldebateabouttheexhibitionthattookplaceinthecoastalculture through thecharacters, their look,expressionsandhowtodealwithinacompletelycrazy,overdoneandoverloadedenvironment.

Athirdblock,places8,9and10,composedby¿DóndeestáElisa?, A mano limpiaandEl Laberinto,atelenovelaandtwoseries,referstotherecurrentuseofintrigueononesideandtherecreationofsocialinteractionbetweensectorsofthepopulationfromoppos-inglayers.Theintrigue,inthecaseofEl Laberintoand¿DóndeestáElisa?, allows tacking storiesdedicated to acclimate the conflict-ingpresenceoffate,chance,misfortuneand,occasionally,fortune,goodluck,sothemaincharacters,usuallyvictimsofthesiege,oftheinsecurity,oftheenvyandoftheirownweaknesses,havetogothrough awhole series of adverse and painful circumstances andsituations,which are like the litmus test to finally overcome and

220 | Obitel 2013

reach theotherend,at theendof theprogramwhen thesenseofrightandorderisrestoredandthecommitmentwiththehonestyandtruthismorallyretrieved.

ThecaseofA mano limpia, secondseason, shows–ina for-tunate version,with agile andwell-conceived narrative, far fromcultural stereotypesor socialcaricatures– thedetailsof thesocialinteractionthatcanandoftendoeshappenfordifferentreasonsandmotivationsbetween individualsandgroups fromdifferent socio-economicclasses,differentiatedprofessionalrolesandidentityas-criptionsclearlyestablished.Whatinreallifebindsthemtogether,partlyshowingtheirvulnerabilityandthehumanfaceoftheends,istherolegiventothefeelingsandtheemotionsofthecharactersto thepoint that in this area social andeconomicdifferencesandprofessionalexclusionsareovercome:surelyalwaysinthefieldoftelevisionfiction.

Withthischaracterizationofthemostwatchedfictiontelevisionprograms,wecanconcludethat,finally,thelinkbetweentheenvi-ronmentandtheaudienceisfunctionalandoperational,althoughitsociallyandculturallylacksoftranscendence,oftheresonancethatthetelevisionmessagecouldhaveinotherconditionsofownership,use,discussionandcollectivecriticismheadedtosocietyasawhole.

5. Topic of the year: social memory and television fictionInthehistoricalconfigurationofsociallifeevents,thetime,as

suggestedbyPaulRicoeur1, is thedetermining factor toestablishtheirmeaning.Itisintimeand,naturally,inaspecificspacewherehumanexperienceunfoldsasalifeexperience,asanactofproduc-ingtheexistenceofsubjectsgatheredaroundasamepurpose:theactivationofconsciousnessasthebasisofsubjectivity,offinitudeandthesignificanceofthepracticeofman.

Pastandpresentareessentialdimensionsofthehistoricalbeingofthemanintheworld,aswellasmemoryandforgetfulnessascar-riersofmeaning, inseparablefromthesociopoliticaldevelopmentinwhichthehumanactionsubscribes.Ifexperienceisnurturedand


structuredbyfactsandknowledgesharing,thelatter–theshared–ismediatedorconstructedonthebasisoftheexistingpowerinaso-cietyorcommunity,andthewayofdistributionandcontrolofthatknowledgeismodeledbythesamepower,inahegemonicandim-positiveway,inwhichuprisingandresistancestrategiesunfoldandfeedotherwaystoevoke,rememberandbuildmemory.It’swhatHalbwachs2mentionsintermsofcollectiveandindividualmemoryand real or imaginary acts and representations, based on the his-toricalmemoryasa formof sharedknowledge,and theselectionmechanismsofmemoryorforgetting,ofwhatisessential,meaning-fulandtranscendentormerelycircumstantialandmarginal.

Incountrieslikeours,theconstructionofsocialmemory,thesharedknowledgeofthepast,areinseparablefromthehistoricalstruggles andconfrontations around themanagement andgover-nance3.Focusedonrulingcircles,ithasalwaysbeencharacterizedbythedesiretoformalizeversions,systemsofintegratedreportsto the worldviews and presented as “history”, the “memorableversion”ofwhathappenedandthankstowhichtheexistingcon-ditions are sustained and reproduced.However, this trend is in-creasinglymore limited regarding its ability to hegemonize andcontroltheviewandinterpretationofthepast,giventheprocessofempowermentandredefinitionthatemergingsocialmovementsperformtothatsamepast4,thedifferentsocialandculturalgroupsthat,throughtheirpoliticalaction,claimotherperspectives,read-ingsandreinterpretationsofthepasttense,ofthenationalorre-gionalhistoricalhappeningtowhichtheyhavebeensubjectedto oppression, exclusion or marginalization by established powercircles.

However,themassanddiffusionoftheseversionsordominantreadingsofthepastfound,atleastuntilrecentdecades,animportantsupportinschoolandteachingtextsonhistory,aswellasintheworkofschoolsandclosedcirclesofopenlyconservativecommentators.But social unrest and political turmoil of the popular sectors, itsmobilizationofprotestanddenunciationoftheprevailinginjustice,

222 | Obitel 2013

theeconomicandtechnologicalmodernizationandtheanarchicandoverflowedgrowthofthelargecities,withconsequentsocioculturalchangesandtransformationsbroughtwiththemselves,includingthemassivepresenceofthemediaandinformationandcommunicationtechnologies,allcontributedtothecurrentdevelopedcrisisofsto-riesthataffectsnationalidentities,convulsesstereotypicalversionsofthepastandcontributestotheopeningofconflictingviewsandinterpretationsofourhistoricalpastandpresent.

So, in theColombian case, dealingwith the relationship be-tweensocialmemoryandtelevisionfictionwouldmean,accordingtotheassumptionsabove-mentioned,togothroughabriefhistori-caljourneybywhichitwouldbepossibletoillustratethewaysthepasthasbeenthemedandrecreatedbytelevisionandspecificallybytelevisionfiction,andfromtheretoestablishandcriticallyanalyzethetypeortypesofsocialmemorypromotedbythemediaandtheideo-political reasons involved in thisbetormediaexegesiswiththerespectiveimplicationsofthisforthesocietyasawhole,fortheobjectiveassessmentofthefunctionsandsocialandculturalrespon-sibilityofthesmallscreen.

From an idealized heroic past to one of recurrent conflict and human heroes

As stated byMartinSerrano5, in contemporary societies, thecommunicationmediaandparticularlythetelevisionare themainprovidersofmythsandritualsaroundwhichsocialcognitionisbuiltandthesocialandculturalfundamentalrepresentationsareshared.It happens that, for our case as a nation and for better orworse,televisionhasbeeninrecentdecadestheleadingproviderofsharedsocialknowledgeaboutthedistantandrecentpast,viathecomple-mentarityofthepredominantofficialversionor,insomemoments,by itscontradictionanddemystification,without leading toa fullinterpretativeopennessortotheinclusionandtotalclaimofthesys-tematicallyignoredandsilencedviewsandreadingsofthepast.Butforthesakeofacriticalbalance,itispertinenttoemphasizetheim-


portantroleoftelevisioninthedemocratizationandmodernizationofourperceptionofthenationalpast.

Inproductivepartnershipwithdifferentsectorsofthearts,liter-atureandacademy,bothnationallyandinternationally,theperiodsofdiscovery,conquestandindependencecomebacktotelevision,recreatedwithaestheticrealismandanadequatemixoffictionandreality,inherenttothenarrativetreatmentofthehistoryintelevisionfictionanditsaudiovisualrecreation.Fictionalizedversionsofthenationalhistorythat,whenrevisingitself,invitedtheaudience,thegreatpublic,toreviewandquestiontheirsystemsofbeliefsaboutthepast,theirjudgmentsandfindingsoffactsandcentralfiguresintheshapingofourhistoricalandculturalheritage.Itcouldbesaid,parodyingMartin-Barbero6, thatforColombiatheculturalmoder-nityhasahighdegreeontelevision,aswellasithappenedwiththecinemaforMexicoandArgentina.

Inthenewtelevisionproductionsdevotedtonationalandre-gional past, the “conquerors” are also somehow conquered, theiractions and positive achievements aremixedwith errors and ex-cessesofdifferentorderandalthoughthefacesandvoicesoftheseancestrallandsemergewithnotenoughpower,theyarenotignoredorarbitrarilyrelieved.Epochdocumentariesandtelevisionfictionsareloadedofthisaestheticrealismtoexpandthehistoricalhorizonand sponsor constructive debate around historical consciousness,the decanting of socialmemory in its diverse forms and aspects,inseparable,asmentionedabove,fromtheemergenceofdebateinthecountryaboutthenatureandproblematicconformationofouroriginsandevolutionasanation.

ThesagaofLa Independencia,byEduardoLemaitreProduc-tions,La vida y obra de Bolívarandotherheroes,includingSantand-er,showtheaudiencehumanandsocialaspectsofthefoundingfa-thers far away from those stiltedand idealizedvisions, typicaloftraditional historiography .Los pecados de Inés de Hinojosa notonlystrippedthebodiesandsecretpassionsof thecharactersandactors,buttookusbackintimetothoseshockingcenturiesofthe

224 | Obitel 2013

“cundiboyacense”highland,fullofsilentbutviolentconfrontationbetweenclergyand laity,between royalists andpatriots, betweenthetroopsandgovernmentexcessesandthesocialrepudiationandupheaval.La Pola,epochfictiononthecommemorationoftheBi-centennial,foritsexcellentaudiovisualproduction,veryclosetothemovies,hadinthebeginningahighandgoodimpactontheaudi-ence,thankstowhichitwaspossibletoplungeintotheinsurrection-alatmospherethatframesthelifeofthemaincharacter,despitetheexcessiveweightthatwasconferredinsomesectionstoemotionalandpassionateaffairs.

The “classic violence” and the explosion of “other” readings and interpretations of the period

Thetwentiethcenturywasforthecountryaworseningscenarioofstructuralconflictsthathaveaccompaniedourformationasana-tion.Violence is installedasacrossvector throughout theperiodandbecomesacauseandconsequenceof themultiplicityofcon-frontationsandmilitaryactionsthathavenotyetceasedandputthecountryintoasevereandunremittingparadox:bleedinamercilesswar,withmultiple actors in combat, amid thematerial, technicaland instrumental progress. This paradox permeates the historicalconsciousness,installsitselfasalatentphantominpublicopinion,itisinspirationofdiversetypesofspeechesandexplanationsand,likewise, it is subject of different government initiatives, of frus-trated solutions, of debateswithout end and continuity, includingthecurrentpeacetalkstakingplaceinHavanabetweenthegovern-mentandtheFARC.

Ithasbeencovered,directlyorindirectly,bythefictionthathasdealtwiththistimeperiod,althoughitshouldbenoticedthatherethenarrativetreatmentoftheeventsandcharacters,itsaudiovisualfictionalization,shows thediscrepancybetween thepointofviewthatpresidesthemediaconductionandthesocialexpectationsthataremovedbecauseoftheprogramortheadvertisedproduction.Thecontroversy liesgreatly in themedia’sorproduceranddirector’s


decision–what results in distant sponsors– about privileging cer-tainvoicesandfigures,certainviewsofeventsratherthanothers,tominimizemismatchedpositionsordifferentpositionsfromtheonesassumedbythemedia,andeventoignoreormakeinvisibleactorsandactionsthatareatoddswiththeversionofferedbytheprogram.Anditisatthisstage,therefore,wheretherealismandsocialandpoliticalengagementofmediathroughthecreationofanappropri-ate environment for democratic deliberation, social inclusion andculturaldiversityaremostdiscussed.Amongtheproductions thatinthisregardmaybementioned,aretherecreationsofBogotazo,

La Saga, Negocio de familia, La historia de Tita and Amar y temer.

Telenovela, regional memory and national identityIntheninetiesinColombiathetelenovelaacquiresaremark-

ablepeakandresonancewhenencouragingthemeetingandrecog-nitionofregionalandnationallevelsthroughtelevisionfiction,inwhichthecountry’sculturaldiversitywasvirtuallyrecreated.Thisnotonlypositionedthetelenovelaitselfastheleadingrecreationalgenreofmedia,tothepointofextendingitsinfluencetocontinentalandgloballevel,becomingaboundexportandpromotionproductofour imageintheworld,but,assaidMartinBarbero7andotherauthors,causedadynamizationofinternalsocioculturalprocesses,accompaniedbytheacademicresearch,theanalysisandthedebateon themeaningof thenationaland the roleofculture in shapingthehistoricalpastandpresent.Television,withthetelenovelafor-mat,ledtoakindofrediscoveryoflocalandregionalparticulari-ties,propellingtheminafriendlyandentertainingwayforallandthroughoutthecountry,sothat,accordingtothefictionoftheday,thefactofbeingnational,thefashion,theprevailingenvironmentinthecollectivespirit,derivedandwasanchoredintheidiosyncrasiesoftherecreatedregionalbeing.

ThesocialandculturaldiversityofthecountryemergedwithunavoidablestrengthinlinewiththepoliticalopeningembodiedintheConstitutionof91,andfedthenewplatformoftheColombian

226 | Obitel 2013

multiculturalismasthebasisofitsoriginsanditscontemporarybe-inganddoing.Itwasasifthewholecountrywerewakingupfromalongsleepandopenedtotherecognitionofconstituteddifferencesof its ancestral communities.On the small screen some titles pa-radedwithanairofsustainedpermanenceoftheCaribbeanmagic,basedonmultipleethnicrootsandmigrants,theyareCaballo Vie-

jo, Gallito Ramirez, Escalona and other similar productions.Theproductivevigorandstrengthofthecoffeecultureareaswerepre-sented,betweenhighmountainsandslopesrevegetatedwithcropsofcoffeeandtherootsofthepaisamuleteerinLa Casa de las dos

palmas and Café, con aroma de mujer.Thevalley,theforceofthecanefields,thewarmaromaoftownsandvillageswhereMaríawasimmortalizedresurfacedinAzúcar and Cóndores no entierran todos

los días.Theplainandthejungle,thewarmclimatesandthehugerivers,thetamingofcattleandtheendlesssunsetswiththeharpandthemooninacontinuingdialoguewereimmortalizedinLa Potra

ZainaandLa Voragine.

Theemergenceofasocioculturalpluralityasaclearsignofthenewtimesinthecountrywasimposedwithaprofoundimpactonallaspectsofpatrioticevents.Socialmemory,imbuedwiththeculturaldiversityrepresentedeffectivelybythesuccessfulfictiontelevision,becameavarietyofmemories,allcomplementaryintheirsocialdif-ference,summarizingalargeandshowyColombianbeing,a“Co-lombianidad”thatinitsmulti-ethnicandculturalwealthstillhastofightforachievingreal,permanentandlastingpeace.And,doubt-lessly,asubstantialaspectofacollectiveaspirationpassesandwillpassthroughtherecognitionandlegitimizationofthisdiversity,ofthesedifferentsocial,culturalandpoliticalexpressionsbywhicharemadethe“Colombianidad”andthesocialmemoriesthatmakeitup.

Recent past and social memory, sense of the current television fiction

Amajorchallengefor today’s televisionproductionandspe-cificallyforthedevelopmentofnewlinesoffictiontelevisionhas


todowiththetreatmenttobegiventosocialandpoliticalconflictthatmarksanddetermines thehistoricalandcurrentdevelopmentofthecountry.Inresponsetothesocialfunctionofthemedia,asinthecaseoftelevision,anditskeyroleintheprocessesofsocial-izationincontemporarylife,they,throughtheirmessages,becomeessentialbuildingblocksforsocialconstructionof reality, for theassimilationof social representationsshared individuallyandcol-lectively,forthedevelopmentofsocialmemorythatregistersitselfasaframeworkandconditionforliving,acting,feelingandpartici-patingasanation.Inthissense,itisclearthatinthissocialmemoryvariousexistingmemories–ethnic,fromsocialandculturalminori-ties,nativeislanders,diverseingender,occupationorcreed–mustcoexist,withoutwhichthenationassuchprojectwillnottakeoffinthetermsofbeingtheappropriateremedyforthefullintegrationoftheColombian.

ReferencesRICOEUR,P.(2004).La memoria, la historia y el olvido.FCE:Buenos

Aires.

HALBWACHS,M.(2004).Memoria colectiva. PrensasUniversitariasde

Zaragoza:Zaragoza.

GUERRAG.,F.(2009).Las luchas por la memoria. UniversidadDistri-

tal:Bogota.

JIMÉNEZB.,A.(2009).Las luchas por la memoria. UniversidadDistri-

tal:Bogota.

MARTÍNSERRANO,M.(1985)La mediación de los medios. In:DeMo-

ragas,M.Sociología de la comunicación de masas.GustavoGili:Barcelona.

MARTÍN-BARBERO,J.(2000)De los medios a las mediaciones.Nor-

ma:Bogota.

MARTÍN-BARBERO, J.; Muñoz, S. (1992) Televisión y Melodrama.

TercerMundo:Bogota.

5ecuAdor: FIcTIon And humor move

To The web

Authors:AlexandraAyalaMarín,CésarHerrera

Team:PamelaCruzPáez,JoséLuisBedón,

AdrianaGarrido,JoséRivera

1. Audiovisual context in the countryAscomparedtotheformeryear,thenumberofInternet

usersin2012increasedin20%andtodayexceedninemil-lionEcuadorians,i.e.,58%ofthenationalpopulation.Thishasundoubtedlyinfluencedfictioncreationfortheweb,nolongerfortelevision.Infact,thefirstEcuadorianwebnove-la,Resaka.tv,1appearedincyberspaceatthesametimean-othernationalfictionalproductionwasconsolidatinginthatenvironment,Enchufetv, whichturnedintoanaudiencehitin itsYouTubechannelwheresomevideosexceedsevenmillionvisitors.

Whiletheincreaseofusersofthenetworkofnetworksmaybeexplainedwiththerelatedpublicpolicies,theupsurgeofthemiddleclassin35%between2003and2012mustalsobeconsideredsinceit has resources to purchase newdeviceswith access to Internet,particularlysmartphonesandtablets, whicharethestimulusforthefiction programs’ transmedia leap in digital TV channels, as theabovementionedwebnovelashows,andparticularlyEnchufetv. The

1 The producers say that it is the first in Latin America. See details in https://www.facebook.com/Resaktvhttp://www.quebakan.com/2012/08/30/noticias/fotos-resak-tv-la-primera-web-novela-producida-en-ecuador-el-itv-y-tc-mi-canal-siempre-a-la-vanguar-dia-de-la-evolucion.html.

230 | Obitel 2013

audiovisualconsumptiontrendisconfirmedwithpayTVthat,ac-cordingtotheSuperintendenceofTelecommunicationsofEcuador(SuperintendenciadeTelecomunicacionesdelEcuador–Supertel),in2012recordedmorethan500,000subscribers.

1.1. Open Television in EcuadorEcuadorstillhassevenopenVHFTVstations:TelevisoraNa-

cionalEcuavisa,Teleamazonas,RedTelesistema(RTS),andCanalUno,whichareprivatestations,andECTV,astate-ownedchannel,aswellastwoseizedchannels2thatarebeingadministeredbytheEcuadorState,TCTelevisiónandGamaTV,althoughsomesharesbelongtothechannels’workersandtheirprogrammingisinconsis-tentwithpublicmediacontents.

Chart 11 Open TV National Networks

Private stations (4) State-owned stations (1) Seized stations (2)

Teleamazonas EcuadorTV(ECTV) TCTelevisiónRedTelesistema(RTS)

TelevisoraNacional(Ecuavisa)TelevisióndelPacífico

(GamaTV)CanalUno

Total 7Source:Supertel-ObitelEcuador

1.2. Audience trends in 2012 InthisyearTVfictionprogramconsumptionwas49.3%.Co-

lombiantelenovelaEl capo 2 toppedEl combo amarillo, whichhasstrongpresenceasthenationalsitcom,whileTCTelevisiónappearstobetheleaderoffictionaudienceswithsevenworksinthetopten.Teleamazonas’realityPequeños gigantesholdsthethirdplaceinthe

2ThisclassificationisexclusivetoEcuadorandcorrespondstosuchTVchannels(GamaTV andTCTelevisión) that, as explained in 2011 and 2012ObitelYearbooks, wereseizedbytheStatein2008fromitsformerowners.EstéfanoandHenryIsaíasDassum,formershareholdersofFilanbanco,havenotpaidtheirdebtswiththeStateafterthe1999financialcrisis,knownas“feriado bancario”thatendedwiththeclosingofseveralbank-ingentities.

Ecuador – Fiction and humor move to the web | 231

generallistofpreferences,aftersoccer;however,comedyseriesarestillEcuadorianTVproduction’shighlight.

Onlytwositcomsareamongthetopten:Ecuavisa’sEl combo

Amarillo,3rdand2ndseason,rankedsecondandthird,respectively,withwhichiteliminatedTeleamazonas’La pareja felizfromthelistandpositionedMi Recinto(13thseason)last.CanalUnoreleasedthe2ndseasonofLos Compadritos; TeleamazonasreleasedAída,withaSpanishscript,adapted;andTClauncheditsweeklysitcomLos

Tostadams.GamaTVcontinuedwithitsweeklysketchesofPuro

Teatro andbroadcastinprimetimeEscobar, el patrón del mal(Car-acolTV),whichisthebiographyofoneofthebiggestColombiandruglords,andcompetedwithEl Capo 2, broadcastbyTC.

Ecuavisacontinuestobethechannelwiththehighestratings;and it improved itsposition in the fiction top tenbyrankingsec-ondandthirdwithEl combo amarillo,andseventhwithBraziliantelenovelaFina estampa. Ecuavisaalsoratifieditsrelevanceintheinformativegenrewithpoliticalprograms that reachedhighaudi-ence ratesdue to thecountry’s electoralperiod.3TCTelevisión’snewscast,wheresensationaljournalismprevails,alsorankedamongthetopten.

Chart 2. TV Channel Audience

Channel %Ecuavisa 7.0Teleamazonas 6.3GamaTV 3.6TCTelevisión 6.4RTS 6.1CanalUno 2.1Cable,otherdevicesandnetworks

14.0

Source:IbopeMedia-ObitelEcuador

3Inthelastquarterof2012EcuadorunderwentanelectoralcampaigntorenewnationalandparliamentaryauthoritiesonFebruary17,2013.Governmentpropagandaexpendi-tureescalated.InanotewritteninHoy(November2011),RafaelDávila,memberoftheAssembly, (fromMovimiento Conciencia Ciudadana) stated that theGovernmenthadprojectedUS$295.3million foradvertisingandpropagandaexpenditures in theStateGeneralBudgetfor2012.

14,0

6,3

6,4

7,0

ECUAVISA

Teleamazonas

GamaTV

TCTelevisión

RTS

CanalUno

Cable, other devices

andnetworks6,1

2,1 3,6

232 | Obitel 2013

Resak.tv,thefirstEcuadorianwebnovela,wasreleasedonAu-gust28,2012.ItwasproducedbyITV(InstitutoSuperiordeEstu-diosdeTelevisión)andTC,andincludes40chaptersthatlastafewminuteseach.4Itistargetedtoanaudiencerangingbetween14and22yearsold,asanewofferinaschedulewatchedbyyoungsters.ItwasalsoreleasedinFacebookandTwitter.

Ecuadorian Internet broadcasting began in December 2011withthetransmissionofshortfictionfilmsproducedbyEnchufetv,

whicharethemostwatchedinthecountry.Theshortfilmsboldlyandsarcasticallyparodydifferentday-to-daytopicsthatfilmmakerCamiloLuzuriaga (Chasqui, 2012:53) qualifies a cultural anthro-pophagicphenomenon.

Chart 3. Percentage Share

Channel Share %

Ecuavisa 15.5

Teleamazonas 13.8

GamaTV 8.0

TCTelevisión 14.0

RTS 13.5

CanalUno 4.6

Cable,otherde-vicesandnetworks

30.6


4Thescarceminutes(8-12)devotedtoeachchapterofwebnovelaResak.tv,aswithotherproductions,arerelatedtothefactthatInternetinEcuador“isnotfastenoughyettoup-loadlongvideos.”Seedetailsinhttp://www.elcomercio.com/entretenimiento/television-crea-programas-Web-jovenes_0_775722609.htmlaccess16-04-2013.

30,6

8,014,0

15,5

Ecuavisa

Teleamazonas

GamaTV

TCTelevisión

RTS

CanalUno

Cable,otherdevices

andnetworks

4,613,5

13,8


Chart 4. TV Program Genres

Broadcast genres Broadcast hours %

Information 19,840:40 19.5

Fiction 44,936:05 44.7

Entertainment 12,528:25 12.3

Religious 2,041:30 2.0

Sports 6,042:10 6.0

Education 3,010:15 2.9

Politics 889:05 0.8

Others 10,821:25 1.7

Total 100,108:35 98.95


1.3. Advertising Investments of the Year: in TV and FictionAccording to the estimatesmade by Infomedia, an advertis-

ing statistics firm, in 2012 television captured 60%of the year’sadvertisinginvestment;thepress,23%;andtheradiobarely5%ofanestimatedtotalofUS$213millionofwhich13.2%,thesecondhighestexpenditureamount,wasusedtopromotepublicandsocialservices.Publicinstitutionsrankasthehighestinvestmentlevelpercategory,with11%,andtheNationalGovernmentwiththehighestexpenditureperadvertiser,7.2%,whichexceedsthefigurerecordedin2011(6.9%).5

Inastudyonadvertisinginvestmentsbetween2007and2011,theContentsGroupof theTechnical InterinstitutionalCommitteefortheIntroductionoftheDigitalTerrestrialTelevisioinEcuador(Grupo de Contenidos del Comité Interinstitucional Técnico para

la Introducción de la Televisión Digital Terrestre en Ecuador, in

5Itisimportanttoconsiderthatin2012,anelectionsyear,themaininvestorinadvertis-ingandpropagandawastheGovernmentandotherStateinstances.Inthefirstquarter,theGovernmentspentUS$12millioninadvertising,accordingtothereportofParticipación Ciudadana (PC), a monitoring NGO. http://www.participacionciudadana.org/pc10/in-dex.php?searchword=monitoreo+de+gastos&ordering=&searchphrase=all&Itemid=1&option=com_search.

234 | Obitel 2013

Spanish,orCITDT)concludedthattelenovelascaptured33%oftheresources,whichexplainswhyfictionshowsthehighestbroadcast-inghourlypercentage(Chart4);theinformativegenreappearswith20%followedbysportsprograms(nofiguresarepresented),6series,featurefilms,contests;andcomedies,barely4%.7

Besides traditional techniques, no merchandising strategieshavebeenused for thenational fictionprograms, i.e., advertisingproductsorservices.8

1.4. Communication PoliciesIn2012, the fourthversionof theCommunicationsLawwas

notpassedduetodiscrepanciesamongthedifferentpoliticalstake-holders and the obstinate polarization among the media and theholderoftheExecutiveFunction.Themainpublicpolicy,scarcelydisseminated, is the conversion to Digital Terrestrial Television(Televisión Digital TerrestreinSpanish,orTDT).TheMasterPlanfortheTransitiontoDigitalTerrestrialTelevisioninEcuadorwaspassed inOctober 2012,9 and the above-mentionedCITDT10wasestablished.Ciespal,throughtheAdvisoryCommitteeonResearch,Development,andInnovation(Comité Consultivo de Investigación,

Desarrollo e Innovación),supportsthisprocessandpromotestrain-ing on TDT audiovisual projects prior to analogical switch-offplannedfor2016.

6BoththeGovernmentandimportantnationalcorporationsusuallyadvertiseduringsoc-cergames’transmission:in2012,theGovernmentpaidsignificantamountsinadvertisingforthebroadcastingoftheLibertadoresdeAméricaCupandtheSouthAmericanCup.7SeeChart1 - Investment inAdvertising in2011 in theCITDT-GAC-2012-001RE-PORT,CurrentstatusoftheproductionofcontentsinEcuador,April19,2012.8Itmustbenoted,however,thattheprotagonistsofTeleamazonas’ssitcom La pareja felizparticipateaspersonsorintheroleofothercharacterstheycreatedintheadvertis-ingofanelectricalappliancestorethatisbroadcastbyalmostallopensignalchannels.9RESOLUTIONRTV-681-24-CONATEL2012issuedbyConsejoNacionaldeTeleco-municaciones.http://www.conatel.gob.ec/site_conatel/index.php?view=category&id=619%3Aresoluciones-2012&option=com_content&Itemid=61010CITDTisthetechnicalcoordinatingentityofalltheTDT’simplementationprocessinEcuadoruntiltheanalogicalswitch-offestablishedfor2016.


AccordingtotheCITDT,oneaspectofpassinganalogicalTVtodigitalTVisaudiovisualcontentproductionforwhichitreliesontheContentsGroup.ThroughsamplingperformedonMarch2012,the Group deemed that the national TV operators’ programmingprivilegesforeignproductions,andthistrendhasstartedtoberati-fiedbyregionaltelevision.11DuringTDT’sadoptionprocess,publicchannelECTVandprivate regionalchannelOromar (provinceofManabí)turnedouttobethefirsttooperatewithdigitaltechnologyin2012.

1.5. Public TVIn2012theonlypublicchannel,ECTV,celebratedfiveyears

ontheair.Inthatyear,ISDB-T12wasadoptedfordigitalTVbroad-castingandthechannelbecamethefirsttotesthighdefinition(HD)signalsinQuito.TheGovernment-promotedtransitionprocessmustbeunderlined in thisprocesswith theestablishmentof theafore-mentionedCITDT;nevertheless,boththeofficialandthemedia’sinformationontheso-calledanalogicswitch-offhasbeendirectedtothetechnicalmattersofthelaunchingmorethantoinformingthecitizensontheimplicationsoftheconversion.

Thepublicchannel’s fictionprogramming included threeUSandCanadianseries,aswellasoneKoreanandoneJapanesetele-novela.13With regards tonationalproduction,ECTV included23programsindifferentformats,whichturneditintothechannelwiththehighestlevelofEcuadorianprogramming.Inthissense,thesta-

11Theregionalchannelprogramming isaddressedmostly tonews,sports,andvarietyshows;however,channelManavisión(provinceofManabí,Coast)hasnegotiatedthefirsttransmissionofaColombiantelenovela;in2011,anotherregionalchanneltransmittedanotherColombiantelenovela(Anuario Obitel 2012).CITDT’sGroupofContentsstatesthatthisprovince’sproductionofaudiovisualsandfictionfilmsisincreasingbutdonotreach themediaorconventionalbroadcastingandcommercializationcircuits.CITDT-GAC-2012REPORT.12ISDB(IntegratedServicesDigitalBroadcasting)isasetofrulescreatedbyJapanfordigitalradioandTVbroadcasting.13Unfortunately,IbopedoesnotincludeECTVamongitsclientsforbroadcastingmea-surement.

236 | Obitel 2013

tionissuedaninvitationtoproducefictionaudiovisualsanddocu-mentariesintheWorldConferenceINPUT2012,“TowardsSmartTV” (Conferencia Mundial INPUT 2012 “Hacia una televisióninteligente”).14

Ontheotherhand,althoughbothTCandGamaTVareadmin-isteredbytheState,theydonotworkwithintheconceptofpublictelevisionand,thus,showednochangeintheirprogrammingtrends,exceptforEduca TV.15Bothchannelsputtheaccentontelenovelas,particularly Venezuelan, Colombian (both by TC), andMexicanproductions(GamaTV).

Wemust stress that this year TC concentrated seven fictionprogramsamongthetopten.Itcontinuesproducingandbroadcast-ingtheseriesMi Recinto,anovelofmannersinits12thseason;ithashighratingsforthenationalfictionandhasbecomeapioneerwebnovelachannel(Resaka.tv). Likewise,GamaTVhasproducedthesecondseasonofPuro Teatro,fictionsketchesthatareairedev-erySaturdayat10PM.

1.6. Pay TVAccordingtotheNationalStatisticsandCensusInstitute(In-

stituto Nacional de Estadísticas y Censos,orInecinSpanish),in2012,1,906,670EcuadorianshadaccesstopayTV;16265compa-niessuppliedtheservicesnationwide.SuchcorporateproliferationgaverisetoSupertel’senactingaresolutionaimedtoeliminatepi-racycompanies;17suchactionleadthebigpaiyTVcompaniesun-

14InternationalPublicTelevision(INPUT)hastheworld’sbestaudiovisualproductionsandisavailableinEcuadorsince2008.15 Educa TV isproducedby theMinistryofEducationand transmittedby12nationalchannels.ItisalsopartofNCI,anIbero-Americancooperationentityforeducation,sci-ence,andculture,whichfacilitatesthedisseminationofnationalchannelsforeducationalpurposes.Seedetailsinhttp://www.nci.tv//index.phphttp://educacion.gob.ec/educa-tele-vision-para-aprender-iniciara-en-octubre/16Lastyear’samountofpayTVsubscriberswas453,969ofwhich10.5%usedterrestrialtelevision,20%usedsatellitecodifiedTV,while69.5%usedcableTV(Ecuadorinmedi-ato.com,2013).17Thename“pirates”referstoillegalcompaniesthatdonotpaytaxes.TheuseofthisservicewaspenalizedthroughArticle325oftheIntellectualPropertyLawwitharrestfrom


dertakingstrategiestocapturetheaudiencethatleftillegalservices.TwentypercentofthetotalnumberofcompanieswasdominatedbyDirectTV18(Ecuadorinmediato.com,2013).

Thisyear,payTV’spublicsupply,throughagreementexecutedwithCorporaciónNacionaldeTelecomunicaciones (CNT)by theend of 2011, was provided under themodality of satellite-codedtelevision(CNTTV,2013).Thesupplyincludesnationalandinter-nationalTVchannelsatlowerpricesthanthoseofferedbyprivatecompaniesandwithcoverageintheentireEcuadoriancontinentalterritory.

1.7. Information Tecnology (IT) TrendsIn December 2012, the country’s Internet users reached

9,011,105(Supertel,2013.)Theriseinthenumberofhomeswithwirelessaccesswentfrom8.4%in2011to20%in2012,while,ac-cordingtoInec(2012),cableconnectiondroppedinusersperhome(from46.8%to24.5%).Inthisperspective, theMintelpositionedthecountryas theonewith the“highest Internetusabilitygrowthbetween2005and2012”,andstressedonthe10%riseofbroadbandpenetrationthroughouttheyear.Thisresultedfromtheimplemen-tationofMintel’s ITUniversalAccessProgramand theNationalBroadbandPlan,whichaimtoreach75%ofthepopulationby2017.

AccordingtoInec(2012),watchingtelevisionisthesecondac-tivitytowhichEcuadoriansdevotemostof their time,with12.75weeklyhours.Nonetheless,thenumberofhomesthatownacolorTVin2012droppedinrelationto2011,whichsuggestsachang-ingtrendtowardsInternet,1973.6%ofhomes.20Inecstatesthat36%

onemonthtooneyear,andfinesbetweenUS$657andUS$6,570(Ecuadorinmediato.com.)18SatellitetelevisioncompanymemberoftheDirectTVGroupInc.(DirecTV.com.ec).19 In this regard, theproductionof InstitutoSuperiordeEstudiosdeTelevisión (ITV)fromGuayaquilstandsoutasthefirstEcuadorianwebnovelapremieredinAugust2012byTCTelevisión.20AccordingtoRichardCruz,frommarketingfirmInTouch,theincreaseduseofInternetinEcuadorhasresultedin31%ofEcuadorianswatchinglesstelevision(DoctorTecno.com).

238 | Obitel 2013

of the population accesses the network for information purposes;28.2% for general communicationpurposes; 27.5% for educationandlearningpurposes;4.4%forotherpurposes;andonly3.8%forwork purposes. Likewise, the users of social networks place thecountryasnumber37intheworld’sFacebookusers,withoverfourmillionpersons(ElDiario.ec,2012);over700,000ofTwitterusers;and284,000inGoogle+users(DoctorTecno.com).

ThenationalsurveyonITs(Inec,2012)showedthat6.8millionEcuadorianshadatleastoneactivatedmobilephoneintheyear,i.e.,anincreaseof10%withregardsto2011.Theuseofsmartphonesroseto839,795persons,whichmeans60%inoneyear,641,914ofwhichusethemtoaccesssocialnetworksandtoaccessaudiovisualcontentsaswell.


In2012,106fictionproductionswerebroadcastin6ofthe7opensignalVHFchannels.Theyincluded4nationalseries,7inter-nationalseries,1nationaltelenovela,and44importedtelenovelasthatwere reruns; 7 national sitcoms, 1 national series, 5 interna-tionalseries,and40foreigntelenovelaswerepremiered.

By comparing the former year’s premiered productionswiththoseof2012,weseefictionhaslostonetitle.Innationalproduc-tions,comedyseriescontinued:La pareja feliz, Mi recinto, El com-

bo AmarilloandLos compadritos withnewseasons.Aída, Míster

Juramento and Los Tostadams were created, but La tremebunda

corte wastakenofftheair.


Table 1: Fiction programs broadcast in 2012 (national and imported programs; premieres and reruns)

PREMIERE NATIONAL TITLES – 8

TC Televisión – 3 national titles1. Mi recinto–12thseason(sitcom)2.Míster Juramento(series)3.Los Tostadams(sitcom)Teleamazonas – 2 national titles4.La pareja feliz–3rdseason(sitcom)5.Aída(sitcom)Canal Uno – 1 national title6. Los compadritos–2ndseason(sitcom)Ecuavisa – 2 national titles (dos seasons)7. El combo amarillo - 2ndseason(sitcom)8. El combo amarillo 3D – 3rd season(sitcom)

PREMIERE IMPORTED TITLES – 45

TC Televisión – 17 imported titles1. La viuda joven(telenovela-Venezuela)2.El Joe, la leyenda(telenovela-Colombia)3.Natalia del mar(telenovela-Venezuela)4.Retrato de una mujer(telenovela-Colombia)5.Corazón apasionado(telenovela-Venezuela-USA)6.El man es Germán- 2ndseason(telenovela-Colombia)7.El árbol de Gabriel(telenovela-Venezuela)8.A mano limpia(telenovela-Colombia)9.¿Viejayo?(telenovela-Venezuela)10.El capo 2(telenovela-Colombia)11.Tres milagros(telenovela-Colombia)12.La Mariposa(telenovela-Colombia)13.La promesa(telenovela-Colombia)14.Dónde carajos está Umaña(telenovela-Colombia)15.La traicionera(telenovela-Colombia)16.Historias clasificadas(series-Colombia)17.Las profesionales a su servicio(series-Colombia)Teleamazonas - 4 imported titles18. Flor salvaje(telenovela–Venezuela,Colombia,USA)19.Por ella, soy Eva(telenovela-Mexico)20.La teniente(telenovela-Mexico)21.Amar y temer(telenovela-Colombia)Ecuavisa – 11 imported titles22. Rebelde(telenovela-Mexico)

RERUNS – 52

Gama TV1. La Rosa de Guadalupe–1stseason(series-Mexico)2.Marimar(telenovela-Mexico)3.Tu voz estéreo–4ªseason(series-Colombia)4.Un gancho al corazón(telenovela-Mexico)5.Mañana es para siempre(telenovela-Mexico)6.La Lola(telenovela-Peru)7.María Belén(telenovela-Mexico)8.Un cuento de navidad en Ecuador (series-Ecuador)9.Escalona(telenovela-Colombia)10.Rosa salvaje(telenovela-Mexico)11.Soy tu dueña(telenovela-Mexico)12.La ex(telenovela-Colombia)13.María Mercedes(telenovela-Mexico)14.María la del barrio(telenovela-Mexico)15.Mundo de fieras(telenovela-Mexico)16.Mujeres al límite(series-Colombia)17.Teresa(telenovela-Mexico)18.Tu voz estéreoII(series-Colombia)Teleamazonas19. Rosario tijeras(telenovela-Colombia)20.Oye bonita(telenovela-Colombia)RTS21. A cada quien su santo(series-Mexico)22.Lo que callamos las mujeres(series-Mexico)TC Televisión 23. Mi recinto–3rdseason(series-Ecuador)24.Alma indomable(telenovela-Venezuela)25.La mujer de mi vida(telenovela-Venezuela,USA)26.La dama de rosa(telenovela-Venezuela)27.Valeria(telenovela)(Venezuela-USA)28.Me enamoré de una pelucona(series-Ecuador)29.Fanatikda(telenovela-Ecuador)30.A mano limpia(telenovela-Colombia)31.Doña Bella(telenovela-Colombia,USA)32.Kassandra(telenovela-Venezuela)33.Rebeca(telenovela-Venezuela)

240 | Obitel 2013

*Specialcases:productionsbefore2012butpremieredlastyear.Source: Ibope Media - Obitel Ecuador

Inwhatconcernsrebroadcasting,TCTelevisiónleadthewaywith23 reruns.CanalUno inaugurateda spacecalledMujeres al

control inwhichitaired telenovelasproducedin1988,2003,and2004.TCalsohadmorepremieredfictionproductions:3nationalseriesand17importedtelenovelas.RTSwasattheotherend,withonlyonepremiere telenovela.Teleamazonas reduced itspremierefictionprogramming:threetitleslessthanin2011,butadaptedtheSpanishseriesAída.

23.La casa de al lado(telenovela-USA)24.Cuchicheos(telenovela-Brazil)25.Fina estampa(telenovela-Brazil)26.Relaciones peligrosas(telenovela-USA)27.El rostro de la venganza(telenovela-USA)28.El astro(telenovela-Brazil)29.Una maid en Manhattan(telenovela-USA)30.Maysa(series-Brazil)31.Los victorinos*(telenovela-USA)Gama TV – 13 imported titles32.La fuerza del destino(telenovela-Mexico)33.La que no podía amar(telenovela-Mexico)34.Dos hogares(telenovela-Mexico)35.Los canarios(telenovela-Colombia)36 Mariana y Scarlett(telenovela-Colombia)37.Tu voz estéreo(series-Colombia)38.Esperanza del corazón(telenovela-Mexico)39.Escobar, el patrón del mal(telenovela-Colombia)40.Abismo de pasión(telenovela-Mexico)41.Amor bravío(telenovela-Mexico-Chile)42.Primera dama*(telenovela-Chile)43.Como dice el dicho*(series-Mexico)44.Un refugio para el amor(telenovela-Mexico)RTS – 1 imported title45. Secretos del alma(telenovela-Mexico)

34.La traicionera(telenovela-Colombia)35.Natalia del mar(telenovela-Venezuela)36.El secretario(telenovela-Colombia)37.Historias clasificadas(series-Colombia)38.Válgame Dios(telenovela-Venezuela)39.Las santísimas(telenovela-Colombia)40.El Talismán(telenovela-Venezuela)41.Sacrificio de mujer(telenovela-Venezuela)42.Corazones blindados(telenovela-Colombia)43.La intrusa(telenovela-Venezuela)44.Entre tú y yo(telenovela-Venezuela)45.Mi ex me tiene ganas(telenovela-Venezuela)Canal Uno46.Estrambótica Anastasia(telenovela-Venezuela)47.Trapos íntimos(telenovela-Venezuela)48.Los compadritos(series-Ecuador)49.Juana la virgen(telenovela-Venezuela)50.Padre coraje(telenovela-Argentina)Ecuavisa51. Sin senos no hay paraíso(telenovela-Colombia,Mexico,USA)52.Oye bonita(telenovela-Colombia)

Total broadcast genres: 105


Table 2. Fiction premiered in 2012: countries of origin


NATIONAL 8 15.0 358 13.9 234:00 8.0IBERO-AMERICAN 45 85.0 2,206 86.1 2,686:45 92.0Argentina 0 0 0 0 0 0Brazil 4 7.5 219 8.6 237:00 8.1Chile 2 3.8 110 4.2 112:55 3.9Colombia 17 32.1 1,124 43.9 1,083:10 37.0ECUADOR 8 15.0 348 13.6 234:00 8.0Spain 0 0 0 0 0 0USA(Hispanicproduc-tion)

7 13.2 264 10.2 266:05 9.2

Mexico 11 20.9 389 15.2 883:50 30.2Peru 0 0 0 0 0 0Portugal 0 0 0 0 0 0Uruguay 0 0 0 0 0 0Venezuela 4 7.5 110 4.2 103:00 3.6LatinAmerican(Obitel) 40 72.7 1,917 74.8 1,962:45 67.2LatinAmerican(notObitel)

0 0 0 0 0 0

Otherproductionsandco-productionsofotherLatinAmericancountries

0 0 0 0 0 0

Total 53 100.0 2,564 100.0 2,920:45 100.0Source:IbopeMedia-ObitelEcuador

AsTable2shows,premierenationalfictionwasbroadcastinatotalof234hours,thatis,morethan40hoursabovetotalhoursin2011.Thepremierefictionbroadcasttimewas8%.

Within92%ofthetotalbroadcastimportedfiction,2,686hoursand 45minutes were accounted for Ibero-American productions.Thetotalof2,920:45includesadvertising,whichmustbesuitableforallaudiencesfrom6AMto9PM.

Whilethereisnoregulationinplacetosetanadvertisingper-centageperprogram,CITDT(2012:9)determinedthattelenovelasconcentratearound33%oftheadvertisinginvestmentwithregardstoothergenresandformats,suchasnews,comedy,varietyshows,sports, information magazines, children’s programs, movies, andcontests.

242 | Obitel 2013

Accordingtotheorigin,Colombiarankedfirstwith17produc-tions(1,083:10),broadcastbyTC(13),GamaTV(4)andTeleama-zonas(1);itwasfollowedbyMexico,with11productions(883:50),broadcastbyGamaTV(8),Teleamazonas(2),EcuavisaandRTS(1each);Brazil,with4(237:00),broadcastbyEcuavisa;Venezuela,with4(103:00),broadcastbyTC;USA,inco-productionwithVen-ezuelaandColombia,with4(152:40),broadcastbyTeleamazonasandTC;USA in Spanish,with 3 (161:00), broadcast byTC andEcuavisa.


Table3.C

hapters/episodesandhoursbroadcastpertimeslot

Tim

e sl

ots

Nat

iona

lIb

ero-

Am

eric

anT

otal

C/E

%H

%C/E

%H

%C/E

%H

%Morning(06:00–12:59)

00

00

5524

48:10

1.7

552.1

48:10

1.7

Afternoon(13:00–18:59)

00

00

299

13.7

313:15

11.6

299

11.7

313:15

10.7

Primetim

e(19:00–22:59)

358

100

234:00

100

1,685

76.3

2,216:45

82.7

2,043

79.7

2,450:45

83.9

Night(23:00–02:00)

00

00

167

7.6

108:35

4.0

167

6.5

108:35

3.7

Tot

al35

810

023

4:00

100

2,20

610

02,

686:

4510

02,

564

100

2,92

0:45

100

Source:IbopeM

edia-ObitelE

cuador

Table4.N

ationalIbero-Americanfictionform

ats

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

%T

elen

ovel

a0

00

00

043

91.4

1,988

90.2

2,510:00

93.5

Seri

es8

100

358

100

234:00

100

48.6

218

9.8

176:45

6.5

Min

iser

ies

00

00

00

00

00

00

TVfilm

00

00

00

00

00

00

Uni

tary

00

00

00

00

00

00

Doc

udra

ma

00

00

00

00

00

00

Oth

ers

00

00

00

00

00

00

Tot

al8

100

358

100

234:

0010

047

100

2,20

610

02,

686:

4510

0Source:IbopeM

edia-ObitelE

cuador

244 | Obitel 2013

Onceagainprimetime(19:00–22:59)outdidothertimeslotsinbothbroadcasthours(2,450:45)andchapters(2,043).Allnationalcomedies,whichheldthreeofthetoptenpositions,werebroadcastinthistime.Inthemornings,atimeslotwithlessconcentrationofchapters and hours, two telenovelas (¿Vieja yo?andSecretos del

alma)werebroadcast,with55chaptersand48:10hours.Fourpro-ductionswerebroadcast in thenight slot (Los Victorinos, Maysa,

Las profesionales a su servicio, and Tu voz estéreo), with299chap-tersand313:10hours.Theaveragedurationperchapterinnationalserieswas40minutesand61minutesforimportedtelenovelas.

Asin2011,thisyeardidnotshowformatdiversityinthena-tionalfictionproduction,sinceTCTelevisión,Teleamazonas,Ecu-avisa,andCanalUnowerelimitedtoseries.Theinternationalpro-ductionpresented43telenovelasand4series.

While telenovelas confirmed its supremacy, Ecuadormovedawayfromfictionproductions,unlike theneighborcountries.21 In2011,televisionbroadcastsincluded49importedtelenovelas,1im-portedseries,3nationalseries,and1nationalfictioncomedy.NoneoftheEcuadorianproductionsweretransmittedabroad.

Table5.Nationalfictionformatspertimeslot

Formats Mor-ning % After-


tal %

Telenovela 2 100 11 100 29 100 1 100 41 77.3Series 0 0 1 0 8 100 3 100 12 22.7

Miniseries 0 0 0 0 0 0 0 0 0 0TVfilm 0 0 0 0 0 0 0 0 0 0Unitary 0 0 0 0 0 0 0 0 0 0Docu-drama 0 0 0 0 0 0 0 0 0 0

Others 0 0 0 0 0 0 0 0 0 0Total 2 100 12 100 37 100 4 - 53 100


21AccordingtothedatafromAnuario Obitel 2012, Colombiaproduced10telenovelasandVenezuela6.


Consideringfictiontimeperiod,thepresentconcentrates87.2%ofproductions.Thefollowingproductionsaresetinthepast:Co-lombiantelenovelasAmar y temer, Escobar, el patrón del mal, and

El Joe, la leyenda; BrazilianseriesMaysa; andthenationalproduc-tionsMíster Juramento and Los Tostadams. TheColombianproduc-tion La Pola ishistorical.

Table6:Timeperiodoffiction

Time period Titles %Present 46 86.8Epochal 6 11.3Historical 1 1.9Others 0 0.0

TOTAL 53 100.0Source:IbopeMedia-ObitelEcuador

Colombian productions, and RCN as the producer, continueleadingtheratingswithsixofthetenmostwatchedsoapoperasinEcuador.Nationalproductionsheld threeplaces and improved inrelationto2011:El combo amarillo(Ecuavisa)heldthesecondandthird places, deletedLa pareja feliz (Teleamazonas) from the listanddisplacedMi Recinto(TC)tothelastplace.


Title

Country of origin

of original idea or sketch

Pro-ducer

Chan-nel

Name of original idea’s scriptwriter or

author

Rating Share

1 El capo 2 Colombia RCN TC GustavoBolívar 13.7 21.5

2

El combo amarillo 3D(3rdseason)

Ecuador EcuavisaEcu-avisa

ChristianCortés,MiguelCalero,Cecil

Estacio

13 22.2

3El combo amarillo(2ndseason)

Ecuador EcuavisaEcu-avisa

ChristianCortés,

MiguelCalero,CecilEstacio

12.9 21.3

246 | Obitel 2013

4El Joe, la leyenda

Colombia RCN TCAndrésSal-gado,Natalia

Ospina12.2 17.4

5Corazón apasionado

Venezuela-USA

Ve- nevisiónInterna-cional

TC AlbertoGómez 11.9 17.3

6Tres Mila-gros

ColombiaTeleset/RCN

TCCarlosDuplatLuz,MarielaSantofimio

11.7 16.2

7Fina estampa

Brazil OGloboEcu-avisa

AguinaldoSilva 11.3 16.9

8La Mari-posa

ColombiaFoxTele-colombia/RCN

TCAugustoRamírez

10.9 15.8

9El man es Germán

Colombia RCN TC

JuanManuelCáceresNiño,HéctorAlejan-droMoncada

10.9 15.5

10Mi Recinto (13th sea-son)

Ecuador TC TCFernandoVil-

larruel10.6 16.9

Total Productions: 10 Foreign Scripts: 7

100% 70%


Sitcoms prevail in the top ten national productions and tele-novelasininternationalproductions.Thetenwerebroadcastatpeaktime,i.e.,7:00PMto10:59PM.

Table 8. Top ten: format, length, time slot

Title Format GenreNumber of chap./ep.(in 2012)

Datesoffirstand last issue

(2012)

Time slot

1 El capo 2Tele-novela

Drama 3407/08-

31/12(cont.)Primetime

2El combo amarillo (3rdseason)

SeriesCom-edy

8701/09-31/12

(cont.).Primetime

3El combo amarillo (2ndseason)

SeriesCom-edy

76 02/01-31/08Primetime

4 El Joe, la leyendaTele-novela

Drama 6 01/01-09/01Primetime


5Corazón apasio-nado

Tele-novela

Ro-manticdrama

114 09/01-25/06Primetime

6 Tres MilagrosTele-novela


7 Fina estampaTele-novela

Drama 631/10-

31/12(cont.)Primetime

8 La MariposaTele-novela


9El man es Germán (2ndseason)

Tele-novela

Drama38 01/01-24/02

Primetime

10Mi Recinto(13th season)

SeriesCo- medy

37 22/04-31/12

Primetime(Sun-days)


Regarding the prevailing topics, love, friendship, disillusion,intrigueandhatearepresentinthefivemostwatchedimportedpro-ductions.Butaudiencesarealsoattractedtothelaughablesituationsofthenationaltoptensitcoms.

In2011theprevailingsocialtopicswereviolence,familynon-communication and machismo; while in 2012 the attraction wasaround drug traffic and its influence in a country’s political life.Thiswas the social problematic addressed inColombian produc-tionsEl Capo andLa Mariposa. El Joe, la leyenda changed thistrendtotheconsequencesoffameandpower,as wellas theeco-nomicpowerofrecordlabels.

Table 9. Prevailing themes in the 10 most watched titles

Titles Prevailing topics Social topics

1 El capo 2

Thelifeofadrugtraf-ficker,policeinvestigation,personalandaffectionate

relations,violence

Drugtrafficanditseffect,influ-enceinColombia’spolitics,

socialviolence

2El combo ama-rillo 3D(3rd season)

Laughabledailylifeandurbanworksituations

andanecdotes;companyhabitationofyoungsters,

friendships

Workrelations,waysoflivinginthepoorestsectors,regionalandlanguagedifferences

248 | Obitel 2013

3El combo ama-rillo (2ndseason)

Laughabledailylifeandurbanworksituations

andanecdotes;companyhabitationofyoungsters,

friendships

Workrelations,waysoflivinginthepoorestsectors,regionalandlanguagedifferences

4El Joe, la ley-enda

Biographyofthefamoussinger,salsamusic’s

success,love,disappoint-ments,rivalry

Musicalcareercompetition,casesofsuccessandfame,

recordlabels’economicpower,socialdifferences

5Corazón apasio-nado

Lovedisappointments,loverivalry,socialclass

differences

Rurallife,familyrelations,con-sequencesofastricteducation

inpsychology

6 Tres MilagrosLoveandhate,superstition,

intrigue,passion

Representationofsocialclassesandtheirconflicts,relevance

offamily

7 Fina estampaDailylife,love,hate,

familyandworkrelations,differencebetweenwomen

Socialmobilityandpromotion,breakinggenderstereotypesinwork,struggleforsurvival,life

ethics

8 La MariposaUnexpectedlove,passion,money,power,police

investigations

Drugtrafficandmoneylaun-dering,internationalizationofabusinessinallsocialclasses

9El man es Germán (2ndseason)

Friendship,loveintrigue,adventures

Popularandneighborhoodcul-turefullofmachoexpressions,

father-sonrelations

10Mi Recinto(13thseason)

Humor,adventures,wayoflivingintheruralCoast,interpersonalandmanand

womenrelations

Coastpeasant(Montubios)customs,knowledgeofthecountry,approachtonational

problems,machismo


In the gender audience profile,El Capo capturedmoremen(5.8points) thanwomen (4.7points);womenappear as themainconsumersoftelenovelas,mainlyofTres milagros.

Regardingage,thereweredifferencesamongthegroupsrang-ingbetween3-11,12-17,andabove18yearsold.Thefirst,upperandupper-middleclass,preferrednationalproductionEl combo am-

arillo.Adultsoptedforforeigntelenovelas:upperclasswomen(A)anduppermiddleclasswomen(B)optedforBrazilian telenovelaFina estampa,whilemenpreferredColombiantelenovelaEl Capo,

whichwastheexception,sincewomenaudiencesprevailedintheothertoptenproductions.


Table10.Audienceprofileforthetop10titles: gender, age, socioeconomic level

Titles Chan-nel

Gender per age group Socioeconomic levelM/W3-11 Total

M/W12-17 Total

Women 18+

Total

Men 18+

Total

AB 3-11

AB 12-17

W AB 18+

M AB 18+

El capo 2 TC 4.3 4.8 4.7 5.8 2.7 3.2 3.3 4.2El combo amarillo 3D

Ecua- visa

6.3 5.5 5.4 3.1 5.6 4.5 5.2 3.2

El combo amarillo (2nd sea-son)

Ecua- visa

6.3 6 5.3 2.8 6 5.4 5.3 2.9

El Joe, la leyenda

TC 4.7 3.6 5.9 4.4 2.1 2.9 4.4 2.7

Corazón apasio-nado

TC4.7 4.4 5.9 4.2 2.5 1.8 3.5 1.7

Tres Mila-gros

TC3.8 5.4 6.5 3.9 2.7 3.2 4.9 2.1

Fina estampa

Ecua- visa

2.5 2.2 6.1 3.3 2.2 2.6 7.64.1

La Mari-posa

TC2.8 3.3 5.8 4.6 1.9 1.4 4.3 2.3


3. Transmedia receptionIn 2012, a phenomenon of audience capture beyond the formal

audiovisual environment took place. The most innovating trend in Ecuador is fiction and comedy produced for Internet and its new audiences, i.e., an online fiction production that takes advantage of the new ITs and the new media.

The sketches ofTouchéFilms, producedbyEnchufetv, havecrossed borders and received comments from several Spanish-speakingcountries.Theyarerenewedtwiceperweek:onTuesdaysandSundaystheyuploadanewfictionprogramandonThursdaystheypromotewhatwillcomenext.These fictionproductions lastfrom2 to5minutes, besides those that last less thanoneminute

250 | Obitel 2013

called microyapas,22andreachalmost2million YouTubesubscrib-ersandvisitorswhohavereproducedthedifferentvideos250mil-liontimes.23ThesefigureshaveturnedEnchufetv intothemostpop-ularchannelinEcuadorandLatinAmerica,includingvisitorsusingcloudcomputing.

Itsmembers,peoplespecializedinthefilmindustry,areunder30yearsoldwhohaverapidlyconsolidatedaninnovatingproposalin fictioncomedybeyondborders–critical ironyofcustomsandthoughts.

ThisnewpathfollowedbyEcuadorianfictionproductionandbroadcasting is largelydue to theopportunities thatweb2.0pro-vides in publishing videos in cost-free available platforms and isalsosubjecttotransmediationtootherdigitalmeans,reproductionsorlinks.

The creators ofEnchufetv studied at Instituto Superior Tec-nológico de Cine y Actuación, Incine, with its headquarters inQuito.MartínDomínguez,CristianMoya, JorgeUlloa,LeonardoRobalino andAndrésCenteno said that their productions seek to“takemoviestoInternet”,toend“traditionalhumor”andremindedthat“theworstsituationsinlifearethefunniest”.24Theyalsosaiditishardtomakeourwaywithnewideasintraditionalmedia.Infact,theysubmittedtheirproposaltothetelevision,butforsomechan-nelsitistoobold.

ThefirstYouTubebroadcastingwasonNovember13,2011,withthetitle“El peor casting”.Uptodate,25theyhave138videosthatincludethefollowing:

22“Yapa”isaKichwatermthatmeansincreaseorhelp;usedinEcuadorasanadditionalamountofproductdeliveredbythesellertothebuyeratnocost.InotherLatinAmericancountriesitisknownas“ñapa”.23OnApril22,2013,at theclosingof thisobservation,YouTube recorded1,795,270subscribersand246674,862reproductions;500,000dailyvisitsareestimated.24“TVsaidno,but78milliondevisitorssayyes”.Revista Expresiones, Diario Expreso. October22,2012.http://www.expresiones.ec/ediciones/2012/10/23/gente/nacional/la-tv-les-dijo-no-pero-78-millones-de-vistas-les-dicen-si/.25ThelastobservedweekwasonSunday,April14,2013.ThelastdayofobservationwasonSaturday,April20,2013.


• Promos:Brieftrailers(45secondslong)ofthesketchestobebroadcastinthenextdays;

• Sketches:Fictionproductionsfrom3to7minutesand30se- conds.

• Microyapas: Short sketches ranging between 20 and 60 secondslong.Theyalsohaveawebpage(www.enchufe.tv),aFacebookac-

countwith745,724likes,andaTwitteraccountwith148,153fol-lowers,allofwhichhavehighinteractionlevels.Nevertheless,wecould not speakof transmediation itself – the producer links onenetwork to anotherwithout adapting its fiction programs to eachone’sspecialfeatures.

Table11.Transmediafiction,typesof interaction and prevailing practices

Se-lected fiction

TV sta-tion(pro-

ducer)

Internet sites


Interac- tivity levels

Users’ prevailing prac-

tices

En-chufetv

TouchéFilms

Officialwebpagewww.enchufe.tv Facebook ac-countwww.facebook.com/enchufetvTwitter accounthttps://twitter.com/enchufetvYouTubehttps://www.youtube.com/user/enchufetv

Viewing PassiveCommentsInterpretationRemixParodyRecommenda-tionImitationCelebrationCritiqueCollectionStorageCompartmentDiscussion

Transmedia viewing

Active

Real-time interactive

Viewing Network

interactive

Creative Interactiv-

ity

Source:Internet-ObitelEcuador

Thefollowingaretheweeklyobservationresults:VideoAntes y ahora–Average:126,802dailyviews.“Like”:

3.345dailyaverage.“Don’tlike”:62dailyaverage.Weeklycomments:1.938.(https://www.youtube.com/watch?v=YzWR3mGMzS0)

252 | Obitel 2013

VideoEl ahorcado(microyapa)–Average:47.237dailyviews.“Like”:807dailyaverage.“Don’t like”:48dailyaverage.Week-ly comments: 602. (https://www.youtube.com/watch?v=QFNK vgTFGqk).

3.1. Selected comments, interpretation, and qualitative analysisTherearecommentswithcongratulationsandcritiques.They

mostlyrefertothepartofthesketchtheythoughtwasthefunniest:theyalsocongratulateorquestionthequalityofthecontents.Amongthe1,938commentsofthevideoAntes y ahora, whichcomparesthechangesincustomsandrelationships–theproducer’sfavoritetopic,whichitaddressesinaboldway–,somearerelatedtomachismo.

Commentsfromothercountriesarealsoregistered,particularlyfromPeru,Mexico,andColombia.Theinteractionisrelevantbe-causeitisnotlimitedtocommentsorlaughswrittenintext(haha-ha),butestablishesdialoguesthatreachlevelsthatdifferfromwhatiscommonlyseen insocialnetworks,as these twofromSuperY-apitaandZeroz45.

“It’s not that women sleep with men. BOTH MEN ANDWOMEN rushwithout consideringwe could catch venereal dis-eases…Andit’snotonlyyouwhoenjoy;womenarealsohumanwithorgasmsanddesires,andwealsoenjoy…let’savoidmachocomments.”

“Every change came fromwomenwhen theyacquiredmorepower…more freedom…theyreally care less what society thinks and fuckand fuck nonstop hahahaha... any problem?Noooo,it’sbetterforusmen.”

Thepromovideoshows602comments,mostofwhichexpresslaughsorexpectationsonthefictionthatwillbepublished.Inthiscase,thoserelatedtoonecomment’sspellingerrorsdrawouratten-tion,e.g.:


“Sorry, but I think you made some mistakesin Spanish: “BilingÜe” [Bilingual] is writtenwithadieresis;“Hablas”[talk]iswrittenwithan H before the A; “te Ves”[see yourself] is writtenwithaV,notwithaB;and,ofcourse,“inglés”[English] has an accent. I don’t thinkyou should insult people that way, as if youwere superior... oh! And by the way, Bilin-gualkid,“Loser”[inEnglish]onlyhasoneO.Sincerely:atruebilingual[person].” (William SánchezCoronel)“IDON’TTHINKTHEVIDEOWASTHATAWESOME BECAUSE PEOPLE LIKEFIGHTINGINTHECOMMENTSBETTER...HUMANS… THIS IS WHY THERE ARESENSELESSWARS.”(davidcadenazavaleta8) [sic]

4. Highlights of the yearTheEcuadorianTVfictiongenrereinforcedthesitcomsand,

forthesecondconsecutiveyear,telenovelaproductionwasabsentinopensignalchannels.Twonewcomedyseriesaddedtothelistregisteredin2011and2012:Aída (Teleamazonas)andLos Tostad-

ams(TC),althoughtheyhadnorelevantpositionsinthepreferencelevels.Onthecontrary,El combo amarillo(Ecuavisa)holdstwoofthefirstthreetoptenplacesasofitssecondseason.

Theyear’shighlights,thus,arenotinanewTVfictionformat,wherethesitcomhasturnedintoacommonproductionforEcuador-ianaudiovisuals;andneitherincontentsorresources,sincehumorhasclearlybecomethemostcommontooltoconcentrateaudiences.

Therefore,wecandeductthatthemostrelevantformatin2012isinwhatwewillcalltransmedia fiction,ortheuseofothermedia,i.e.,disseminationplatformscreatedbythenewInternettechnolo-gies,asthementionedcaseofEnchufetv anditsYouTubechannel,

254 | Obitel 2013

whichincludessketches,irreverentandsarcasticparodiesmainlyonrelationshipsbut,ingeneral,dealwithdailylifeaspects.

AboveallisthefirstEcuadorianwebnovela,alsopromotedasthefirstinLatinAmerica,26 Resaka, sponsoredandfinancedbyTCTelevisión,whichcanalsobewatchedonthewebpage.Theidea,thescriptandallmomentsoftheproductiontookplaceattheInsti-tutoSuperiordeEstudiosdeTelevisión,ITV,withitsheadquartersinGuayaquil.27Althoughtheprojectdatesbacksto2008andwasoriginallyconceivedasaminiseriesforopenTV,differentproblemsdelayeditsstartupuntilitcametrueforInternetwithpublicationofthefirstchapterinthewebpagecreatedtothisend(http://www.resak.tv).The40chaptersthatmakeupthewebnovelaareallinthataddresswithadurationrangingbetween8and12.5minuteseach.Theywereuploadedthreetimeseveryweek.Asecondseasonhasbeenannounced.

AccordingtoITV’sAccountabilityReport2012(RendicióndeCuentasdelITV2012),28aresearchwasperformedforitsproduc-tionwithover300youngstersupto25yearsold,whichillustratedtheyounggroups’trendto“watchTVlessanddevotemoretimetotheuseofINTERNET[sic],itswebsites,andsocialnetworks.”

Thisfact,whichwastheproject’sstartup,wassupplementedwith theproof thatopensignalTVchannelsdidnotproduceanytelenovelain2012.Foritsproduction,ITVinvestedahighamountinthepriorpurchaseofahighdefinitionmobileunit;andthegen-eralbudget(US$85,000)wasinvestedbyTCTelevisiónthat,ac-cordingtotheafore-mentionedreport,gavegreatrelevancetothepremiereinitswebpage.

26PerhapsthefirstinLatinAmericawithspecializedproduction,asifaddressedtoformalTV.However,thereareonlinenewsaboutAmalia y Poncho, byUnivisión(LosAngeles&Miami),premieredinJune,whiletheEcuadorianproductioncameoutinAugust2012.27ITVisaTVproductionanddirectionformationinstitutecreatedin1993,whichhasearnedincreasingprestigeandgrantsannualawardstothebestTVproductionsindif-ferentcategories.ItisassociatedtoTCTelevisión.Seedetailsinhttp://www.itv.edu.ec/index.html.28Seedetailsinhttp://www.itv.edu.ec/documentos/rendicioncuentas/rendicion2012.pdf.


Forsomeyearsnow,ITVandTCTelevisiónhavekeptcloseworkrelations.Therefore, it isnotsurprisingtosee that theweb-novela’s budget came from a state-administered channel that hashighratingsandconcentratesthelargestnumberofhighlyviewedtelenovelas;thathasanationalcomedyseries,Mi Recinto,thathasremainedinthetoptenformanyyears;andthat,togetherwithEcu-avisa,havemarkedEcuador’swayinrelationtofictionproductionsandevencompeteamongeachotherinthisfield29andinratingsaswell,althoughtheirtargetsaredifferent.30

ThelinkbetweenITVandTC,aswellasthefinancingcom-mitment,meant that thewebnovelaproductionhad tobe thoughtassomekindofexperiment,withregardstotheaudienceaswell.InthewordsofAlfredoAdum,executiveproducerofResaka andITVdirector, interviewedonthedayofits launching(August28,2012),“theideaisforit tobecomeaTVtelenovelainaclosefu-ture.We put the stakes in a reverseway to assure its success inTVthroughyouth’swebpreferences.”Healsosaidthatthereisno“youngsterintheworldwhoisnotlinkedtotheweb”(ElPopular,2012).

Infact,tobesupportedon,andparticularlytargetting,youngaudiencesisalsowhatwouldexplainthesuccessofEnchufetv, ana-lyzedabove.BecauseevenifcomediesarestillthemainsourceofEcuadorianfiction,theuseofthesenewplatformsattractsmoreat-tentionfromtheyoungpeoplewho,itseems,haveotherdemands.

InthecaseofEnchufetv, aswesaidabove,itisaparodyofdailylifewhere sarcasmand irreverenceprevail. “Wewanted tomakeporno,butourmothersdidn’tletus”,theyteaseintheirFacebookaccount(https://www.facebook.com/enchufetv).Thereis,hence,a

29 For example, two fiction dramatized productions on yellow chronic or criminalitytransmittedalmostsimultaneouslywerePasado y confeso,byEcuavisa,andArchivos del destino, byTC,referencedbelow,inthesectionregardingtheyear.30BothchannelshavetheirmainofficesinGuayaquil;Ecuavisa’spreferencesaremainlyurbanmiddleandupperclass,whileTC’sareurban-marginalinthecityandothersmalltownsandrurallocalities,whatexplainsthepermanencyofMi Recinto amongthetopten.

256 | Obitel 2013

causticlook,sometimesblackhumor,aroundtherealitiesofyoung-stersofmiddlesocioeconomicclasses inQuito, inparticular,andonmen-womenrelations,whichalsorevealavisionthatcouldbeconsideredsexist.

Nevertheless, the result of these fiction productions thoughtuponInternet’sdisseminationfacilities–becauseTVchannelsclosedtheirdoorsonthem,astheyoungproducersofEnchufetv, whocreat-edtheirownproducerrevealed–isthattheyarealsointhecloud,i.e.,notonlyfornationalaudienceconsumption.OnthecontraryofthesketchesofQuitoproducerTouchéFilms,thechaptersofResaka, byITV,aneducationalinstitutionassociatedtoaTVchannel,havenotreachedthemillionaireaudiencelevelsofthelatter.

ThiscouldbeduetothefactthatResaka’scontentsaremoretraditional,althoughtheydeclareditaddressescurrentdailyprob-lemsthatyoungstersconfront,i.e.,drugmafiasconductedbysmallorbigdruglords.

In summary, the stakes are on anothermedia, not on differ-entcontentsthatcontributetobreaktheprevailingparameters.ThisisillustratedbyfollowupandreproductionsdisseminationdatabyApril26,2013: thewebnovelahas itsownwebpage, aFacebookfanpage,with810 likes, oneYouTubechannelwith16videos–notthe40chapters–,100subscribers,andonly7,300reproductions(https://www.youtube.com/user/RESAK2012?feature).

5. Topic of the year: social memory and television fictionUntilwriting appeared, oralitywas the privileged support of

socialmemory.Theadventofwritingallowedrecordingthiscollec-tivememory’stracksinamoresystematicandrelativelyaccurateway.Furtheron,photography,filming,andtelevisionenabledfeed-ingthissocialmemorywithaudiovisualelementsthatopenednewwaysofbuildingsocialmemory:audiencestakepublichappeningstheyconsiderimportantastheirown,theyremindthefactstheydidnot live personally, andnewsor fiction canbecomepart of theirlivesonlybecausetheyarebroadcastintelevision.


Speeches,hence,acquirepublicvalidityandtheyareremem-beredinthisway.Furthermore,certaineventscanbecomepartofthesocialmemorybecausetheaudiovisualmediadiversifythegoalsoftheparticipatinginformationsourcestobuildthecontemporaryhistoricmemoryand,inthisway,theyallowsomekindofdemo-craticdisseminationofhistoricaccounts.

Thearrivalofaudiovisualmedia, suchasmovies, television,videos and, now, digitalmeans, generates “newways of shapingmemorywhichareanunavoidablepart,someinstantlyandothersvirtually,oftheglobalworld’sdailylife”(Guarini,2002).Audiovi-suals,thus,influencememoryintwoways,ononehandthemediabecomeanunlimitedsourceofelementstorememberand,ontheotherhand,audiovisual filesbecomea significant support for thesocialconservationofthecomponentsthataccountforhistory.Inotherwords,audiovisualshaveadoublefunction:processandsup-port.

Ecuadorian television isasupport forsocialmemorysince ithasnumberlessrecordingsonsocial,economic,andpoliticalreal-itymadeforthenews.Fiftyyearslater,eachchannelhasitsownaudiovisualmaterials,whicharediamondsintheroughtobuildthecountry’ssocialmemory.However,fromtheperspectiveoffictionTV, the situation isdifferent. Ifweunderstand socialmemoryastalesfullyorpartiallyoccurredinthenearorremotepast,Ecuador-ianproductionsarescarce.ThisispartiallyduetothefactthatEc-uadorianTVlacksitsownsustainedfictionproductionandbecausenocapacitieshavebeendevelopedforsuchproduction,whetherfortechnicalorfinancialreasons,ordifferentperspectives(Obitel 2011

Yearbook).Regardlessofthisdeficit,someproductionscanbein-cludedinthesocialmemory,whichweanalyzeinthreemoments:

1. 1960–1980 First experiences: Ecuadorian TV, with itsbirthcertificatein1960,triedtofinditsownpersonalityinthefirsttwodecades.Inthisway,thefirstnationalfictionsappear,someofwhichfromtheperspectiveofsocialmemory,asthecaseofthefirst

258 | Obitel 2013

fictionproductionofthecurrentRedTelesistema(RTS),31withtheseries Narcisa de Jesús(1961);thecaseofEcuavisaTVchain,withtheseriesEl Cristo de nuestras angustias(1967);andofTeleama-zonas’stelenovelaLa casa de los Lirios(1974).

TheseTV fiction productions based on socialmemory seekto recover Ecuadorian religious customs and traditions, as op-posedto“moderntimes”thecountrywasstartingtoliveandthatfor someentailed the riskof losingsuch traditions.A telenovelaonthebiographyofNarcisadeJesúsMartilloMorán,aladyfromtheGuayaquilofthe19thcenturywhowasturnedintothemodelsecularcatechist,canbeclearlyidentifiedwiththefirstmentionedproductions.32

Thesefirstproductionsrepresentedareligiousandtraditional-istEcuadoriansocietyatthetimeofitsissuance.Wecouldsay,thus,thattheyemphasizeondevelopinga“conservative”socialmemorybasedoncharactersandstoriesthatsoughttoreflectanddeepenthepeoplesreligiousness;theygenerateonesinglespeechbypresentinglifemodelstofollow,sincealmostallfictionproductionsareaimedtounderscoreandevenidolizethemaincharacter’sreligiousvalues.

Inthe80’s,inspiteofsomeeffortstoimprovethequalityoffictionproductions,noneofthesearebasedonsocialmemory.

2. The 90’s: An encounter between literature and TV fic-tion: Inthe90’sEcuadoriantelevisionshowsaboominitsfictionproductionfromthesocialmemoryperspective,althoughbasedontheworksofnationalwriters.Wecouldsaythatsocialmemoryhastwo purposes: 1) an attempt to recover thismemory by rescuingauthorsfromthecountry’sgreatliteraryheritage;and2)reconstruc-tionofthesocialmemorybyproducingfictionprogramsbasedontheseworks.

31ThisisthefirstchannelcreatedinGuayaquilthatremainstothisdatewithdifferentownersandname–initiallyitwascalledCanal4.32BeatifiedbyJohnPaulIIin1992andcanonizedbyBenedictXVIin2008.Sheiscon-sideredtobemiraculousandhershrinenearGuayaquilhasmanydevoutvisits.


Asshownbelow,onesinglechannelaccounts forsevenpro-ductionsthat,whiletheydidnothavehighratings,madepartoftheexperiencerequiredtoproducefictionwithnewstories.

Table 12. TV series based on the works of Ecuadorian writers

Series/Telenovela Books of Ecuadorian authors TV station Year

CumandáCumandá

JuanLeónMera,1877Ecuavisa 1993

Los SangurimasLos Sangurimas

JosédelaCuadra,1934Ecuavisa 1993

A la CostaA la Costa

LuisA.Martínez,1904Ecuavisa 1995

El Chulla Romero y Flores

El Chulla Romero y FloresJorgeIcaza,1958

Ecuavisa 1995

7 lunas, 7 serpientesSiete lunas, siete serpientes

DemetrioAguileraMalta,1970Ecuavisa 1996

El Cojo NavarreteEl Cojo Navarrete EnriqueTerán,1941

Ecuavisa 1996

Polvo y CenizaPolvo y Ceniza

EliécerCárdenas,1979Teleamazo-

nas1997

Source:Interviewswithdirectorsandproducers-ObitelEcuador

TheencounterofEcuadoriantelevisionandliteratureisoneofthegreatmomentsofnational fictionandsocialmemoryproduc-tion.Theeventsoccurredintimesofliberationstruggles,thefirstdomesticmigrationmovements from the Sierra to theCoast, theLiberalRevolution,aswellaspopularcharacters,whicharepartoftheidentityofQuitoor theCoast,wererecoveredfor thecominggenerations.

Through television, the newgenerations comenear toEcua-dorianhistoryandliteraturetobuildsocialmemory.Someofthesefictionproductionshavebeenretransmittedandothers,donatedbyCinematecaNacionalofCasadelaCulturaEcuatoriana,havebe-comepartofthecountry’saudiovisualmemory.

Furthermore,theseproductionsweremadewithacriticallookto historical events, which was not quite common in that time’snarrativeproposals.Theywereproducedinseriesoffourandfivechapters,andmanywereadaptedintofilmformatlater.

260 | Obitel 2013

Thehistoricalmemorywas rebootedwith these productions,althoughnotfromanofficialversion,butfromEcuadorianwriterswhogiveamoreday-to-dayorcriticalviewofcertainfactsrecre-atedinenvironmentsthatgatheredlove,hate,dreams,andstrugglesofcharacters;theyarefrequentlycriticalofpowerandconservativewaysoflifeduringthedramatizedtimes.

Besides productions based on literature, there are other TVfictionproductionsofsocialmemory:La Baronesa de Galápagos (1992,Ecuavisa),Sucre (1992,Teleamazonas),JJ, el Ruiseñor de

América (1996,Teleamazonas),Pasado y Confeso (1994,Ecuavi-sa).Fromthislist,whichincludeshistoricallivesandlegends,33 Pas-

ado y Confesostoodoutduringonedecade(until2005)withmorethan700episodesofdifferenthistories.Ithadhighratingsandwasthemostwatchednationalnon-comedyfictionseriesofthoseyears.Itaddressedrecentsocialmemoryeventsbasedondifferentpolicereportsthatbecameyellowpressevents.Thisseries,nevertheless,promotesalimitedsocialmemoryonlybasedonthefactitself,i.e.,isolatedfromthesocialandhistoricalcontextinwhichittookplace.

3. The 21st century, no social memory: From2000 to thisdate,nationalTVproductionhasincreasedinnumber,butnotnec-essarilyinfictionprograms–onlytwowereproduced:Sé que vienen

a matarme(Ecuavisa,2007)andOlmedo, el castigo de la grandeza (Teleamazonas,2009).

As mentioned above, the national TV fiction production isaimedatalow-costhigh-ratingschemeand,thus,islimitedtocom-ediesandhasdisplacedtelenovelasandotherfictionformats.Oneoftheproductionsindicatedintheformerparagraph,Sé que vienen

a matarme, anEcuavisa series basedon the novel ofEcuadorianwriterAliciaYánezCossío,depictedthelifeofacontroversialEc-uadorianpresidentofthe19thcentury,conservative-wingedGabrielGarcíaMoreno,whowasmurderedbyhisopponents.Theseriesre-

33Accordingtothetitles,itisAntonioJosédeSucre,GeneralofBolívar’sarmies;JulioJaramillo,fromGuayaquil, themostpopularEcuadoriansingereven30yearsafterhedied;alegendaboutaGermanwomanwholivedintheGalapagosIslandsinthe30s.


flectsEcuadorianfiction’scourseandnotonlyrebuildsanepoch’sscenarios,butalsoincludesimprovedperformancesandaproduc-tioningeneral.

Likewise, the series showsEcuavisa’s attempt to recover itsgoldenera,i.e.,the90’s,intheproductionofsocialmemoryfictionlinked to Ecuadorian literary works. Unfortunately, such attemptstopped there and the nextworks have been addressed to realityshows,comedyseriesandhumortelenovelas,contests,andgeneralentertainment.

According toEcuavisaproducerMarceloAguilar,34 financialmatters frequently limitEcuadorianTVchannels’ fictionproduc-tion.He believes the audiencemust be educated and encouragedtowatchmorequalitynationalproduction,forwhichhesuggestedestablishing a time slot for allTVchannels tobroadcast nationalfictionandsocialmemoryproductions.

Inotherwords,uptothisdate,the21stcenturyrepresentstheyearsofnon-socialmemoryinEcuadorianfictionTV.

5.1. Public television, an opportunity for social memoryFinally, wemust point out that an alternative to collect and

recreate thesocialmemory inTVfictionproduction isEcuador’spublicchannelECTV.Onitsfifthanniversaryandwithprogramsthathaveturneditintoanalternativespaceforproductionanddis-semination, it couldbe thechannel inchargeof fictionproposalsforsocialmemorysinceprivateTV,mainlyduetomarketreasons,hasbeenunabletosustainthisattempt.Socialmemoryisessentialtosecureidentitiesandtolearnhistories,allinplural,asHalbwachssaid:“Nexttowrittenhistoryisalivestorythat isperpetuatedorreunitesintimeandwherealargenumberofancientcurrentsappar-entlydisappearedcanbefound.”(La memoire collective,1968)In

34Inaninterviewwiththisproducer,andwithECTVProgrammingDirectorMarcelodelPozo,weobtaineddataonsocialmemoryfictionproductions,sincethereisnowrittensource.

262 | Obitel 2013

otherwords,gatheringthecollectivememoryorsocialmemoryisequivalenttotransmittingknowledge.

Publictelevisionhasnotventuredenoughinfictionproductionsfromsocialmemory.Thefewofproductionsofthekindarenationalfilms.35Onthebicentennialanniversaryofindependence(2009),adidacticdocumentary-fictionseries,Patriota,wasproducedinfivechapters,dealingwiththemaincharactersoftheEcuadorianinde-pendenceprocess.

Regardlessofthesepositivestepstoencouragesocialmemory,allchannels,thepublicchannelincluded,aremorefocusedonotherprograms.However,in2012therewasthefirstinvitationtonationalproducersaimedtopromotefiction.Thedoorsforfictionandsocialmemoryproductionopengradually.

ReferencesCITDT(2012).“EstadoactualdelaproduccióndecontenidosenelEcu-

ador.CITDT-GAC-2012-00Report,April19,2012”.

CNTTV (2013). “Corporación Nacional de Telecomunicaciones sus-

cribió contrato para operar televisión privada”. In:www.micnttv.com/index.

php?option=com_content&view=article&id=37:series-o-pelicula-destacada&

catid=3:noticias&Itemid=33.

CONATEL(2012).“PlanMaestrodetransiciónalatelevisióndigitalte-

rrestreenelEcuador”.ResoluciónRTV-681-24-CONATEL2012,delConsejo

Nacional de Telecomunicaciones. In http://www.conatel.gob.ec/site_conatel/

index.php?view=category&id=619%3Aresoluciones-2012&option=com_

content&Itemid=610.

Diario El Telégrafo(2012).“MINTELrealizatallertécnicoparapotenciar

elInternetBandaAnchaenEcuador”.Inhttp://www.telegrafo.com.ec/econo-

mia/item/mintel-realiza-taller-tecnico-para-potenciar-el-internet-banda-ancha-

-en-ecuador.html.

DirecTV.com.ec. “Quiénes somos”. In http://www.directv.com.ec/.

(17/04/13).

Ecuadorinmediato.com(2013).“SuscripciónatelevisiónpagadaenEcua-

doraumenta,trascontrolaserviciopirata”.Inhttp://www.ecuadorinmediato.

35Forexample,1809, La Tigra, Entre Marx y una mujer desnuda, filmdirectedbyEcua-dorianfilmmakerCamiloLuzuriagaandothermorerecentproductionsaswell.


com/index.php?module=Noticias&func=news_user_view&id=188821&umt=

suscripcion_a_television_pagada_en_ecuador_aumenta_tras_control_a_servi-

cio_pirata.

El Comercio (2012). “Ni fecha ni oferta para vender Gama TV y

TC”. In http://www.elcomercio.com/politica/fecha-oferta-vender-Gamatv-

-TC_0_691130944.html.(30/04/12).

GUARINICARMEN(2002).Memoria Social e Imagen.Universidadde

BuenosAires.ProgramadeAntropologíaVisual.

HALBWACHS,MAURICE(1968). La memoire collective.Paris:PUF.

Infomedia (2013). Estadísticas diversas. In http://www.infomedia.com.

ec/sistema/

LUZURIAGA, CAMILO (2012). “Antropofagia cinematográfica en el

ciberespacio:elcasoecuatorianodeEnchufetv”.Revista Chasqui,No.120,pp.

51-56.Quito,Ciespal,December2012.

MINISTRYOFEDUCATION(2012),“Educa,televisiónparaaprender”.

In http://www.educacion.gob.ec/educa-television-para-aprender-iniciara-en-

octubre.html.(11/10/12)

MINISTERIODETELECOMUNICACIONESYSOCIEDADDELA

INFORMACIóN(2013).“Lapenetracióndeinternetbandaanchaaumentóen

elEcuadoryseconsolidacomopolíticapública”.“Plandeaccesouniversaly

alistamientodigital,2013”.“TelevisiónDigitalTerrestreenelEcuador,2013”.

Inhttp://www.telecomunicaciones.gob.ec/comunicamos(17/04/2013).

Periódico El Popular (2012). In http://www.elpopular.com.ec/63492-

%E2%80%98resaka%E2%80%99-una-novela-en-red.html(29/08/12).

6sPAIn: FIcTIon resIsTs The crIsIs

Author:CharoLacalle1

Team:MariluzSánchez,LucíaTrabajo,DeborahCastro,AnnaAlonso,PaolaCabrera,BelénGranda,FranciscaNicolau,GermánMuñoz,

KarinaTiznado,BertaTrullàs

1. Audiovisual context in the countryTheincreasingfragmentationoftheSpanishtelevisionsystem

duetotheeffectsofDTT(DigitalTerrestrialTV)andtheeconomiccrisisleftamarkin2012.ThemergerofTele5andCuatrowascon-solidatedandtheynowleadtheadvertisingmarket.Meanwhile,An-tena3confirmedthetakeoverofLaSexta,andtheaudiencemeasure-mentsystemturned25.Thedeclineinadvertisingspendingandthegreen lightgiven to theprivatizationofautonomousTVchannelsarealsoamongthehighlightsofayearinwhichfictionprogram-mingis,onceagain,atopvalue.

Graphic 1. National broadcasting television networks in Spain (private and public open access DTT)

Ownership Public Private

National First channel Second channel Antena3,Tele5,Cuatro,

LaSextaLa1 La2

1 Charo Lacalle coordinates theObitel Spanish research team, comprised byMariluzSánchez,LucíaTrabajo andDeborahCastro as associated researchers.The followingmembersofOFENT(ObservatoryofSpanishFictionandNewTechnologies,inSpan-ishObservatorio de Ficción Española y Nuevas Tecnologías)havecollaborated:AnnaAlonso,PaolaCabrera,BelénGranda,FranciscaNicolau,GermánMuñoz,KarinaTiz-nadoandBertaTrullàs.

266 | Obitel 2013

Autonomous

7RMATVC9CanalSurCMTETB1IB3TelemadridTPATV3TVCanarias

TVG

CanalSur2ETB2LaOtraNOUDOSTPA2TVCanarias2TVG2Super3/33

8Madrid8TVA3CanariasCYLTVEstil9La8NueveTVRac105VTelevisiónC.Extrem.TV

ThirdautonomouschannelsInternationalautonomouschannels

Source:Obitel

Consumptionsetsanewrecordin2012,with246minutesofviewing per inhabitant and day, sevenmore than last year.DTTconsumptionhasalsoexperiencedasignificant increase, reaching81.4%inDecember,comparedto14.3%ofcableviewingand4.3%ofsatelliteviewing.

InMarch,Tele5 regained the leadership lost in 2009,whichwasconsolidatedinJune,aftertheextraordinaryaudienceresultsoftheUEFAEuro2012.Mediaset’sTVnetwork,however, finishedtheyear settinganewminimum(13.9%), sameasLa1 (12.2%),now on third place behindAntena3 (12.5%). Instead, the rise ofopenaccessDTTthematicchannelscontinues,witha3.9increasefromlastyear(28.5%).

Graphic 2a. Audience share per national television networks

Share La1 La2 T5 A3 Cu-atro

La- Sexta

For- ta

TDT thematic chan-nels

Pay thematic channels

Private autono-mous channels

Others

2011 14.5 2.6 14.2 11.5 6.1 5.7 10.4 24.6 6.8 0.8 3.62012 12.2 2.5 13.9 12.5 6.0 4.9 9.8 28.5 6.2 0.9 3.5Dif-ference

-2.3 -0.1 -0.3 1.0 -0.1 -0.8 -0.6 3.9 -0.6 0.1 -0.1

Source:KantarMedia/BarloventoComunicación

Spain – Fiction resists the crisis | 267

Thedeclineofautonomouschannels (9.8%) isunevenlydis-tributed.CatalanTV3becomes thegeneralistTVnetworkwith ahigheraudienceshareinSpain(14.3%).

Graphic 2b. Audience share per autonomous television networks

Sha- re TV3 TVG ATV C.

Sur ETB2 TV- CAN TPA IB3

Tele- madrid

CMT C9 7RM ETB1

2011 14.1 12.3 10.7 10.7 8.2 7.9 7.7 5.2 6.4 6.4 6 4 22012 14.3 11.5 11.3 10.1 9.9 7.6 6.9 6.3 5.3 5.1 5 2.5 2.1Dif- fe-ren- ce

0.2 -0.8 0.6 -0.6 1.7 -0.3 -0.8 1.1 -1.1 -1.3 -1 -1.5 0.1


All communication groups have increased their audience share, with the exception of CRTVE, which fell 3.4%. The group Tele5 leads the ranking with 28.5%. Antena3 Group ranked second (25.8%), in-cluding the 7.5% from LaSexta group, and was followed by CRTVE (18.9%), Vocento (4.4%) and Unidad Editorial (3.2% ).

Graphic 3. TV groups


This year, fiction is the most frequent genre on TV program-ming (21.8%), followed by entertainment (21%), on a downward trend, and information (20.2%).

25,8

18,9

3,2

28,5

4,4 UnidadEditorial

Vocento

CRTVE

Antena3

Telecinco

268 | Obitel 2013

Graphic 4. Genres and hours aired on TV


1.1. Audience trends in 2012Antena3isstillthepreferredchannelbyyoungpeoplebetween

13and24yearsold,whileagegroups25-44and45-64areprominentinTele5.AudienceonLa1includesthoseover65,althoughitisnotasfeminineasinyearspast.Individualviewing(43.8%)is,again,thepreferredoptionbySpanishviewers,particularlythoseofTele5,followedbywatchingTVwithyourpartner(39.8%),morecommononpublicchannels.WatchingTVasagroup(16.5%)standsoutinAntena3,theTVnetworkwiththelargestfamiliaraudience2.

ÁguilaRoja is, once again, themostwatched fiction for thefourthconsecutiveyearandtheonlyoneabletoincludethethreeepisodesairedin2012amongthe50mostwatchedprogramsoftheyear (inpositions40,41and47).Therankingconsistsofsoccer,withtheexceptionofthreeFormula1Championshipbroadcasts,oneepisodeofthemusicalprogramLa Voz,andtwoprogramsdedicatedtoEurovision.ThegamebetweenSpainandPortugal,specificallythemomentofthepenalties,onJune27th,isthemostwatchedevent,with18,141,000viewers(83.3%).

FilmcontinuesitsdownwardtrendonTV.Themostwatchedfilmof2012(Breaking Dawn, Part I),airedinAntena3,islocatednumber99intheannualranking(4,546,000viewersand22.8%au-dienceshare).La1,however,stillobtainsgoodresultsinthisarea,asfifteenofthe20mostwatchedfilmsof2012havebeenbroadcastduringitsprimetimecinemaprogramonSundays.

2http://www.barloventocomunicacion.es/.

7,6

21

21,8

Others

Sports

Music

Contests

Cultural

0,8

7,9

18,6

19,5

2,7 Information

Entertainment

Fiction


1.2. Advertising investmentTelevisioncontinuestoleadtheadvertisinginvestmentinme-

dia,despitethedeclineexperiencedin2012(16.5%),withatotalof2,372.5millioneuros(43.0%)3.ThelosswasmorepronouncedinpublicTVnetworks,whichlost27.2%comparedtothe15.1%dropinprivateTVnetworks.Inturn, thedeclineofadvertisinginvest-mentresultedina10.1%lesstimeallottedtospotsand13.5%lesstime for sponsorships. Infomercials,however,are stableandself-promotionincreasedby11.5%4.

ThankstotheexcellentaudienceresultsofthesoccerEuroCupinTele5,thecommercialbyCruzcampoairedduringtheSpain-Cro-atiamatchonJune18thwasthemostwatchedonthehistoryoftele-vision(16,399,000viewersand42.5%).TheEfficacyAward2012,grantedbytheAEA(SpanishAssociationofAdvertisers,inSpan-ishAsociación Española de Anunciantes),wenttoacommercialbyCampofríothatpaidtributetothegreatSpanishcomedianMiguelGila.Itallowedthewell-knownbrandofcoldcutstoincreasetheirsalesby11%andtoexceedthe33%ofadvertisingnotoriety5.

1.3. Merchandising and social merchandisingAsexpected,thecrisishasreopenedthedebateaboutthepos-

sible return of advertising to TVE. Furthermore, the debate wasstimulatedbythecriticismfromprivateTVnetworks(UTECA)andthe Spanish Association of Advertisers (Asociación Española de

Anunciantes,inSpanish,orAEA)toTVE’ssponsorshipsofsport-ing and cultural programs.The inclusion of commercial logos insomeTVEprogramshasalsobeenreportedbyUTECA6.

3InfoadexandIABSpaindatareferringtothefirstquarteroftheyear(http://www.iab-spain.net/wp-content/uploads/downloads/2012/10/Estudio-Inversi%C3%B3n-S1-2012.pdf).4 CMT data referring to the second quarter (http://www.europapress.es/tv/noticia-ingresos-publicitarios-televisiones-cayeron-163-segundo-trimestre-20120920175622.html).5http://anunciantes.com/ecos/efi12/Expansion_121031_48_84.pdf.6http://www.elmundo.es/elmundo/2010/04/19/comunicacion/1271680703.html.

270 | Obitel 2013

In April, the Government announced that, during 2012, itwouldinvest35.5millioneurosininstitutionaladvertising,56.0%lessthanthepreviousyear7.Televisionlost8.8%from2011,whiletheInternetbudgetwasincreasedby5.0%.Atyearend,theentityred.es,undertheMinistryofIndustry,openedaspecialcallwithabudgetof2.6millioneurosfortheadvertisingcampaign(television,newspapersandbillboards)regardingthenewDTTblackout.

ReductioninadvertisingspendingandthefallingrevenuefromSMSandCallTVresultingfromtheuseofsmartphoneshavecon-tributed to an increasing interest in cheaper forms of promotion,such as sponsorship. Along these lines, in OctoberMultichannelChello, the largest independentproducerof thematicchannels forSpain andPortugal, bet onunconventional advertisementbypur-chasingDiferencia-TMedia.Thispurchasewasaimedtoexpanditsscopetoincludeproductplacementonfiction,sportsandentertain-mentprogramming.

1.4. Communication policiesTheyearbeganwiththeapprovalofthemergerbetweenAn-

tena3andLaSexta.InAugust,theGovernmenteliminatedthepre-viousrequirementtocommercializeadvertisementsofLaSextaandAntena3 separately. The Government also increased to 22% thejointbiannualaverageaudiencetosetthetermspromotionalspace.OnOctober1stAtresAdvertising,thecommercializingcompanyofAntena3Group,alsotookoveradvertisinginLaSexta.

The reduction and reorganization ofDTT channels has beenoneofthemaintopicsoftheyear.Inautumn,theGovernmentun-dertookanew rearrangement frequencyprocess tomakeway for4Gmobiletelephony,whichshiftedthecostoftheDigitalDividendonto the 1.4million users of the antennas needed to perform thetransformation.Finally,afterUTECAagreedtotransferoneofthesixmultiplexesandtokeep24TVchannels,thecostoftheDigital

7http://www.elmundo.es/elmundo/2012/05/04/espana/1336092115.html.


Dividendwasreducedfrom800to300million(about20eurosperhousehold).

1.5. Public TVLatelastyear,theGovernmentannounceda200millioneuros

cut inRTVE’s budget (from 1,200 to 1,000million),whichwassetbacktoasimilar level tothat in20098.InMay, thereformofRTVE’sLawwasapproved.Amongotherimportantchanges,ital-lowed choosing the president by absolute majority. Autonomouspublic channels faced the economic crisiswith a significantdropinadvertisingrevenueandagrowingdeficit,althoughthefinancialsituationvariesconsiderablyfromanAutonomousCommunity toanother,asithappenswithviewingratings.

InJanuary,theGovernmentgavegreenlighttotheprivatiza-tionofautonomouschannels,bydrawingupadecreethatwasap-provedinApril.ItallowedAutonomousCommunitiestoclose,sellorprivatizesomeorall theirTVchannels.Following theamend-ments of the opposition, the Law amending the Law 7/2000 ofMarch31stwasdefinitivelyapprovedinJuly.7RM,theTVchannelofMurcia,was the first tobenefit fromprivatization. It began tooperateatitslowestebbfromAugust1st(untilitwentouttopublictender).InSeptember,RTVAclosedCanalSur2’sprogramming.

1.6. Pay TVThelatestreportfromtheTelecommunicationsMarketCom-

mission (CMT) indicated that, in late 2011, in Spain there were4,500,000 subscribers to pay television, distributed as follows:1,756,200 (38.9%) to satellite television; 1,464,000 (32.4%) tocable television; 913,000 (20.2%) to IPTV; and 383,700 (8.5%)topayDTT9.However,whilepayIPTVandDTTplatformsgrew

8 http://www.elmundo.es/elmundo/2011/12/30/comunicacion/1325261545.html.9 http://informecmt.cmt.es/docs/Informe%20economico%20sectorial/Servicios%20au-diovisuales%20CMT%202011.pdf.

272 | Obitel 2013

(6.7%and10.4%respectively)10,thenumberofsubscribersfellby100,000 between June and September11. Tomakemattersworse,theGovernment announced in July the new rates of value addedtax(VAT).PayTVserviceslosttheirreducedrateandraisedfrom8.0%to21.0%fromJanuary1st,2013,sameascinema,theatreandothertypesofentertainment.

InMay,Antena3launchedanewonlinepayTVservice(“Pre-miumLoungeMode”).Itoffershighqualityfictionwithoutadver-tisingthroughmicropayments(subscriptiontopreviewsandmonth-lycontentoraccesstospecificcontent).

InAugust, the difficult financial situation of Prisa12 broughtCanal+–theexclusiveholderinSpainofmediarightstoUEFA–toawardTelefónicaSpaintheabilitytooffercustomersanewchan-nel (Canal+ChampionsLeague) throughan auction in frontof aNotary.

InlateDecember,VodafoneSpaindecidedtosuspendalltele-visionservices tosubscribersofADSLandmobile(VodafoneTVandInternetTV,Canal+andCanal+Ligamobile)aswellasvideodownloads.Thedecisionwasdestinedtoavoidthefeesimposedonmobiletelephoneoperatorsin2009,inordertofinanceRTVEaftertheremovalofadvertising(equivalenttoaboutsixtimesmorethanwhatVodafonereceivedforitsaudiovisualservices)13.

10 In2011satelliteandcableTVwerereducedby0.9%and2.9%respectively(http://informecmt.cmt.es/docs/Informe%20economico%20sectorial/Servicios%20audiovisu-ales%20CMT%202011.pdf). 11 http://www.europapress.es/tv/noticia-ingresos-publicitarios-televisiones-cayeron-163-segundo-trimestre-20120920175622.html.12PrisaGroupreportedanetlossof31.45millioneurosduringthefirstninemonthsoftheyear,comparedwithaprofitof17.93millioneurosinthesameperiodof2011(http://www.europapress.es/economia/noticia-economia-ampl-prisa-pierde-3145-millones-sep-tiembre-frente-beneficio-179-millones-2011-20121029185328.html).13 http://economia.elpais.com/economia/2012/12/21/actualidad/1356093018_696455.html.


1.7. New media trendsIn 2012, the most remarkable aspect of the relationship be-

tweentelevisionandtheInternetwasthemobileTVdeployment.InFebruary,Antena3was,onceagain,aheadoftherestofnetworks.ItlaunchedANT3.0,apioneeringapplicationinSpaintoconnectliveTVtosmartphonesandtabletsinrealtime.

TVEalsostartedtheyearaddingtoitsextensiveonlineaudio-visualarchivetheapplicationsforiPhoneandAndroid.Meanwhile,TV3launchedanewapplicationfortabletsandsmartphoneswhichallows access to over 75,000 videos from TV3alacarta, and livebroadcastsofTV3CATand3/24.InSeptember,MediasetSpainan-nouncedthelaunchoftheapplicationMitele,whichbringstogetherthelargeronlineprogrammingoftheSpanishaudiovisualgroups.Antena3alreadyhadasimilarapplicationsinceNovember2011.

Atthetimeofwritingthislines,theintroductionofHighDefi-nition (HD) continues to move along, not without controversy.Although,theoretically,thebigTVnetworksofferHDbroadcast-ing,truthisthatmanydonotreachthedefaultEuropeanstandard(H264)requiredbylaw14.

2. Yearly analysis: premiere of National and Ibero-American fic-tion

In 2012, 32 national productions premiered, 28 in an open-accessnetworkandtwoinpaychannels.Antena3wasthenetworkwithmorepremierefictions(thirteen)andalsotheonewithlessre-runs(three).Onthecontrary,La1isthirdaccordingtothepremierefictionsandhasthemostreruns(fifteen).

14 http://tecnologia.elpais.com/tecnologia/2012/04/22/actualidad/1335090218_876658.html.

274 | Obitel 2013

Table 1a. Fiction productions in 2012 and their respective national broadcasting networks

NATIONAL PREMIERED TITLES – 32 La1 – 6 national titles 1. Águilaroja(series)2. Amar en tiempos revueltos(serial)3. Cuéntame cómo pasó(series)4. Isabel (series)5. Stamos okupa2 (series)6. La memoria del agua (miniseries)Antena3 – 13 national titles7. Bandolera(serial)8. Con el culo al aire(series)9. El barco(series)10. El secreto de Puente viejo(serial) 11. Fenómenos (series) 12. Gran hotel(series)13. Hispania, la leyenda(series) 14. Imperium(series)15. Los protegidos (series)16. Luna, el misterio de Calenda (series)17. Toledo (series)18. Marco (miniseries)19. Historias robadas (miniseries)Tele5 – 7 national titles20. Aída (series)21. Frágiles (series)22. Hospital Central (series) 23. La fuga (series)24. La que se avecina (series)25. Mi gitana(miniseries)26. Carmina(miniseries) LaSexta – 1 national title27. Crematorio (series)Canal+ – 1 national title28. Falcón (series)Disney Channel – 1 national title29. La gira (sketch)Neox – 1 national title30. Señoras que (sketch)Nitro – 1 national title31.Psicodriving (sketch)TNT – 1 national title32.Malviviendo (sketch)

PREMIERED IMPORTED PRODUC-TIONS – 1

Tele5 - 1 imported production33.Cheers (series)

RERUNS – 29La1 – 15 reruns1. Abuela de verano(series)2. Al filo de la ley (series)3. Ana y los siete (series)4. Arroz y tartana (miniseries)5. Celia (series)6. Cuéntame cómo pasó (series)7. El secreto de la porcelana (miniseries)8. Entre naranjos (TVmovie)9. Guante blanco(series)10. La señora (series)11. La verdad de Laura (serial)12. Las cerezas del cementerio (TV

movie)13. Pelotas (series)14. Severo Ochoa: la conquista de un

Nobel (TVmovie)15. Ramón y Cajal: historia de una volun-

tad (miniseries)La 2 – 7 reruns16. Celia (series)17. Ciudad K (sketch)18. Curro Jiménez (series)19. Teresa de Jesús (miniseries)20. La forja de un rebelde (miniseries)21. La huella del crimen (TVmovie)22. Lorca, muerte de un poeta (minise-

ries)Antena3 – 3 reruns23. Con el culo al aire (series)24. Gran hotel(series)25. Polseres vermelles (series)Tele5 – 4 reruns26. Aída (series)27. Frágiles (series)28. La que se avecina (series)29. Parejología 3x2 (sketch)

TOTAL EXHIBITED PRODUC-TIONS: 62

Source:ObitelSpain


Autonomous TV networks premiered 30 titles and aired 42reruns.TV3premieredthemosttitles(thirteen),althoughmostofthemwereTVmovies (nine).TV3alsoaired fifteen reruns,nineofthemwereTVmovies.Ingeneral,autonomousTVnetworksairrerunsoftheirownfictionmoreoftenthannationalnetworks.

Table 1b. Fiction productions in 2012 and their respective autonomous broadcasting networks

AUTONOMOUS PREMIERED TITLES -30 Canal9 – 1 autonomous title1. L’alqueriablanca(series)CanalSur – 1 autonomous title2. Arrayán (serial)ETB1–- 3 autonomous titles3. Bi eta bat (series)4.DBH (sketch)5.Goenkale (serial)ETB2 – 1 autonomous title6. La conspiración (TVmovie)IB3 – 1 autonomous title7. L’anell(serial)Telemadrid – 2 autonomous titles8. Lo que yo te diga(sketch)9.Todo es posible en el bajo (series)TV3 – 13 autonomous titles10. Gran nord (series)11.KMM (series)12.La Riera (serial)13.Germanes (TVmovie)14.Tornarem (miniseries)15.Concepció Arenal (TVmovie)16.Atrapats (TVmovie)17.Codi 60 (TVmovie)18.Lluna plena (TVmovie)19.Mar de plàstic (TVmovie)20.Tocant el mar (TVmovie)21.Violetes (TVmovie)22.La síndrome de cacareco (TVmovie)TVCanarias – 1 autonomous title23. La revoltosa (series)TVG – 7 autonomous titles24. Era visto (sketch)25.Escoba (series)26.Libro de família (series)27.Matalobos (series)

28.Padre Casares (series)29.Vacas, porcos e zapatos de tacón (TVmovie)30.Outro mais (TVmovie)

RERUNS – 43CMT – 2 reruns1. Arrayán (serial) 2. Padre Casares (series)Canal9 – 3 reruns3. Géminis(serial)4.Senyor retor (series)5.Socarrats(sketch)

Nou2 – 4 reruns6. Negocis de familia (series)7. Altra oportunitat (series)ETB1 – 7 reruns8.Arregitamak (series)9.Balbemendi (series)10.Bietabat (series)11.DBH(sketch)12.Goenkale (serial)13.Martin (series) 14. Mugaldekoak (series) ETB2 – 1 rerun15. Euskolegas (series)IB3 – 2 reruns16. Llàgrima de sang (serial)17.Mossén capellà (series)TV3 – 15 reruns18. El criminal (TVmovie)19.La memoria dels cargols (series)20.Majoria absoluta (series)21.Plats bruts (series)22.Polseres vermelles (series)23.Porca miseria (series)24.Ventdelplà (serial)

276 | Obitel 2013

Source:ObitelSpain

National premiere fiction includes 33 Spanish productions,four Ibero-American, and one co-production between Spain andUSA,theadaptationofthecomedyCheers(NBC,1982-1983)15.In2012atotalof1,322episodes/chapterswerebroadcastedover1,237hoursand55minutes.OneoftheIbero-Americanprogramsisalsoaco-production,althoughSpainisnotpartofit.ItisthetelenovelaCorazón apasionado (USAandVenezuela).

Table2a.Totalnationalpremieresfictional programming in 2012: country of origin

Country Titles %Chap-ters/

Episodes% Hours %

NATIONAL (total) 33 89.2 970 76.6 898:25 75.9

IBERO-AMERICAN (total) 4 10.8 296 23.4 284:30 24.1

Argentina - - - - - -Brazil - - - - - -Chile - - - - - -Colombia - - - - - -

15ThesecondSpanishco-productionin2012istheSpanish-German-BritishFalcón,airedonthepayTVchannelCanal+.

25.El cas Reiner (TVmovie)26.Labaladadel’estret(TVmovie)27.L’edèn(TVmovie)28.Connexió (TVmovie)29.Menjar per a gats (TVmovie)30.Perduts (TVmovie)31.Psiquiatres, psicòlegs i alters malalts (TVmovie)32.Tornar a casa (TVmovie)33 – 1 rerun33.La Riera (serial)TVCanarias – 2 reruns34. La revoltosa (series)35.Mañana es para siempre (serial)TVCanarias2 – 1 rerun36. Profesor en La habana(series)

TVG – 4 reruns37. Era visto (sketch)38.Libro de família (series)39.Padre Casares (series)40.Valderrei (series)TVG2 – 2 reruns41. Terra de Miranda (series)42.Matalobos (series)

TOTAL EXHIBITED PRODUCTIONS: 72


Ecuador - - - - - -SPAIN 33 84.6 970 73.4 898:25 72.6USA (Hispanic production) 3 7.7 142 10.7 123:40 10.0Mexico 2 5.1 156 11.8 161:50 13.1Peru - - - - - -Portugal - - - - - -Uruguay - - - - - -Venezuela 1 2.6 54 4.1 54:00 4.4Ibero-American (Obitel scope) 6 - - - - -

Ibero-American (not Obitel scope) - - - - - -

Others (productions and co-productions from other Latin American/Ibero-Americancountries)

2 5.1 56 4.2 55:00 4.4

TOTAL 39 100.0 1,322 100.0 1,237:55 100.0

Source:ObitelSpain

The totalofnationalandautonomousfiction titlespremieredis70,the37nationalprogramsaforementionedand33productionsfromautonomousTVchannels.Thelatterinclude30Spanishpro-gramsandthreeIbero-American.

Table2b.Totalnationalandautonomouspremieresfictional programming in 2012: Country of origin


NATIONAL & AUTONO-MOUS 63 90.0 1,778 73.1 1,519:00 74.1

IBERO-AMERICAN (total) 7 10.0 655 26.9 531:40 25.9

Argentina - - - - - -Brazil - - - - - -Chile - - - - - -Colombia 1 1.4 60 2.4 40:00 1.9Ecuador - - - - - -SPAIN 63 87.5 1,778 71.4 1,519:00 72.1

USA (Hispanic production) 3 4.2 142 5.7 123:40 5.9

Mexico 2 2.8 156 6.3 161:50 7.7Peru - - - - - -

278 | Obitel 2013

Portugal - - - - - -Uruguay - - - - - -Venezuela 3 4.2 353 14.2 261:10 12.4

Ibero-American (Obitel scope) 9 12.5 711 28.6 586:40 27.9

Ibero-American (not Obitel scope) - - - - - -

Others (productions and co-productions from other LatinAmerican/Ibero-American countries)

2 2.8 56 2.2 55:00 2.6

TOTAL 72 100.0 2,489 100.0 2,105:40 100.0

Source:ObitelSpain

ThethreeSpanishserials,airedintheafternoon,fromMondayto Friday, determine the high number of episodes/chapters (708)compared toprime time (219).This is also a consequenceof thelowernumberofpremieres and thedrastic reductionof chapters/episodesperseason.Telenovelasarealwaysairedontheafternoonslot.

ThepatternofweeklybroadcastofserialsonautonomousTVchannels(exceptLa Riera,broadcastedintheafternoon)explains,however,thebalancebetweenafternoonbroadcasts(916)andprimetime(817)innationalandautonomousprogramming.Bycontrast,telenovelasonautonomouschannelsalmostdoublethenumberofafternoonhourscomparedtoprimetime.

Thedecreaseinthenumberofnational titles(11lessthanin2011)ismorepronouncedonTVmoviesandminiseries.Thus,thedifferenceinthenumberofhoursdevotedtopremierefictionfromlast year isminimized (898hours 25minutes compared to 1,012hours35minutesin2011).

Thesamepatternisrepeatedinrelationtototaldomesticfic-tion,nationalandautonomous.Therefore,thepremiereofsevenlesstitlesonlyrepresentsadecreaseof83hours30minutescomparedto2011.


Table3a.Chapters/episodeandhoursbroadcastbytimeslot-National

Tim

e sl

otN

atio

nal

Iber

o-A

mer

ican

T

otal

C/E

%

H%

C/E

%H

%C/E

%H

%M

orni

ng

(

6:00

-15:

00)

--

--

--

--

--

--

Aft

erno

on

(15

:00-

21:

00)

708

73.0

614:10

68.4

296

100.0

284:30

100.0

1,004

79.3

898:40

76.0

Prim

e tim

e (2

1:00

-23:

00)

219

22.6

255:10

28.4

--

--

219

17.3

255:10

21.6

Nig

ht

(2

3:00

-6:0

0)43

4.4

29:05

3.2

--

--

433.4

29:05

2.5

TO

TA

L97

010

0.0

898:

2510

0.0

296

100.

028

4:30

10

0.0

1,26

610

0.0

1,18

2:55

100.

0

Source:O

bitelSpain Table3a.Chapters/episodeandhoursbroadcastbytimeslot–Nationalandautonom

ous

T

ime

slot

Nat

iona

l and

aut

onom

ous

Iber

o-A

mer

ican

T

otal

C/E

%

H%

C/E

%H

%C/E

%H

%M

orni

ng

(

6:00

-15:

00)

--

--

--

--

--

--

Aft

erno

on (

15:0

0- 2

1:00

)916

51.5

774:35

51.0

655

100.0

531:40

100.0

1,571

64.6

1,306:15

63.7

Prim

e tim

e (2

1:00

-23:

00)

817

46.0

712:30

46.9

--

--

817

33.6

712:30

34.7

Nig

ht

(2

3:00

-6:0

0)45

2.5

32:55

2.1

--

--

451.8

32:55

1.6

TO

TA

L1,

778

100.

01,

519:

0010

0.0

655

100.

053

1:40

100.

02,

433

100.

02,

050:

4010

0.0

Source:O

bitelSpain

280 | Obitel 2013

Table4a.FormatsofnationalandIbero-Americanfictionalprogram

ming

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

Tit

les

Seri

al3

9.1

681

70.2

609:40

67.9

4100.0

296

100.0

284:30

100.0

Seri

es21

63.6

222

22.9

258:20

28.8

--

--

--

Min

iser

ies

515.2

101.0

12:30

1.4

--

--

--

TV

mov

ie-

--

--

--

--

--

-O

ther

s (s

ketc

h)4

12.1

575.9

17:55

2.0

--

--

--

TO

TA

L33

100.

097

010

0.0

898:

2510

0.0

410

0.0

296

100.

028

4:30

100.

0

Source:O

bitelSpain Table4b.Formatsofnational,autonomousandIbero-Americanfictionalprogram

ming

For

mat

sN

atio

nal a

nd a

uton

omou

sIb

ero-

Am

eric

anT

itle

s%

Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

%Se

rial

711.1

1,152

64.8

956:40

63.0

7100.0

655

100.0

531:40

100.0

Seri

es31

49.2

444

25.0

470:20

31.0

--

--

--

Min

iser

ies

69.5

120.7

15:20

1.0

--

--

--

TV

mov

ie12

19.0

120.7

17:30

1.2

--

--

--

Oth

ers

(ske

tch)

711.1

158

8.9

59:10

3.9

--

--

--

TO

TA

L63

100.

01,

778

100.

01,

519:

0010

0.0

710

0.0

655

100.

053

1:40

100.

0

Source:O

bitelSpain


Series,miniseries andTVmovies are alwaysairedonprimetime. The only exceptions are some two-episode miniseries pro-grammedinonesitting,orseriesrelegatedtothelatenightduetotheunsatisfactoryaudienceresultsofepisodesbroadcastonprimetime.

Table5a.Formatsofnationalfictional programming by time slot


noon % PT % Late night % Total %

Serial - 3 60.0 - - - - 3 9.1Series - - - 19 76.0 2 66.7 21 63.6Miniseries - - - 5 20.0 5 15.2TV movie - - - - - - - - -Others (sketch) - 2 40.0 1 4,0 1 33.3 4 12.1TOTAL - 5 100.0 25 100.0 3 100.0 33 100.0

Source:ObitelSpain

Table 5b. Formats of national and autonomous fictionalprogrammingbytimeslot


noon % PT % Late nigh % Total %

Serial - - 4 33.3 3 6.5 - - 7 11.1Series - - - - 29 63.0 2 40.0 31 49.2Miniseries - - - - 6 13.0 - - 6 9.5TV movie - - 6 50.0 4 8.7 2 40.0 12 19.0Others (sketch) - - 2 16.7 4 8.7 1 20.0 7 11.1TOTAL - - 12 100.0 46 100.0 5 100.0 63 100.0

Source:ObitelSpain

Theeffectsof theeconomiccrisisandthereductionofmini-seriesandTVmoviesaffectthenumberofnationalproductionssetinthepast,whichwashalvedinboth,autonomousandnationalfic-tionalprogramming. Instead, in2012national fictiondoubles thehistoricalfictions,fromonetotwotitles,samenumberasautono-mousTVnetworks.

282 | Obitel 2013

Table6a.Timeperiodofnationalfictionalprogramming

Time period Titles %Present 20 60.6Past 10 30.3Historical 2 6.1Other 1 3.0TOTAL 33 100,0

Source:ObitelSpain

Table 6b. Time period of national and autonomousfictionalprogramming

Time period Titles %Present 45 71.4Past 13 20.6Historical 4 6.3Other 1 1.6TOTAL 63 100.0

Source:ObitelSpain

Águila Roja leads its fourth consecutive annual ranking, which also includes the long-lived series Cuéntame cómo paso, La que se avecina and Aída. The second season of Gran hotel is also among the top 10 most watched programs of the year, which includes five new titles.

Table 7a. The ten most watched national titles: origin, rating and share

TitleOriginal idea/script

Produc-tion

company

Chan-nel

Writer or author of

original idea AudienceRa- ting

Sha- re

1ÁguilaRoja

SpainGlobome-

diaTVE1

D.Écija,J.C.Cueto

6,074,333 13.8 29.8

2

Cuén-tame cómo pasó

Spain

GrupoGangaProduc-ciones

TVE1M.

Á.Bernardeu5,017,750 11.4 24.8

3La que se avecina

SpainAlba

AdriáticaTele5 A.Caballero 4,215,222 9.6 22.7


4 Isabel SpainDiag-onalTV

TVE1 IsladeBabel 4,079,916 9.3 19.7

5Mi gitana

SpainProduc-ciones

MandarinaTele5

A.HernándezCentenoandC.Pombero

3,590,666 8.2 19.4

6 Aída SpainGlobome-

diaTele5

N.GarcíaVelilla

3,353,891 7.6 16.5

7Con el culo al aire

Spain NotroTV A3D.FernándezandD.Abajo

3,210,923 7.3 17.2

8Fenó-menos

SpainAparteProduc-ciones

A3

N.G.Velilla,O.Capel,A.Sánchez,D.S.Olivas

3,160,750 7.2 16.6

9Gran hotel

SpainBambúproduc-ciones

A3R.Campos,G.R.Neira

2,805,750 6.4 14.7

10

Luna, el mis-terio de Calen-da

SpainGlobome-

diaA3

L.Belloso,D.Bermejo

2,790,000 6.3 15.3

Total of productions: 10 Foreign scripts: 0100% 0%

Source:ObitelSpain

Sixof themostwatchedautonomousfictionprogramsof theyearbelong toTV3, threeofwhich topped theannual ranking inbothabsoluteandrelativeterms(Table7b).

Table 7b. The ten most watched autonomous titles: origin, rating and share

TitleOriginal idea/script

Produc-tion

companyChannel

Writer or author of original

ideaCost

Ra- ting

Sha- re

1 La Riera Spain TVC TV3 D.Plana 500,000 7.2 24.9

2 Gran Nord SpainVeranda.tv,Porto-cabo

TV3 C.Gené 481,000 6.9 16.1

3 Tornarem Spain

BrutalMedia,ICIC,ICAA,TVC

TV3P.Gar-saball,M.Grau

474,000 6.8 17.3

284 | Obitel 2013

4 Arrayán Spain LinzeTV CanalSur E.Galdo 424,000 5.4 11.8

5Kubala, Moreno i Manchón

SpainDiag-onalTV

TV3J.Olivares,A.Schaaff

418,000 6.0 13.8

6 Germanes Spain

TVC,Focus,OvídeoTV,ICIC

TV3C.LópezandÀ.Mañas

412,000 5.9 14.5

7L'alquería blanca

Spain RTVV Canal9

J.Prats,D.Bra-

guinsky,O.Martí

400,773 8.4 17.2

8Con-cepción Arenal

SpainDiagonalTVandTVC

TV3R.RussoandL.Mañá

263,000 3.8 9.4

9Padre Casares

SpainVozau-diovisual

TVG

R.Cam-pos,E.Montero,G.Neira

188,000 7.1 16.8

10Libro de familia

SpainEd.Com-postela

TVGJ.

M.Besteiro176,000 6.6 16.2

Total of productions: 10 Foreign scripts: 0100% 0%

Source:ObitelSpain

Nineofthetoptenshowsof2012areseriesbroadcastinprimetime,butwithavaryingnumberofepisodes(rangingbetweenthe38ofAída andthethreeofÁguilaRoja).Thevarietyofgenresis,however,wider,withfourcomedies,threedramas,one“dramedy”,afantasyseriesandanadventureseries.

Table 8a. The ten most watched national titles:

format, length and time slot

Title Format GenreChapters/Episodes

(2012)


(2012)

Time slot

1 ÁguilaRoja Series Adventure 3 09/01-23/01PrimeTime

2Cuéntame cómo

pasóSeries Dramedy 4 12/01-02/02

Primetime

3La que se avecina

Series Comedy 1001/10-26/11

(cont.)Primetime

4 Isabel Series Drama 13 10/09-03/12Primetime


5 Mi gitanaMinise-

riesDrama 3 05/03-19/03

Primetime

6 Aída Series Comedy 38 08/01-23/12Primetime

7Con el culo al

aireSeries Comedy 13 01/02-16/05

Primetime

8 Fenómenos Series Comedy 427/11-18/12

(cont.)Primetime

9 Gran hotel Series Drama 8 03/10-21/11Primetime

10Luna, el miste-rio de Calenda

Series Fantasy 12 10/04-20/06Primetime

Source:ObitelSpain

Bycontrast,thetenmostwatchedautonomoustitlesincludeawidervarietyofformats,whilethespectrumofgenresisreducedtosevendramas,twocomediesandacop-show.Interestingly,TV3’sserial La Riera,theonlyprogramthatdoesnotaironprimetime,leadstheannualranking.

Table 8b. The ten most watched autonomous titles: format, length and time slot

Title Format GenreChapters/Episodes

(2012)


(2012)Time slot

1 La Riera Serial Drama 20209/01-21/12

(cont.)Afternoon

2 Gran Nord Series Comedy 13 07/05-30/07 PrimeTime3 Tornarem Miniseries Drama 2 16/04-23/04 PrimeTime

4 Arrayán Serial Drama 14702/01-27/12

(cont.)PrimeTime

5Kubala, More-no i Manchón

Series Crime 2309/01-05/12

(cont.)PrimeTime

6 Germanes TVmovie Drama 1 08/01 PrimeTime

7L'alquería blanca

Series Drama 22 01/01-10/06 PrimeTime

8Concepción Arenal

TVmovie Drama 1 19/12 PrimeTime

9 Padre Casares Series Comedy 3102/01-24/12

(cont.)PrimeTime

10Libro de familia

Series Drama 3001/01-30/12

(cont.)PrimeTime

Source:ObitelSpain

286 | Obitel 2013

Loveistheessentialingredientinallnationalfictions,whichalsogiveamplespacetofriendshipandconflict.Social issues in-cludetimelessthemesinSpanishfiction,suchasdiscriminationofwomenorhomosexuality,withotherhighlytopical,suchasjobin-security,thehousingcrisisoreuthanasia.

Table 9a. Themes of the ten most watched national titles

Titles DOMINANT THEMES SOCIAL THEMES

1 ÁguilaRojaPower,politicalintrigue,love,heroism,treason.

Classism,politicalcorruption,gen-erationalconflicts,euthanasia

2Cuéntame cómo pasó

Family,work,love,socialmobility,friendship.

Democracy,genderequity,work-ers’rights,generationalconflicts,

gamblingaddiction.

3La que se avecina

Neighborlyrelationships,love,envy,friendship,

cohabitation.

Jobinsecurity,housingcrisis,dysfunctionalfamilies,economic

crisis,scams.

4 IsabelLove,vengeance,plots,

ambition,power.Politics,monarchy,religion,gen-

der,arrangedmarriage.

5 Mi gitanaLove,fame,hatred,ven-geance,greed,treason

Politicalcorruption,mediaharass-ment

6 AídaLove,family,friendship,cohabitation,neighborly

relationships.

Jobinsecurity,marginalization,delinquency,xenophobia,homo-

sexuality.

7Con el culo al aire

Neighborlyrelationships,love,envy,friendship,

cohabitation.

Jobinsecurity,housingcrisis,homosexuality,economiccrisis,

solidarity.

8 FenómenosProfessionalrelationships,love,friendship,paranor-

mal,cohabitation.

Economiccrisis,housingcrisis,jobinsecurity,homosexuality,discriminationagainstwomen.

9 Gran hotelLove,intrigue,power,

infidelity,professionalrela-tionships.

Inequality,classstruggle,jobinsecurity,unwantedpregnancy,

generationalconflicts.

10Luna, el misterio de Calenda

Love,friendship,intrigue,investigation,infidelity.

Justice,disability,singlemother,adolescence,delinquency.

Source:ObitelSpain

Theeconomiccrisisandeuthanasiaalsoappearonautonomousfictional programming, along withmore recent topics, like evic-tions.


Table 9b. Themes of the ten most watched autonomous titles

Titles DOMINANT THEMES SOCIAL THEMES

1 La RieraLove,infidelity,familydis-

putes,corruption,delinquency.

Homosexuality,surrogatemother,eviction,oldage,

illness.

2 Gran NordProfessionalrelationships,

neighborlyrelationships,urbanandruraldifferences.

Justice,lawenforcement,democracy

3 TornaremLove,hatred,war,violence,

infidelity.Defeated,historicalmemory,exile,dictatorship,solidarity

4 ArrayánLove,infidelity,professionalrelationships,manipulation,

treason.

Workdifficulties,oldage,work-lifebalance,corruption,

unwantedpregnancy.

5Kubala, Moreno i Manchón

Professionalrelations,inves-tigation,family,depression,

crime.

Crisis,delinquency,immigra-tion,oldage,illness.

6 GermanesFamily,secretes,love,death,

solitude.Illness,addictions,oldage,homosexuality,adoption

7L'alquería blanca

Family,work,love,infidelity,vengeance.

Inequality,migration,oldage,illness,socialmovements.

8Concepción Arenal,

Innocence,culpability,delin-quency,power,bribery.

Deathpenalty,women’srights,socialactivism,sexualaggression,motherhoodin

prison.

9Padre Casa-res

Doublestandards,religion,unsubstantiatedrumors,

conflictbetweentraditionandmodernity.

Politicalconflicts,economicdifficulties,motherhood,

adoption,crisis.

10Libro de familia

Family,work,love,infidelity,debts.

Inequality,classstruggle,economicproblems,migra-

tion,oldage.

Source:ObitelSpain

3. Transmedia receptionSinceitspremierein2011,theseriesEl barco (Antena3)has

beenbankingontransmedialitybydevelopingamulti-platformpro-motionalstrategythatincludes,amongotherextensionsofWeb2.0,theso-called“twittersodes”16.Thissection,devotedtotheanalysisofresourcesofferedontheInternetbyEl barco,examinesthetypeof interaction that is proposed, the levels of interactivity and the

16Airedonpreviousseasons,theywereone-hourepisodesonTwitterthatcomplementedthestorylinesthroughtweetsfromthecharacters(nottheactors).

288 | Obitel 2013

dominantpracticesofInternetusersontheofficialsites17.Thesec-ondpartoftheanalysisisfocusedonthediscoursesoffansonthesocialnetworkFacebook18.

Table11.Transmediafiction: types of interactions and dominant practices

Fiction Chan-nel Internet site

Type of transmedia interaction

Level of interac-

tivity

Dominant practices

El barco Antena3

OfficialwebsiteTransmediaviewing

ActiveHistoryActorsCriticismHumorCurrenteventsAudienceratings

OfficialFacebook Interactive Active

OfficialTwitterInteractiveonrealtime

Active

The data on Table 11 suggest that the “page format” (Web,Facebook,Twitter)affectsthetypeoftransmediainteractionofTVfiction.Thecharacteristicsof thewebenvironment,moreflexibleintermsofcontentdiversity,makethis typeofsites themostap-propriateforatransmediaviewing.InthecaseofEl barco,theof-ficialwebsite allows users to view episodes and post comments,andprovideseasyaccesstosocialnetworks.Italsooffersexclusiveproducts,suchasdigitaltradingcards,onlinemeetingswithactorsormaking of videos. It also includes contests and promotions ofvariousmerchandisingitems(booksandDVDs).

ThereisadifferencebetweenFacebookandTwitter,regardingthetypeoftransmediainteraction.Thecollecteddataunderscoresthespecializationofsocialnetworksthatcomplementonepromo-tionalstrategy.WhileFacebookuserstendtocommentbeforeandaftertheepisodehasbeenaired,onTwitterthereismultitasking.InFacebook,administratorstrytocreatebuzzbeforetheepisode,forexamplebyaskingfollowerstoshareanimagethatstatestheywill

17150comments(50fromeachofficialsite)werecollected,coincidingwiththeairingofthelastepisodeoftheyear(December21st,2012).18375commentsfromuserswerecollectedduringtheweekprevioustotheairingofthelastepisodeoftheyear(13th-20thDecember2012).


bewatchingtheshowthatnight.Oncetheprogramhasbeenaired,theyprovideaccess,forexample,to“bestof”videos,facilitatingadiscussionaboutthestorylines.Incontrast,Twitteruserscommentontheserieswhiletheyarewatchingit,usingthehashtagsuggestedbythenetwork(#elbarcoorsuchtagwiththeepisodenumber).Inaddition, messages from Twitter are much shorter than those onFacebook,duetothecharacterlimit.

Regardlessof the“page format”and the typeof transmediainteractionofferedonwebsites,wefindthattheinteractivityofthefollowersofEl barco isbetterdescribedas“active”.Althoughtheyrespondtostimuligiven(especiallyonFacebook,wheretheyfre-quentlyanswertocommentspostedbyadministrators),creativeac-tivityisrare,thatis,theydonotproducenewcontent.

DiscoursesofInternetusersfollowthesametrendsobservedintheanalysisofthepreviousyear.Themostcommontopicstacklethestory,plotsandcharacters,andthedeathofacharacterisusuallyregretted.Fanswillalsotalkabouttheirfavoriteactorsandexpressconcernover thegradualdeclineofviewing ratings,whichcouldjeopardizethecontinuityoftheseries(asindeedhappened).Criti-cismisofvariouskinds,butmostoftenitrevolvesaroundtwois-sues:thedirectiontakenbytheplotsandthelackofcredibilityofsomeelementsinthestories.Criticismincludestheproductplace-mentofCoca-Cola,aswellastheconstructionofimplausibleset-tingsinsideaboat,likeaboxingring.Inaddition,thelastepisodeoftheyear,whenthecrewandpassengersoftheshipfinallyreachedlandaftermorethantwoseasons,wasbroadcastonthesamedatetheworldwassupposedtoendas“predicted”bytheMayaciviliza-tion.This resulted inhumorouscommentsof“currentevents”onTwitter,whichlinkedbothscenarios.Forexample:“Thepeopleof#ElBarcofindlandwhenourworldends.You’vegottobenasty…#ElBarco36#ConfesionesFinDelMundo”(vicmuz).

290 | Obitel 2013

3.1. Conversations about El barco in FacebookTheofficialFacebookpageofEl barco has587,314followers,

16,714ofwhichwere“talking”abouttheseries19.Duringtheweekanalyzed,administratorsposted15officialcomments,whichgen-erated546responsesfromInternetusers,9,336“likes”,andwereshared 350 times. Themost “liked” official post (1,764) and themostsharedone(132)wasaphotographofactressBlancaSuárezonthecoverofamagazine.Ontheotherhand,themostcommentedpost(130)alludedtothedeathofoneofthecharactersduringthatday’sepisode,andsuggestedthefanstowatchagainthe“bestmo-ments”onAntena3website.

The poetic function (Jakobson, 1960) structures most com-mentsofFacebookusers,whooftentalkaboutplotsandcharacters.Thesemessagesoften includeelements thatcriticizeorflatter theprogram (emotional function). Among the usual criticisms, usersunderscorethe“poorquality”oftheseasoncomparedtopreviousones,andtheir“sadness”whenoneofthecharactersiskilledandherlovestoryends.Inaddition,theproductplacementabovemen-tionedgeneratescomplaints regarding the realismof theprogram(metalinguistic function). Internet users especially questioned theapparentlyunlimited foodandsoftdrinks supplyaboard. Instead,viewersrarelyuseFacebooktoreflectuponthemselves,andtheco-nativefunctionoftenresultsinmessagesexpressingtheirintentiontokeepwatchingornottheprogram.Furthermore,themostrecur-rentquestionsareusuallyrelatedtothephaticfunction,aspeoplerequestinformationonviewingtheseriesfromothercountries,orthenetworkairingtheprogram.Finally,thereferentialfunctionisclosely related to promotional strategies. For example, 33 peoplerespondtoarequestfromtheadministratorstovoteforEl barco intheannualrankingofAntena3and,asnotedbefore,themost“liked”postisaphotoofoneoftheprotagonists.

19DatacollectedonFebruary17th,2013.


4. Highlights of the yearOnceagain,La1leadstheSpanishfictionalprogramming,de-

spitefallingtothethirdpositionintherankingofchannels,andthefewprogramsbroadcastin2012(six)averaging3,446,119viewers(18.8%).Itstwogreatestassets,ÁguilaRoja(6,074,333and29.8%)andCuéntame cómo pasó(5.01775millionand24.8%),toppedtheranking,establishingan importantdifferencefromtherestbyex-ceeding5millionviewers.

Thepublicbroadcasteralsosucceededwiththemostspectacu-larpremiereoftheyear,aseriesaboutIsabellaCatólica(Isabel).Duetoitssuccess(4,079,916viewersand19.7%)andthecriticalacclaim,itwasrenewedforanotherseason.AudienceresultsoftheminiseriesLa memoria del agua(2,271,000and13.5%)werealsopositive, considering that the two chapterswere aired in one sit-ting,withaconsequentdropinthenumberofviewersonthelatenight.Finally,inDecemberthelong-livedserialAmar en tiempos

revueltos saidgoodbye toLa1withspectacularresults (2,729,668and21.1%)aftersevenyearsontheair20.

The comedies La que se avecina (4,215,222 and 22.7%)and Aída (3,353,891 and 16.5%) have underpinned, once again,Tele5’sfictionalprogramming.In2012itseightprogramsaveraged2,473,000viewers(14.8%).BiopicsaboutIsabelPantoja,Mi gitana

(3,560,666 viewers and 19.4%), andCarminaOrdóñez,Carmina (2,787,500viewersand16.6%),continuedthegoodrunofthissub-genre,contrarytotheunenthusiasticwelcometotheseriesFrágiles (1,683,500viewersand13.2%),adramaabout thecomplexityofthehumanpsyche,andLa fuga (1,948,333and11.2%),afuturisticthrillerwith impeccable production. The latter, however,was in-cluded in theWitList ofMIPTV21, held inApril inCannes, andsomeoftheepisodeswereatrendingtopiconTwitter.

20 Amar en tiempos revueltoswillbeairedonAntena3fromJanuary14th,2013withanewtitle,Amar es para siempre.21MarchéInternationaldesProgrammesdeTélévision(TVProgramsInternationalMar-ket).

292 | Obitel 2013

Antena3istheTVnetworkwithmoreownfictionalprogram-ming in 2012 (thirteen),whose average audience (2,379,000 and13.8%)isjustonepointbelowthatofTele5,andofferingawiderrangeof formats andgenres.But unlikeMediaset’sTVnetwork,twopremieresof theyear reported thebest results: the comediesCon el culo el aire(3,210,923and17.2%),abouttheeverydaylifeofagroupofpeople surviving thebest theycan,andFenómenos

(3,160,750viewersand16.5%),aboutaparanormalradioshow.Itsthirdsuccessthisseasonwastheforayintofantasy,Luna, el miste-

rio de Calenda (2,790,000viewersand15.3%),awerewolf storyreminiscentoftheTwilightsagaandwithabundantoutdoorsettings.ThesecondseasonofGran Hotel(2,805,750viewersand14.7%),theSpanishalternativetotheBritishDownton Abbey(whichisalsoairedonAntena3),andthethirdandfinalseasonoftheadventuredrama El barco (2,788,333viewersand15.2%)alsoobtainedgoodaudienceresults.

Overall,therehaveonlybeentwopremieresthathavenotcon-nectedatallwiththeaudience.Cheers(268,500viewersand6.9%),theSpanishadaptationofthehomonymousAmericancomedy,oc-cupiesthelastplaceintherankingofopen-accessbroadcasts,eventhoughTele5rushedtoremoveitfromthescheduleafterthefirsttwoepisodes.Imperium(1,469,833viewersand9.1%),Hispania’sspin-off(2,284,666viewersand13.3%),setduringtheRomancon-quest,wasnotconvincingwithitslowcostversionofthepast,soAntena3pulledtheseriesafteronlysixepisodes.

TheDTT’s open networks also broadcast fictional program-ming.TheAntena3Group channels preferred sketches likePsic-

odriving (Nitro) andSeñoras que… (Neox).On the first one, thepsychologistGustavoGandini(GoyoJiménez)offerstherapywhiledrivingaroundthecity.ThesecondwasinspiredbytheuniqueFace-bookfangroupsonpeculiarattitudesordailyactivitiesperformedbysomewomen.DisneyChannelbroadcastthesecondseasonofLa

gira,thefirst100%SpanishproductionofthisTVchannelabouttheconfrontationoftwoyouthmusicgroups.


RegardingthepayDTTchannels,inthewakeofZombies,Ga-

lactic GymandBasauri Vice, TNTboughtthebroadcastingrightsofthewebseriesMalviviendothatchroniclestheadventuresofagroupofneighborhoodfriendsanddrugusers.Finally,Canal+airedFal-

cón,acrimethrillerbasedontwonovelsbyRobertWilson.Asisthecasewithfictionprogramsairedonthefirstchannels,

someproductionshavegarneredaDTTaudienceabove theaver-ageshareattainedbytheirnetworks,suchasSeñorasque…(2.7%versus2.6%ofNeox)andMalviviendo(0.9%comparedwith0.4%ofTNT).Others,however,haveobtainedalowerscreenquotaasPsicodriving(0.4%versus1.6%Nitro).

At the autonomous level, TV3’s synchronywith its viewersshowsintheexcellentratings.Initsfourthyear,theserialLa Riera (550,000viewersand24.9%)improveditsresults.TheCatalannet-workwas also successfulwith the biggest premieres of the year,the cop-show Kubala, Moreno y Manchón (418,000 viewers and13.8%),thepolice-comedyGrand Nord(481,000and16.1%)andtheminiseriessetinthepastTornarem(474,000and17.3%).TV3isalsotheautonomousnetworkwithagreaternumberoftitles(thir-teen)in2012,followedbyGalicianTVG(nine).

TheAndalusianchannelCanalSur,however,lost3.2pointsinthefinalstretchofitsserialArrayán(424,000viewersand11.8%),whichfinishedafter13yearsontheair.Meanwhile,ValencianandGalician viewers prefer their long-lived series set in rural Spainin thesixties,L’AlqueríablancaonCanal9(400,773viewersand17.2%)andLibro de familiaonTVG(176,000viewersand16.2%)respectively.

Despite having reducedboth the number of titles ant the to-talhours,Spanish fictioncontinuesapace its transnationalization,byopeningnewmarketstosellprogramsandformats.Theexpan-sionisclearlyillustratedbytheadaptationsofGran reserva(Chile),Los misterios de Laura(PortugalandRussia),Con el culo al aire

294 | Obitel 2013

(NorthAmerica22),Aída(Ecuador),andthesuccessofÁguilaRoja,exportedtoover20countries(ThailandandKoreabeingthemostrecentadditions).

DomesticproductionalsocontinuestoaccumulateawardsbothinandoutofSpain.Togivejustafewexamples,thisyear,ÁguilaRoja hasreceivedthesilvermedalfromtheWorldMediaFestivalinHamburg, theawardforbestdirectorat theFyMT23 inBuenosAires,theTPdeOro24tothebestseriesandbestactor(DavidJaner),andtheFotogramadePlataforbestactress(InmaCuesta),andhasnowoverthirtyawards.TheFotogramadePlataforbestactor,how-ever,wasforJonGonzálezfromGran hotel,alsochosenasthebestseriesoftheyearatZoom,theEuropeanFestivalinIgualadaandbythewriters’guildALMA25,andalsoreceivedtheawardPasióndelosCríticosattheIVFestivalofCinemainVitoria.Cuéntame cómo

pasó received, once again, the TP deOro forBestActress (AnaDuato)andtheIrisAwardforthebestseriesfromtheAcademyofTelevision.

5. Topic of the year: social memory and television fictionThetrendtorethinkthepastthatcharacterizestelevisiondrama

ofthethirdmillenniumcanalsobefoundinSpain.Theprolifera-tionofperioddramasfrom2008to2011coincideswithatimewhenthereisanimpulsetorecoverthehistoricalmemory.Thus,thesixnational titles released in 2008 amounted to thirteen in 2009 and2010,andreachedthezenithin2011withatotalof21productions.Programssetinthepastbyautonomouschannelsincludesevenfic-tionsin2008,sixin2009,sevenin2010andninein2011.

In 2012, however, period dramas decrease, a fact consistentwiththedeclineoftitlescomparedto2011.Theimpactoftheeco-nomiccrisis,particularlyonthepublicTVchannels,isundoubtedly

22TheserieswillbeadaptedbySerenityFictionandFremantleMedia.23FestivalyMercadodeTV-FicciónInternacional.24AwardbyTVmagazineTeleprograma.25http://www.sindicatoalma.es/.


the cause of the contraction, towhichmust be added the lackofinterestofTVE’snewdirectiveboardinreflectingonCivilWarandpost-war periods in programs such asAmar en tiempos revueltos or 14 de abril. La República.Nevertheless,itshouldbenotedthegradualincreaseinqualitystandards,highlightedinthetwohistori-calTVseriesin2011,IsabelandToledo.

In2012the“returntothepast”(Buonanno,2012:199)ofSpan-ishfictionintroducedmajor innovationsinthe(re)constructionofimages of “cultural history” (Burke, 2004). Such reconstructionis carried out by looking, not necessarilywith nostalgia, at someof themost iconic periods, like theMiddleAges or the reign oftheCatholicMonarchs.Still,thefourhistoricalprograms(Toledo,

Isabel, Concepción Arenal andLa conspiración) inextricablymix“past”and“pastime”(Silverstone,1999:132).Therefore,itshouldbeclarifiedthattheverydistinctionbetweenpastandhistory(moreheuristicthantheoretical)onlyservestoqualifythe“re-enactmentofthepast”oftelevisionfictionmentionedbyBuonannofollowingRicoeur(Buonanno,2012:200).

Table 12a. Historical and set in the past national fictionalprogramming

Broadcasts Title Channel Hour Format Time period3 ÁguilaRoja TVE1 22:30 Series Past

175 Amar en tiempos revueltos TVE1 16:15 Serial Past253 Bandolera Antena3 16:00 Serial Past4 Cuéntame cómo pasó TVE1 22.30 Series Past

253 El secreto del puente viejo Antena3 17:30 Serial Past8 Gran hotel Antena3 22:30 Series Past3 Hispania Antena3 22:30 Series Past6 Imperium Antena3 22:30 Series Past

13 Isabel TVE1 22:30 Series Historical13 Toledo Antena3 22:30 Series Historical

2 Carmina Tele5 22:30Minise-ries

Past

2 La memoria del agua TVE1 22:30Minise-ries

Past

Source:ObitelSpain

296 | Obitel 2013

Table 12b. Historical and set in the past autonomousfictionalprogramming

Broadcasts Title Channel Hour Format Time period22 L'alquería blanca Canal9 22:00 Series Past30 Libro de familia TVG 22:30 Series Past1 La conspiración ETB2 22:40 TV movie Historical2 Tornarem TV3 22:30 Miniseries Past1 Concepción Arenal TV3 22:30 TV movie Historical

Source:ObitelSpain

Unlikeotherneighboringcountries,suchasBritainandItaly,withalongtraditioninperioddrama,inSpainCuéntame cómo pasó issomehowthe“degreezero”.Theseriesturnstheculturalreflec-tionon thestories set in thepast ina“before”and“after”of theDemocraticTransition,thetimeperiodofthisproductionbyGrupoGanga. It isnot surprising that a largepartof the socialmemoryrecoverybySpanishfictiontakesplaceduringthenearlyeightyearsofgovernmentofJoséLuísRodríguezZapatero,asacorollaryoftherecoveryofhistoricalmemoryduringthatsameperiod.

The resistance to the ups and downs of audience ratings ofCuéntame cómo pasoandthesuccessoftheacclaimedÁguilaRoja,paradigm of the euphoria that spread to fiction (film and televi-sion)beforetheSpanisheconomiccrisisacquireditsofficialstatus,promptedtheprivatechannelstoexploreaterritorythatishelpingtoraisethestandardsofqualitySpanishprograms.

5.1. The Roman conquestHispania, la leyenda, the first venture into the peplum of a

Spanishtelevisionnetwork,debutedinprimetimeonAntena3onOctober25th,2010,inresponsetothesuccessofÁguilaRoja(La1).Thiswasaboldmove,withabudgetwellbelowtheseriesofLa1,butwithagreatdesiretoturnlimitationsintovirtues.

HispaniastartswiththebrutalassaultofthetroopscommandedbyGeneralGalba to the village ofLusitanian leaderViriato, po-larizing the relationship between the indigenous population andtheinvadersaroundthefierceconfrontationofthetwoopponents.


Friends, lovers, family, neighbors and fellow soldiers of the twomain characters integrate a tangled constellation of relationships,builton thebackgroundof theadventuresof theHispanic leader.Notwithstandingthemanyinaccuraciesitcontains,highlightedbysome bloggers (like the Christian patronymics of someHispanicpeople, themismatcheddatesof theperiod inwhichGalba ruledtheSpanishprovinceofTarraco,orViriato’sownbiography26),thetruth is that the curiosity aroused inmany viewers by the periodrepresentedrekindledtheinterest in thiseraofpopularstory,oneofthefunctionsGaryEdgertonattributedtofictionssetinthepast:

“Television as historian” should never be feared as the “lastword”onanygivensubject,butviewedasameansbywhichun-precedentedlylargeaudiencescanbecomeincreasinglyawareofandcaptivatedbythestoriesandfiguresofthepast(Edgerton,2001:9).

Thegradualdeclineofaudienceduring thesecondseasonofHispania prompted Antena3 to save their last three episodes for2012,asaprelude to thespin-off (Imperium).Thus, theseriesofBambúProduccionesendedonJune23rdwiththedeathofAníbalandthereturnofGalbatoRome,whileintroducinganewcharacter(thePraetorofHispaniaCitator,QuintoServilioCepion),whichinturnwouldholdanimportantroleinthespin-off.

ImperiumpicksupthestoryofGalbainRome,beforereturn-ingtoSpainasagovernor,andwillingtorestorethegoodnameofhisfamily.AlthoughtherelationshiptoHispaniaisobvious,Impe-

riumbetterarticulatesthegroupofthemaincharacters(freeofthemaincharacter,Viriato).ItalternatespartsshotinCinecittà(atthesamesetsfromHBO’sRome)withlandscapesofthefrontierregionLaVera,whilemakingagreatereffortthanitspredecessortodocu-menttheseries,withoutlosingthelocalcustomsandmanners.

26 See, for example, http://blogs.periodistadigital.com/politicamenteacorrecto.php/2010/10/29/p282058.

298 | Obitel 2013

5.2. The Kingdom of SpainToledo (Antena3)andIsabel(La1)aretwoofthemostremark-

ablepremieresoftheyearandtheonlytwohistoricalseriesonna-tionalnetworks.Interestingly,bothrefertoconsecutiveperiodsofthebuildingoftheKingdomofSpain,asifitwerecomplementaryprogramsratherthanrivals.Theirmixtureoffactandfictionillus-tratestheundeniablesimilaritiesbetween“thefamiliar,solidworldofhistoryonthepageandtheequallyfamiliarbutmoreephemeralworldhistoryonthescreen” (Rosenstone,2006:2).

Set in the13th century,Toledo tries to recapture the spirit ofconcordthatbroughttogetherChristians,JewsandMuslimsaroundthe court of Alfonso X theWise, a king determined to achievepeacefulcoexistenceamongthethreefaiths.SameasHispania,theseriesstartswithanattacktothelocalvillage, in thiscasebytheMuslims.Ittestifiesthevalueofthestoriessetinthepasttogivesensetothepresentwithouthavingtorecaptureanyobjectivetruthabouthistory:

White and others [postmodernist historians]havearguedthathistoriographyismuchmoreabout telling histories inspired by contempo-raryperspectivesthanrecapturingandconvey-inganykindofobjective truth about thepast(Edgerton,2001:3).

Toledo isanambitiousfiction,withawiderangeofresourcesdeployedforthesakeofthecredibilityoftheeventsnarrated.Suchevents are populated by the character’s stories that constitute thebaseforthishistoricaldramafullofactionandpassion.Forexample,thenumerousoutdoorscenesshot inCastillaLaManchaalternatewithbreath-takingsceneryrebuiltinFuenlabrada(Madrid),apartofwhich,importedfromItaly,hadbeenusedinEl nombre de la Rosa.

Concerns about the styling ofToledo become evident in theprops (hand-painted tiles, swords forgedbyagunsmith fromTo-


ledo,etc.)andthemorethan1,200costumesused.SuchconcernisalmosttakentoaparoxysminIsabel,asuper-productionofquasi-cinematiclookandtempo.Thisseries,byDiagonalTV,coverstheyearsprecedingthecoronationofIsabelasQueenofCastillaandcombinesgoodhistoricaldocumentationwithsomerisquéscenes.

OriginallyscheduledforJanuary,butstalledforseveralmonthswhilethenewdirectiveboardofTVEtalliedtheaccounts,DiagonalTVoptedforapreviewofthefirstepisodeasamovie,whichalsoscreenedatfilmfestivalsinSanSebastianandVitoria.Finally,Isa-

belairedinLa1inSeptemberand,bytheendofthefirstseason,inNovember,becamethefourthmostwatchedprogramoftheyear.Itslimitedprospectsforrenewal,however,ledtheCatalanproductioncompanytodismantletheirexpensivesets.Finally,inDecemberthemanagementofTVEconfirmedthecontinuityofitsmostsuccess-fulseries(Isabel,ÁguilaRoja,Cuéntamecómopaso,Granreservaand Los misterios de Laura),withoutrevealing,however,thefateofanotherDiagonalTVprogram,14 de abril. La República.

5.3. The Baroque Spain RumorsabouttheendofÁguilaRojaoriginatedbythebroad-

castofonlythreeepisodesin2012(withtheappearanceoftheDukeofAlba) reopened the controversy from 2011 regarding the highcostsofthisGlobomediaprogram27.Still,thespectacularTVratingsobtainedinitsfour-yearrunledAntena3andTele5toexpresstheirinterestintheseries.Theseriesissetinthe17thcentury,theperiodofmaximumsplendorof theSpanishartsandletters,butalsothebeginningofapoliticalandeconomicdecline that threecenturieslaterwouldleadtotheCivilWar28.

27 An average of 913,000 euros for one episode of approximately 85minutes (about11,424eurosperminute),accordingtothepublicauditofCRTVEin2010(http://www.elconfidencial.com/comunicacion/2012/02/10/tve-paga-12000-euros-por-cada-minuto-de-cuentame-aguila-roja-y-la-hora-de-jose-mota-92367/).28WhenRTVEconfirmedthefifthseasonoftheseries,italsoannounceda16%reductionoftheinitialprice.

300 | Obitel 2013

5.4. The roaring twentiesThesecondseasonofGran hotel inOctoberresumedtheques-

tionsposedinthefirstinstallment,articulatedaroundthemysteriousdeathofDonCarlosandtherelationshipbetweenhisdaughterAli-ciaandJulio,aservantofthehotel.Love,passion,suspenseandre-venge,thebasicingredientsofdramainvoguetoday,cometogetherinthisseriesbyBambú,anotherproductioncompanyspecializinginperioddrama.TheserieshasacarefulvisualrecreationoftheSpan-ishgentryofthetwenties,withselectcostumesandimpeccableset-tings.TheplausibilityofitssocialportraitisreinforcedbyfilmingatthePalaciodelaMagdalena(Santander)andthefrequentinvolve-mentofrenownedactorsinsupportingroles.

SetinthesameperiodasGran hotel,theminiseriesLa memo-

ria del agua (La1) isbasedon thehomonymousnovelbyTeresaViejo.Italsomixesintriguewiththepersonalstoriesoftheowners,servantsandguestsofthespawherethestorytakesplaces.Thereare,however,remarkabledifferenceswiththeAntena3series,espe-ciallyregardingthedidacticfocusadoptedinfictionsdevelopedbythepublicTVnetworkinrecentyears.Inthiscase,customsscenesare alternatedwith numerous references to themost pressingpo-liticalandsocialissuesduringthedictatorshipofPrimodeRivera(1926-1929),theperiodportrayed.

5.5. The TransitionTVE budget cuts have also strongly impacted on the costly

Cuéntame cómo pasó29, whose thirteenth season (aired between

JanuaryandFebruary)iscomposedofonlyfourepisodes.Merche’s

breast cancer, her mastectomy and the chemotherapy treatment are

the main storylines of the most dramatic season of this series by

Grupo Ganga, set in the early eighties.

29TheaveragecostofoneepisodeofCuéntame cómo pasó is,approximately,12,816eurosperminute,accordingtothepublicauditofCRTVEin2010(http://www.elcon-fidencial.com/comunicacion/2012/02/10/tve-paga-12000-euros-por-cada-minuto-de-cuentame-aguila-roja-y-la-hora-de-jose-mota-92367/).


Cuéntame cómo pasó, themost testimonial series of La1, isnow,after11yearsontheair,asortofvisualencyclopediafornewgenerations.Itisasimplifiedmanualofenlightenedpoliticsthatal-lowsustointerpretthestory“inthelightofcontemporarysensibili-tiesandproblems”(Buonanno,2012:213).

5.6. Social memory of the everydayThefirstSpanishdailyperioddrama,Amar en tiempos revuel-

tos,wasairedonLa1fromSeptember2005toDecember2012.ItbegananewchapterinAntena3onJanuary14th,2013,withanewtitle,Amar es para siempre.TVE’sdecisionto terminate thepro-gramreliesonbudgetcuts,thoughinthiscasethepricewasverytightforaproductionsetinthepast30thathadextraordinaryaudi-enceresultsandexcellentreviews.

AlongthesamelinesasotherperioddramasbyDiagonalTV(La señora and14 de abril. La República),Amar en tiempos re-

vueltos isaprimeexampleofthedidacticvalueoffiction.Genderviolence,addictions,homosexuality(maleandfemale),oldageandmigrationaresomeof thesocial issuesaddressedin theprogram.Setbetween1936and1956,italsoincorporatesmanyimagesfromTVE’sdocumentaryfiles.

The renovation of most of the plots and characters in eachseasonexplainsthelargenumberofactors,consolidatedanddebu-tantes,whohavegone throughtheserialduring itssevenseasons(approximately1,200).Amar en tiempos revueltoshasalsospawnedvariousspin-offs(TVmoviesonprimetime)andthreenovels,andhas been broadcast on Telemundo (USA andMexico), Ecuavisa(Ecuador),Canal7 (Argentina),Canal6 (Honduras) andTeleven(Venezuela).

30Despite the fact that the 68,210 euros per chapter (1,364 euros perminute) on thefifthseasonwerereducedonthesixthto51,661eurosperchapter(1,033eurospermin-ute),accordingtothepublicauditofCRTVEin2010(http://www.elconfidencial.com/comunicacion/2012/02/10/tve-paga-12000-euros-por-cada-minuto-de-cuentame-aguila-roja-y-la-hora-de-jose-mota-92367/).

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ThesuccessofAmar en tiempos revueltosledAntena3totrustDiagonalTVtoimproveitsafternoonratings,trappedbetweentheserialfromLa1andthegossiprealityTVinTele5,withtwodailyproductions set in the past. The first onewasBandolera, a storystarringayoungEnglishwoman thatarrives inAndalusia in1882andendsupleadingagangofbanditsliketheonesobrilliantlycap-tainedby the legendaryCurroJiménezbetween1976and197831.Bandolera gavewaytoAmar es para siempreatthebeginningof2013.Thesecond,El secreto de Puente Viejo,showsayoungmid-wifeinthesmalltownofPuenteViejoin1902,whosefateintersectswiththebrotherofthemanwhohadabandonedher32.

Withoutinterferingwiththeprototypicalthemesoftheserial,themainstorylineinBandolera (thebandofthieveswhostealfromtherichanddistributeitamongthepoor)encouragesreflectiononissuessuchaspovertyorsocialinjustice.Ontheotherhand,theroleofthemidwifeinEl secreto de Puente Viejohasearnedhischarac-ter,PepaBalmes,thetitleof“honorarymatron”bytheMidwivesAssociationofSpain.

5.7. Past and history in autonomous fiction programmingTheSpanishCivilWarreturnstotheautonomousTVnetworks

withtheminiseriesTornarem(TV3)andtheTVmovieLa conspir-

ación(ETB2).Thefirst,setinWorldWarII,isinspiredbythestoryofaCatalanwhowaspartofthecompanywhichfreedParisin1944(“The nine”), composedmainly of Spanish andCatalanRepubli-cans,veteransoftheCivilWar.La conspiracióngoesback,how-ever,totheeveofthemilitaryuprisingof1936andseekstoclarifytheroleofGeneralMola.

Concepción Arenal, la visitadora de pressons (TV3)paystrib-utetothefirstwomaninchargeofvisitingwomen’sprisonsinthelate19thcentury,whotriedtoimproveprisoners’lives.Itisabiopic

31InthehomonymousseriesofLa1,Curro Jiménez(1976-1979).32WhenBandolerafinished,El secreto de Puente Viejojumps16yearsforwardintimeandthecharactersandattrezzoarerenovatedaccordingly.


thatsuperimposestheprofessionalandpersonalstoryofanextraor-dinarywomantothesocialhistoryand,inaway,itcomplementsit.

Theproximityofautonomousfictionprogrammingtoitsview-ersanditsabilitytoconvertcustomsandmannersinasignofiden-tityisevidentinLibro de familia(TVG)andL’alqueriablanca(Ca-nal9).Builton thebackgroundof thestrugglefor landandsocialimprovements, thefamilystorieshavebeencaptivatingaudiencessince2005and2007respectively.

ReferencesBUONANNO,M.(2012).Italian TV drama & beyond. Stories from the

soil, stories from the sea.Bristol,Chicago:Intellect.

BURKE,P.(2004).What is a cultural history?Cambridge:PolityPress.

EDGERTON,G.(2001).“TelevisionasHistorian”.EnG.EdgertonyP.

Rollins(eds.),Television stories.Lexington:TheUniversityPressofKentucky.

JAKOBSON,R.(1960).«Closingstatements:LinguisticsandPoe-tics».

T.A.Sebeok(ed.).Style in Language.Cam-bridge,MA:MITPress,pp.350-

377.

SILVERSTONE,R.(1999).Why study the media?London:Sage.

7UNITEDSTATES: lookIng For A younger AudIence – The rebrAndIng oF hIsPAnIc Tv

Author:JuanPiñón1

Team:LinneteManrique,TanyaCornejo

1. Audiovisual Context in the countryForthefirsttimeinUSAhistory,theHispanicpopulationbe-

cameadecisivefactorinthepresidentialnationalelection.InNo-vember 2012, 71 percent of Latinos voted theDemocratic Party.Eventhoughissuessuchastheeconomy,educationandhealthcareareparamountforLatinovoters,theanti-immigrantdiscoursefromtheRepublicanPartywasthemainreasontheircandidatelost thepresidency.AnanalystsuggestedthatifMittRomneyhadobtainedatleast43percentoftheLatinovote,insteadofthe29percentthathegot,hewouldhavewontheelections(Lapan,2013).GiventhatdemographictrendsshowthatHispanicswillbecome26percentofthe totalpopulation in2030 (Taylor&Cohn,2013), thepoliticalpartieswillshowarenewedinterestinthisminority,becausetheywillnolongerbeabletowinanelectionwithouttheirvote.

TheeconomicrelevanceofLatinoswasalreadyevidentwhenin2003theybecamethelargersocialminorityintheU.S.,andin2007,theysurpassedthepurchasingpoweroftheotherethnicmi-norities.ButthepoliticalandeconomicimportanceofLatinoshasalsotranslatedintoaninterestontheirmasscommunicationmedia

1OnbehalfofObitel,wewanttoexpressourprofoundrecognitiontoCeciliaMasola,ClientSolutionAssociateatNielsenMediaResearch,forsupportingthepresentstudyandfortheirinvaluablecontributiontothefieldofHispanictelevisionresearch.TheUSAchapterwasalsopossiblethroughthecollaborationofDianaKamin,aPh.D.studentfromtheDepartmentofMedia,Culture,andCommunicationatNewYorkUniversity.

306 | Obitel 2013

and the language used to reach them.A report by PewHispanicCenter(PRC)describesthatSpanishisthedominantlanguagefor38percentofLatinos,whileasimilarquantityarebilingual,with24percentdeclaringthatEnglishistheirdominantlanguage(Tayloretal.,2012).Thepoliticalandeconomicrelevance,coupledwiththelinguisticcompetencesoftheHispanicpopulation,arereflectedinthe enthusiasm shown in journalistmedia,where since 2011 andthrough2012themajormediaoutletshavehiredprofessionalsandcreatedwebsitestargetingEnglish-speakingLatinos,likeFoxLati-no,Huffington-PostVoces,andNBCLatino,combinedwithUnivi-sionandABCannouncement,inthebeginningof2013,aboutthecreationofFusion,anEnglishspeakingcablenewsnetworktarget-ingLatinos.Duetothefactthatsince2000Latinoswhowerebornin theU.S. are themain factor of growth for theHispanic popu-lationandnot immigration(Census,2010), ithasbecomeevidenttoexecutives fromHispanicmedia that their successor failure islinkedtotheconsumptionhabitsofthesecondandthirdgenerationofEnglish-speakingandbilingualLatinos.

1.1. Broadcasting TelevisionTheHispanictelevisionbroadcastingindustrykeepsgrowing,

and, in2012,MundoFox, anew televisionbroadcastingnetwork,waslaunchedwithaninitialcoverageof80percentoftheHispanicpopulation.MundoFoxjoinstheranksofnationaltelevisionbroad-casters with Azteca America, Estrella TV, Telemundo, UniMás(formerlyTelefutura),UnivisionandV-me.

Graphic 1. National Broadcasting Television Networks in USAPRIVATE TV NETWORKS

AztecaAmericaEstrellaTVMundoFoxTelemundoUniMásUnivisionV-me

TOTAL (7)

UNITED STATES – Looking for a younger audience – the rebranding of hispanic tv | 307

TheUnivisionnetworkcontinuedwithitshegemonicpositioninthemarketwith55percentoftheaudienceshare,coupledwith15percentofaudiencesharebyUniMás,itssisternetwork.UnivisionCommunicationshave70percentofthetotalshareofbroadcastingtelevision,whileTelemundo,thesecondrankedtelevisionnetworkanditslongtimecompetitor,hasonly22percent.In2012,EstrellaTVconsolidatesitspositionasthefourthlargesttelevisionnetworkwith3percentandAztecaAmericaoccupiesthefifthplacewith2.4percent.

Graphic 2 – Audience Share by Network

Network %Univision 55.6Telemundo 22.0UniMás

(Telefutura)15.3

EstrellaTV 3.2AztecaAmerica 2.4MundoFox 1.4

Source:ObitelUSA-Nielsen

Entertainment, talkshows,newsandsportsarethetelevisiongenreswithmorevisibilityintheHispanicnetworkscreens.Fiction,inparticular,hasanimportantpresencewith43.7percentofthepro-grammingoffer,inwhichtelenovelas,series,miniseriesandunitar-iesrepresent27.5percentandtheremainder16.1percentarefilms.Ifwethinkaboutfilmsasaseparatecategory, theyaresurpassedonlybyentertainmentwith18.2percentoftheprogrammingoffer.

Graphic 3. Genre Programming Offer on TV

Broadcast genres Exhibition hours %

Fiction 14,906:37 43.7

Entertainment 6,220:39 18.2

TalkShows 3,750:06 11.0News&Information 3,698:31 10.8

Sports 2,328:12 6.8

AztecaAmerica

EstrellaTV

MundoFox

Telemundo

UniMás(Telefutura)

Univision15.30

2.43

22.03

55.57

1.433.21

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Children 754:40 2.2Contests 727:43 2.1Sitcoms 680:21 2.0

RealityTV 654:46 1.9Educational 85:15 0.2Others 326:09 1.0Total 34,133:02 100


Hispanic households have 85 percent penetration of at leastone pay television system, cable or satellite. Since the 1990s thelargemediacorporationshavelaunchedchannelstargetingLatinosthat amount to more than 70 national cable television networks.TheLatino-orientedcabletelevisionnetworksvaryfromAmericanchannelsonlydubbedintoSpanishtonetworksthatareincreasinglyoriginalproductioncontent.Among themost salient areFoxDe-portes,ESPNDeportes,DiscoveryenEspañol,Mun2(aTelemun-do-NBCproperty),GolTV,Tr3s,NatGeoMundoandUtilísima.However,Galavisión,apropertyofUnivision,hasbeentheleaderonaudienceshareintheterrainofcabletelevisionfortwodecades.

The need to lure a younger audience, reinforced by the newtrendsoftheHispanicpopulation,hastriggeredacorporatechangewith the rebranding of the television networks. Telemundo an-nouncedinMayitsdecisiontocreateamorestylizedlogo,changingthetraditionalTelemundoblueT,intoaredone,withtheslogan“ElpoderdeT”(ThepowerofT),thatallowsplayingwiththeword“T”inSpanish,T-informa,T-conecta,T-inspiraandT-emociona(T-in-

Fiction

Entertainment

TalkShows

New&Information

Sports

ChildrenProgramming

Contests

Sitcoms

RealityTV

Educatinal

Others

18,2

1,9

43,7

11

10,2

10,8

6,8

22,22,1


formyou,T-inspireyou,T-connectyouandT-exciteyou).Also,Univisionchangeditslogointoatridimensionalonethatevokesaheartwiththephrase“EllatidodelcorazónhispanoenlosEstadosUnidos”(theheartbeatofHispanicsintheU.S.)thatconnotesthetransformationof thecompany(Vega,2012b).But themostradi-caltransformationwastherebrandingofthenetworkTelefuturatobecomeUniMás,changingthename,logoandaudience’sprofile.UniMáswillbetargetingyoungmaleLatinoswiththecontentavail-able resulted fromthenewprogrammingagreementwithCaracolTV and RTI-Colombia (Thielman, 2012). The transformation ofthenetworkwasalsotriggeredbythelaunchofMundoFox,whichbrings a young-male oriented programming with the telenovelasandseriesfromRCNandFoxTelecolombia.ButthetransformationofUniMásandthelaunchofMundoFoxhavebecomeachallengeforTelemundo,thesecondrankedHispanicnetworkthathastradi-tionallybenefitedfromasourceofColombianprogramingfromitsformerrelationshipwithCaracolandRTI.Attheendoftheyear,Azteca America also renovated its corporate image, announcingthatthechangedemonstrateshow“colorsanddesignevokethedi-versityoftheprogrammingandaudience”,eventhoughitkeptitsslogan“Tucasa”(Yourhome)(AzAGazette,2012).Thiswaveofchangesfoundtheirzenithinearly2013whenUnivisionandABCannouncedthecreationofFusion,anewsorientedchannelinEng-lishforHispanics,tobelaunchedattheendoftheyear.

Theendof2012markedtheninthconsecutiveyearinwhichUnivision established itself as the fifth-ranked network, only be-hindthebroadcastbigfour(ABC,CBS,NBCandFox),averagingtwomillionviewers inprime time.And for thesixthconsecutiveyear,UnivisionrankedasthenumberonenetworkonFridaynightsamong thecoveted18-34demographic, aheadof its closest com-petitorNBCby31percent.Moreover,Univisionoutperformedoneormoreofthebigfouron245nightsamongviewersaged18to34.

Univision’ssuccesscanbeattributedinlargeparttoitsTelevi-sa-producedtelenovelas,whichare“DVR-proof”and“onereason

310 | Obitel 2013

whyanincredible93percentofUnivision’sprimetimeisviewedlive”,accordingtoMarisaGuthrie.Forexample,thefinalepisodesofAbismo de PasiónandLa Que No Podía Amar reached7.7and8 million viewers, respectively, and positioned Univision as thenumber twonetworkamong the18-34demographic, outperform-ingABC,CBSandFox.Further,thepremiereofAmores Verdade-

rosreachedoverfivemillionviewersandpositionedUnivisionasthefourth-rankednetworkinthe18-34demographic,beatingCBS. Overall, telenovelaswere thehighest-ratednon-Olympicprogrameveryweeknightamongadultsaged18to49and18to34.SocceralsogarneredthehighestratingsforUnivision.ThelivebroadcastofMexicovs.BrazilgameinJunepositionedUnivisionasthenum-ber one network on socialTV for theweek. Further,Mexico vs.U.S.friendlymatchinAugustreached8.1millionviewers,makingUnivisionthenumberonenetworkinprimetimeamongadultsaged18-34andmen18-34and18-49,beatingNBC,CBS,ABCandFoxaswellasallcablenetworks,regardlessoflanguage.

Inaddition to the fact that themajorityofUnivision’sprimetimeprogrammingisviewedlive,commercialshavemoreofadi-rectimpactbecausetheyarenotfast-forwarded,whatmakesUni-visionapowerfulforcetobereckonedwithisitsyoung,bilingualandunduplicatedaudience.UnivisionandUniMásaretheyoung-estbroadcastnetworks, regardlessof language,withanestimatedprimetimemedianageof36.Ofthisprimetimeaudience,68per-centisunduplicated,meaningthatviewersarenotwatchinganyofthetop-ratedEnglishlanguagenetworks.AndaccordingtoNielsen,Univisionprovided47outofthetop50mostpopularentertainmentprogramsamongbilingualHispanics.

UniMásconcludedtheMaysweepperiodwithyear-over-yearaudiencegrowthacrossalldayparts,includingprimetime.More-over,UniMáspositioneditselfasthenumbertwoSpanishbroadcastnetworkattheendoftheNovembersweepsduringearlymorning,night andweekday schedule among the key 18-34 demographic,outperformingTelemundo.Galavisiónforitspartcontinuedasthe


numberoneSpanish-languagecablenetworkthanksinnosmallparttoitsdiverseprogrammingthatincludescomedieslikeLos Heroes

del Norte,whichisthethird-rankedprogramonSundayamongHis-panicadultsaged18to49,incableTV,regardlessoflanguage,andthehard-hittingnewsshowPrimero Noticias,whichsawadoubledigitgrowththisyear.

AztecaAmerica,theonlynetworkwhollyownedbyaMexicancorporation,concludedtheNovembersweepperiodwithyear-over-yeardouble-digitgrowth inkeydemographicsonweekdayprimetime.Thenetworkrecordeda35percentincreaseamongadultsaged18to34anda37percentincreaseamongthe2-17demographicforthe20:00-21:00timeperiodduetothesuccessofitsrealityshowLa

Isla (aversionoftheAmericanshowSurvivor).Mostnotably,thesoccerquarterfinalsofLa Liga Mexicana boostedAztecaAmericatothenumbertwoSpanish-languagenetworkamongthekeymale18-49and25-54demographicsinprimetimeinNovember.

Theincreasedvisibilityofsoccer,asporttraditionallyignoredintheU.S.,isatestamenttothefactthatthefaceofAmericantele-visionischangingandadaptinginordertoappealtotheyoungandever-growingHispanicdemographic.Moreover,analystssayHis-panic-targetedsportsprogramming isoneof the fewprospects inTVspacethat isset togrow(Crupi,2012).Andthenetworksaretakingheed.Forexample,NBCdisbursedan impressiveUS$600millionfortheSpanish-languagerightstobroadcastonTelemundothe2018and2022WorldCup.ComparethattotheUS$325millionthatwerespentin2005,thelasttimeaWorldCupdealwasnego-tiated (Thielman,2012).Univision for its parts launcheda sportsnetwork titled Univision Deportes that is set to broadcast all ofFIFAeventsthroughout2014andwillfeaturemoreMexicansoccermatchesthananyotherchannelintheU.S.InthewordsofUnivi-sionDeportespresidentJuanCarlosRodriguez,“[Univision’s]realbusinessissoccer.”

TheTelemundonetwork,aNBC-Comcastproperty,aftercele-bratingits25thanniversaryinDecember2012,launchedanewlogo,

312 | Obitel 2013

leavingbehindtheblue“T”forared“T”andthetext“BraveNewTelemundo”(Vega,2012b).Telemundohasadvancedonitsprimetimeblock,specificallywiththebroadcastingofPablo Escobar: El

Patrón del Mal,basedonthereallifeofthetraffickerknownastheColombianCocaineCzar.Telemundohasconsolidateditspositionasthesecondrankednetworkwithaconsistentgrowthinthelastthreeyearsfromanaverageof1.01millionprimetimeviewersin2010to1.19millionin2012;meanwhileUniMásdecreasedfrom867thousandprimetimeviewersto634thousandinthesamepe-riod.However,in2012therewasnoTelemundooriginalproductioncausingahighaudience’simpact.ThisyearTelemundoproductionfellfarawayfromtheratingsachievedbyLa Reina del Surin2011,triggeringtheneedtoreplicatetheformulawiththenewproductionalliancewithArgosCommunicationfortheproductionofEl Señor

de los Cielos.ThisyearTelemundoventuredintheproductionofYo Me Llamo,acontestprogram,buttheshowproducedverylowratings.Theprogrammingpresented in theUpfront included sev-eralrealityTVprojectssuchasLa Voz Kids,aspin-offfromNBC’sThe Voice,andTodos Somos Héroes,aspecialprogramthattellsthestoryofcommonpeoplebecomingheroesintheircommunities.

EstrellaTV,atelevisionnetworkpropertyofLibermanBroad-casting Inc., continueswith its strategy of counter programming,schedulinginprimetimecontestsshows,realityTV,comediesandmusicshows,withtheideathatsomeHispanicswouldratherwatchthiskindofprogrammingthantelenovelas.MostofEstrellaTV’sprogramming is produced in theirBurbankStudios inCalifornia,withapproximately500halftimeandfulltimeworkers.EstrellaTVisgrowinginprofits;in2012ithadadvertisingnetrevenuesaround$21.8million, farabove the17.1millionearned in2011.EstrellaTV,with59affiliatedTVstations,intwoyearshassurpassedAz-tecaAmerica,becomingthefourthrankednationalnetworkwithanaverageof200thousandprimetimeviewers(Strauss,2012).

V-meabandonedthenationalNielsenrating,consequently,thenetwork isnot included in thesection titled“TheAnalysisof the


Year”.TheSpanishgroupPRISA,thenetwork’smajorinvestor,hasbeenhitbytheSpanishandEuropeaneconomiccrisis,stallingtheplansofinvestmentontheHispanicnetwork.V-mehasnooriginalproduction andmany of their fictional programming comes fromoverseas, in particular fromSpain.Theprogramming fromV-meincludesgames,miniseriesandrerunsofsuccessfulfictionalseriessuch asThe Kennedys thatwas broadcast originally on theReel-zChannel.EventhoughV-meisaprivatechannel,itgetsdistributedthroughpublicownedTVstationsofPBS(PublicBroadcastSta-tions)thatfollowaphilosophybasedonpublicservice,inwhichthenetworkneedstofollowcertainregulationsthatbecomeanobstacleforafullcommercializationproject.

InJanuary2012,NewsCorporationannouncedthatitwouldbelaunchinganewnetwork,MundoFox,ina50-50partnershipwithColombia’sRCNTelevisionGroup.RCNhadpreviouslysuppliedcontentforUnivisionanditssisternetworkTelefutura,butastheseearlieragreementsexpireoverthenextfewyears,RCN’sprogram-ming will appear exclusively onMundoFox.Working under thecorporate theme “Latino Entertainment, American Attitude” andmarketing tagline“AmericanoComoTu”,MundoFoxestablishedtheirbrandagainsttheexistingnetworksbypromising“edgierandbolder”programming,targetingayoungerandamaleaudience.Inordertodifferentiateitselfagainsttheexistingnetworks,MundoFoxemphasizes the importanceof the series format to their program-mingline-up.Asopposedtothemoretraditionaltelenovelaformat,series such asEl Capo 2 have fewer episodes, higher productionvaluesandaction-drivenplotsthataredesignedtoappealtomaleviewers.RCNproductions,withhighproductionvalues and cen-tered on crime and action, are extending MundoFox’s brand of“AmericanAttitude.”

BythetimeoflaunchinAugust,thenetworkhadacquired50affiliatesthatallowthemtoreachnearly80percentofhouseholds,representing24outof25of thetopHispanicmarkets in theU.S.BycomparisontoMundoFox’s80percentreach,Univisionreaches

314 | Obitel 2013

96percentofthemarket,whileTelemundoNBCUniversalreaches94percent;thiscoveragereachisstillanobstacleforthenetworktoachievemoreratingpoints.SinceAugust,thenetworkhasaver-aged70thousandviewersduringprimetime,occupyingthesixthplaceafterAztecaAmericathataveraged120thousandprimetimeviewers.

1.2. Television and Digital MediaTakingintoconsiderationthatHispanicsover-indexinmobile

technology–45percentofHispanicmobilephoneusersownsmart-phones, compared to 34 percent in the general market (Guthrie,2012)–,Univisioncontinuestomakeheadwayinexpandingacrossthedigitalworld.InOctober,UnivisionlaunchedUVideos,adigi-talon-demandnetworkfeaturingthenetwork’scontent(includingTelevisa’sprogramming)inSpanishandwithEnglishsubtitles.Thenetwork is available onmultiple devices including tablets, gameconsoleslikeXbox,smartphonesandInternet-enabledTVsets.ThewebnovelaTe Presento a Valentín,thefirstco-productionbetweenUnivision andTelevisa, premiered exclusively onUVideos. Twootherwebnovelasareintheworksandaresettobedirectedbypop-ularMexicanactressKatedelCastillo.Univision’sdigitalprojectsalsoincludepartneringwithFacebookandYouTubetoprovidein-sightfulandexclusiveinformationabouttheelectionandpartneringwithYaSabe.comtoprovidebilingualcontenttoconsumerslookingto find businesses online, as the aforementionedpartnershipwithABC.Univision’seffortstodigitallyexpanditsserviceswererec-ognizedattheendoftheyearwhenleadingtradejournalBroadcast-ing&Cable namedUnivision the “MultiplatformBroadcaster oftheYear.”

InSeptember,TelemundoalsolaunchedthewebnovelaSecre-

teando,withSonyaSmithintheleadingrole.ThewebnovelacanbeviewedonYouTubeandthefanscanparticipateinitsnarrativedevelopmentthroughFacebook,Twitter,Google+,PinterestandIn-stagram.InOctober,Telemundoorganizedafanhangoutthrough


Google+foritsfinalepisode.Further,thenetworkhasactivelyuseditsagreementsonmobiletelephonyforthedifferentvotingprocess-esinprogramssuchasYo Me LlamoandMiss Universo.

MundoFoxhas complete episodesof several of its programsavailablethroughMundoFox.com,onitsYouTubechannelandonitsFacebookpageaswell.InAugust,VerizonaddedMundoFoxtoits programming offer onFIOS.The network takes advantage ofthemarketopportunitiesthatsocialmediahastoofferbyaskingtheaudienceto“like”MundoFoxFacebookpageinordertobeabletoaccessondemand contentonthewebsite.


Thisyeartherewasadecreaseintheamountofnewtitlesthatwereproduced,frombothnationalandIbero-Americanorigin,fromatotalof58premieringin2011to44in2012.Nationalproductionsdecreased from11 to10new titlesand Ibero-American titles fellfrom47newtitlestoonly34.TelemundoplacesitselfasthemainproducerofSpanish-languagemediaoftheU.S.withnewtitlesthisyeardueinparttotheirco-productionstrategieswhichincludeSonyPictures International, RTI, Argos and U.S. Imagina-Promofilm.ThesecondmostimportantproducerinthemarketisVenevision,whichisco-producingwithUnivision,andfallsin10thplaceofthenationalproductiontitlelist.

Whilethesumofnewtitleswas44,bothnationallyandacrosstheAmericas,therewasaconsistentstreamofrerunsaddinguptoagrandtotalof54rerunsonscreen.UniMáswasthenetworkthatstreamedthemostrerunsasafictionalprogrammingstrategy,fol-lowed byUnivisionwith 13 titles, Telemundowith nine,AztecaAmericawithfiveandEstrellaTVwithtwo.Thererunsmadeupatotalofthe70percentofUniMás’andUnivision’sprogrammingstrategyofnationalHispanictelevision.Outofthesereruns,37wereMexicantitles,11HispanicfromtheU.S.,fiveColombiantitlesandonetitlefromBrazil.

316 | Obitel 2013

Tabla 1. Fictional Programs Exhibited in 2012

PREMIERE NATIONAL TITLES – 10 RERUN TITLES – 54

Telemundo Azteca America

1.La Casa de al Lado(telenovela) 1.Cambio de Vida(series-Mexico)

2.Corazón Valiente(telenovela)2.El Milagro de los Santos(unitary-Mexico)

3.Decisiones Extremas(unitary)3.Lo Que La Gente Cuenta(series-Mexico)

4.Flor Salvaje(telenovela)4.La Vida Es Una Canción(series-Mexico)

5.Historia de La Virgen Morena(unitary) 5.Ni Una Vez Más(unitary-Mexico)

6.Relaciones Peligrosas(telenovela)

7.Rosa Diamante(telenovela) Estrella TV

8.El Rostro Venganza(telenovela) 6.Historias Delirantes(series-Mexico)

9.Una Maid En Manhattan(telenovela) 7.El Shaka(series-Mexico)

Univision Telemundo

10.El Talismán(telenovela) 8.Amarte Así(telenovela)

9.¡Anita,NoTeRajes!(telenovela)

10.Decisiones Juveniles(unitary)

PREMIERE IMPORTED TITLES – 34 11.La Diosa Coronada(telenovela)

12.Doña Bárbara(telenovela)

Azteca America 13.¿DóndeEstáElisa?(telenovela-Chile)

1.Cielo Rojo(telenovela-Mexico)14.La Esclava Isaura(telenovela-Brazil)

2.Emperatriz(telenovela-Mexico) 15.Más Sabe el Diablo(telenovela)

3.Lo Que Callamos Las Mujeres(unitary-Mexico)

16.Sin Senos No Hay Paraíso(tele-novela)

4.Los Rey(telenovela-Mexico) 17.Victorinos(telenovela)

5.La Verdad de Mi Vida(series-Mexico)

UniMásEstrella TV 18.Acorralada(telenovela)

6.Milagros(unitary-Mexico) 19.Alma Rebelde(telenovela-Mexico)

20.Bajo de las Riendas de Amor(tele-novela)

Telemundo 21.El Capo(telenovela-Colombia)

7.Amor Cautivo(telenovela-Mexico) 22.CaritadeÁngel(telenovela-Mexico)

8.Bella Ceci y El Imprudente(telenovela-Colombia)

23.Correo de Inocentes(telenovela-Colombia)


9.El Secretario(telenovela-Colombia)24.El Derecho de Nacer(telenovela-Mexico)

10.Pablo Escobar: El Patrón del Mal (telenovela-Colombia)

25.El Juego de la Vida(telenovela-Mexico)

26.Gotita de Amor(telenovela–Mexico)

UniMás 27.Hasta Que La Plata Nos Separe(tele-novela-Colombia)

11.¡QuéClasedeAmor!(telenovela-Venezuela)

28.La Hija del Mariachi(telenovela-Colombia)

12.Reto de Mujer(telenovela-Colom-bia)

29.La Mentira(telenovela-Mexico)

13.Se Solicita Príncipe Azul(telenovela-Colombia)

30.La Usurpadora(telenovela-Mexico)

14.Tres Milagros(telenovela-Colombia)31.Las Tontas No Van al Cielo(tele-novela-Mexico)

15.El Ultimo Matrimonio Feliz(tele-novela-Colombia)

32.Locura de Amor(telenovela-Mexico)

33.María Isabel(telenovela-Mexico)

Univision 34.María Mercedes(telenovela-Mexico)

16.Abismo de Pasión(telenovela-Mexico)

35.Marimar(telenovela-Mexico)

17.Amor Bravío(telenovela-Mexico)36.Misión S.O.S. Aventura y Amor(tele-novela-Mexico)

18.Amorcito Corazón(telenovela-Mex-ico)

37.Mujer, Casos de la Vida Real(unitary-Mexico)

19.Amores Verdaderos(telenovela-Mex-ico)

38.Muñecas de la Mafia(telenovela-Colombia)

20. Como Dice el Dicho(unitary-Mexico)39.Nunca Te Olvidaré(telenovela-Mexico)

21. Corazón Apasionado (telenovela -Venezuela)

40.Soñadoras(telenovela-Mexico)

22. Corona de Lágrimas (telenovela -Mexico)

41.Tres Mujeres(telenovela-Mexico)

23.Dos Hogares(telenovela-Mexico)

24.ElEncantodelÁguila(series-Mexico)

Univision

25.Esperanza del Corazón(telenovela-Mexico)

42.13 Miedos(series-Mexico)

26.La Mujer Perfecta(telenovela-Ven-ezuela)

43.Al Diablo Con Guapos(telenovela-Mexico)

27.La Rosa de Guadalupe(unitary-Mexico)

44.Alma de Hierro(telenovela-Mexico)

28.Locas de Amor(series-Mexico)45.Central de Abasto(telenovela-Mexico)

29.Ni Contigo Sin Ti(telenovela-Mexico)

46.Cuando Me Enamoro(telenovela-Mexico)

318 | Obitel 2013

30.Por Ella Soy Eva(telenovela-Mexico)

47.CuidadoConelÁngel(telenovela-Mexico)

31.La Que No Podía Amar(telenovela-Mexico)

48.Hasta Que el Dinero Nos Separe (telenovela-Mexico)

32.Te Presento A Valentín(telenovela-Mexico)

49.La Fuerza del Destino(telenovela-Mexico)

33.Un Refugio Para Amor(telenovela-Mexico)

50.Mañana Es Para Siempre(telenovela-Mexico)

34.Una Familia Con Suerte(telenovela-Mexico)

51.Mar de Amor(telenovela-Mexico)

52.Muchachitas Como Tú(telenovela-Mexico)53.Para Volver A Amar(telenovela-Mexico)54.Sortilegio de Amor(telenovela-Mexico)

The number of national production titles was 10 and Ibero-Americanwas34.Thegroupofnationalpremieretitlesincreased19percent in2011and23percent in2012,while imported titlesdecreasedfrom81percentin2011to73percentin2012.Intermsofpercentageofnationalproductionhours, italso increasedfrom19percentto26percent,whileinverselytheproductionfromim-portedfictiondecreasedfrom81percentto74percentfrom2011to2012.ThedecreaseoftheIbero-Americantitleswasduetothelackof imported fictionalprogramming from the rest ofLatinAmeri-caingeneral.Inparticular,Mexico,beingoneoftheprovidersoffictionalprogramming,hadadrasticdecrease,havingimported34titlesin2011tohavingonlyimported24titlesin2012;butequally,within the same period,Colombia decreased from eight to seventitles,VenezuelafromfourtothreeandBrazilimportedzero.


Table 2. Fictional Programming that Premiered in 2012: Country of Origin

Country Titles %Chapters/Episodes % Hours %

NATIONAL (total) 10 22.7 906 28.9 836:30 26.4

IBERO-AMERICAN (total) 34 77.3 2226 71.1 2,329:45 73.6

Argentina 0 0 0 0 0 0

Brazil 0 0 0 0 0 0

Chile 0 0 0 0 0 0

Colombia 7 15.9 466 14.9 434:45 13.7

Ecuador 0 0 0 0 0 0

Spain 0 0 0 0 0 0

USA (Hispanic pro-duction) 10 22.7 906 28.9 836:30 26.4

Mexico 24 54.6 1621 51.8 1,774:05 56

Peru 0 0 0 0 0 0

Portugal 0 0 0 0 0 0

Uruguay 0 0 0 0 0 0

Venezuela 3 6.8 139 4.4 121:00 3.8

Latin American (Obi-tel) 34 77.3 2226 71.1 2,329:45 73.6


Other (productions and co-productions from other 3 262 255:00LatinAm./Ibero-Am.countries)

TOTAL 44 100 3,132 100 3,166:15 100


Regardingtimeslots,thedifferencefromlastyearisthattherewerenonationalproduction titles that felloutsideofprime time,whilethisyear14percentofthenationaltitleswereshowcasedintheafternoonand86percentremainedinprimetime.TheinclusionofpremiereprogrammingintheafternoonwasduetoImaginaUS

production for Telemundo namedHistorias de la Virgen Morena

andthetimechangeforthetelenovela El Talismán, co-producedby

320 | Obitel 2013

UnivisionandVenevisión.InregardstotheIbero-Americantitles,therewere premieres in all time slots, but alsomore focused onprimetimewith47percentandintheafternoonslotwith38percent.Outof17Ibero-Americantitlesthatpremieredduringprimetime,14originatedfromMexicoandthreefromColombia.


Table3.C

hapters/Episodes&HoursBroadcastbyTimeSlot

Tim

e sl

otN

atio

nal

Iber

o-A

mer

ican

T

otal

C/E

%

H%

C/E

%H

%C/E

%H

%

Mor

ning

(6

:00-

12:0

0)*

00

00

224

10236:50

10.2

224

7.2

236:50

7.5

Aft

erno

on

(12

:00-

19:

00)

129

14.2

130:00

15.5

853

38.3

830:45

35.7

982

31.3

960:45

30.4

Pri

me

tim

e (1

9:00

-22:

00)

777

85.8

706:30

84.5

1,053

47.3

1,159:40

49.8

1,830

58.4

1,866:10

58.9

Lat

e ni

ght

(2

2:00

-6:0

0)0

00.00

096

4.3

102:30

4.4

963.1

102:30

3.2

TO

TA

L906

100

836:30

100

2,226

100

2,329:45

100

3,132

100

3,166:25

100

Source:O

bitelU

SA-Nielsen

Tab

le 4

. For

mat

s of

Nat

iona

l and

Ibe

ro-A

mer

ican

Fic

tion

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap./E

p.%

Hou

rs%

Tit

les

%Chap./Ep.

%H

ours

%

Tel

enov

ela

880

838

92.5

769:00

91.9

2779.4

2,050

92.1

2,155:40

92.5

Seri

es0

00

00

02

5.9

321.4

31:55

1.4

Min

iser

ies

00

00

00

12.9

70.3

3:30

0.2

Telefilm

00

00

00

00

00

00

Uni

tary

220

687.5

67:30

8.1

411.8

137

6.2

138:40

5.9

Doc

udra

ma

00

00

00

00

00

00

Oth

ers

(soa

p op

era,

etc

.)0

00

00

00

00

00

0

TO

TA

L10

100

906

100

836:30

100

3410

02,226

100

2,329:45

100

Source:O

bitelU

SA-Nielsen

322 | Obitel 2013

Telenovelascontinuetobethepreferredfictiongenre.Outofatotalof44newtitles,36weretelenovelas,followedbysixunitariesandthreeseries.Fromatotaloftennationalproductions,therewereeighttelenovelas,twounitaries(Decisiones Extremas andHistorias

de la Virgen Morena),butnoseries.Outofthe34Ibero-Americantitles, 28were telenovelas, four unitaries (Lo Que Callamos Las

Mujeres, Milagros, Como Dice el Dicho andLa Rosa de Guada-

lupe),twoseries(La Verdad de Mi Vida andLocas de Amor), andoneminiseries(EncantodelÁguila).

Table 5. Formats of National Fiction by Time Slot


noon % Prime time % Late

night % Total %

Telenovela 0 0 0 0 8* 88.9 0 0 8 80

Series 0 0 0 0 0 0 0 0 0 0

Miniseries 0 0 0 0 0 0 0 0 0 0

Telefilm 0 0 0 0 0 0 0 0 0 0

Unitary 0 0 1 100 1 11.1 0 0 2 20

Docudrama 0 0 0 0 0 0 0 0 0 0Others (soap opera, etc.) 0 0 0 0 0 0 0 0 0 0

TOTAL 0 0 1 100 1 100 0 0 10 100

*Oneofthetelenovelaspremieredinprimetimebutthenwaschangedtotheafternoonduetolowratings.Forthepurposesofthistable,wehaveleftitinprimetime.


Themajorityofthetelenovelasweresituatedinpresenttime.Therewereonlytwotelenovelasthatcouldbeconsideredhistorical:Pablo Escobar: El Patrón del Mal andElEncantodelÁguila.ThefirstmentionedisbasedonthelifeofthedruglordPabloEscobarandthesecondwasbasedontheMexicanrevolution.


Table 6. Time Period of the Fiction

Time Period Titles %

Present 42 95.5

Vintage 0 0

Historical 2 4.5

Other 0 0

TOTAL 44 100


The list of the tenmost watched fiction productions clearlydemonstrates thehegemonicdominanceofTelevisa,with itspro-ductions being transmitted through Univision; but the list alsoshows,althoughminutely, thedevelopmentofU.S.Hispanicpro-ductions.Atthesametime,eitherthroughtheirownproductions,orco-productions,Colombiacontinuestobeasuccessfulproductionhousefor theU.S.market.In2012,Univisiontransmittednineofthe tenmostwatchedproductionsandTelemundo transmitted thetelenovelathatoccupiedtenthplace.WhileTelevisaprovidedeightoftheninemostwatchedtitlesviaUnivision,theninthtelenovelawas a co-production between Univision and Venevision-Miami.The novelty of 2012was that the production that occupied tenthplaceinthetenmostwatchedlist,andwastransmittedbyTelemun-do,wasnotaproductionproducedbythembutbytheColombianproductionhouseCaracolTV.

324 | Obitel 2013

Table 7. 10 Most Watched Titles: Origin, Rating, Share

Title

Coun-try of

original idea or script

Produc-tion

House ChannelName of script-writer or author of original idea

Ra- ting Share

1

La Que No Podía Amar

Mexico Televisa Univision

DeliaFiallo(origi-nalidea)XimenaSuarez(script)

18.73 29.59

2Abismo de Pasión

Mexico Televisa Univision JuanCarlosAcalá 18.24 28.3

3Amores Verdade-ros

Mexico Televisa UnivisionEnriqueEstébanezMarcelaCitterioKaryFajer

18.16 28.27

4Por Ella Soy Eva

Mexico Televisa UnivisionPedroRodríguezAlejandraRomeroHumbertoRobles

15.82 25.46

5Amor Bravío

Mexico Televisa UnivisionMaríaZarattiniMarthaCarrilloCristinaGarcía

15.56 25.56

6Una Fa-milia Con Suerte

Mexico Televisa Univision JorgeFons 14.78 24.49

7Un Refu-gio Para el Amor

Mexico Televisa UnivisionIgnacioSadaMadero

13.07 22.73

8Corona de Lágri-mas

Mexico Televisa Univision

ManuelCansecoNoriegaJesúsCalzadaJanelyE.Lee

10.9 18.53

9El Tal-ismán

USA

Univi-sion/Venevi-sion

Univision VerónicaSuárez 8.62 19.79

10

Pablo Escobar: El Patrón del Mal

Colom-bia

Caracol TV

Telemun-do

JuanCamiloFer-rand

8.54 8.54

Total productions: 10 Foreign scripts:

100% 90%



Thetenmostwatchedfictionproductionswerealltelenovelasandallairedduringprimetime.Una Familia Con Suerte wasatele-novelathatwasfirstairedinOctober2011,butcontinuedthroughtoMay2012,whileAmores Verdaderos, Corona de Lágrimas andPablo Escobar: El Patrón del Mal began airingduring2012, butcontinued into2013. In termsof the listof the tenmostwatchedtitles,Televisaoccupiedeightofthosespotsbackin2008,tenofthespotsin2009,nineofthespotsin2010,eightofthosespotsin2011andnoweightin2012.

Table 8. The 10 Most Watched Titles: Format, Length, Time Slot

Title Format Genre

Number of chapters/episodes(in 2012)

Dateoffirstand last episode

(in 2012) (*)

Time slot

1La Que No Podía Amar

telenovela drama 157 02/01to10/08 Primetime

2Abismo de Pasión


3Amores Ver-daderos


4Por Ella Soy Eva


5 Amor Bravío telenovela drama 90 13/08to22/11 Primetime

6Una Familia Con Suerte


7Un Refugio Para el Amor


8Corona de Lágrimas


9 El Talismán telenovela drama 98 12/03to15/06Afternoon/Primetime

10Pablo Esco-bar: El Patrón del Mal



326 | Obitel 2013

Table 9. Themes in the 10 Most Watched Titles

DOMINATING THEMES SOCIAL THEMES

Titles (UP TO 5 OF THE MOST IMPORTANT THEMES)

(UP TO 5 OF THE MOST IMPORTANT THEMES)


Selfishness,relationshipsbetweensocialclasses,

romanceAdoption,disabilities

2Abismo de Pasión

Adultery,revengeViolence,abandonment,kidnap-

ping

3Amores Ver-daderos

Adultery,love,family,anddisfunctionality

Eatingdisorders,bankruptcy

4Por Ella Soy Eva

Love,deception,emancipat-ing

Genderpolitics,singlemothers

5 Amor Bravío Conspiracy,revengeEuthanizing,depression,

violence


Relationshipsbetweensocialclasses,romance

Socialmobility


Fraud,romance,relation-shipsbetweensocialclasses

Abandonment,disabilities,adaptingtourbanlife

8Corona de Lágrimas

Familyvalues,relationshipsbetweensocialclasses

Socialmobility,singlemothers

9 El Talismán Rivalry,revenge,romanceOrphan,undocumentedimmi-gration,cancer,gambling

10Pablo Esco-bar: El Patrón del Mal

Drugcartels,drugtrafficking Corruption,violence


Intermsofthegenderofthegeneraltargetedaudience,itwasmainlyfemales,withover60percent.Ontheotherhand,thetele-novelaPablo Escobar: El Patrón del Mal,producedinColombiabyTVCaracolwaswatchedthesamebymalesandfemales(50/50).El

Talismán,aco-productionbetweenUnivisionandVenevision,hadthemostdisparitybetweenmaleandfemaleaudiences,65percentwerefemalesand35percentweremales.Inregardstotheageoftheaudienceswatching the tenmostwatched titles, itwasmainly25andolder.Inparticular,audienceswereinthe35-49demographic,


representingthebiggestportionoftheaudience,andsimilarlythe55+demographicalsohadahighpercentageofviewership.

Table10.AudienceProfileofthe10MostWatchedTitles: Gender and Age

Titles Channel

Gender % Age %

Fe-male Male 2-11 12-

1718-24

25-34

35-49

50-54 55+


Univision 61.6 38.4 13.8 5 10 18.6 23.7 7.1 21.7

2 Abismo de Pasión Univision 62.9 37.1 13 5.7 9.7 17.2 24 7 23.5

3Amores Verdade-ros

Univision 61 39 15 7 8.7 18 26 6 19.4

4 Por Ella Soy Eva Univision 63.2 36.8 14 6 8.7 18.2 26.9 5.8 20.4

5 Amor Bravío Univision 63.4 36.6 12 5 8.3 17.2 26.1 6.7 24.6


Univision 58.6 41.4 17.3 5.6 10.4 20.2 22.7 5.4 18.3


Univision 64.6 35.4 13.1 5.8 7.9 16.3 23.6 6.7 26.6

8Corona de Lágri-mas

Univision 62.8 37.2 14.9 5.4 6.5 16.4 24.9 6.2 25.7

9 El Talismán Univision 65 35 14.9 4.2 10.1 16.7 20.7 6.6 26.8

10Pablo Escobar: El Patrón del Mal

Telemun-do

50.2 49.8 7.8 4.3 7.9 18.6 33.6 8.3 19.5

Source:ObitelUSA–Nielsen

3. Transmedia receptionSocialmediacontinuestobeattheforefrontofthemediabusi-

ness, although ithas shiftedgears.Notonly is socialmediausedbythenetworkstoadvertiseandpromoteprogramming, it isalsousedasasecondplatformtoconnecttofansandviceversa.Fansare now “ambassadors” of information for themedia conglomer-atesasthey“like,”“share”and“retweet”theirpassionsviadifferentsocial networks (i.e.Facebook,Twitter, Instagram).Additionally,TVEverywhere2ischangingthewaythingsareaccessibleandhowconsumersviewcontent;mediaconglomerateshavenotfiguredouthowtheywillbeabletomeasureviewershipthroughVideoEvery-

2TVEverywhereisanattemptoftheTVindustryinordertomeettheaudiencedemandformorecontentinotherkindsofscreens,suchastablets,computersandcellphones.

328 | Obitel 2013

wherejustyet.Andlastly,socialmediahasnowbecomethenumberonesourcefornews.IndividualsaremorelikelytoreceiveworldlynewsviatheirfriendsonFacebookthanfromtheHuffingtonPost.

Elected fiction Network Internet pages Type of

interaction

Levels of Interac-tion

Dominant practices

El Ta- lismán

Univi-sion

OfficialpageviaNovelasyseries.univision.com

OfficialFacebookpage

OfficialTwitterpage

NotofficialYou-Tubepage

Viewing Passive

CommentInterpretationRemixParodyRecommendationImitationCelebrationCritiqueCollectionSharingDiscussion

Transmediaviewing

Active

Realtimeinteraction

Active

Transmediaviewing Active

Thechosenfictionfor thisyear’sObitelchapter for theU.S.is El Talismán,aVenevisionandUnivisionproduction.TheUSAteamwantedthissectiontobereflectedofatoptentitlethatwasproducedintheU.S.,consideringthatabigpartofthetoptenti-tlesareTelevisa’sproductionsinMexico.El TalismánhaditsfinalbroadcastontheweekofJune11ththroughJune15th.TheInternetpagechosenforagreaterandin-depthanalysisisFacebook.ThisfanpagewascreatedonOctober28th,2011andthetelenovelawasreleasedonJanuary30th,2012.Thereareatotalof12,381totalpage“likes”and32“people talkingabout it.”Approximately25com-mentswerepostedbeforetheactualpremiereofEl Talismán,alongwithsomecross-promotionalcommentsregardingothertelenovelasandothershowsfeaturingthecast.Forthein-depthanalysisportionofthisresearch,thefinalweekofEl Talismanwillbeused.Duringthe finalweekofEl Talismán,whichwas June11th through June15th,therewereatotalof20commentspostedbyanUnivisionrep-resentative.Interactionwasseentoincreaseasthefinalepisodewasapproaching.FromMondaythroughWednesday,theusers’“likes”


variedbetween15-30,butonFridaythe15th therewereover100“likes”fortwoofthefiveposts.Fortheentireweek,therewereatotalof766“likes,”112“comments”fromusersand14“shares.”

Although general market series have more interaction viasocial networks, Spanish-language television is not falling terri-bly behind. Research shows that Hispanics over-index inmobiletechnologywith smartphones (Guthrie, 2012), but in comparisontogeneralmarket,theyarestilllackinginengagement.Univision,asmentionedpreviously,isexpandingtheironlinemediapresence,not only throughFacebook, Twitter, Instagram and etc., but alsothroughthecreationofwebnovelas,morerecentlywithhighprofileactresses/actors(i.e.KatedelCastillo).

4. Highlights of the yearTwobigeventsdominatedthesmallscreenin2012:theOlym-

picGames inLondonand thepresidentialelections in theUnitedStates.NBC,theownerofTelemundo,obtainedtherightstobroad-casttheOlympicsinLondon,providingtheHispanicnetworktheopportunitytoofferafullcoverageof173hoursduringthegames.Telemundo,self-describedas“thehomeoftheOlympicGamesinSpanishintheU.S.”,devisedabroadstrategyofcoveragethatin-cludedtransmissionsonitsbroadcastnetworkaswellasonitscablenetworkMun2, and on various digital, mobile and social mediaplatforms.TheOlympiccoveragecountedwiththeparticipationofmorethan20newsanchors,readersandhosts(NBC-U,2012).Tel-emundodoubleditsaudienceratingscomparedtothatoftheBeijingOlympicswith the18 to49demographic.Telemundo’s coverageprovided thenetworkanaudienceof19.3millionviewers,whichwasmore than29percent than itobtained inBeijing.ThesoccermatchbetweenBrazil andMexicoattracteda totalof3.6millionviewers,becoming themostwatchedsoccergamebroadcastonaweekendinthehistoryofthenetwork(NBC-USports,2012).

ThepresidentialelectionsintheU.S.offeredauniqueoppor-tunitytotheHispanicnetworkstopositionthemselvesasoriginal

330 | Obitel 2013

sourcesofinformationfortheHispanicaudienceaswellasthegen-eralEnglish-speakingpublic.KnowingofthestrategicpositiontheHispanicpopulationoccupies in thepresidential elections,Univi-sion andTelemundomanaged to obtain exclusive interviews andcreatespecialprogrammingwiththetwopresidentialcandidates.Astrategytomakethemselvesvisibleintheelectorallandscapewascrucialforthenetworkstoattractadvertising,whichwasestimatedthat3billiondollarswerespentinadvertisementsinthemedia.In2008, theHispanic televisionnetworksobtainedonly100milliondollarsoutofthetotal2billiondollarsinvested(James,2012).How-ever,studiesonadvertisinginvestmentintheHispanicnetworksinthetenmostimportantstates(Arizona,California,Colorado,Flori-da,Illinois,NewYork,NewMexico,Texas,NevadaandVirginia)showedthattheinvestmentconstitutedonly6.2percentoutofthetotaladvertisementsin2012,incontrasttothe10percentthatsigni-fiedtheLatinovoteforthepresidency(Vega,2012a).

Therewerehighexpectationsthisyearsurroundingthepoten-tialoftheU.S.Hispanicfictionindustry,followingthesuccessofLa

Reina del Sur andEva Lunain2011.However,thiscontinuitydidnotoccurin2012.ItwashopedthatEl Talismán,aco-productionbetweenUnivisionandVenevision, inwhich the formulautilizedinEva Lunawasrepeatedtoacertainextent,wouldgeneratehighratings.El Talismánwasaco-productionbetweenthetwoproduc-tioncompaniesofEva Luna andhad thesame teamofexecutiveproducers fromVenevision, Peter Tinoco, and Univision, CarlosSotomayor,withtheexecutivedirectionofArquímidesRivero,andBlancaSotoastheleadactress.El Talismánpremieredinprimetimeat20:00(EST)andattractedoverfivemillionsviewers,becomingthemostwatchedpremiereinthehistoryofthenetworkforaU.S.Hispanicproduction(UnivisionCorporativo,2012).However, thetelenovela soonbegan to lose its audienceand ratings,obligatingUnivisiontochangeittothe13:00timeslot.Theshiftinschedulefurthercontributedtothedrasticdecreaseinratingsandthenum-berofepisodeswasreducedfrom120to98.Whilethetelenovela


reached approximately 14 rating points in prime time, the ratingdecreasedtoonlysixpointswiththechangeinschedule.Thus,El

Talismánplacedninthamongthetoptenmostwatchedtelenovelaswithanaverageofonly8.62ratingpoints.

Foritspart,Telemundo’soriginalproductionsdidnotmakeitonthetoptenlist.ATVCaracolproductionpositionedTelemundoonthelistnotasproducer,butasthebroadcastnetwork.Thetele-novelaPablo Escobar: El Patrón del MalfromCaracolTVobtained8.54points,onlyatenthlessthanEl Talismán.TheColombiantele-novela is an exampleof the continuing relevanceof thenarcoasathemeinfiction,aswasthecasewithLa Reina del Surin2011.EvidenceofthestrategicthemeandconnectionwithColombiaasaproducercountrycomeswiththeproductionofthenarco-novelaEl

Señor de los CieloswithCaracolTVandArgos.However,thisalsorevealsthesetbackTelemundosufferedwhenitsindependentpro-ducerRTI-ColombiaandthenetworkTVCaracolannouncedtheirnewallianceswithTelevisaandUnivisionearlierthisyear.

ThehighlightoftheyearisnotaparticularproductionbutaninternalreorganizationoftheU.S.Hispanicindustry.RCN,previ-ously associated with Univision and UniMás, joined forces withNewsCorp/FoxunderitsnewnetworkMundoFox.RTIColombiaand TV Caracol abandoned Telemundo for production and pro-grammingagreementswithTelevisaandUnivision.TelemundowilllookfornewproductionallianceswithCadenaTres(Mexico)andTeleven (Venezuela) while strengthening its relation with ArgosCommunicationMexico.

5. Topic of the year: social memory and television fictionFormerPresidentFelipeCalderon’s crackdownondrug traf-

fickingandtheterritorialdisputesamongcartelssetoffanunparal-leledwaveofviolenceandgrislymurders, includingbeheadings,inMexicooversixyearsago.Estimatesput thedeathtollaround50,000since2006,andthekillingsshownosignofabating(Malkin,2012).Asenseofimpotenceoverthefactthatthoseinchargelack

332 | Obitel 2013

theabilityorwillingnesstofightnarcotraffickingandthecorruptionthatsupportsitcharacterizesthenationalmood.TohavetowitnessMexicoturnintotheColombiaofthe1980sfuelsthedespairandanxietyofitscitizens.

Colombia is situated in oneof the best geographical regionsfortheproductionanddistributionofdrugs(CadenaMontenegro,2010). The increase in demand formarijuana, particularly in theUnited States, at the end of the 1970s led to the proliferation ofpot cultivationandallowedColombia tobecome thenumberoneproducerintheworld.Infact,themostinfamousnarcoPabloEs-cobarwas among the tenwealthiestmen in 1980with a fortuneofUS$25billionthatheevenofferedtopayforColombia’sexter-naldebt(Cadena,2010,p.47).Escobarwasalsoresponsibleforthedeathof4,000people,includingthreepresidentialcandidates,andforintroducingterroristtacticsliketheuseofexplosionsinpublicspaces (Cadena, 2010, p.47). The reign of theColombian cartelsdismantledwhenAmericanauthoritiescurtailedtheirtradingroutesthroughtheCaribbeanandSouthFlorida, therebyallowingMexi-cancartelstotakeoverthedistributionbusiness(Archibold,2009).Mexico’sproximitytotheU.S.,withitsrampantdrugconsumptionandlaxgunregulations,hasempoweredthecartels.

José Luis CadenaMontenegro (2010) argues that narcotraf-ficking represented forColombia anew formoforganizedcrimeand a shift in culture inwhichmoney replaced the old traditionsandvaluesofthenation.Thetermtraquetosarosetopinpointthoseinvolvedin thedrugtradewholivedafast lifeandonlybelievedin thepowerofmoney (Cadena, 2010, p.50-1).The illicit activi-tiesandcultureofthenarcoincountrieslikeColombiaandMexico(the terms sicario andbuchón, conceptually similar to traquetos,arenowcommonplace)are soubiquitous that theyhavecapturedthenationalimaginaryandfigureprominentlyinrepresentationsofpopularculture,suchas,music(seenarcocorridos),literarynovels(seeArturoPérez-Reverte best-sellerLa Reina del Sur) and tele-novelas.


Thestruggletoreconstructthepastviapopularcultureisare-flectionoftheconflicttounderstandandunravelthepresent.Thereconstructionofthepastinvolvesthreemainfeatures:theprocessofselectivity,wherebysomeeventsarehighlightedandothersomit-ted; the question of authority; and the inclusion of an explicit orimplicitmoraljudgment(Meyers,2007).

Television as themost popularmedium andwith thewidestreach among Hispanics has been adept at narrating the past andthereby influencing how viewers think about history through itstelenovelas, which are such a cultural phenomenon across LatinAmericawhereoverhalf thepopulationconsiders itselfa regularviewer(Miller,2010).Thetelenovelaisapopulistgenrethatcreatesaunifiedpublicspaceforviewersofdiversesocialbackgroundstoshareacommonexperienceandtoengageindiscoursesofthena-tion.MauroPorto(2011)notesthataudiencesmakestrongparallelsbetweentelenovelarepresentationsandthepoliticalandsocialreali-tiesofthenation.Themelodramaticnatureoftelenovelasredefinestherelationshipbetweenthepoliticalandthepersonalbytranslat-ing political issues in personal and familiar terms, in “terms thataremeaningfulineverydaylife”(Hamburger,2000).AsAnaLopez(1995)pointsout,“living”thenationthroughtelenovelasisinfactatangiblepossibilityforviewers.

ThecurrenttrendinHispanictelevisionisthetelenovelasub-genreknownasthenarco-novelawhosestoryrevolvesaroundthedarkanduglyworldofdrugtrafficking.ColombianwriterGustavoBolívar,authorofSin tetas no hay paraísothatwasadaptedintothesuccessfuleponymoustelenovela,declaresthat“weareassistingintheburialoftheCinderellascheme”thatcharacterizestelenovelas.Inotherwords,theparadigmofthetraditionalmelodramainwhichthepoorfemaleprotagonistmarriesarich,honestmanisdissolvingtodepictthegrittyrealityofLatinAmericaandtheUnitedStates.

Thecriticismagainstnarco-novelasisthattheyglamorizethelivesofnarcosandapologizefortheirtrade.Thewriterof El Espe-

ctador,MarioFernandoPrado,countersthiscriticismsayingthata

334 | Obitel 2013

carefulanalysisofthedevelopmentofsuchnovelasrevealsthattheresultofdrugtraffickingisalwaysprison,deathordestruction.Itisonemiseryafteranothersothatnoviewerwouldwanttofollowthispath.PsychologistJoséAntonioGarciandíaagrees,arguingintheColombianmagazineSemana,andstates that“telenovelasarenotlegitimatinganything,theyaresimplyshowingwhatisalreadyinformallylegitimatedinthenationalculture”.

Amidthecurrentlandscapeinwhichnarco-novelaspermeatethesmallscreenandthereal-lifediscontentovertheso-called“warondrugs”continuestogrow,Telemundo’snewestoriginalproduc-tion,El Señor de los Cielos,arrives.ThistelenovelafocusesonthemythofAmadoCarrillo,consideredtobeoneofthemostpower-fulandnotoriousMexicandrugtraffickersofthe1990s.Thepressreleasesprecedingthepremiereofthetelenovelaboastedthatthiswas to be themost ambitious production of the year inHispanictelevisionwithitshighendspecialeffectsinitsmultiplegunbattlesandcarexplosions,andpromisedastorypackedwith“action,emo-tions,insatiablepassions,luxuries,misery,intrigueandsuspense”.The hypewasworthwhile.El Señor de los Cielos ranked as thenetwork’ssecondhighestratedpremiereregardlessoftimeperiod,rightbehindLa Reina del Sur,reachingabout3millionviewersand40percentshareoftotalviewersinitstimeperiod.

FollowingtheunprecedentedsuccessofLa Reina del Sur,itisnosurprisethatTelemundocontinuestoexploretheworldofdrugtraffickinginitslatestproduction.El Señor de los Cielos addresses everynarco-tropeavailableinthespanofhalfanhour.Theopen-ingcreditsfeaturethetitularcharactercladinhisNorteñoapparel(pointy boots, hat, excessive gold jewelry), interspersedwith im-agesofdrugs,gunsandmoneyasthethemesongthatisinthestyleofacorridodescribeshim:“asastuteandperverseasthedevil/aslovedasheisdishonest(…).”AurelioCasillas(alsoknownastheLordoftheSkies)is,ontheonehand,ahyper-masculineindividualwithaloveforalcoholandwomen,andontheother,heisachurch-going,familyman.Thenihilismthatcharacterizesthenarco-world


wheredeathalwayslurksincloseproximityisevincedonthefinalsceneofthepilotepisodeinwhichCasillasutterstooneofhisde-votedemployees“Puespa’morirnacimos”(“Wewereborntodie”)beforeproceedingtoengageinagunbattlewithhisenemies.

Thenarco-novelaformulahasproventobesosuccessfulthatitisaneconomicallysounddecisionforTelemundotoproducethistype of programming. For example,La Reina del Sur attracted alargeswathofthecoveted18to34maledemographicandincreasedthenetwork’sratingsformorethan40percentin2011.Moreover,narco-novelasgiveTelemundoanedgeoveritsrivalUnivisionanditsTelevisa-producedtelenovelasthatcontinuetorelyontheCin-derellastoryline.AbigpartofTelemundo’smarketingstrategyistopositionitselfastheauthoritativevoiceofLatinosandtoclaimtogivethepublicwhattheywant.JacquelineHernandez,chiefop-erating officer for Telemundo, notes: “Our audience reflects theU.S.Hispanic population, across the full spectrum (…)What allourviewershaveincommonisapassionfortheircultureandtheyturn to Telemundo to connectwith content that is uniquelyU.S.Hispanic”–here takinga stabatUnivision’sprogramming that isparticularly tailored to first-generation Mexicans–. She cites La

Reinaasanexampleoftheiroriginalprogrammingthatisunrivaledontelevisiontoday:“[La Reina]isasmart,provocativeshow,andyetremainstraditionalinthatthemaincharacterstruggleswithherpersonalvalues”(Brock,2011).

Having established its authority, Telemundo can assert therighttorepresentthepastanddepicttherealityofHispanicsinitstelenovelas,whichemphasizethepersonaltrialsandtribulationsoftheirprotagonists.ThestoryofTeresaMendozaorAurelioCasil-las is relatable toacertainextent to theTelemundoaudience, thesecondor third-generationHispanicswhoseparentsarrivedtotheU.S.withthe“Americandream”inmind:toclimbthesocialladderandachievesuccessand,inturn,happiness(inlinewiththelogicofcapitalism).Likesaidtelenovelacharacters,immigrantsareoftenconsideredrebelsandpariahstobekeptonthemarginsofsociety.

336 | Obitel 2013

Themoraljudgmentofthetelenovelasisparadoxicalbecausewhilethecharactersarethreatenedbyprisonanddeathasconsequencesoftheirillicitactions,theirfastlivesandconspicuousconsumptionof alcohol,women and guns are glamorized (what they have be-comesdesirable).Further,highlightingthehighendspecialeffectsandpromisingastorypackedwithactionsequences,asTelemundopressreleasesdo,andsanitizingthegunbattlesandcarexplosions(withnogoreor blood to be shown)make theviolence that sur-rounds the narco seductive in order to transfix the audience andmaintainhighratings.

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8mexIco: Tv Power on The sPoT. TelevIsIon

FIcTIon beTween PresIdencIAl elecTIons And AudIences’ AcTIvATIon

Authors:GuillermoOrozco,FranciscoHernández,DarwinFranco1

Team:GabrielaGómez,AdrienCharlois

1. Audiovisual context in the countryTheyear2012mustberememberedasthatinwhichamajor-

ityoftheMexicans,specificallytheyoungones,gottogetherintheMovement#YoSoy132,andforthefirsttimetheroleofthemediain societywas placed as critical issue on the public agenda.Thecoreoftheirdemandsfocusedonexposingthe“mediaimposition”thatwasconstructedfromthenetworksTelevisaandTVAzteca,inordertotakeEnriquePeñaNieto,ahegemonicstandard-bearerofPartidoRevolucionarioInstitucional(PRI,theInstitutionalRevolu-tionaryParty),2tothePresidencyofMexico.

Likeneverbefore,theapparentneutralityandobjectivityofthemediawerequestionedandtheirinterferenceinthecountry’spolit-ical-economicdecisionswasdenounced.Theorganizedsocietyandthe#YoSoy132presenteddifferentlawinitiativestoputanendtothegreatmediamonopoliesthecountryhasinthebroadcastingandtelecommunications systems, and they tried to achievewhat theycalled“thedemocratizationof themedia”.Themedia,or at leastmostofthem,hadtoincorporatetheseissuesintheiragendas;more-

1WethankNielsenIbope-Mexicoforprovidinguswiththeinformationaboutaudiencesandprogrammingforthischapter.TheopinionsaboutthemareObitel’sresponsibility.WethankSofiaPadillaforherpublishingcooperation.2Thispartyhas,exceptfora12-yearperiod(2000-2012),occupiedMexico’sPresidencyfor71years.

340 | Obitel 2013

over,forthefirsttimetherewasapresidentialdebateorganizedbythesocietyandnotbythenetworksor theelectoralauthorities.Itwasamemorablehistoricalevent.

However,thecitizendrivewasnotcapableofreversingtheten-dencyandthecandidatePeñaNieto,fromthehistoricPRI,wontheelectionsamidcontroversyandbythehandofAngelicaRivera,hispresentwife,aniconoftheMexicantelenovelas,betterknownas“LaGaviota”(theSeagull)forherroleinDestilando amor(aMexi-canversionof theoriginalColombiantelenovelaCafé con aroma

de mujer).Theyear2012wasalsotheyearinwhichdisputeforthecon-

trol of telecommunications escalated.Without government super-vision andwith the open support of the outgoing government ofPANPresident FelipeCalderon towards Televisa, the rest of thecompetitors(headedbyCarlosSlim, therichestmanin theworldaccordingtoForbes Magazine)representedanunprecedentedlegaldefenseandtheymanagedtocurbTelevisa’svoracitytotakeoverthemarketoftechnologicalconvergence.Attheendoftheyear,thedisputedidnotseemtobeflagging,though,toeveryone’ssurprise,thisdebatefacilitatedaTelecommunicationsReform(tobeunder-takenin2013).

Fiction participated in both political processes: the electionsand the struggle for the “triple play” (the offer of digital televi-sion,telephonyandInternetbyasingleprovider),whichservedasatribunetopromotepolitical-electoralmessagesandshow,atleastsymbolically,themergerofthenetworks’businessinterests.Inthatsameframeofmind,“fictionalacarte”consolidatedasapoliticalmarketing strategy andhelped theoutgoinggovernment tomain-tain,at leaston thescreen, thehope that theirarmed forceswerewinningthewaragainstorganizedcrimethatMexicohassufferedsincetheyear2006,whichhastakenatollofover80thousandlivesandthedisappearanceofother25thousandpeople.

Mexico – TV power on the spot. Television fiction between presidencial elections and audiences’ activation | 341

1.1. Broadcast television in Mexico

Graph 1. National channels of broadcast TV in Mexico

PRIVATE CHANNELS ( 3 ) PUBLIC CHANNELS ( 2 )Televisa(Channels2,5and9) OnceTV(Channel11)TVAzteca(Channels7and13) Conaculta(Channel22)CadenasTres(Channel28)

TOTAL CHANNELS = 5Source:Obitel-Mexico

Graph 2. TV audience per Channel 3

TV network %Channel2(Televisa) 24.6Channel9Galavision(Televisa) 10.6Channel3(TVAzteca) 18.0Channel28(Cadena3) 1.9Channel22(Conaculta) 1.0Channel5(Televisa) 22.4Channel7(TVAzteca) 18.6Channel11(OnceTV) 2.9

Source:IbopeAGBMexico,fromMondaytoSunday,from2:00to24:00,fromJanuary1sttoDecember31st,2012,ratingsdatabaseTV5domains,nationalhouseholds,MediaSmartStation.ElaboratedbyObitel-Mexico.

Graph 3. Share per Channel

TV network Indiv. share %Channel2 16.32 26.6Channel9Galavi-sion

6.75 11.0

Channel13 10.78 17.6Channel28 1.38 2.2Channel22 0.83 1.3Channel5 13.43 21.9

3DERECHOSRESERVADOS©IBOPEAGBMEXICO,S.A.DEC.V.BrunoTraven60,GeneralPedroMa.Anaya,03340,Mexico,D.F.,2013.ThepresentpagecontainsmaterialsthataretheindustrialandintellectualpropertyofIbopeAGBMexico,S.A.deC.V.,whichhavebeenputatthedisposalofObitelforresearchpurposesandtheanalysisrelatedwiththisproject,thereforeitsreproductionbythirdpartiesisprohibited,whetherpermanentortemporary,totalorpartial,withoutthepreviouswrittenpermissionofthiscompany.Violationsshallbepunishedaccordingtopertinentlaws.

Channel11Channel7Channel5Channel22Channel3Channel13Channel9Channel22

10%

25%

18%

19%

3%

22%

1%2%

Channel2Channel9GalavisionChannel13Channel3Channel22Channel5Channel7Channel11

22%

16%

18%

27%

3%

11%

1% 2%

342 | Obitel 2013

Channel7 9.92 16.2Channel11 1.96 3.2

Source:IbopeAGBMexico,fromMondaytoSunday,from2:00to24:00,fromJanuary1sttoDecember31st,2012,ratingsdatabaseTV5domains,nationalhouseholds,MediaSmartStation.ElaboratedbyObitel-Mexico.4

Graph 4. TV genres in TV programing

Genres broadcast Hours of exhibition %

Educational 16,104 11.9

Sports 8,281 6.2

News 26,357 19.4Fiction 24,871 18.3

Entertainment 46,336 34.2Politics 2,696 2.0Others 10,803 8.0Total 135,448 100


1.2. Tendencies in audiences in the year 2012TheincreaseinthenumberofTVsetspurchasedbytheMexi-

canhouseholdsandtheirgreaterInternetconnectivityarebeginningtogeneratemultiplereceptionprocessesthatchangethedynamicsofMexicanaudiences.Inspiteofthefactthatthedevicesaremoreandmorepersonalallthetime,theaudiencesarenotsegregatingor

4DERECHOSRESERVADOS©IBOPEAGBMEXICO,S.A.DEC.V.BrunoTraven60,GeneralPedroMa.Anaya,03340,Mexico,D.F.,2013.ThepresentpagecontainsmaterialsthataretheindustrialandintellectualpropertyofIbopeAGBMexico,S.A.deC.V.,whichhavebeenputatthedisposalofObitelforresearchpurposesandtheanalysisrelatedwiththisproject,thereforeitsreproductionbythirdpartiesisprohibited,whetherpermanentortemporary,totalorpartial,withoutthepreviouswrittenpermissionofthiscompany.Violationsshallbepunishedaccordingtopertinentlaws.5DERECHOSRESERVADOS©IBOPEAGBMEXICO,S.A.DEC.V.BrunoTraven60,GeneralPedroMa.Anaya,03340,Mexico,D.F.,2013.ThepresentpagecontainsmaterialsthataretheindustrialandintellectualpropertyofIbopeAGBMexico,S.A.deC.V.,whichhavebeenputatthedisposalofObitelforresearchpurposesandtheanalysisrelatedwiththisproject,thereforeitsreproductionbythirdpartiesisprohibited,whetherpermanentortemporary,totalorpartial,withoutthepreviouswrittenpermissionofthiscompany.Violationsshallbepunishedaccordingtopertinentlaws.

EducationalSportsNewsFictionEntertainmentPoliticsOthers

34%

18%

12%8%

6%

2%

20%


individualizingthemselves;quitethecontrary,thecontents–regard-lessofthemedium–continuetoconverge.

Television reception on mobile devices had grown 58% by2012intheirconnectiontoInternetbymeansofsmartphones,andaccording to theEstudiodeConsumosDigitalesentreInternautasMexicanos(DigitalMediaConsumptionStudyofMexicanInternetUsers)(IABMexicoet al.,2012),50%ofthenationalInternetus-erswatchTVonlineas theysurf.Videoclipsare theaudiovisualcontentsthatareconsumedthemost(44%),followedbythenews(29%),TVseries(28%)andfilms(27%);18%followthebroadcastofsomeTVchannelontheInternet.

TheindustryofVideoonDemand(VoD)inMexicoisinfulldevelopmentandundoubtedlythegrowthofthebroadbandandthedevices connected to the Internet are changing audiovisual con-sumptionhabits.Therefore,filmsandotheraudiovisualcontentsarewatchednotonlyatmovietheaters,butalsoathomethroughplat-formssuchasNetflix,TotalmovieorVudu. OneineveryfourMexi-can Internet user logs intoNetflix (The Economist, 29/01/20136)and at present it ranks sixteenth among themost visited sites inMexico(accordingtowww.alexa.com),despitehavingstartedop-erationsinthecountryaslateas2011.Attheendof2012otherplat-formsemergedthatcompetewith thepreviousones:ClaroVideoandCinepolisKlic,whichoffermoreeconomicalmonthlyrates.

AccordingtotheTelevisa2012AnnualReport(p.38),Tele-visa, under a license contractwithNetflix, put at the disposal ofNetflixsubscribers3,000hoursoftelenovelasandseriesayear,aswellasmanydifferentgeneralentertainmentshowsfromtheirgal-leryinanon-exclusivemannersinceJuly12th2011fortheterrito-riesofMexico,LatinAmericaandtheCaribbean.Thisagreementincreases theavailabilityof thecompany’sprogramming inLatinAmericaandCaribbean,areaswhereNetflix launchedseveralsub-scriptionsattheendof2011,anditisastrategytocapitalizeonits

6 Recovered from http://eleconomista.com.mx/tecnociencia/2013/01/29/cada-cuatro-internautas-mexico-usa-netflix

344 | Obitel 2013

galleryaround50,000hoursofcontentsviadigitaldistribution.Theconsumptionprospectsaregrowingandsoaretheoffers.

1.3. Advertising investment of the year: in TV and in fic-tion

According toMerca 2.0magazine (April, 2013), advertisinginvestmentinLatinAmericacontinuestoshowatendencytogrow.Fortheyearof2012theregionhadanincreaseof8%withrespectofthepreviousyear.Atotalof5,296milliondollarswereinvestedinMexico,which represents a5% increasewith respectof2011.Opentelevisioncontinuesastheadvertisers’favoritemedium,sinceitcovers52%ofthetotalinvestment;whilepaytelevisionobtained7.3% of advertising investment. Investment on the digital mediaamountedto6.8%,surpassingthenewspapers,which,inspiteofaslightimprovement,onlymanagedtosecure6.6%.

Among the advertising investment in the realm of fiction is the establishment of the so-called “brand name telenovelas”, productions that are undertaken through the model recognized as “narrative ad-vertising”; which makes the brand name one more narrative element in the plot, that is, a character. This model has been in operation in Televisa telenovelas since 2009 within a specific time slot (20:00) and through a format recognized as “popular or humorous telenovelas”.

Hasta que el dinero nos separe (Televisa, 2009) was set in a Ford automobile agency. In 2011, Una familia con suerte was recorded in the Avon cosmetics factory, the same facilities that were used in 2012 to film Porque el amor manda.

According to data provided by Avon Company itself, their participation in the telenovelas with integrated advertising allowed them to reach a maximum purchase intention with the public ex-posed to integrations, with a 89% before and 100% after watching it. In an interview for the business magazine Expansion, Avon CEO herself, Andrea Jung, admitted the creativity of her marketing team in Mexico boasting of the results provided by their fictional presi-dent, Pancho Lopez (the main character of Una familia con suerte).


The results of this model have been so good that, as it was pointed out above, they not only sponsored the telenovela Porque el amor manda, but also made the first cross-over of the Mexican telenovelas by putting back on the screen the character of Pancho Lopez, which, in addition to being an argument of narrative transmedia, is a mar-keting scheme that we have labeled as “Actor/Character/Franchise”.

1.4. Merchandising and social merchandising Merchandising has become more and more naturalized, be-

comingpartof thecharacters’storiesandeverydaylives.Caseinpoint,inthetelenovelaAmores verdaderos, themaincharacteristheownerofaleadingadvertisingagency,thusjustifyingthatatgivenmomentsoftheplotcertainproducts(suchasdiapersoryogurt)areadvertisedandtheirqualitiesmentioned.

AnotherexampleisTe presento a Valentín,inwhichthespon-sors (of juices, hair products,water purifiers, body lotions and abank)notonlyadvertisedthemselveswithinthestorybecomingpartthereof,butalsoevencreatedFacebookandTwitteraccountswiththenamesoftheproductsinordertointeractthroughthesesocialnetworkswith theaudiences,urging themtoconsume theirprod-ucts.

Theresultofthistendencytonaturalizeproductsinthefictionnarrative itself is agreaterguarantee that theaudience“watches”and relateswith theproductsandbrandnames, since theydonothavethealternativetochangechannelswhilethecommercialsareon,which in additionmay seduce them “subtly” into consumingthem.

But not all the merchandising has a commercial character.Thereisalsothatwhichreferstosocialprogramsorinitiativesthatareintendedtocreateawarenessaboutdifferentissues.Thistypeof“socialadvertising”waspresentindifferentMexicanfictionshowsthroughouttheyear2012.

346 | Obitel 2013

However, aswewill specify, it pursued a political objectiveratherthanasocialaim,likeintheseriesLa Teniente7,whichwasusedtodramatizetheactionsundertakenagainstdrugtraffic.Theseriesshowedthepositive,triumphalistsideofthewar.

Otherproductions,inthesameframeofmind,focusedondif-fusionofcertaingoverments’socialprograms;caseinpoint,Mucho

corazón producedbySistemaChiapanecodeRadio,TelevisiónyCinematografía.This fiction is already an icon by being the firsttelenovela produced by a public channel from the province. Init, several social politicswerepromoted that originated from thisstate’sgovernmentduringthe2006-2012period.

Withinthesamescopeofpublictelevision,butonanationallevel,ChannelOnceco-producedtwoseries:Paramédicos and Kip-

atla. The formerwasbasedonactual testimoniesof theMexicanRedCrosspersonnel;thelatterisaseriesthatthechannelproducedwiththeConsejoNacionalparaPrevenirlaDiscriminación(Cona-pred,NationalCounciltoPreventDiscrimination).

ParamédicossoughttogenerateawarenessabouttheworkoftheRedCrosspersonnelandshowedthehardshipsunderwhichtheymustwork.At theendofeachepisode,emphasiswaslaidontheimportance for thepeople tomakeeconomic contributions in theyearlyfundraisersorganizedbythisinstitution.

Ontheotherhand, thechildren’sstoriesseriesKipatla: para

tratarnos igual,editedbyConapred,aimedatappealingtothechil-dren’srealityandfromthereinvitethemtoreflectabouttheirownactions. Itsmain premisewas to promote equality, tolerance andrejectiontodiscrimination.

Unlikeothermodelsof social merchandising,whatwaspro-motedfrompublictelevisioninMexicowasaninterestingproposi-tionabouthowfictioncanbeputattheserviceofsocialprogramsor

7In2011,TelevisaproducedtheseriesEl equipoattherequestoftheSecretaryofPublicSecurityoftheFederalGovernment.Theseriesportrayedthestruggleundertakenbythiscorporationagainstorganizedcrime.InLa teniente,themilitia,notthepolice,hadtheleadingrole.


actionswithoutitdetractingorcompromisingthenarrativeorvisualqualityofTVfiction.

1.5. Communication policies (laws, reforms, incentives, digital TV)“Democratizingthemediasystemandpreventingmediaimpo-

sition”wasthesloganchantedbytheMovement#YoSoy132,whichemergedonMay11th after a visit by the thenPRI candidate andcurrentPresidentofMexico,EnriquePeñaNieto,tothecampusoftheUniversidadIberoamericanainthecountry’scapital.TheretheyoungpeopleberatedhimforhisactionsintherepressionsufferedbythepeoplefromSanSalvadorAtenco8whenhewastheGovernoroftheStateofMexico.Thepresidentialcandidate’slaconic,evasiveanswerscausedtheyoungcollegestudentstobecomeannoyed,giv-ingrisetotheMovement#YoSoy132.9

This emergingmovementmultiplied in social networks suchasTwitterandFacebook,generatingthusanationwidemovement,#YoSoy132,whichisconsideredrelevantinviewofthepresidentialelections,sincetheydenouncetheopenfavoritismnetworksexertedinfavorofPeñaNietoand,consequently,demandedthatthegov-ernmentlegislateinfavorofamoredemocraticmediasystem.

This citizen’s resurgence and the awakening of some youngpeople–heretoforeoblivious topolitics– framed the stage for the2012presidentialelectionsamidthesuspicionofamediaimposi-tionandthemassivebuyingofvotes,anactionthatwasprovedinthethousandsofpiecesofevidencethecitizensgatheredandmadeknownthroughtheInternetonthedayoftheelections.

Citizenimpetusdidnotflagandtheycontinuedtodenouncetheirregularitiesandlackofinformationfromthemediaaboutit.Nev-ertheless,PeñaNietowasdeclaredthewinnerintheelectionsandonDecember1st,outsidetheCongresodelaUnion,theplacewhere

8InthistownpeopleprotestedagainsttheconstructionofanewairportandtheresponsebythethenGovernoroftheStateofMexico,EnriquePeñaNieto,wastosendpoliceforcetorepressthedemonstrators.9ThenumberofstudentsthatuploadedtheirvideointoYoutubetorefutetheopinionofCandidatePeñaNieto’scampaignteam.

348 | Obitel 2013

hewassworninaspresident,thousandsofpeoplewererepressed,beatenandjailed;amongthem,adherentsto#YoSoy132.Inspiteoftherepression,thismovementpresentedalawinitiativeregardingtelecommunicationsandbroadcastingbeforeCongress.

1.5.1. The media war and the “Pact for Mexico”Thiscitizens’dispute tookplace inanequallyviolentmedia

scene,since thecorporatebigshotsfoughtwithall theirmight toinfluencethegroupthatwouldheadthebusinessoftechnological-digitalconvergence.

Televisaseemedtobeleadingtherace,althoughatthebegin-ningof2012theComisiónFederaldeCompetencia(CFC,FederalCompetenceCommission) rejected themerger that it intended tocarryoutwiththecellphonecompanyIusacell,ownedbyitscom-petitorTVAzteca.This purchasewould guarantee the network’sentryintothetelephonemarketdominatedbyCarlosSlim’scom-panies.

Whensaidnegotiation fell through,Televisaputpressureonthe government to obtain the necessary guarantees and enter thetelecommunicationsmarket.Inresponsetothis,theauthoritiesde-cidedtoinitiatereorganizationandrescueprocessofthe2.5GHzbandownedby themultimediagroupMVSComunicaciones; thejustificationwasthatthecompanywasunderusingspectrum.MVSsuedthegovernmenttohavetheirspectrumreturnedtothem.Nev-ertheless,theydidnotdesistfromtheirobjectiveandmonthslatertheyannouncedthatthebandwouldbetenderedandTelevisawouldleadtheprocess.

In view of the government’s inability to regulate themedia,2012ispointedoutastheyearinwhichthebigcompaniesruled.Evidence of this is the fact that Televisa andTVAzteca offeredthegovernment to openup to the competition andpermit a thirdnationalopenTVnetworkiftheywereallowedtoenterthetelecom-municationsmarket.TelmexandTelcel,inturn,wereinflexibleinrelationtotheinterconnectiontariffstheychargedothercompanies


toallowthemtoconnecttonotonlytheirnetworksbutalsototheirmillionsofusers.Theauthoritiesdidnotmanagetohavethetariffsreduced, and they did not prevent Televisa and TVAzteca fromcollectingacostfromthecableandsatellitetelevisionsystemsforthesignalsthattheybothhaveopenlyinthecountry.Manyofthesesystems,specificallyDish(acompanylinkedwithTelmex),hadtoremove theopensignalchannels,which instrictaccordancewiththelawshouldbefree.

OncePeñaNieto’striumphhadbeenconfirmed,thewaramongthecompaniesstoppedandsurprisinglythetelecommunicationsty-coons Emilio Azcarraga (Televisa), Carlos Slim (Telmex/Telcel)andRicardoSalinas(TVAzteca/Iusacell)appearedsittingtogetherthedayinwhichtheinitiativeknownas“PactoporMéxico”(PactforMexico)waspresented,whoseagreementjoinsthemainpoliti-cal,economic,businessandmediapowerstoestablishandpassthemeasuresthatwilltakethecountrytoahigherlevelofdevelopment.

1.6. Public TV Unlikepreviousyears,fictionproductioninpublicchannelsdid

notconcentrateinthecountry’scapital,butdiversifiedthroughoutotherregions.CaseinpointtheaforementionedtelenovelaMucho

corazon, that goes beyond the socialmerchandising shown in itscontent, italsoconveyedanewrepresentationscheme, for itwasproducedwithlocalactorsinlocalsettingsandtriedtoeradicatethestereotypeofthesubmissive,ignorantindigenouscharacterprevail-ingincommercialfiction,whichhascontributedsomuchfromthescreentotheirdiscrimination.

Inturn,ChannelOncecontinued, inspiteofacut initsbud-get,toproduceseries.During2012itreleasedthree:Tiro de gracia, Paramédicos andKipatla,theformerbeingariskybetsinceitwasafictionthatreferredcriticallytotheactionsthegovernmentwasundertakingagainstorganizedcrime.

350 | Obitel 2013

1.7. Pay TV Fiction productions for pay television were indeed a growing

phenomenon. The case of Cadena Tres (that is broadcast in open signal only in the Valley of Mexico) continues to stand out, it pro-duced and coproduced five fictions in 2012: Infames (telenovela), La ruta blanca (telenovela), El albergue (series), Dulce amargo (tele-novela) and La clínica (series). These productions have not managed to take off in terms of rating, for the most successful one of them, Infames, only obtained one rating point. The hypothesis in relation to the Cadena Tres fictions is that they are addressed to a viewer who needs to be more updated in terms of political and social informa-tion, therefore it does not appeal to viewers used to the telenovelas who do not presuppose any previous information.

Another new actor in the production of fiction in 2012was52mx(MVS),arestrictedtelevisionchannel, thatmadetheseriesLos super PerezandRoomies,fictionsmanufacturedwithahumor-ousnarrativethatseekstoemulatethestyleofAmericanseries,butwithavery local flavor.Los super Perez areagroupofMexicansuperheroesthatfightorganizedcrime.Roomies,inturn,isaseriesthatportraysthelivesofagroupofyoungstersinthestyleofthefamousseriesFriends.

AcablechannelthatforthesecondyearinarowpresentedafictionisTelehit(Televisa),whichproducedtheseriesHoy soy na-

die,athrillerthatinvitestheviewertodiscoverwhomightbethese-rialkillerthatlikestoselecthisvictimsthroughthesocialnetworks.Thisseriesturnedouttobealikableproduct,foritwasthefirstofitsstyletousethenarrativesandcommunicationformsthatprevailinthesocialnetworks.

1.8. Tendencies of the ICTs (Internet, cell phone, digital TV, VoD)According to theAMIPCI (2012), there are 40.6million In-

ternet users in Mexico, which in relation to the 2011 data theyare5.7millionmoreusers.Cellphonecontractshadamountedto94,565,000by2011,ofwhich45%concentratedinthecountry’s12


majorcities,thecapitalbeingtheregionwhereonefourthisconcen-trated(Cofetel,2011).

Theanalogblackouthasbegunanditisexpectedtobefinishedbytheendoftheyear2015.ThecityofTijuana,inthecountry’snorth,waschosentobeginthetransitionworkstowardsDigitalTer-restrialTelevision(DTT).Nevertheless, thechallenge ishugebe-causeover70%oftheMexicanpopulationdoesnothavethedevicerequiredtoreceivetransmissionswithdigitalquality(ElFinanciero,15/02/2013).10

2. Yearly analysis: premiere of National and Ibero-American fic-tion

Table 1. Fictions exhibited in 2012 (domestic and imported; premiere and reruns; co-productions)

10 http://www.elfinanciero.com.mx/component/content/article/53-nuestras-historias/4953 -los-retos-de-la-digitalizacion-de-tv-en-mexico.htmlaccessedonMarch16th,2013.

NATIONAL PREMIERE TITLES: 28

Televisa: 16 national titles1.Abismo de pasión(telenovela)2.Un refugio para el amor(telenovela)3.Por ella soy Eva(telenovela)4.Amor bravío(telenovela)5.Cachito de cielo(telenovela)6.Mis XV(telenovela)7.Amores verdaderos(telenovela)8.Corona de la grimas(telenovela)9.La mujer del vendaval(telenovela)10.Que bonito amor(telenovela)11.Porque el amor manda(telenovela)12.La familia Peluche(comedyseries)13.Cloroformo(series)14.El diez (series)15.Los he roes del norte 2 (series)

TV Azteca: 6 national titles16. La mujer de Judas(telenovela)17.Quererte así(telenovela)18.Amor cautivo(telenovela)19.Los Rey(telenovela)

IMPORTED PREMIERE TITLES: 18

Televisa: 11 imported titles29.Marina(telenovela-USA)30.Amor sincero(telenovela-Colombia)31.Chepe fortuna (telenovela-Colombia)32.Rosa diamante(telenovela-USA)33.Una maid en Manhattan(telenovela-USA)34. Corazón valiente(telenovela-USA)35.El alma herida(telenovela-USA)36.El fantasma de Elena(telenovela-USA)37.Los herederos del monte(telenovela-Colombia)38.Rosario Tijeras(series-Colombia)39.Héroes(miniseries-Chile)

TV Azteca: 4 imported titles40.Acorralada (telenovela-Venezuela)41. Corazón apasionado(telenovela-Venezuela)42.Ángelrebelde(telenovela-Venezuela)43. Estoy en la banda (series-USA)

352 | Obitel 2013

20.La otra cara del alma(telenovela)21.La teniente(series)22.Pinche Pancho (series)

Once TV Mexico: 3 national titles23. Paramédicos (series)24.Estado de gracia(series)25.Kipatla(series)

Cadena Tres: 3 national titles26. Infames (telenovela)27.El albergue (series)28.La clínica (series)

Cadena Tres: 2 imported titles44. La ruta blanca(telenovela-Colombia/Mexico)45.La Pola(telenovela-Colombia)

Canal 22: 1 title46.Los archivos del cardenal (series-Chile)

RERUNS: 6

Televisa: 6 titles47.María la del barrio(telenovela)48.María Mercedes(telenovela)49.El clon(telenovela-USA)50.Una familia de diez(comedyseries)51.Vecinos(comedyseries)52.Que madre tan padre(comedyseries)

TOTAL EXHIBITED TITLES: 52


Thefirstelementtopointoutistheincreaseindomesticfictionproduction,sinceitwentfrom23to28titleswithrespectof2011.Televisacontinuestobetheleadingcompany,althoughtheupturnofchannelssuchasOnceTVandCadenaTresisworthyofmentionbecause theyhavemanaged toconsolidatea stockofproduction;however,theirnewvisual,narrativeaestheticshasnotbeenabletogetthroughtotheaudiencesandtheirproductionsdonotmanagetoobtainmore than two ratingpoints.This fact contrasts a greatdealwiththeratingsreachedbythererunsofclassicssuchasMaría

la del barrio andMaría Mercedes (both from the1990’s),whichobtainedmorethantenpoints,afigurethatnoneoftheTVAztecatelenovelas(thesecondmostimportantnetwork)managedtoattain.



Country Titles % Chap-ters % Hours %

NATIONAL 28 61 2,136 62 2,020 56

IBERO-AMERICAN 17 37 1,336 38 1,556 44

Argentina - - - - - -

Brazil - - - - - -

Chile 2 4 88 3 126:35 4

Colombia 5 11 477 14 554:00 15

Ecuador - - - - - -

Spain - - - - - -

USA (Hispanic production) 7 15 462 13 585:40 16

MEXICO 28 61 2,136 62 2,020 56

Peru - - - - - -

Portugal - - - - - -

Uruguay - - - - - -

Venezuela 3 7 219 6 205:35 6

National co-production (*) 1 2 90 2 85:50 3

Others (productions and co-productions from other Latin American countries, not Obitel scope)

- - - - - -

TOTAL 46 100% 3,472 100 3,576 100%


Animportantdataisthefactthatin2012therewasadiversifi-cationinthecountriesfromwhichtitleswereimported,thepresenceofChileandthereturnofVenezuelabeingtwoelementstobecon-sidered.TheproductionofUSfictionandtheColombiantelenove-lasmaintainedtheirpresenceinMexico,although,unlikein2011,noneoftheirtitlesrankedamongthemostviewedintheyear.

354 | Obitel 2013

Table3.C


Tim

e sl

otN

atio

nal

Iber

o-A

mer

ican

T

otal

C/E

%

H%

C/E

%H

%C/E

%H

%M

orni

ng (

6:00

-12:

00)

--

--

313

23322:30

2031

39

322:30

8A

fter

noon

(12

:00-

19:0

0)

51

024

389:05

19648

49867:30

561158

331,256

31Pr

ime

time

(19:

00-2

2:00

) 1,563

731,568

7830

232:15

31593

461,600

41N

ight

(22

:00-

6:00

) 63

363:30

3345

26334:10

21408

12397:40

10T

OT

AL

2,13

610

02,

020

100

1,33

610

01,

556

100

3,47

210

03,

576

100

Source:IbopeAGBMexico,from

MondaytoSunday,from

2:00to24:00,fromJanuary1

sttoDecem

ber31s

t ,2012,ratingsdatabaseTV5dom

ains,national

households,M

ediaSmartStation.ElaboratedbyObitel-Mexico.

11

Table4.FormatsofnationalandIbero-Americanfiction

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%C/E

%H

%T

itle

s%

C/E

%H

%T

elen

ovel

a17

611,703

801,627

8114

781,215

911,390

89Se

ries

1139

433

20393:20

193

1763

571:20

5M

inis

erie

s-

--

--

-1

558

494:40

6Telefilm

--

--

--

--

--

--

Uni

tary

--

--

--

--

--

--

Doc

udra

ma

--

--

--

--

--

--

Oth

ers

(soa

p op

era,

etc

.)-

--

--

--

--

--

- T

OT

AL

2810

02,

136

100

2,02

010

018

100

1,33

610

01,

556

100

Source:IbopeAGBMexico,from

MondaytoSunday,from

2:00to24:00,fromJanuary1

sttoDecem

ber31s

t ,2012,ratingsdatabaseTV5dom

ains,national

households,M

ediaSmartStation.ElaboratedbyObitel-Mexico.

11DERECHOSRESE

RVADOS©IBOPE

AGBM

EXICO,S.A.D

EC.V.B

runoTraven60,G

eneralPedroM

a.Anaya,03340,M

exico,D

.F.,2013.T

he

presentpagecontainsmaterialsthataretheindustrialandintellectualpropertyofIbopeAGBM

exico,S.A.deC.V.,whichhavebeenputatthedisposal

ofObitelforresearchpurposesandtheanalysisrelatedwiththisproject,thereforeitsreproductionbythirdpartiesisprohibited,whetherpermanentor

temporary,totalorpartial,withoutthepreviouswrittenpermissionofthiscom

pany.V

iolationsshallbepunishedaccordingtopertinentlaw

s.


Table5.Formatsofnationalfictionbytimeslot



tal %

Telenovela 2 100 15 83 11 61 3 38 31 67

Series - - 2 11 7 39 5 62 14 30

Miniseries - - 1 6 - - - - 1 3

Telefilm - - - - - - - - - -

Unitary - - - - - - - - - -

Docudrama - - - - - - - - - -

Others (soap opera, etc.) - - - - - - - - - -

TOTAL 2 100 18 100 18 100 8 100 46 100


Theprimetimecontinuestobethefavoritetimeforthebroad-castoffiction(Table3).Themostprogrammedformatinthistimewasthetelenovelawith17titles,followedby11seriesandamini-series(Table4).Allinall31telenovelas,14seriesandaminiserieswerebroadcast(Table5),whichmeantanincreaseinfictionpro-ductiongoingfrom28to46titles.



Present 43 93

Period piece - -

Historical 3 7

Other - -

TOTAL 46 100


What used to be the trademark of theMexican industry hasfallenintooblivion,fornoneofthe28domestictitleswerehistori-calproductionsorperiodpieces.ImportedtitlessuchasHéroesand

356 | Obitel 2013

La Pola (Colombia)aswellasLos archivos del Cardenal (Chile)aretheonlyproductionsthatbroughtthehistoricmemoryontotheMexicanscreens.Therestofthetitles,aswehavepointedout,areset inapresentthat isdecontextualizedonpurposeor twistedac-cordingtopoliticalintentions,caseinpoint,theseriesLa Teniente,which related the positive side of thewar against drug traffic inMexico.OtherproductionssuchasInfames or La Ruta Blanca(Ca-denaTres)thatdidpresentacriticalperspectivedidnotmanagetogenerategreatinterestamongtheMexicanaudience.

Table 7. The 10 most viewed titles: origin, rating, share

Title

Country of origin

of the idea or script

Pro-ducer

Chan-nel

Name of writer or


Ra- ting Share

1Abismo de

pasiónMexico Televisa 2

Caridad BravoAdams

25.83 37.25

2Amores ver-

daderosArgentina Televisa 2

MarcelaCit-terio

25.64 38.96

3Porque el

amor mandaColombia Televisa 2 JörgHiller 24.15 37.02

4Por ella soy

EvaColombia Televisa 2 ElkimOspina 23.60 35.46

5Qué bonito

amorColombia Televisa 2

MónicaAgudelo

18.24 30.19

6 Amor bravío Mexico Televisa 2MaríaZarat-

tini17.91 29.56

7Un refugio

para el amorVenezuela Televisa 2 DeliaFiallo 16.94 32.21

8La familia

PelucheMexico Televisa 2

EugenioDerbez

16.87 27.65

9La mujer del

vendavalVenezuela Televisa 2

ÁngeldelCerro

15.76 28.99

10Cachito de

cieloMexico Televisa 2

MarioScha-jris

15.05 27.56

Total productions: 10 Foreign scripts: 6

100% 60%



TheupturninthenumberoffictiontitlesinMexicodoesnotseemtogohandinhandwiththeregenerationofcreativity,becausein2012sixofthemostviewedtitleshaveaforeignscript;twomorethanin2011.

Regardingthecountrieswherethescriptscomefrom,thedrivethatColombiahadthisyearisworthyofnotice,sinceitmanagedtosurpassArgentinaasthecountrythatprovidesthemostscriptsforMexico,whichhadonlyoneamongthetoptenthisyear.VenezuelawithtwoscriptsandthreeproductionsbroadcastthisyearseemstowanttorecoverthelostgroundinMexico.

It isvital topointout theupturnof the rating in the top ten,becausethetitlewith thehighestaudiencein2011attained20.61points;forthisyearAbismo de pasiónobtained25.83.Thistenden-cytoriseisalsovisibleintherestofthepositions,sincethesecond,thirdandfourthplacesattainedmorethan20points.Asanaverage,theratinginthe2012toptenincreasedaround3.5pointspertitle.

Table 8. The 10 most viewed titles: format, length, time slot

Title Format Genre

Number of chapters/

episodes. in 2012

Date of thefirstand last

issue

Time slot

1Abismo de

pasiónTelenovela Fiction 161

23/01/1202/09/12

Prime

2Amores ver-

daderosTelenovela Fiction 86 03/09/12 Prime

3Porque el amor

mandaTelenovela Fiction 62 08/10/12 Prime

4Por ella soy

EvaTelenovela Fiction 167

20/02/1207/10/12

Prime

5Qué bonito

amorTelenovela Fiction 51 22/10/12 Prime

6 Amor bravío Telenovela Fiction 16605/03/1221/10/12

Prime

358 | Obitel 2013

7Un refugio para

el amorTelenovela Fiction 165

06/02/1223/09/12

After-noon

8La familia

PelucheSeries Fiction 26

07/08/1223/12/12

Prime

9La mujer del

vendavalTelenovela Fiction 36 12/11/12

After-noon

10Cachito de

cieloTelenovela Fiction 110

11/06/1209/11/12

After-noon


RegardingTable8,thedeterminingfactortoattaintheratingis theprime time, specifically that covering the timeperiod from20:00 to 22:00, because telenovelas such asAmores verdaderos,Porque el amor manda, La mujer del vendavalandQué bonito amor (Televisa)withhalfthenumberoftitlesthanothershadmanagedtoobtainhigherratingsduetothefactthattheyoccupiedtheplaceofasuccessfultitle.AnexampleofthisisAmores verdaderosthattooktheplaceofAbismo de pasión.

Table 9. Themes of the 10 most viewed titles

Titles Central theme Social theme

1 Abismo de pasión

-Love-Familyconflicts-Paternityrevelation-Socialascent

-Agriculturalproblems-Ecologicalconflicts-Orphanage

2 Amores verdade-ros

-Infidelity-Love-Familyconflict

-Insecurity-Domesticviolence-Organizedcrime

12DERECHOSRESERVADOS©IBOPEAGBMEXICO,S.A.DEC.V.BrunoTraven60,GeneralPedroMa.Anaya,03340,Mexico,D.F.,2013.ThepresentpagecontainsmaterialsthataretheindustrialandintellectualpropertyofIbopeAGBMexico,S.A.deC.V.,whichhavebeenputatthedisposalofObitelforresearchpurposesandtheanalysisrelatedwiththisproject,thereforeitsreproductionbythirdpartiesisprohibited,whetherpermanentortemporary,totalorpartial,withoutthepreviouswrittenpermissionofthiscompany.Violationsshallbepunishedaccordingtopertinentlaws.


3 Porque el amor manda

-Claimingmen-Loveandhate-Labourdisputes

-Discrimination-Gender-basedviolence-Organizedcrime

4 Por ella soy Eva-Identity-Love-Familyconflicts

-Sexualdiversity-Gender-basedviolence-Discrimination

5 Qué bonito amorMexicanfolkloreLoveandhateFamilyrivalry

AlcoholismDomesticviolenceOrganizedcrime

6 Amor bravío-Familyconflicts-Revenge-Restitutionofidentity

-Conflictsoverlandownership-Domesticviolence-Discrimination

7 Un refugio para el amor

-Familyconflicts-Love-Socialascent

-Cacicazgos-Gender-basedviolence-Oraltrials

8 La familia Peluche

-Familyproblems-Acceptanceandidentity-Comedyandsatire

-Corruption-Domesticviolence

9 La mujer del vendaval

-Romance-Familyconflict-Socialpromotion

-Politicscorruption-Landownership-Socialinsecurity

10 Cachito de cielo-Loveandromance-Comedy-Familyvalues

-Religiousidentity-Domesticviolence-Socialinsecurity


AsweexplainedinTable6,thefactthatmosttoptentelenove-lasorseriesaresetinthepresentdoesnotmeanthattheyalludetocurrentsocialissues;quitethecontrary,thesocialissuespresentedinTable9continuetobegeneralissuesthat,perhaps,donothelpto think about reality from fiction, or if they do, they do so in adecontextualized,deterritorializedmanner.Violence,asarecurrentthemeinTable9,ispresentedwithoutemphasizingtheissueofthenationalinsecuritythecountryisundergoingduetothewarthegov-ernmentstillwagesagainstdrugtraffic.

3. Transmedia reception As it had been anticipated in previousObitel yearbooks, the

networkshavebeguntorenovateinviewofthenewtransmediasce-nariosandtheriskthatwouldimplynottodoso,fortheycouldlose

360 | Obitel 2013

audiences.Attheendof2012,Televisabroadcastitsfirstwebnove-la Te presento a Valentín,aproductintendedtobewatchedfromdif-ferentdevices(PC,laptop,cellphones,smartphones,etc.)andtobeaccompaniedbythedifferentsocialnetworkssoastointeractwiththepublic,thatis,itimpliesatransmedianarrative.

Initsfirstwebnovela,Televisadecidedtotella lovestory,asubject that has been the center of the rest of its productions foroversixtyyears;apinkplot,withacertaindoseofhumorand,wemightadd,corniness.TheplottellstheadventuresofValentín,whoislookingforhisidealwoman;hefindsher,butfirsthehastogetaroundseveralobstacles.Withatotaloffivemaincharacters, thescenes take placemainly in the facilities of the publishinghousewhereheworksasareporterforamagazine(actually,itistheTele-visapublishinghousebuilding).Thewebnovelastartedbroadcast-ingonOctober29th,2012,itconsistedoffifteenchapters,approxi-mately sevenminutes long each, and it ended onNovember 30th of the same year. Itwas broadcast three times aweek (Monday,WednesdayandFriday)atnoon,fromitsofficialwebsite.

3.1. In search of the young audiences INEGIdataindicatethatinMexico49.5%oftheInternetusers

areyoung13.Sotheaimofthemediabusinesspeopleispreciselytowin themoveraspublic. Inaddition, theproducerEugenioCoboclaimsthatthescriptwritersofTe presento a Valentínareyoungerthan30yearsold,theyknowhowtohandlethewebandtheyknowhowtotellastoryinafewminutes.

Inordertointeractandgettoknowtheopinionoftheaudienc-esabouttheabove-mentionedtelenovela,anofficialwebpagewascreated,aswellasFacebook,YouTubeandTwitteraccounts.Ontheseplatforms,theaudiencehadasortofdifferentiatedparticipa-tion.Thisway,thecompanywasabletonotonlyknow(andputtothetest)thepublic’sopinionandthetypeofinformationaboutthe

13Seehttp://www.inegi.org.mx/.


contents,butalsotopromotetheproductsthatsponsoredtheweb-novela.Creams,shampoos,sprays,water, juicesandabankwerethesponsorsandprotagonistsaswell,fortheywerepartoftheplot.

Eachofthenetworkspermittedandprovokedasortofdiffer-entinteraction(thatgoesfrom“viewing”to“transmediaviewing”)andapassiveoractiveinteractivity(seeTable11).Thefollowingisabriefdescriptionoftheaudience’sparticipationinthesitesmen-tioned.

3.2. Fiction on YouTubeOn this portal,we find a type of interaction called “interac-

tiveviewingon thenet”anda typeofaudienceparticipation thatis“passive”.TheproducersopenedachannelcalledTe presento a

Valentín,whichhas62subscribers,69videosandatotalof11,851views.Inthissite,inadditiontouploadingthefifteenepisodesofthewebnovela,theyhaveaddedinterviewsofalltheactors,includ-ingthemakeupartistsandproductionpersonnel.ThemostviewedvideowasEpisode1(4,496views)andtherewasadramaticdropafterwardssincethesecondvideoonlyhad438views.Astotheau-dience’sparticipationoutsidetheofficialchannel,wefoundamoreactiveparticipation, for someusersuploaded thewebnovelaontoYouTube(thattheythemselvesrecorded)andtheseepisodeswereviewedmorethanthoseontheofficialchannel.

3.3. FacebookOnthissocialnetwork,thewebnovelahad7,200“likes”,and

an“interactiveviewingonthenet”interaction.Themajorityofthemessages uploadedonto this social network came from the com-panyitselftourgethepublictowatchtheepisodeoftheday(663“likes”).Theareawherethepublicparticipatedwithmore“likes”wasthecast/actresses/actors’uploadedimages(491).Theirpartici-pationwasthe“active”type.

362 | Obitel 2013

3.4. Twitter and advice on loveIn spite of the fact that thewebnovela had already finished,

theaccount@TepresentoaVremainedactiveuntilDecember,2012,andthepeoplewhomanageditcontinueddemandingtheirfollow-ers’participation(17,659)withatotalof589tweets.Themostout-standingaspectof this typeofparticipationis that theaccount@TepresentoaV took on the role of a love counselor, thus offeringsuggestionstoitsfollowerssotheycouldfindapartnerordefiningthepracticeofwhatitistobeinlove,likethosefamouscardsLove

is…thatcirculatedinthe1980’s.

Table 1114.Transmediafiction: prevailing types of interaction and practices

Selected fiction

Net-work Internet pages


Levels of interac-

tivity

Users’ domi-nant practices

Te pre-sento a Valentin

T e l e -visa

Officialwebsitehttp://televisa.esmas.com/entretenimiento/telenovelas/te-presento-a-valentin/

Facebookprofilehttps://www.facebook.com/TePresentoaVal-entin

Twitter@TepresentoaV

YouTubechannelhttp://www.youtube.com/user/tepresentoa-valentin

Viewing Passive

CommentCelebrationCollectionStorage

StorageCritique

Comment

CommentDiscussionRecommenda-tionImitation

CompartmentStorageComment

Interactiveviewingonthenet

Transmediaviewing

Active

Active

Interactiveviewingonthenet

Passive/Active

Source:Obitel-Mexico

14ThisMexicochapterdoesnotincludeTable10duetothefactthattheinformationtomakethetablewasnotavailable.


Inthisexploratoryphase,Televisatrieditshandinwebnovelasobtaininglittletransmediaresponseonthepartoftheaudiences.Ifwecomparethefollowersandtheparticipationthatothertelenove-lashaveontheirsitesonsocialnetworks,likeAmores verdaderos

(184,880followersonFacebookand72,300onTwitter)orLa mujer

del vendaval (50,128onFacebookand21,036onTwitter),Te pre-

sento a Valentínwasnotsowellreceived.Itmustbepointedoutthatonsomeplatformsparticipationbythefollowerswasnotallowedorpromotedbeyondthe“likes”tothecontentswheresomesurveyswouldbeanswered.Theparticipationwasmoreactivewhentheywereinvitedtoseekadviceassociatedwithlove.

4. Highlights of the year

4.1. “Fiction a la carte” as a tendency Thegrowing linkbetweenfictionandpoliticalmarketing in-

creased in theyear2012.Thephenomenonof“fictiona lacarte”continues,termusedtorefertothosetelenovelasorseriesthatareproducedunder thegovernment’ssponsorshipandusedaspropa-ganda.That iswhathappened in2011withEl equipo (Televisa),whichunderscoredtheworkoftheFederalPoliceintheirstruggleagainstdrugtraffic.

In2012,another“fictionalacarte”titledLa tenientewaspro-duced(TVAzteca)soastounderscoretheactionsbytheArmytofightit.Nevertheless,accordingtoitsproducerRobertoGonzalez,La tenientewasnota“commissioned”televisionproduct,asitwasthecaseofEl equipo.15Quitethecontrary,La teniente,devoidofpoliticalinterests,neversoughtto“clean”theimageoftheNavy,since“theessentialcomponentwasnottheinstitutionbutthestoryofthemenwhomakeitup”(Notimex,2012).

Underthisposture,La teniente,andthepoliticaluseitwasgiv-en,presupposesanimportantriskforaTVgenrethatisbeginningto

15Inthisseries,theSecretaryofPublicSecuritypaidTelevisa118millionpesosforitsproductionandbroadcast.

364 | Obitel 2013

becomepoliticizedduetothelackofalegislationthatregulatesorprohibitstheinsertionand/ornaturalizationofpolitical,governmentandelectoralpropagandawithinseriesandtelenovelas.

La teniente is another case of this legislative void, since its24chaptersservedtofixanagendaandaspecificpriming(anap-proach)thatplacedtheArmyastheonlysecurityagentsthatarere-liableandbelievable,becausethey,unliketheFederalPolice(theirantagonistswithinandwithout fiction), are the realheroesof thewaragainstdrugtraffic.

4.2. Fiction and electoral advertising of the heartAsithasalreadybeenmentioned,thecandidatethatwonthe

presidentialelectionsinMexico,EnriquePeñaNieto,marriedoneoftheiconicactressesoftheMexicantelenovelas,AngelicaRivera,better knownas “LaGaviota”.This love relationship, questionedbymanyasanelectoralstrategy,allowedforthetwopersonstobepresent in the showworld, however, theywere never consideredtobeatfault,foritwasaprivateratherthanpoliticalmatter.The“happycouple”wasadvertisedindifferentshows,buttheonethatstoodoutthemostwastherealityshowstarringAngelicaRiveraonYouTubeduringalltheelectoralcampaign.

Lo que mis ojos ven y mi corazón sientewasa “home-madeproduction”whereGaviotatookadvantageofherhistrionictalentsandthespecialconnectionthat,asanactress,shehaswiththeMexi-canstonarrate“thebackstage”ofherhusband’scampaignandthusexposethehumanbeingbehindthecandidate.

ThisvideoseriessoughttobringEnriquePeñaNietoclosertothecitizensnotbymeansofhiscampaignproposals,butratherasaresultofhisadvertisedlovestory,andasifitwereatelenovela.Thisstorytransferredthenarrativeofthedifferentstatesofthecountrytoamoreintimate,privatespace,wherethecandidatewaspresentedina“natural,casualmanner”interactingwithhisfamilytonarratewhattheywerelivingthroughduringthecampaign.


Lo que mis ojos ven y mi corazón sientewastheinaugurationofapoliticalrealityshow wherethecampaignproposalsweretradedbyloveandthepromisetheactressmadeattheendofthevideos,whensheassuredtheaudiencethat“herhusbandwouldkeepeachofhispromisesbecauseheisamanofhisword”.Thismeantinpo-liticalandfictionalterms,comingsandgoingsfromactresstochar-acter,sinceinthepoliticalceremoniespeoplereferredtoherasLaGaviota,thenameofhermostfamousfictionalcharacter.Fiction,thus,wasusedasaspringboardinbothsenses.Atotalof23videoswereuploadedontoYouTube,whichhadoveramillionviews;asanaverage,eachvideowasviewedby45,000usersperissue.

4.3. Dispute about rating and the change in the way it is measuredThe year 2012was ground-breaking both nationally and in-

ternationally in termsofmeasuringand followingaudiences.ThetraditionalparameterstoevaluatetheturningonofTVsetsathomerequire innovations to capture the contemporary phenomenon.Wherearethefictionaudiencesnow?Wherearetheygoing?HowdotheysharetheirviewingwithotherparticipationsontheInternetandsocialnetworks?Howdotheygetinvolvedindialogueswiththewebsites?Andaboveall,whatelsedotheyconsume,inadditiontotelevisionandthecinema?Inadditiontobeingmanyquestions,theyareexpressionsoftherecentconcernsaboutgivinganadequatefollow-uptotheaudienceswhoseroutes,staysandmediaconnec-tivityscenarioshavemovedandmultipliedlikeneverbefore.

InthisattemptatfindingnewmethodologiesandtoolsforTVmonitoringoftheaudiencesandofferingnewdatatothemarket,inMexicothetraditionalcompanyIbopeAGBfinisheditsoperationsonDecember31st, after20yearsproducing informationon ratingin the country.A new companywas inaugurated,Nielsen-Ibope,which,beyondspecificallyMexicansituations,mustbeunderstoodinthisworldwidecurrentinwhichinternationalaudiencemeasuringcompanieshavebeenmerging:Nielsen,theoldestofthemall,hasbecomeinvolvedfirstwiththeEuropeanSofresandin 2012with

366 | Obitel 2013

LatinAmericanIbope;Ibope,inturn,withGermancompanyGSK.IntheUK,NielsenandSofreshavedonethesame(interviewwithRubenJara,inZócalo Magazine,2013).Thisworldwidemergerorconcentrationtriesnewformsofexploringthepublicasconsumersbyrelating–whichisnowalreadytechnicallypossible–televisionandmediaconsumptionwiththerealconsumptionintheshoppingcenterswheretheaudiencesusuallyshop.Undoubtedlythisisanewstageintheproductionofknowledgeaboutthepublic,whichwillmakeanimpactonObitelasaproject.

5. Topic of the year: social memory and television fictionDuring2012,Mexican fictionhasmaintaineda relationwith

thepast thathasbeenestablishing itselfas thecentralelement inthe course ofMexican telenovela history: the past as a tradition,thepastastheplacewheretheessentialvaluesareevidentandvis-ible. In this sense, in spiteof thechanges inMexican fictionTVindustry, like thepurchaseof scriptswithproven success insteadofgeneratingtheirown,televisionhasmaintainedtheorderofthestructuresofthepastasitwasputforthbyNoraMazziotti(1996)inthe1990’s.Thepastismadeupasaconstantsourceofnarrativeandthematicmatrices.

Viewedfromthisapproach,Mexicantelenovelasin2012con-tinuedbuildingapast thathasbasicallytwonarrativeaxes:ranchlife in the haciendas/towns and an etherealmixture of referencestothegoldenageofMexicancinema.Onthebasisofthesescenes,fiction (and itsomnipresentmelodramaticbase) standsout as thedramaofthetransitionbetweentheruralandurbanworlds.

Makingaselectionofthemostviewedtelenovelasinthisyear,frombothTelevisaandTVAztecanetworks, it ispossible toap-preciatethepersistenceofthesethemesconstructedonthevisualaswellasthenarrativelevels.Inthissectionwewillputforthsomeoftheseelementsthatdenotetheconstantnegotiationbetweenpastandpresent.


5.1. The hacienda as the nucleus of rural lifeDifferent telenovelas among themost viewed in each of the

opentelevisionnetworkshavefocusedonthehaciendaasthecen-tral locationfor thedevelopmentof traditionalplots.AsMexicantelevisionhasopenedtofilmingonlocation(asopposedtothefunc-tionalistcharacterofitssets),thenetworkshavefoundasourceofendlessthemesandscenariosinrurallifethatcombinewiththetypi-calstoriesofnationalmelodrama.

Togetherwithamovementtorescuethenationalruralheritage,thenetworks,partlywiththesupportofthelocalgovernments,havecombinedruralvisualizationwiththetypicalfamilydramasoftheconstructionofMexico’snationalidentity,presentedbythecinemaofthe1940’sgoldenage.

Inthissense,rurallifecenteredinthefamilyhaciendaandthetown/stage is theessentialcharacterof the telenovelas.Televisa’sAmor bravíoandAbismo de pasión,orTVAzteca’s Los ReyandLa

mujer de Judas,aregoodexamplesoftheabove.Todifferentex-tents,inthesetelenovelas(whichareamongthebest-rankingshowsinbothnetworks)thehaciendaalwaysimpliesreturningtotheruraloriginofthewealthyfamilies.Thiscountrylife,whetherasasourceofwealthorasasymbolicsourceofprestige,becomespresentinthesocialmemory.

5.2. Ranchera music, from beginning to endInthesamesenseofrescueofruralheritage,theranchertheme

hasbecomepracticallyomnipresent in the telenovelasof theyear2012.Aconstantvisualandsound referenceallowsus to see thereturnofthiselement:therancher’soutfitandthemariachimusic.BothelementshavebeencentralinMexicancinemathroughoutthe20thcenturyandtheyareconstantlyreutilizedbytheculturalindus-try(theTVindustryinparticular).

Thetelenovelaswehavemadereferencetoarenotextraneoustothesemovements.Firstly,wemayrefertoamusicalitythatgoesbacktooldelementsoftheMexican starsystem,suchasVicente

368 | Obitel 2013

Fernandez, with the theme song of “Cuando manda el corazón”fromthesoundtrackofthetelenovelaAmor bravío.Fromthesamecompany,Abismo de pasiónstartswith thecentralmusical theme“Solounsuspiro”,sungwiththeclassicmariachisaccompaniment.Ontheotherhand,wehavetheexampleofTVAztecawithtwoofitstelenovelas,La mujer de JudasandLos Rey,whichusemedleysofrancheramusicandcorridosnorteñosassoundtrack(“Amordeleyenda”and“ElimperiodeLosRey”respectively).

WiththesetwoexamplesofthehegemoniccompaniesinMexi-canfictionproduction,wehaveaclearideaofhowimportanttherancherathemeis,alongwiththeruralelementrepresentedbythehaciendasasthecentralspaceoftheplot.

TheaxesmentionedsofarshowapastbuiltonafictionalMex-ico,orratherafictionthatgeneratesitsownmemory.

Boththematicelementsareaccompaniedbyelementaryvisu-ality representedby the rancherooutfits that emerge andbecomestandardizedinthe1940’sand1950’sfilmindustryinMexico:theclassicalcharrogalasuit.Nowincorporatedtoafictionaleverydaylife,thesegarmentsusuallyreservedfortraditionalcelebrationsareincorporatedtocontrasttheruralandurbanworldswherethetele-novelacharacterslive.

Fromthisperspective,therecannotbeaclearerexamplethanthatofAmor bravío.Takingadvantageofanatmosphere thathastodowiththebullfightingtheme(withclearvisualreferencestoSpanishbullfighting),thecharacterswearthecharrosuitswornonspecialoccasions.

About this movement towards the rancher theme, FlorenceToussaint(2013)distinguishesapastwhenwealthwasfirmlyan-chored to the farm lands.Wemightsay that telenovelas live inaspecies of “other times” suspiciously similar to prerevolutionaryMexico.Theauthorexpandsthistelenovelamovementuntil2013,withtelenovelassuchasCorazón indomable,Amores verdaderos or La mujer del vendaval(thethreebyTelevisa).


Within this land-centeredatmosphere, theclassical storiesoftheMexicanmelodramamoveverywell,widelyrevolvingaroundthethemeoftheunityoftheextendedfamily.Thedramasthatfacethefamilyofruraloriginwiththecountry’smodernlife(drugtraf-fic,abortion,homosexuality,etc.)takethedramaofnationaliden-titytoitsultimateheights,representedinthefamily.Inthissense,thepastandthememoryconstructedinrelationtotheproductsofthenationalculturalindustryitselfisacentralelementof2012fic-tion,notcharacterizedbyhistoricalfictions,butratherbringingtothepresenta“period”atmospherethatgivesnewmeaningtothelifeexperiencesofpresent-dayMexico.

ReferencesAMIPCI (2012),Hábitos de los usuarios de internet en México 2012.

RecoveredonApril10,2013fromhttp://www.amipci.org.mx/?P=esthabitos.

COFETEL(2011),Suscripciones a teléfonos móviles. SerieAnual.Reco-

veredonApril15,2013fromhttp://siemt.cft.gob.mx/SIEM/#!prettyPhoto/45/.

IABMéxicoet al. (2012).Estudio de Consumo de Medios entre Internau-

tas Mexicanos- RecoveredonApril10,2013from http://www.iabmexico.com/

Estudio_Consumo_Internautas_2013_Mexico.

MAZZIOTTI,Nora(1996).La industria de la telenovela. La producción

de Ficción en América Latina.BuenosAires:Paidos.

MERCA2.0(April,2013).Inversiónenmedios,134.

NOTIMEX(2012).Se inspira La Teniente en hechos reales.Recovered

on September 20, 2012 from http://www.veracruzanos.info/se-inspira-la-te-

niente-en-casos-reales-de-mexico/.

REVISTAZOCALO(2013,February)“Cambiosenmediciónderating,

noencontenidos”,interviewofGuillermoOrozcotoRubenJara.

TELEVISA(2013)Informe Anual 2012.Televisa.Mexico.

TOUSSAINT, Florence (March 2, 2013). Amores rancheros.Proceso,

1896.

9Peru: FIcTIon oF enTrePreneurs1

Authors:JamesA.Dettleff,GiulianaCassano,

GuillermoVásquezF.

Team:

RoggerVergara,TatianaLabarthe, ThaliaDancuart,NatalyVergara


ForewordAfter the presidential election campaign in 20112 Peruvian

televisionregainedamoreactiveproductionin2012,whichmeantmorefiction,contestandreality shows,whichwerebroadcastedinfourofthesixnationwidestations.

ThemainformatsusedbyPeruvianfictionhavebeenminise-riesandtelenovelas,withindependentcompaniesbeingattheheadofproduction.Thishasestablishedagroupofcompanies thatareproducingfictionandrealityshows,whichallowustotalkaboutasmallaudiovisualindustry,besidesthebroadcastingcompaniesthattraditionallyweretheonesthatwerebehindtelevisionproductioninPeru.OfthethirteenPeruvianfictionspremieredin2012,sevenwereproducedby independent companies, beingDelBarrioPro-duccionesthemainonewithfourfictions.

Thethemesdepictedonthosefictionshavekepttargetingapartofthecitizensthatalmostdidnotexistforthetelevisionuntilade-

1WewishtoacknowledgeandthankIbopeMediaPerufortheirsupport.Alltheratingdatausedinthischapterhasbeenprovidedbythem.2Thepresidentialcampaignhadpolarizedgovernmentproposals,whichendedinuncer-taintyonseveraleconomicgroupsofthecountrythatleadtoareductionofinvestment,whichalsoaffectedinvestmentintelevision.

372 | Obitel 2013

cadeago:theemergingclass.46%ofthe2012PeruvianfictionshadasmaincharacterslowincomePeruvians,whorisetoendupbeingsuccessfulentrepreneursthankstotheirwork,effort,endurance,anda goodpart of sufferingon the story.This reflects the picture ofthenewPeruvian,workerandentrepreneur,picture thathasbeenbuiltinthecountryinthelastdecade,whenaclassofentrepreneursestablishedlegalbusinessesbecominganimportantforceofthena-tionaleconomy.3Inthissense,thepresenceandthemesonPeruvianfictionreflectthisemergingclass,whichalsorelatestotheacquisi-tionpowerandconsumerhabitsthisaudiencehas.Butatthesametimewecanalsotalkabouttheindependenttelevisionproductioncompaniesthathavebeenestablishedinthelastdecade,whicharealsoaresultoftheeffort,entrepreneurshipandhardworkoftheirownersandworkers.

A brief history of Peruvian televisionPeruvian televisionwas born in 1958,when the state-owned

station Canal 7 started broadcasting from the capital city Lima.Since that year several private television stationswere founded4,mainlybyradioowners.AmericaTelevisión,PanamericanaTele-visión,Canal9andCanal2werefoundedinthelatefifties,andin1967Canal115 started tobroadcast. In1968 therewasamilitarycoupleadedbyGeneralJuanVelasco,whotookcontrolofallTVstationsin1971,whichcausedareductionoffictionproduction,butwithoutdisappearingcompletely.

Whendemocracy returned toPeru in 1980only three of thepioneerbroadcastingstationssurvived:Canal7,AméricaandPana-mericana.InthefollowingyearsFrecuenciaLatina,ATV,RBCand

3Peruwasthirdontheentrepreneuractivityrankingin2011,with22.9%.Source:http://latierraesflat.wordpress.com/2012/06/01/emprendimiento-en-el-peru/. Reviewed on20/2/2013.4ThehistoricdatahasbeentakenmainlyfromFernandoVivas’sbook,quotedonthereferences.5AlltheseTVstationswerefoundedinLima.Nevertheless,in1959TelevisoraSurPe-ruanawasalsofoundedinthesoutherncityofArequipa.

Peru – Fiction of entrepreneurs | 373

GlobalTelevisiónwere founded,and fictionproduction restarted,althoughitbecamehighlyaffectedbythedeepeconomiccrisisthathitthecountryinthesecondhalfoftheeighties.Duringthegovern-mentofAlbertoFujimoriinthenineties,thetelevisionproductionregainedstrength,butagain,whenthegovernmentfellin2000andtherewasproofofembezzlementandcorruptionwhereTVownerswereinvolved,Peruviantelevisionwentintodeepcrisisthatendedin legal fights,someowners inprison,othersfleeing thecountry,and a dispute for ownership that meant the companies changinghandsorbeingundertheadministrationofatemporarycouncil.

1.1. Television networks in PeruTherearesixtelevisionstationsthatbroadcastonVHFfrequen-

cies.AllofthembroadcastfromLimaandhavesatellitetransmis-siontotheirassociatesinthemaincitiesofthecountry.Fiveofthemareprivate:FrecuenciaLatina,AméricaTelevisión,PanamericanaTelevisión,AndinadeTelevisión(ATV)andGlobalTV(memberoftheATVgroup,ownedbyMexicanÁngelGonzáles).Thesixthbroadcastingcompany,TVPerú,isownedbythePeruvianState.

Graphic 1. National open television networks in Peru

Private networks (5) Public networks (1)FrecuenciaLatina TVPerúAméricaTelevisiónPanamericanaTelevisiónATVGlobalTV

Total = 6Source:ObitelPeru

374 | Obitel 2013

1.2. Audience trends

Graphic 2. TV rating by network (homes)

Network %FrecuenciaLatina 5.61

AméricaTelevisión 8.45

PanamericanaTelevisión 1.65

ATV 5.77GlobalTV 2.11Others 0.62

Source:IbopeMediaPeru

Graphic 3. Share by network (homes)

NetworkIndivi- dual share

%

FrecuenciaLatina 14.70 23.8

AméricaTelevisión 22.10 35.8

PanamericanaTelevision 4.30 7.0

ATV 15.10 24.5

GlobalTV 5.50 8.9

Source:IbopeMediaPeru

Graphics2and3showhowAméricaTelevisiónleadstheaudi-encepreferences,followedbyATV.América’sdominanceissuchthat not even adding the numbers ofATV andGlobal TV –bothownedbythesamegroup–theycanmatchAmerica’snumbers.Fre-cuenciaLatinaholdsthirdplaceoftheaudience,whilePanameri-cana(thatshowsmainlyseriesfromthe70s)is inaveryfarfifthplace.Wemustsaythatseveralyearsagothestate-ownedTVPerúaskednottobeconsideredbytheratingcompanies,sotherearenoofficialnumbersforit.

Rating (Homes)

FrecuenciaLatina

AméricaTelevisión

PanamericanaTelevisión

ATV

GlobalTV

Others

5,77

8,45

5,61

1,65

2,11

0 0,62

Share (Homes)

FrecuenciaLatina

AméricaTelevisión

PanamericanaTelevisión

ATV

GlobalTV

Others

15,10

22,10

14,70

4,30

5,50

0 1,70


Graphic 4. Genres of shows offered by Peruvian TV

Genres broadcasted

Hours broad-casted

%

Information 11,904:00 24.5Fiction 18,097:35 37.2

Entertainment 14,509:50 29.9Religious 163:55 0.3Sport 2,269:30 4.7

Education 1,453:45 3.0Others 200:00 0.4Total 48,598:35 100

Source:ObitelPeru

Graphic4showsthatfictionhashadahugepresenceonPeru-vian television in2012, followedbyentertainment showsand in-formation.24%ofentertainmentshowshavetheformatofwhatisknownasrealityshowsthathavebecomehighlypopularinthelastfouryears6.

Informationprogramsholdalmost25%ofprogrammingtime,wherenewsshowsandmagazinesabound.Inthelastdecades,jour-nalism hasmoved its interest for red press and celebrity gossip,whilepoliticalandnationalinteresttopicshaveyieldeditspresence.

Fictionholds37.2%of theprogramming time7,and thisvastpresence goes hand by handwith audience results and advertise-mentinvestment,asweshallsee.

1.3. Advertisement investmentAccordingtoIbopeMediaPeru,advertisement investment in

Peruwasequivalentto4,321milliondollars8in2012,butitshowedapercentagedecreaseinmostmediacomparedto2011.Televisionand printed newspaperswere the onlymedia that showed higher

6SomethingtobehighlightedforPeruviantelevisionisthat,contrarytowhatusedtohap-peninpasttimes,reality formatshavebeenboughttothefranchiseowners.7Forthisnumberswehaven’tcountedthererunhoursthatarecustomaryinthehoursbeforedawn.Ifwehaddoneit,thefictionpercentagewouldhavebeenevenlarger.8Takenintoconsiderationthecostbyadvertisementproductspublishedbytheownme-dia.

Horas de Exibição

Information

Fiction

Entertanment

Religious

Sport

Education

Others

37,2%

24,5%

29,9%

4,7%3,0%

0,4%0,3%

376 | Obitel 2013

percentages of the advertisement funds, where the first gathered72.04%oftheinvestment(whichmeansanincreaseof2.05%com-pared to 2011) and the second had a 6.88% participation of theinvestment,whichmeansan increaseof5.3%compared to2011.Cablewasthesecondmediawithhigherinvestmentin2012,gather-ing14.37%ofadvertisementincome(1.3%lessthanin2011),whileadvertisinginvestmentinradiowas5.12%ofthetotal,andmaga-zinesgathered1.6%.Thesepercentagesreflecttheinvestment,butnotthenumberofadvertisementproducts.Wemustnotforgetthatthepriceforairingaspotontelevisionisprettymuchhigherthanthatonradiooranadonanewspaperormagazine,andwehavetoconsiderthisbeforereadinganythingfurtherofthehugedifferenceofinvestmenttowardstelevision.

1.4. Merchandising and social merchandising.Peruvian television programs have found on merchandising

andproductplacement away to achieve resources for thebroad-castingstationsandtheindependentproductioncompanies.Severalshowsproduceandselllotsofmerchandisethathavepicturesofthepopularfiguresofthetelevisionshows:notebooks,toys,dolls,col-lectioncards,lunchboxes,foodproducts,etc.Itisalsocustomarythatshowsandtourswiththemaincharactersgoarounddifferentpartsofthecountryeveryotherweekend,orthatonnationalholi-dayssomecircus(thatarrivetothecitiesonthosedates)takethenameofapopulartelevisionshow,wherethecharactersperform.

Also, in severalepisodesof the showswecanseeonscreenpanel boards, clocks, calendars that have in large size the nameofcompaniesor itsproducts,whichare theones thatsponsor theshows;itcanalsobeseeninsomeepisodesthatcharactersuseorconsumetheproductsofthesponsorcompanies.

Socialmerchandisinghavebeenpresentthroughreferencesofservicesorbenefitsinsomeshowsthathavesocialproblemsaspartof their themes, such as domestic violence, discrimination, pedo-philiaordisability.Thiswasmainlypresent in fictions likeSola-


mente milagros(seasons1and2)andinConversando con la luna,

whichhadaclearsocialinterestontheirthemes.

1.5. Communication policiesInApril,2009,PerudecidedtogowiththeBraziliansystemof

digitaltelevision,andonMay31st,2010thehighdefinitiontrans-missions began.This system (and the transition towardsDTT, ingeneral) was chosen under the premise that digital channels andmostoftheavailablefrequenciesweregoingtoallowtelevisionde-mocratization,whichwouldhavebeengrantedinamorepluralwaywithinthedifferentregionsofthecountry.

“Digitaltelevisionisagreatopportunitytode-mocratize the Peruvianmedia system endow-ing it withmore diversity and pluralism and,therefore, put it in tunewith the principal in-ternational recommendations inmatterof freespeech”(Gómez,2012).9

Thegovernment is stillworkingon themechanics related totheprocessforgrantingdigitallicenses,butthemostimportantTVstationsofLimahavealreadygottenintoaccountafairnumberoffrequencies to transmithighdefinitionandstandarddigital signalsimultaneously, althoughnot everyone isusing theadvantagesofthisoption.

Through the 2004 Telecommunications Law, the ConsultiveCouncilofRadioandTelevision(ConsejoConsultivodeRadioyTelevisión–CONCORTV)wascreatedanditorganizescitizenandmonitoring activities and poles about television, but its opinionsandrecommendationsarenotbinding.Duringitsyearsoffunction-ing,CONCORTVhasrealizedseveralpublicaudiencesindifferentpartsofPeru, includingintheagendasubjectssuchaschildhood,

9 http://www.concortv.gob.pe/index.php/noticias/992-como-fortalecer-la-pluralidad-en-la-transicion-a-la-tv-digital-en-el-peru.html.

378 | Obitel 2013

gender,equality,etc.,althoughthepoliciesassociatedtothismat-tershavenotbeennecessarilyachieved.

1.6. Public televisionTVPerúisthenameofthestate-ownedTVstation10that,in-

steadoffunctioningasapublicaccessTVchannel,hasbeenman-agedasastationinserviceofthedifferentgovernments11asapropa-gandisticmedia,withfrequentinterruptionsinitsprogrammingtoissuesomeofficialactoftheExecutivePower.Themostoutstand-ingcase–inregardtothisobservatory–wastheinterruptionofthefinalepisodeoftheonlyfictionproducedin2012byTVPerú(Con-

versando con la luna) tobroadcastaliveinterventionfromPresi-dentHumala.After this interruption the TV programming beganagainwiththenews,andthelast10minutesfromthisfinalepisodewerenotbroadcasted.

Itsprogrammingisprimarilynon-fiction,butin2012itoptedfortheTVfictionConversando con la luna.Raisingsocialissuessuchasdiscriminationandsocialinclusion,theprojectconsistedoffour fictionsof five episodes each,whichwerebroadcasted fromMondaythroughFriday.Afterthemonthofrelease,theywerere-peatedthreemoretimes.Ithasbeenannouncedthattherewillbeasecondsetofstories,whichwillbereleasedin2013.

1.7. Pay TVThereareanumberofcompaniesofferingpayTVsystemsin

Peru, althoughmany operate informally or in smaller cities. Thethreemain companies offering pay television inmuchof thePe-ruvianterritoryareMovistarTV,DirecTVandClaroTV.Theyof-fer(alongwitharangeofinternationalchannels)PeruvianstationsonVHFairwaves,someofthemthataretransmittedinUHF,and

10TherearealsopublicTVstationsinhandsoflocalmunicipalities.Nevertheless,thisistheonlypublicstationofnationalreach.11TheConsultiveCouncilofRadioandTelevision(ConsejoConsultivodeRadioyTele-visión-CONCORTV)hasstartedacampaigntopromotetheneedofhavingaTVstationofrealpublicuseinPeru.


premiumchannelsexclusiveofcableTV.Oftheselastones,Movis-tarTVhassevenPeruvianTVchannels12exclusiveforcabletelevi-sion,whileClaroTVoffersoneexclusivelytheirsandalsohasoneofferedbyMovistarTV.Themainprogrammingofhalfoftheeightchannels is informative,while two are sports channels, one is anentertainmentchannelandtheotheroneisreligious.

Asfor theaudienceofcablechannels,after thePeruvianna-tionalchannelsthatarealsooffered,TLNovelasistheprimewithashareof3.7,whichisbarely0.6lessthanPanamericana’sshare.BehindTLNovelasareCartoonNetwork,DiscoveryKidsandDis-neyXD.

1.8. Digital Terrestrial Television (DTT) and InternetAssaidbefore, themainstationsofLimahavebeengranted

digitalsignals,althoughtheyarenotalwaysusedforairingdifferentcontentsfromtheirstandardsignal.FrecuenciaLatina–whichhasadigitalchannel–,AméricaTelevisiónandPanamericana–eachair-ingontwodigitalchannels–issuethesameprogrammingastheirregular broadcasting. TVPerú uses three digital channels,whichbroadcastdifferentprogramming,whileATVgrouphasfourchan-nels,broadcastingATVprogramminginone,inanotheroneitsin-formativechannelATV+, in the thirdoneGlobalTV, and in thefourthoneitsUHFchannel,LaTele.

DTTtechnologyalsoallowsreceivingwirelesssignal inmo-bilephones,andinthatsenseitisAmericaTelevisiónthathasbeenattheforefront,duetothefactthatitbroadcastsitsdigitalprogram-minginaformatthatcanbereceivedbymobilephonesthathavebuilt-indigitaltuner.

All channels observed in this research havewebsites,wherepostedchaptersofitsvariousprogramscanbefound,andinsomecasesthereislivestreamingofitsprogramming.ATVhasaplat-

12 TheseareCMD,PlustTV,CanalN,RPPTV,Willax,CanalJCPandTeleJuan.ThislastoneisareligiouschannelwhichissuesinopensignalbyUHF,butthecablechannelmixesthissignalwithotherreligioussignalsofcableTV.

380 | Obitel 2013

formthatprovidesaccesstothefourLimachannelsofthegroup,and it provides information, the possibility towatch any of theirprograms–bothliveandlater–,forums,commentsandlinkstoitsFacebook page andTwitter profile.AméricaTelevisión and Fre-cuenciaLatinaofferthesameoptionsasthosedescribedabove,butalsohavechatswithactorsfromtheirproductions,thechancethatwebsiteusersuploadtheirphotoswithseveralofthefamousfacesofthestation,andtheoptiontodownloadwallpapersofthestationanditsproductions.However,theorganizationoftheirpagesisnotfriendlyanditishardtogettotheoptions,soitdoesnotleveragethefullpotentialofinteractionthattheyhave.InthecaseofPanameri-canaTelevisión andTVPerú, information predominates on theirwebsiteswhereyoucanfind thedifferentsegmentsof theirnewsprograms,alongwithlivebroadcastprogramming.


DespitethemassiveappearanceofrealityshowsonPeruviantelevision,ithasbeenfiction–andparticularlythePeruvianfiction–whohashadagreatpresenceandacceptancebytheaudience.Ex-ceptforsomesportingevents,fictionhasoccupiedthetoptuning.In2012,thirteenPeruvianfictionspremiered(whichwerebroadcastedinfourofthesixstationswithnationalcoverage)andelevenPeru-vianfictionsmadeinpreviousyearswerererun.


Chart 1. Fictions broadcasted in 2012

NATIONAL PREMIERED TITLES- 13

América Televisión - 91.Al fondo hay sitio(telenovela)2.Gamarra(miniseries)3.La AKdemia(series)4.La faraona(miniseries)5.La reina de las carretillas(miniseries)6.Mi amor el wachimán(miniseries)7.Solamente milagros(series)8.Solamente milagros 2ndseason(series)9.Yo no me llamo Natacha 2(miniseries)

Frecuencia Latina - 2 10.La bodeguita(series)11.La Tayson(telenovela)

TV Perú - 1 12.Conversando con la luna(miniseries)

ATV - 1 13.Corazón de fuego(telenovela)

IMPORTED PREMIERED TITLES - 27

América Televisión - 11 1.Abismo de pasión(telenovela-Mexico)2.Amor bravío(telenovela-Mexico)3.Amorcito corazón(telenovela-Mexico)4.Amores verdaderos(telenovela-Mexico)5.Cachito de cielo(telenovela-Mexico)6.Como dice el dicho(series-Mexico)7.Dos hogares(telenovela-Mexico)8.Esperanza del corazón(telenovela-Mexico)9.La que no podía amar(telenovela-Mexico)10.La Rosa de Guadalupe(serie-Mexico)11.Rafaela(telenovela-Mexico)

ATV- 10 12.Corazón valiente(telenovela-USA)13.Decisiones extremas(serie-USA)14.El secretario(telenovela-Colombia)15.Grachi(telenovela-USA)16.Herederos del monte(telenovela-Colombia)17.Insensato corazón(telenovela-Brasil)18.La reina del sur(telenovela-USA)

RERUN TITLES- 61

Frecuencia Latina1.Clave uno(series)2.Demasiada belleza(telenovela)3.El encantador(telenovela-Colombia)4.Grafitti(telenovela)5.La paisana Jacinta(series)6.Los Barriga(telenovela)7.Pataclaun(series)8.Tiempo final(telenovela-Colombia)9.Vírgenes de la cumbia(miniseries)

América Televisión10.Amar otra vez (telenovela-Mexico)11.Apuesta por un amor(telenovela-Mexico)12.Así es la vida(telenovela)13.Blancanieves y los churi churin chunflais(telefilm-Mexico)14.Chespirito(series-Mexico)15.Contra viento y marea(telenovela-Mexico)16.Destilando amor(telenovela-Mexico)17.El chapulín colorado(series-Mexico)18.El chavo del ocho(series-Mexico)19.Fuego en la sangre(telenovela-Mexico)20.Hasta que el dinero nos separe (telenovela-Mexico)21.María la del barrio(telenovela-Mexico)22.María Mercedes(telenovela-Mexico)23.Marimar(telenovela-Mexico)24.Mi destino eres tú(telenovela-Mexico)25.Mujer casos de la vida real(series-Mexico)26.Nacida para triunfar(miniseries)27.Rosalinda(telenovela-Mexico)28.Sueña conmigo(telenovela-Argentina)

Panamericana Televisión29.1000 oficios(telenovela)30.Augusto Ferrando de pura sangre (miniseries)31.Doña Bella(telenovela-Brazil)32.Esposos pero tramposos(series)33.Gata salvaje(telenovela-Venezuela/USA)34.Los exitosos Pérez(telenovela-Mexico)35.Pantanal(telenovela-Brazil)

382 | Obitel 2013

Source:ObitelPeru

This national fiction production means an increase of 44%comparedto2011,whenitpremieredninePeruvianfictions.Inthecaseofpremieredforeignfictions, in2012onemoretitlewasre-leasedcomparedtothepreviousyear.

19.Oye bonita(telenovela-Colombia)20.Pasiones(telenovela-Brazil)21.Una maid en Manhattan(telenovela-USA)

Frecuencia Latina- 3 22.Calle luna calle sol(telenovela-Venezuela)23.Los caballeros las prefieren brutas (series-Colombia)24.Pasión morena(telenovela-Mexico)

Panamericana Televisión- 2 25.La viuda joven(telenovela-Venezuela)26.Luna roja(telenovela-Portugal)

Global TV- 1 27.Génesis(series-Spain)

36.Salvador de mujeres(telenovela-Venezuela/Colombia)37.Taxista ra ra(series)38.Xica da Silva(telenovela-Brazil)

ATV39.Cada quien su santo(series-Mexico)40.Decisiones de mujeres(series-USA)41.Desastres de la guerra(series-Spain)42.Hay alguien ahí(series-Spain)43.Historias de sexo, gente común(series-Argentina)44.La hija del mariachi(telenovela-Colombia)45.La mujer en el espejo(telenovela-Colombia)46.La vida es así(telenovela-Colombia)47.Lo que callamos las mujeres(series-Mexico)48.Lo que la gente cuenta(series-Mexico)49.Mujeres asesinas(series-Mexico)50.Pasión de gavilanes(telenovela-Colombia)51.Sangre fría(miniseries-Argentina)52.Séptima puerta(series-Colombia)

Global TV53.A cada quien su santo(series-Mexico)54.Casado con hijos(series-Argentina)55.Decisiones(series-USA)56.En los tacones de Eva(telenovela-Colombia)57.La bella Ceci y el imprudente (telenovela-Colombia)58.La hija del jardinero(telenovela-Mexico)59.La niñera(series-Argentina)60.Lo que la gente cuenta(series-Mexico)61.Toda una dama(telenovela-Venezuela)

TOTAL BROADCASTED TITLES - 101


Chart2.Premierefictionin2012:countryoforigin


NATIONAL(total) 13 32.5 733 24.3 552:25 23.3

IBERO-AMERICAN(total) 27 67.5 2,279 75.7 1,820:00 76.7

Argentina 0 0.0 0 0.0 00:00 0.0Brazil 2 5.0 247 8.2 189:55 8.0Chile 0 0.0 0 0.0 00:00 0.0Colombia 4 10.0 153 5.1 127:10 5.4Ecuador 0 0.0 0 0.0 00:00 0.0Spain 1 2.5 17 0.6 14:20 0.6USA(Hispanicproduction) 5 12.5 482 16.0 381:55 16.1Mexico 12 30.0 1,152 38.3 916:35 38.6PERU 13 32.5 733 24.3 552:25 23.3Portugal 1 2.5 22 0.7 17:50 0.8Uruguay 0 0.0 0 0.0 00:00 0.0Venezuela 2 5.0 206 6.9 172:05 7.3LatinAmerican(Obitelscope)

33 82.5 2,492 82.7 1,958:10 82.5

LatinAmerican(notObitelscope)

0 0.0 0 0.0 00:00 0.0

Others(LatinAmerican/Ibero-American)

7 17.5 520 17.3 414:05 17.5

TOTAL 40 100 3,012 100 2,372:15 100

Source:ObitelPeru

Thenationalfictionsaretheonesleadingthenumberofpre-mieresin2012,occupyingalmostthethirdportionofpremieredfic-tionissuedduringthatyear.Mexicoproductionsarenext,especiallyby the largeamountof fiction in that country issuedbyAméricaTelevisión13.TheSpanish-speakingU.S.productionandColombianfictionfollowthem,thankstothepresencetheyhadonATV.WeshouldclarifythatthepresenceofPortuguesefictiononthelistisduetothebroadcastingofthetelenovelaLuna RojabyPanameri-canaTelevisión.However,theprogrammingofthisstationhasbeenveryunstable,constantlybeingmodified.

13Ofthesixobservedstations,AméricaTelevisiónistheonlyonewherethehoursoffic-tionbroadcastedduringtheyearexceedthehoursofnon-fiction,withaslightdifferenceoftwopercentagepoints.

384 | Obitel 2013

Chart3.C

hapters/episodesandhoursbroadcastedbytimeslot

Tim

e sl

ots

Nat

iona

lIb

ero-

Am

eric

anT

otal

C/E

%H

%C/E

%H

%C/E

%H

%

Morning(6:00-12:00)

00.0

00:00

0.0

733.2

58:30

3.2

732.4

58:30

2.5

Afternoon(12:00-18:00)

395.3

30:50

5.6

1,021

44.8

791:10

43.5

1,060

35.2

822:05

34.7

Primetim

e(18:00-23:00)

695

94.7

521:00

94.4

763

33.5

527:20

29.0

1,458

48.4

1,048:15

44.2

Night(23:00-6:00)

00.0

00:00

0.0

421

18.5

442:55

24.3

421

14.0

442:55

18.7

Tot

al73

310

055

1:50

100

2,27

910

01,

819:

5510

03,

012

100

2,37

1:45

100

Source:O

bitelPeru

Chart4.N


ats

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

%

Telenovela

323.08

482

65.67

360:50

65.31

2281.48

1,918

84.15

1,551:10

85.22

Series

430.77

9312.64

73:20

13.27

518.52

361

15.85

269:10

14.78

Miniseries

646.15

159

21.69

118:20

21.42

00.0

00.0

00:00

0.0

Telefilm

00.0

00.0

00:00

0.0

00.0

00.0

00:00

0.0

Unitary

00.0

00.0

00:00

0.0

00.0

00.0

00:00

0.0

Docudrama

00.0

00.0

00:00

0.0

00.0

00.0

00:00

0.0

Others

00.0

00.0

00:00

0.0

00.0

00.0

00:00

0.0

Tot

al13

100

733

100

552:

3010

027

100

2,27

910

01,

820:

2010

0

Source:O

bitelPeru


RegardingObitelfiction,telenovelaremainsthemostcommonformat(62.5%ofalltitles)followedbytheseries(22.5%)andtheminiseries(15%).InparticularforPeru,theminiseriesisthemostcommontypeofformatfortheirproductioncostsanddurationre-ducinginvestmentrisks.Almosthalfof thenationalfictionshavechosenthisformat.Duringthebroadcastingofaminiseries ithasbeendecided tomodify its end to allow theproductionof anewseason,thankstothegoodaudiencenumbers.Ithasbeenannouncedthatthreeofthesixminiseriesbroadcastedin2012willhaveasec-ondseason,whileanotherminiseriesissuedin2012wasalreadyasecondseasonofaminiseriesbroadcastedin2011.

Chart5.Nationalfictionformatsbytimeslot

FOR-MATS

Morn-ing %

Af-ter-

noon% Prime

time % Night % TO-TAL %

Tele-novela 0 0.0 0 0.0 3 25 0 0.0 3 23.1

Series 0 0.0 1 100 3 25 0 0.0 4 30.8

Minise-ries 0 0.0 0 0.0 6 50 0 0.0 6 46.2

Telefilm 0 0.0 0 0.0 0 0.0 0 0.0 0 0.0

Unitary 0 0.0 0 0.0 0 0.0 0 0.0 0 0.0

Docu-drama 0 0.0 0 0.0 0 0.0 0 0.0 0 0.0

Others 0 0.0 0 0.0 0 0.0 0 0.0 0 0.0

Total 0 0.0 1 7.7 12 92.3 0 0.0 13 100

Source:ObitelPeru

InPeru,nationalfictionismainlybroadcastedatprimetime,competing against the most viewed shows on television. During2012, thefictionsfromthis timeslothavecompetedagainst real-ity contests, entertainment and show-business programs, finallyachieving the leadership on the audience’s measurement, whichwasachievedbyonlyonefictiontheyearbefore.Fromallnationalfictionspremieredin2012,twelvehavebeenbroadcastedonprime

386 | Obitel 2013

time, proving the confidence that the audience had by acceptingtheseshows.

In case of Ibero-American fiction, they share their presenceinafternoonsandprimetime.However,itisinterestingtoseethatsomestationswereencouragedenoughtopremierefictionsinthenightslot,evenaftermidnight.Thisresultsinasignificantpercent-age in comparison to premiered shows during the morning slot,sincethisisatimeframededicatedmostlytoinformationanden-tertainmentshows.

Chart 6. Time periods

AgeNational Ibero-American TOTAL

Titles % Titles % Titles %

Present 13 100.0 27 100.0 40 100.0

Vintage 0 0.0 0 0.0 0 0.0

Historical 0 0.0 0 0.0 0 0.0

Other 0 0.0 0 0.0 0 0.0

Total 13 100 27 100 40 100

Source:ObitelPeru

InPeru,fictiontimeperiodshownin2012iscompletelycon-temporary.Thestoriesdevelopthemselvesinpresenttimeorinaveryrecentpast.Somefictionsmayhavescenesthatstartwiththecharacters’storyinthepast,butthentherestofitisplayedcontem-porarily.


Chart 7. The 10 most watched titles: origin, rating, share

Title

Country of origin of the original idea

or script

Produc-tion

companyStation

Author of the script

or the original

idea

Ra- ting

Sha- re


PERUAméricaTelevisión

AméricaTele-visión

GigioAranda

16.56 53.82


PERUDelBarrioProduc-ciones


VíctorFalcón

15.42 46.11

3La reina de las carretil-las



VíctorFalcón

14.11 43.37

4 La faraona PERUAméricaTelevisión


RosaGutiérrez

11.88 35.13

5La que no podía amar

Mexico TelevisaAméricaTele-visión

Delia Fiallo/XimenaSuárez

11.64 35.10

6Solamente milagros(2ndseason)

PERUAméricaTelevisión


RosaGutiérrez

9.96 35.64

7 Gamarra PERUDelBarrioProduc-ciones


VictorFalcón/EduardoAdrianzén

9.47 31.38

8La reina del sur

USATelemun-do/RTI

ATV

Adap-tacióndelanoveladeArturoPérez-Reverte

8.90 29.28

9Yo no me llamo Nata-cha 2



VictorFalcón

7.99 30.92

10Corazón de fuego

PERUGrupoATV

ATV

KathyCárdenas/MarianaSilva/Bruno

Ascenzo/NataliaParodi

6.23 22.52


100% 20%

Source:ObitelPeru/IbopeMediaPeru

388 | Obitel 2013

Chart 8. The 10 most watched titles: format, duration, time slot

Title Format Genre


Date of the firstand

last issue (in 2012) (*)

Time slot


Telenovela Comedy 211 27/02-14/12 Prime


Miniseries Comedy 43 01/10-09/11 Prime

3La reina de las carretillas

Miniseries Drama 22 12/11-(cont.) Prime

4 La faraona Miniseries Drama 22 27/08-28/09 Prime


Telenovela Drama 166 11/01-24/08 Prime

6Solamente milagros(2ndseason)

Series Drama 11 17/12-(cont.) Prime

7 Gamarra Miniseries Drama9(startedin2011)

02/01-10/01 Prime

8 La reina del sur TelenovelaDrama / action

82 02/01-10/04 Prime

9Yo no me llamo Natacha 2

Miniseries Comedy 22 02/01-27/01 Prime

10Corazón de fuego

Telenovela Drama 146 02/01-17/07 Prime


ThepredominanceofAméricaTelevisión’sbroadcastedpro-ductions in2012canbeseen inChart7.Here, theseven fictionswiththelargestaudiencebelongtothisstationanditalsohaseighttitlesintothetenmostwatchedshows’list.OnlytwoproductionsbroadcastedbyATVhaveachievedtobeintothislistthathasmainlynationalfictions.ThetelenovelasLa que no podía amar(América)andLa reina del sur(ATV)aretheonlyforeignfictionsthathavemanagedtobeamongthemostviewedfictionsinPeru.

AméricaTelevisión’sprimetimeprogramming(between20:00and22:00)hasbeencompletedmostlywithnationalfictionsthatre-ceivedabigaudienceresponse.Asthe20:00scheduleisdedicatedtoitsverysuccessfulAl fondo hay sitio,onefictionaftertheotherwasprogrammedinthe21:00,alsowithgoodaudienceresponse.


Chart 9. Themes of the 10 most watched titles

TitlesDOMINANT THEMES(Up to 5 most important

themes)

SOCIAL THEMES(Up to 5 most important

themes)

1Al fondo hay sitio(4thseason)

-Secretfromthepast-Socialclimbers

-Infidelity-FamilyRelationships

-Romance

-Socialinclusion-Racism-Migration


-Tributetoprivatewatch-men

-Socialdifferences-Loyalty-Romance

-Overcoming-Entrepreneurship-Familyvalues

3La reina de las carretillas

-Peruviancuisine-Loyalty

-Motherhood-Infidelity

-Familyvalues-Entrepreneurship-Overcoming

-Violenceagainstwomen-Solidarity

4 La faraona-Popularmusic

-Biographicminiseries-Betrayal

-Entrepreneurship-Overcoming-Familyvalues


-Romance-Familydisintegration

-Sacrifice

-Genderviolence-Disability

6Solamente milagros(2nd season)

-Home-Family

-Religiousness

-Familyvalues-Corruption-Pedophilia-Drugabuse

7 Gamarra-Familyrelationship

-Betrayal-Vengeance

-Entrepreneurship-Overcoming-Solidarity

8 La reina del sur-Death-Betrayal-Friendship

-Drugtraffic-Culturalidentity

9Yo no me llamo Natacha 2

-Romance-Loyalty

-Peruviancuisine

-Entrepreneurship-Overcoming-Solidarity

10Corazón de fuego

-Secretfromthepast-Infidelity-Betrayal

-Peruvianpisco


Thecharacters’personalgrowthtroughhonestwork,thesuc-cessthankstotheirperseverancedespiteconstantfrustrations,theirloyalty and solidarity against treason and adverse situations have

390 | Obitel 2013

beenrecurringthemesinmanynationalfictions.Asmentionedbe-fore,theyallwentfortheentrepreneurpicturewithaverydifficultandhumbleorigin.Thischaracterrisesupandovercomesobstacles,disgraces,meanness,untilachievingnewheights,successandper-sonalandprofessionalfulfillment.SuchcharactershavealwayshadPeruvian related qualities: beinggood cooks forPeruvian dishes,beingdressmakingprofessionalsortraders,vineyardfarmingandpiscoproducers,orbeingpopularmusicsingers.Theyallhavetogetinvolved,competeandsucceedinoneoftheseactivities,whiletheyfindasolutionfortheirfamilyorlovingtroubles.

Romancebetweencharactersfromdifferentsocialclasseshasalsobeenpresent.Farfrompresentingromanticrelationsaswaysofsocialclimbing14, theyestablishthemselvesaswaysofidentityassertiveness,whereloveovercomesthebarriersandprejudicesofPeruviansociety. Itmakespossible that theromanticpairsacceptthemselveswiththeconditionsandcharacteristicsofeachother.

Inthisway,nationalfictionstalktousaboutaPeruvianimag-inary and a longing society thatmay not be true, but sometimesseemstobeconfiguringitselfontelevision.Thisimaginaryshowsapossibilitywheredifferencescanbeovercome,thesamewayindi-vidualssucceednotgivingupwiththeirdailystruggle.Itisimpor-tanttosaythattwoofthefictionsthatareinthischart(GamarraandLa faraona)arebasedontrueevents,thereforethesuccessstoriesdonotremainonlyonprobablefictions,butalsoonexistentrealitieswhichreinforcetheoptimismforapossiblesociety.

14Thisisincaseofleadingcharacters.Thisoptionmaybepresentfortheantagonistsandvillainsofthenationalfictions.


Chart10.Audienceprofileofthe10mostw

atchedtitles:gender,age,socioeconom

iclevel

Tit

les

Stat

ion

Gen

der

Age

gro

ups

Soci

oeco

nom

ic le

vel

Wo-

m

enM

en3-

1011

-17

18-2

526

-37

38-4

959

-99

AB

CD

E

Al f

ondo

hay

sit

io(4t

h season)

AméricaTelevisión

59.18

40.82

13.63

16.54

16.86

17.99

14.49

20.49

21.35

37.13

41.52

Mi a

mor

el w

achi

mán

AméricaTelevisión

56.71

43.29

18.47

16.38

15.67

17.63

13.62

18.24

13.63

34.59

51.78

La

rein

a de

las

car-

reti

llas

AméricaTelevisión

60.86

39.14

17.04

18.85

14.45

19.60

14.85

15.22

10.69

35.63

53.68

La

fara

ona

AméricaTelevisión

60.44

39.56

16.96

17.25

12.12

18.57

15.12

19.99

9.27

33.98

56.75

La

que

no p

odía

am

arAméricaTelevisión

65.11

34.89

14.17

15.16

14.89

17.30

18.28

20.21

12.92

31.44

55.64

Sola

men

te m

ilag

ros(4

th

season)

AméricaTelevisión

63.00

37.00

18.10

21.43

14.22

15.29

13.56

17.39

9.51

33.77

56.72

Gam

arra

AméricaTelevisión

57.45

42.55

13.66

16.10

12.00

20.88

13.58

23.79

14.65

31.90

53.45

La

rein

a de

l sur

ATV

62.35

37.65

10.83

8.63

17.87

22.08

17.66

22.94

14.49

40.50

45.01

Yo n

o m

e ll

amo

Nat

acha

2

AméricaTelevisión

59.11

40.89

19.89

15.00

12.16

19.65

12.62

20.67

15.41

34.28

50.32

Cor

azón

de

fueg

oATV

63.72

36.28

15.85

12.68

14.09

16.86

14.07

26.45

9.14

38.38

52.49

Source:IbopeM

ediaPeru

392 | Obitel 2013

Chart10 shows that fictions remainmostviewedbywomenthanmen,sincethepercentagesineverytitlegivemoreadvantagetowomen incomparison tomen–even though they reachan im-portant40%–,beingthetelenovelaLa que no podía amarthemostnoticeabledifferencewherethefeminineaudiencealmostdoublesthemasculineone.

Inallcases,thehighestaudiencebelongstoDEsocioeconomiclevel,beingLa faraonaandSolamente milagroswhereitspresenceismorenoticeable.ItisinterestingtoseethatthemostpresenceofABsectoraudienceisfoundinAl fondo hay sitio,wherethissectorisparodiedandshowninastereotypedway.

3. Transmedia receptionTherelationshipbetweentelevisionandInternethasbeenun-

deniablydeveloping these lastyears inPeru.Theyare twomediathatenricheachotherandwhoseconnectionmaybeverybeneficialifattendedefficiently.

“(…)Internet technologiesproducean impactintheproductionprocessesandalsointhecon-tentdistribution.Theirinfluenceontraditionalbroadcast-basedenterprisemodelsisdevelopedondiverseways”(Igarza,2008:128)

Inordertoobservethetransmediacharacteristicsinpremierednationalfictionsduring2012inPeru,wehavechosenthetelenovelaAl fondo hay sitio(AFHS),becauseitisthelocalproductionthathasobtained thehighestaudience indexesonpremiered fictions fromthisyear15andbecauseitkeepsmaintainingitforfourconsecutiveyears.

15Seecharts7and8ofthischapter.


Chart11.Transmediafiction: interaction types and dominant practices

Fiction Broadcasting company

Internet pages

Transmedia interaction

types

Interactivity levels

Dominant practice of the users

Al fondo hay sitio

AméricaTelevisión

Officialpage

Transmediaviewing

Active

CommentInterpretRecom-mendParodyCriticizeArgue

Facebookpage

Interactiveviewingonthenetwork

Active

Twitterpage

Interactive Active

YouTubepage

Interactiveviewingonthenetwork

Active

Source:ObitelPeru

Forthereadingoftheseresults,onlyofficialpageshavebeentakenintoaccount.Thechosenobservationperiodisthefinalweekofbroadcastofthefourthseason.ThiscoversfromMonday10thtoSunday16thofDecember,2012. AFHSmakesitspresenceonInter-netasawebpage,aFacebookprofile,aTwitteraccountandaYou-Tubechannel.InspiteofthecharacteristicspresentedinChart11regardinginteractionkindsandinteractivitylevels,thetransmediaofferingrevealssomelimitations.Firstofall,theofficialwebpagefromAFHSworksasa link thatbelongs to theofficialwebpageofAméricaTelevisión, the station that broadcasts it.This stationfollowsthesameexactlogicwithallitsotherproductions,becausetheyhavetoadjust themselves to thecharacteristics that thiswebpossesses.Thereonecanfindepisodes,previews,picturegalleries,seriescontentamongothers,butthereisnoclearwaytoconnectthispagetotheofficialFacebook,TwitterorYouTubeoftheirownpro-ductions.HereisanoptionthatshouldbeworkedbyAméricaTele-visión’sweb.Besides,thepagedesignmakesitdifficulttoreachtheofferedsections,becauseitdoesnotallowaneasylocationforthelinksthatcantaketheuserswheretheirinterestsare.

394 | Obitel 2013

Wewill focusonFacebookforbeing thefavoritesocialnet-work among Peruvian Internet users16. On its Facebook profile,AFHS shows12,794peoplewho like thispageand1,729 talkingaboutthisproduction.Thesemodestnumbers,whichdonotreflectAFHS’s audience, can be explained for instancewith the unclearpossibilitytotieAméricaTelevisión’swebwiththeofficialFace-bookprofileofthistelenovela.Otherunofficialprofilestakeadvan-tageofthissituationandappearasanattractiveoptionforthefol-lowersofAFHS.Aswewillseelater,theirgeneralnumbersexceedtheonesoftheofficialprofilebywidemargins.

Somethingtoemphasizeisthegeneraldistributionof“posts”,“like”,“comment”and“share”duringthechosenobservationweek:

Mon 10

Tue 11

Wed 12

Thu 13

Fri 14

Sat 15

Sun 16 TOTAL

Posts 0 1 1 4 3 2 1 12Like 0 7 52 113 398 252 40 862

Comment 0 13 4 25 206 97 10 355Share 0 0 13 16 4 34 0 67

Forthe“posts”,thereisagrowingtendencyasthefinalchapterofthe2012season(onDecember14th)wasapproaching.OnThurs-daythe13ththerearemorepostsinordertogeneratemoreexpecta-tionfortheupcomingfinalepisodethenextday.Itisworthmen-tioning,evennotinfavorofkeepingAFHS interesting,thelossofactivityregisteredonMondaythe10th,despitebeingthefirstdayofthelastweekofseasonfourbroadcast.Somethingsimilarhappenedwith the number of “like”: Fridaywas the daywithmore “like”activityandtheshownnumberisrelatedtothe41audiencepointsobtained on that day17. The results of the “comment” prove such

16AccordingtodatafromthemarketresearchenterpriseIpsosAPOYOOpiniónyMer-cado,98%ofInternetusersinLimathatarepartofasocialnetworkpreferFacebook.ThesamehappenedwithInternetusersintherestofthecountry,wherethepercentagereached95%.17 Source: elcomercio.pe. In:http://elcomercio.pe/espectaculos/1511035/noticia-final-al-fondo-hay-sitio-llego-41-puntos-rating.


activity.Inthecaseofthe“share”duringthatweek,thesenumberswereobtainedasaresultofthefinalepisode’simpactwithapeakonSaturdayafteritwasbroadcasted.

Outofthetotal“posts”publishedontheobservationweek,mostofthemarerelatedtothepossibilityofwatchingthedailyepisodeagainortothecomingseason’sfinale.Inthiscase,oneofthetwoposts publishedonSaturday the15th standsout, since it promotesthearrivalofAFHS’s newseasononthefollowingdayofthefourthseason’sfinalepisodebroadcast.Thispromisecombinesitselfwithpicturesthatremindthestorylinesthatwereleftunsolvedonthislastepisode.Thisway, the followers’ intereston this telenovelakeepsgrowinguntilthebeginningofthefifthseason.Astherestoftheoth-erpostsfromtheobservedweek,mostofthe64“comments”aboutthispostarepositivetowardsAFHS.Thefollowersevenwritetheirmessagesincludingthetypicalphrasesofsomecharacters.Therestofthe“comments”maybeconsiderednegative,astheyaremostlyrelatedtothebroadcasttimeofthisproduction(fouryearsinarow),oralsototheantipathytowardssomecharactersorstorylines,evenifthelatterrevealsamoderateaudienceofthistelenovela.

Finally,wemustmentionthetransmediaofferthatcomesfromtheunofficialside.InDecember2012therewere343resultsrelatedtoAFHSonFacebook,wheretheprofilescriticizingthistelenovelabarelywere20.Themostpopularandinfavorofthisfictionprofilereached1,504,574followers,whilethemostpopularprofileagainstAFHSonlyhad7,152followers.Althoughwehavetoconsiderthattheunofficialprofilesonthissocialnetworkallow“posts”,“com-ment”and“share”abouttopicsnotnecessarilyrelatedtoAFHS,thisdoesnothappenontheofficialprofile.Thisproductioncouldtakeadvantageofthoseunofficialprofilesforpromotionorforsupport-ers.However,itwouldbebetterifAFHScouldexplore,reinforceand exploit its official internet places: exclusive content, promo-tions,contests,fancreations’boards(fanfiction andothers),etc.Allthismayhelp the followersofAFHS to approach andparticipatefromthepossibilitiesthattransmediahastooffer.

396 | Obitel 2013

4. Highlights of the yearThefirst thing thatstandsout in2012 is thehighpercentage

that thefictionhasof the totalhoursbroadcastedby thedifferentstations.Thegeneralfictionreaches37.2%ofallprogramminginthePeruvianscreens,whichisnotasmallnumber.Also,itisimpor-tanttoremarkthatthe44.3%ofthisgeneralfictioncorrespondstotheObitelscopefictions,whereMexicanproductionsareinthetopoftheLatinAmericantitlelist.

Fourofthesixstationsobservedin2012havescheduledpre-mierelocalfictions.FrecuenciaLatinascheduledtwotitles,La Ty-

son–anewversionofMuñeca brava–andLa bodeguita.TVPerú–on an adventurewhere it seemed that theState recognizedhowessentialisthetelevisionmediumingeneralandthefictioninpar-ticular for approaching some themes– performedConversaciones

con la luna,project thatsought toapproachfoursocial issuesformeditation:racism,exclusion,disabilityandviolence.ATVbetforCorazón de fuego,astorywithforeignactorsthatshowsthescen-eryofcoastdesertandthedesignationofpiscolikenationalliquor.Finally,AméricaTelevisiónwasthestationwhichscheduledmorefiction hours throughout 2012, premiering nine national produc-tions in theyear, allwithgreat acceptance from the audience. Inthissense,oneaspectthatstandsoutisthatPeruvianfictionisbeingprogrammedintheprimetimeschedulein94.7%,takinganimpor-tantspace,andmakingthefictionacentralproductintheprogramschedule.

Miniserieshavebeenin2012fictionstoriesthathavebeencon-solidatedonthescreensandinthetasteoftheaudienceinPeru.Pe-ruviantelevisionandtheirdifferentaudienceshavebetforminise-rieswithwell-establishedfeatures:shortstory–between20and40chapters–,averynotoriousmelodramatickey,abiographicalnar-rativeofthecharacter,astronglocalaccentinthelanguage,prac-ticesandpreferencesofthecharacters,conflicts, jealousies,fears,achievementsanddreamsaccomplished,happyendingor at leastahopefulone.Thecentralaxisthatarticulatesthenarrativeisthe


struggleofanentrepreneur,whopursueshisdreamswithhonestyandeffortintoarealitythatisadverse.Thisaxisiswhatturnstheminiseriesintonarrative,wheresymbolicallystoriesofmigrantsinthecapitalarerecognizedanddisplayed.Itmeansaneffectivefic-tionalstorytounderstandthecomplexdimensionsofPeruviansoci-etywheredifferencesandsocioeconomicgapsstillexist.

MiniserieshavebecomethecentralaxisinthesmallPeruvianaudiovisual industry because continuous production has boostedtraining and employing, but, above all, it has generated differentdynamics around the audiovisual themes. Television productioncompaniesofrecentyears18haveturnedintolargercompaniesthatorganizesimultaneously in threecrews.DelBarrioProducciones,e.g.,hasproducedthisyearfourofthesixPeruviantelevisionmini-seriesprojects and alsohandlesotherdocumentaryprojects.Thisboost of fiction production has also organized casting companiesandactorstraining,equipmentrental(lights,cranes,scenery),andtechnicalstaff,generatingspecializationsinalltheseareas.

Thisalsomeansachangeintheproductionprocessitself.Until2012 itwasmainly the television stations thatproducedandper-formeditsownfictionprojects.Todaytheseindependentproductionhousesaretheonesthatfeedfictionprogramsfordifferentstationsinterchangeably.AméricaTelevisión–whichalsobroadcastsinde-pendentproductions–keepsadivisiondedicatedtofictionmaking,which is responsible for itsown televisionprojects:Al fondo hay

sitio, Solamente milagros 1, Solamente milagros 2 and La faraona;

whiletheATVgrouphasbetinthelasttwoyearsforonetelenovelaperyear.

AnotherhighlightthisyearisthecontinuityandconsolidationofAl fondo hay sitio,thefictionwiththemayorTVaudience,whoseendofseasonreached50audiencepoints.Sinceitwaspremieredin

18Until2005theseindependentfilmmakers’housesthatpreparedprojectsforthetelevi-sionstationswerefewandhandledminimumshootingequipment.InthePeruvianmarkettherebarelyweretencompaniesandmanyofthemdidnotmaintaincontinuousproduc-tion.

398 | Obitel 2013

2009,ithastakenthefirstfictionTVaudience,secureditspresenceonscreensuntil2014andbytheendofitsfourthseasonin2012itwasabouttoreach800episodes,whichisuncommoninPeru.Thesuccessofthisfictionhasaccomplishedtobesold,uptodate,tofiveLatinAmericancountries.

5. Topic of the year: social memory19 and television fiction

“Memoryactivatesthepastinthepresent”

PaulRicoeur

To think about social memory within our television fictionmeanslookingforreconstructionsofourhistory,identities,andcul-turalexpressionsinthePeruviantelevisionnarrativesinmorethan50 years, since “addressingmemories involves remembering andforgetting,narrativesandactions,silenceandgestures”(Jelin,2012:51).

ForHalbwachs(2004),memoryisnotlimitedonlytoindividu-als,but there isalsoacollectivedimensionof it, thememorywebuildandsharewithotherssupportedbysocialparameters.“Theseparameters are –precisely– the instruments used by collectivememory to reconstruct images from the past according to a timeandintunewithsociety’sdominantthoughts.”(Halbwachs,2004:10)Now,itisnecessarytoconsiderthatinsocietytherearemanysocialmemorieswhosecoexistencecreatestensionsanddialogues,convergenceandconflict.Thesesocialmemoriesarethosethatal-lowconstructingnarrativesabouttheexistenceofdifferentgroups,givingthemcoherenceandcontinuity.

InthePeruviancase,evocationofthepasthasbeenbasedonnationalliteraryworks,charactersandeventsoftheofficialandpop-ularhistory,allofthemadaptedtoTVfictions,unitaryprograms,

19Historicaldatafromthelate20thcenturyandearly21sthavebeentakenfromthetextbyGiulianaCassano:"Lasminiseriesbiográficascomoposibilidadde reconocimientoenladiversidad".


seriesandminiseries.IntheearlyyearsofPeruviantelevision,ad-aptationofliteraryworks–presentinthenationalimaginary–weretheLimaproducers’bet.

In1959Tradiciones peruanas premieredasahalf-hour fictionadaptedfromtheworkofRicardoPalma.Initsoriginalformat,thisbookbringstogetherasetoftraditionsthatreflectthehistoricalpastoftheyearsofthecolony,theindependence,andtheyoungPeru-vianrepublic.Ifwethinkintermsoffoundationalstories,Palma’sworkisanimportantkeyintheconstructionofthenationalcharac-ter;incorporatedintotheschool’scurriculum–theonethateducatescitizens–,thesestorieshavemadeformuchofthetwentiethcenturyafictionalhegemonyofourpast.In1964theworkofEnriqueLopezAlbujar,Matalaché, wasbroughttothescreen,aninterraciallovestory,evokingtheyearsofslaveryinPeruandasocietystructuredaccordingtotheracialandsocialdifferences.

Intheseproductions,thereisalooktoamoredistantpast,andwhatisinterestingisthecontextfromwhereyoulook;inPeru,the50swereadecadeofchange,thegreatestmigrationfromthecoun-trysidetothecityhappenedinthoseyears,andthecitiesmoderniza-tionwastakingplace.Inthesestories,thereareconflictsandcontra-dictionsthathelpedunderstandsocialprocessesandpracticesthatstillexisttoday.

Later,inthecontextofthecentennialofthewaragainstChile,Peruvian Television launches Nuestros héroes de la guerra del

Pacífico (1979),aserieswhichpremieredonapoliticalandsocialscenariothathadundergonestructuralchangesasaresultofstatepoliciesdecidedbytheMilitaryCouncilthatruledPerufromOc-tober1968 toJuly198020. In thisseries,a look to thepastbringstothepresentcharactersfromourhistorythatembodiedvaluesof

20Duringtheseyearstheagriculturalreform,educationalreform,nationalizationandex-ploitationofnaturalresources–petroleum,miningandsea–tookplace.Thelandowningsystemcomestoanendandlandishandedovertothosewhowork.Mediawasexpropri-ated.Citizenshipwasgrantedtotheindians,theilliteratepopulationhadaccesstovotetoelectofficials,whileQuechuaandAymarawererecognizedasofficiallanguagesalongwithCastilian.

400 | Obitel 2013

honor, loyalty, sacrifice, sportsmanshipand integrity.Against theconcretefactofdefeatinthebattlefield, thePeruvianofficialhis-toryhasbuiltanarrativerootedinthesevalues.Andfictiondoesnotescapehistory,emphasizingnationalismandglorytoourheroesinthesocialandpoliticalcontextofamilitarygovernmentthatcalleditselfrevolutionary.

Inthe80swiththereturnofdemocracytoPeruandthereturnofstationstotheirpreviousowners,continuityintheproductionoffictionwassought.Inthisdecadewecannoticethattheexerciseofthesocialmemoryinfictionaltelevisionsismarkedbythetensionbetweenlookingattherecentpastandtheinterpretationofaremoteone.

In1983PanamericanapremieresGamboa,apoliceseriespor-traying–dramatically–casesextractedfromthefilesoftheInvesti-gativePoliceofPeru.Inlate1985theproductioncompanyPROAandATVoptedfortelenovelasBajo tu piel(1986)andMalahierba (1987),whichdepictedsocial issuessuchasmedicalmalpractice,drugdealing,andjournalisticresponsibilities,boominginPeru.

Inthesestorieswefindindicatorsofcontemporarysocialcon-cerns thathavebeen incorporated intoPeruvianfictions,still inashyway; some characters are portrayed asmarginal –prostitutes,homosexuals,criminals–andthethemesaremorerelatedandclosertotheexperienceofLima–drugs,influencetrafficking,corruptionandviolence–.Butitisintheminiseriesthatwecanmakethelinkbetweenmemoryandfiction.Between1987and1991oneminise-riesperyearwasproduced,highlightingtheneedforimaginingthepastalwaysrelatedtohistoricalcharacters,mythicalstoriesandem-blematicexperiences.In1998theduoGomez-AdrianzenproducedLa Perricholi,which brought to the presentMicaelaVillegas, aneighteenth-century famous actresswhowasVirreyAmat’s lover.Inthisstory,characters,situationsandconflictsportrayedwelltheclashofIndianandSpanish,dreamsofindependenceofthecriollos, theprudishnessofthecapitaloftheViceroyaltyofPeru,andespe-ciallythedoublemoralandfrivolityofthesocialclasses.


In1993LuisLlosaproducedEl ángel vengador, astoryfocusedonacriminalfromLimawhosemurderstillremainsunsolved.Theyear1994wasveryproductive:Gomez-AdrianzenbroughtusTa-

tán, astoryaboutLuisD’unianDulanto,athieffromthe50sturnedintoanationalRobinHoodbylocalpress;PanamericanaproducedEl espejo de mi vida,portrayingthelifeofFelipePingloAlva,animportantfolkmusiccomposer,andAmericatooktothescreenLa

captura del siglo, aminiseries that recreates the researchprocessandcaptureofterroristleaderAbimaelGuzmanbytheSpecialIntel-ligenceGroup,reproducingtheexplosionofacarbombinthecitycenterofmiddleclassLima,afactthatsymbolizedthepresenceoftheterroristwarintheheartofthePeruviancapital.

Theseproductionsretainedthetensionbetweenrememberingtherecentpastandthemoredistanttimes.ExoticurbanviolenceispresentedinthecasesofEl ángel vengadorandTatán,anostalgiclookofthedistantpastinthetimesofPinglo,andwithLa captura

del siglo,therecreationofthesiegeofterrorism,thebeginningoftheendofapainfulstageintherecentPeruvianhistory.Thispro-ductionshowedatextattheendoftheopeningcreditsalludingtotheneednottoforgetthesefacts.Ratherreflectingwhathappened,itisatributetoandrecognitionofthepolicegroupeffortandsacri-ficethatmanagedtocapturetheterrorist.

Stillin1994,somethingimportanthappenedinPeruviantele-vision because the country that wasmainly portrayed in fictionschangesitsface,socialclassandorigin.ThetelenovelaLos de ar-

riba y los de abajoshowsusanotherPeru,adifferentculturalandsocialcountryfromtheonebuiltandrepresentedinthebeforemen-tionedstories,thosethatkeptthesocialandeconomicalstructureofdominantsectors.Thereforeitisnecessarytodwellonthisproductbeyondthefactthatitdoesnotevokeapast,butdoestalkaboutdif-ferentsocialparameters.Los de arriba y los de debajo fromtheduoGomez-Adrianzen

402 | Obitel 2013

“(...)offersusaportraitofamorecomplexandless

idyllic city, aLimawhere traditioncoexistswith

modernity,aLimaofmigrantswhohavebuilttheir

ownnetworkstosurvive,butalsoaLimawherea

hierarchicalorderofeconomic,politicalandsocial

iskept,hidingthechangessufferedbysociety(…)

thecharactersof thestoryareseeking toachieve

theirdreamswhile living inahostile reality.Mi-

grantsandchildrenofmigrantscomingtothecity

searchingforaplace.”(Cassano,2012:23).

This telenovela gives us a portrait of poverty and exclusion,butalsoofthestrengthandnatureofthesenewindividualslivinginLima.ThePeruofthe90ssummarizesthedifferentprocessesofchangeexperienced in thepast40years,drivenby state reforms,migration,economiccrisesandsocialconflictsthatoccurredinthecountry.Inthelate80sandearly90sPeruexperienceswhatAppa-durai(2001)calls“terrordiasporas”,whenruralandurbanpopula-tionsofthemountainprovincesandthePeruvianjunglemovedtothecoastfleeingterrorismofSenderoLuminosoandtheMRTA21.Inthe90s,Limabecomesacityofoversixmillionpeople22.Theseprocessesoverthedecadeschangedthefaceofthecapital.InLimamajorculturaltransformationstookplaceinrelationtomusic,food,fashion,festivalsandarchitecturalformsofurbanization.

WhileLos de arriba y los de abajomeanimportantchangesinrepresentingacityimmersedinmanycontradictions,thatwouldnotbethepaththat thelatestfictionprojectsof thetwentiethcenturyfollowed.Probablythechangesweretoointenseforfictionaltelevi-sionitselfandsoitwentbackandtookshelterinthedistantpast.

21TerroristattacksinPerubeganonMay18th,1980.Thecivilwarlastedover20yearsin thecountry.According tonumbersof theTruthandNationalReconciliationCom-mission,thedisappearedanddeathtollexceeds70,000people.Mostofthevictimswereindigenous.22Source:Socio-demographicprofileofPeru.In:http://www.inei.gob.pe/biblioineipub/bancopub/Est/Lib0007/caP0105.htm


AmericaProducciones(atthattime,contentproductioncom-pany for América Televisión) premiered two telenovelas: Luz

María(1998)andIsabella, mujer enamorada(1999).Inbothcasesthepastisevokedasuprisingandashavinginstitutionalorder.Itisonlyduringthenewcenturythattheannouncedchangeswouldconsolidate.

5.1. The new boom in miniseries and recent memory InPeru,theminiseriesproducedinthe21stcenturyare,more

than a televisionphenomenon, culturalmanifestationswith fieldswhereexperiencescoincide,historiesarerecognizableandcharac-tersfeelclosertotheaudience.Thefolletín mentionedbyJesusMar-tinBarbero(1993)isthefirstwrittentextinpopularformat.WithPeruvianminiseriesofthe21stcenturywehaveasimilarphenom-enon.Withcontinuousproduction,theyhavemobilizedthefictionindustrywhilekeepingacaptiveaudiencewithhighrating,provingthatPeruviantelevisionhasmanagedtoobservesocial,culturalandeconomicalchangesinthecountryandadaptitsproductiondynam-ics,searchingforawaytoupgradeitspositionwithupdatedstoriestooffertoitsaudience.Thefictionalcharactersaremaleandfemalemigrants –inmost cases–, subaltern individualswho have foughthonorablyforaplaceinthecity.Manyofthemlinkedtotheculturalindustryof folkmusic,party,Peruviancuisineandcelebration inpopularvenues.

Between2005and2012,up to four titleswereproducedperyear,manyofwhichrevealtensionsbetweentheexistenceandrec-ognitionofsubordinatecharacters,expressingastrongneedtoreas-sertthedifferentsubjectivitiesthatshareemotions,knowledgeandrelationshipsintheparticularcaseofPeruviansociety.ThesefictionproductionsseemtoembodytheideaofElizaBachega(2010)that“societies undergoing rapid changes tend to feel an obligation toremember”(Bachega,2010:153),alsoshowinginterestingreformsbasedonwhoremembersandhowthepastisevoked.ThecurrentPeruvianstoriesaretalkingaboutdifferentexperiencesofPeruvians

404 | Obitel 2013

entrepreneursrecognizingthattheybelongtoadiversitythatcomesfromthepast,essentialtoourpresentandfuturelife.

References APPADURAI,Arjun (2001) LaModernidadDesbordada, dimensiones

culturalesdelaglobalización.FondodeCulturaEconómicadeArgentina.

BACHEGA,Eliza (2010)MauriceHalbwachs eMarcBloch em torno

doconceitodememóriacoletiva.RevistaEspaçoAcadêmicoN.108.May.In:

http://eduemojs.uem.br/ojs/index.php/EspacoAcademico/article/downlo-

ad/9678/5607.

CALDERóN,Bruno(2012)ElemprendimientoenelPerú.In:Latierra

esplana.

http://latierraesflat.wordpress.com/2012/06/01/emprendimiento-en-el-

-peru/.

CASSANO,Giuliana (2012)Lasminiseries biográficas como posibili-

daddereconocimientoenladiversidad.In:RepresentacióneInclusiónenlos

nuevosproductosdecomunicación.JamesA.Dettleff(editor).Departamento

AcadémicodeComunicaciones.PUCP.Lima.

COLACRAI,Pablo(2010)ReleyendoaMauriceHalbwachs,unarevisi-

óndelconceptodememoriacolectiva.UNReditora.Argentina.

ComisióndelaVerdadyReconciliación(2004)HatunWillakuy:versi-

ónabreviadadelInformefinaldelaComisióndelaVerdadyReconciliación.

Peru.

GóMEZ,Gustavo(2012)“¿Cómofortalecerlapluralidadenlatransición

alaTVdigitalenelPerú?”In:AlexanderChiu;AlejandraOroscohttp://www.

concortv.gob.pe/index.php/noticias/.

HOLBWACHS,Maurice(2004)Losmarcossocialesdelamemoria.An-

thropos.Mexico.

IGARZA,Roberto(2008)Nuevosmedios:Estrategiasdeconvergencia.

LaCrujía.BuenosAires.

IpsosAPOYOOpinión yMercado (2012) Perfil del usuario de redes

sociales2012.Lima.

JELIN,Elizabeth(2012)Lostrabajosdelamemoria.IEP.Lima.

MARTÍNBARBERO, Jesús (1993)De losmedios a lasmediaciones,

Comunicación, cultura y hegemonía. Third edition. EdicionesGustavoGili.

Mexico.


RICOEUR,Paul(1999)Lalecturadeltiempopasado:memoriayolvido.

UniversidadAutónomadeMadrid.Spain. In:http://200.95.144.138.static.ca-

bleonline.com.mx/famtz/smr/index_archivos/cursos/.

VIVAS,Fernando(2001)Envivoyendirecto:unahistoriadelaTelevi-

sionenelPerú.FondodedesarrolloeditorialdelaUniversidaddeLima.Peru.

10PorTugAl: FIcTIon And AudIences

on TrAnsITIon

Authors: CatarinaDuffBurnay,IsabelFerinCunha

Team:FernandaCastilho,BiancaFaciola

1. Audiovisual context in the countryThe financialbailout situation inwhichPortugal is currently

living, under the intervention of three international institutions,popularly calledTroika –the InternationalMonetaryFund (IMF),EuropeanCentralBank(ECB)andEuropeanUnion(EU)–condi-tioned,in2012,notonlysocietybutalsothemedia.Thiscontextoffinancialconstraints,guidedbyeconomicausteritymeasures,influ-encedthemediainsixpredominantaspects:(1)thediscussionsonthefutureofthestate-ownedRádio e Televisão de Portugal(RTP);(2) theinflux, thevolume,andtheopacityof theAngolancapitalintoPortuguesemedia;(3)thetransitiontoDTT;(4)theaudiencemeasurement;(5)thecollapseofadvertising;and(6)theuseofdigi-taltechnology.

ThedeclineofpublicspendingonRTPispartofthecommit-mentsmadebythePortugueseGovernment(GoP)whensigningthebailout, and alsopart of theprogramof themainpolitical power(PartidoSocialDemocrata,PSD)inthecurrentcoalitiongoverningPortugal.Throughout2012,thegovernmentdiscussedfourscenari-osforRTP.ThefirstscenarioanticipatedtheconcessionofRTPtoaprivategroupfor20to25years,withtheobligationofmaintain-ing a “public service”, but restricting advertising to half of otherprivate channels –i.e., about 6minutes/hour and not 12minutes/

408 | Obitel 2013

hour–and,inreturn,receivedacompensationof140millionEuros,which isequivalent to theaudiovisual taxpaidby thePortuguesein theelectricalbill.Thesecondscenariosuggestedtheprivatiza-tionofRTP1,and the subsequentdistributionamong the remain-ingfree-to-air(FTA)channels,ofthe“publicservice”functionandwiththeauthorizationof12minutes/hourofadvertising.Thethirdscenarioproposed theprivatizationofRTP1,whichwouldbe re-quired toprovide“public service”,would receive theaudiovisualtaxandtheauthorizationtobroadcast12minutes/hourofadvertis-ing.Inthefourthscenario–theonethatincludedthecontinuationofRTP2,achanneldedicatedtoculturalissues,instateownershipandwithout advertising– RTP1 would be privatized, competing withotherprivateoperators.Attheendoftheyear,theGoPprivilegedthe implementationof a restructuringplan (PlanodeSaneamentoEconómicoeFinanceiro),whichhadbeensuggestedbytheprevi-ousadministration,proposingtheclosingofRTP2,thedevolutionofRTPMadeiraandRTPAçores to therespectiveregions,whilekeepingoneinternationalchannel,leavingundeterminedthefutureofRTPInformação.

Throughout 2012, the controversy surrounding the inflowofAngolan capital in Portuguese media groups increased. In 2011,wehadalreadynotedthis tendency.Speculationssurroundingtheassociatedpoliticalandeconomicissuesareaconsequenceof thecapitalbelonging,directlyorindirectly,tothefamilyofPresidentofAngolaandtheirsupporters,whichareunderjudicialinvestiga-tioninPortugalforallegedcorruption.Ontheotherhand, the in-abilitytoidentifytheshareholdersofcompaniesexpressinginterestinthePortuguesemediaprivatizations,includingRTP,hasgener-ateddiscomfortinthemediafield.Amongthesegroups,weempha-sizetheAngolanmediagroupNewshold,whichowns96%oftheweeklySol,2%ofImpresa,ownerofSIC,andthemainshareholderofCofina,ownerofthenewspapersCorreio da Manhã,Jornal de

Negócios,Record and themagazine Sábado. In December 2012,theStockMarketCommission(ComissãodeMercadodeValores

Portugal– Fiction and audiences on transition | 409

Mobiliários),followingthedisclosureoftheinterestofNewsholdin case of an eventual privatization of RTP, requested the grouptodisclosetheirdirectandindirectshareholders.ÁlvaroSobrinho,presidentofNewshold,chairmanofBancoEspíritoSantoAngolaandshareholderofAkoyaAssetManagementSA(accusedofmon-ey laundering in the lawsuit “White Mountain”), confirmed thatthegroupwasownedbyPineviewOverseas,withheadquartersinPanama,andrevealedthenamesofitsshareholders–allpartofhisfamily–.InearlyDecember,theRTPpresident,AlbertodaPonte,visitedLuanda,wherehemetDominicVunge,oneofthesharehold-ersofScoreMediawithlinkstoOngoingandNewshold.Thisentre-preneurhasopenlyexpressedinterestinpurchasingthePortuguesedailyDiário de Notícias(DN)andJornal de Notícias(JN),aswellasRTP,throughaparticipationinCofina.

Thethirdaspectwhichpervadedin2012wasthetransitiontoDigitalTerrestrialTelevision(DTT),subjecttobedevelopedlaterinthispaper.

Thetitlegiventothischapter–Fiction and audiences in transi-

tion–stemsfromchangesinthefieldofserialfictioninFTAchan-nels.WeemphasizethatthisyearwasmarkedbythereturnoftheaudiencestoTVGloboproductionsbroadcastedbySIC(Fina Es-

tampa,GabrielaandAvenida Brasil),makingSICawinnerinprimetime, overtaking thePortuguese fictionbroadcastedbyTVI.Fur-thermore,wenoteanincreaseofinternationalseriesratingsbroad-castedbyallFTAchannels.The titleof thischapter isalso justi-fiedbytheendofthejuvenileseriesMorangos com Açúcar(TVI),whichcaptivatedtheyoungestintheperiodofaccesstoprimetimeforalmosttenyears.

410 | Obitel 2013

1.1. Free-to-air television in Portugal

Table 1. National FTA Networks in Portugal

Public channels (2) Private channels (2)RTP1 SICRTP2 TVI

Totalofnetworks=4

Table 2. Rating per channel in 2012

Channel 000 indv. %RTP1 258.07 16RTP2 62.57 4SIC 404.32 25TVI 451.64 27Cable/other 469.93 28Total 100

Source:ObitelPortugal,MediaMonitor/Audimetria/KantarMedia;GfK

Table 3. Share per channel in 2012

Channel %RTP1 15.6RTP2 3.7SIC 24.6TVI 27.4Cable/other 28.7Total 100


Table 4. Genres offered in 2012

Genres %Culture/Knowledge 9Sports 5Entertainment 18Fiction 22Information 17Juvenile 9Advertising 16Other 4Total 100


RTP1

RTP2

SIC

TVI

Cable/other

28%4%

16%

27%25%

RTP1

RTP2

SIC

TVI

Cable/other

28.7%

3.7%15.6%

27.4%

24.6%

Culture/Knowledge

Sports

Entertainment

Fiction

Information

Juvenile

Advertising

Other

17%

4%

5%

22%

9%9%

16%

18%


Thegroupsholdingtelevisionchannelsin2012remainasfol-lows:Rádio e Televisão de Portugal(RTP,public),whichhastwoFTA channels (RTP1 and RTP2); group IMPRESA, SociedadeGestoradeParticipaçõesSociais,ownerofSIC;andGrupoMediaCapitalSGPS,whichincorporatesTVI.Allthesegroupsalsooper-ateinpayTV,keepingthematicchannels,particularlydedicatedtoinformation. 1.2. Audience Trends in 2012

Apublic tender effected by theCommittee for the Study ofMediaAnalysis in2011, at the requestofnetworks,mediaagen-cies andadvertisers, selected theGermancompanyGfK (GrowthfromKnowledge)forthemeasurementoftelevisionaudiences.ThiscompanystarteditsexperimentalactivitiesinMarchand,sincethestart of publicationof thedata, received criticism fromall stake-holders.Thebases for this criticismare themethodologyused tomeasuretheaudience,particularlythetechnologicalproceduresofdatacollectionandanalysis,aswellasthecompositionofthepanel.

Initswebsite,GfKdescribesthetechnologyusedforaudiencemeasurement:audio-matchingprocess,whichallowsmeasuringallplatforms(analoganddigitalcable,satellite,terrestrialandIPTV),video-on-demandcontentandtime-shiftcontent(uptosevendaysafter broadcast). The audio-matching technology recognizes thechannel being viewed from the audio information, and programswithmultiple audio tracks can be divided andmeasured, aswellasadvertisingspaces.Theinformationrecordedontheboxisthensent to a centralwhere the sound samples collected at home arecomparedwiththeaudiosamplesrecordedonthecompany.Tele-visionnetworks,especiallythosechannelswhichsawtheirratingsnegatively affected and subsequently their advertising values di-minished,demandedanaudittothemethodologyandthecompanycommitteditself toreviewingthepanelbasedonthe2011censusofthePortuguesepopulation.Initsdefense,GfKreportedtoPrice-waterhouseatthetimeoftheauditbythiscompanythat,duetothe

412 | Obitel 2013

limitedqualityofsatelliteDTTtransmissions,lapsesandfailuresinthedatacollectionhadoccurred.

Changesinmethodologiesformeasuringtheaudienceshigh-lightedtheroleofpaytelevisionandnarrowedthegapbetweenthesharesandratesofprivatebroadcastersSICandTVI.Weempha-sizethatSICincreasedshareinprimetime,withthebroadcastoftelenovelasDancin’Days,GabrielaandAvenida Brasil,whileTVIincreasedtheiraudiencesindaytime.RTP1wasthechannelthat,basedonthenewpanel,recordedalargerdropinaudience(about5%),whileRTP2remainedapproximatelyitsusualvalues. 1.3. Advertising on Television and on Fiction

InayearwhentheGDPshrankbyc.3.3%,ontopofthe1.7%recorded in 2011, advertising on television decreased c. 15%, inspiteofthePortuguesehavingspent,onaverage,c.4hoursand40minuteswatching television.Theanalysisof theduration,orper-centageofthebroadcastofFTAchannels(RTP,SICandTVI)de-votedtoadvertising(advertisingsaturation)–whichexcludesself-promotions,self-promotionsofthestationandtelesales–inrelationto the totalbroadcast time,decreasedc.9%.Thisdecrease isnotdue to theuseof shorter spots,which remainwithin18 seconds,buttothenumberofinsertsinc.10%.Inthesecondhalfof2012,thisdecreasesteepenedfrom-3.8%to-14.1%,followingthepro-cessofGDPcontraction,andofthe(lackof)investmentinPortu-gal,aswellastheimpactonprivateconsumptionandonthecon-sumerconfidenceindex.Weemphasizethatthisindexhasdeclinedsince2011,reaching,inDecember2012,thelowesteverrecorded(-59.8%),whichfollowstheeconomicindicatorofthecompanies.However,comparedwiththevalueoftheadvertisinginsertsinfilm,radio, print andonbillboards, televisionmaintains anundisputedleadership,withc.75%oftheinvestmentinadvertising.Amongthe20largestinvestorsaresixlarge-scaledistributors,fivetelecommu-nicationscompanies,fourfoodretailers,andfiveofothersectors.Whilethecurrentinvestmentlevelsareatthelevelof2002,thein-


ternetadvertisinghasrisenincounter-cycle.Accordingtoanalysts,thisgrowthisassociatedwiththeincreasinguseofdigitalmedia,aswellaswiththe(still)smallinvestmentsonthismedium.Thefi-nancialcrisisandthelimitationsinthefinancingofcompanieshavealsoboosted thisgrowth trend that iscurrently in the lowdoubledigits. 1.4. Merchandising and social merchandising

Dancin’Daysisaparadigmaticcaseofproductplacement(orsoftsponsoring,whichmeanstheplacingofconsumerproductsinvisiblelocations).InitiatedwithLaços de Sangue,thisactioncom-binesproducts/brands/placeswiththenarrative,makingthemanin-tegralpartofthestory.Thebrandsmustaccepttheinclusionoftheirinsigniaandtheirmessageattributesinanartisticcontext,respect-ingthetimesandtheevolutionarycourseoftitlesandcharacters.

Inadditiontothediversificationofformatsandthemeswiththegoalofreachingaudiencesacrosstheboard,RTPhasdevelopedtwoprojectsthatstandoutagainstthegeneralofferoffiction:thecycleof12telefilmstitledGrandes Histórias: toda a gente contaandtheseries Contos de Natal.Thefirstprojectwasbasedonanintegratedactionbetweenfictionandinformationthroughtheexplorationofsocialissues,suchasdrugabuse,bullyingorneglectofolderpeo-ple.Forover12months,foraweek,informationprogramsexploredtheseissuesfromdifferentperspectivesinconjunctionwiththepre-sentationofaTVmovie.Thesecondproject,Contos de Natal,re-sultedfromapartnershipbetweenRTPandPortugueseuniversitiestoproducestorieswithhappyendings.Theseinitiativeshavepow-eredtherelationshipbetweentelevisiongenres,betweentelevisionandthepublic,aswellasbetweenacademiaandthemarket.

1.5. Communication policies (laws, reforms, incentives, digital TV, etc.)

The final transition to Digital Terrestrial Television (DTT)occurredin2012(April26).This transition,whichbeganinMay

414 | Obitel 2013

2011,wasaprocessdelayedforabouttenyearsandwhichmodelelicitedmuchcriticism,notonlyfromexpertsbutalsofromthecivilsociety.AmongtheformeristhechairmanofVodafonePortugal,whoqualifiedtheintroductionofDTTinthePortuguesemarketasa“failedmodel”becauseitfacilitatedthe“penetrationofpaytelevi-sion”andfornothavingexpandedthenumberofFTAchannels,ashappenedinallotherEuropeancountries.

Inthesamevein,aworkdonebyaresearcherfromtheUniver-sityofMinhoclaimstohaveevidenceofcorruptionintheimple-mentationprocess, inwhichPortugalTelecom(PT)wasthemainbeneficiary,havingachieved715,000newcustomersforthepack-ageMEO.Accordingtothisresearcher,thishappenedbecausetheofferofFTAchannelswithhighqualitywasnotsuitedtoPT,withtheStateparticipationandwithpoliticalinterestsinvolved.Portu-gal,thus,missedtheopportunitytoincreaseofferofchannelsandto introduce a higher image quality.TheNationalAssociation ofPortugueseMunicipalitieshaveasimilaropinion,expressingpub-licly that it considers “scandalous and shameful” the endof ana-logueTVandtheDTTdeploymentprocess,whichdeprivedmanycitizens,especiallythemunicipalitiesofthedeepPortugal,“accesstoinformationatatimewhenmanycouldnotaffordtobuyaset”.Thesameassociationdenouncestheinterestsinvolvedinordertofavoracompany.AttheendofOctober,theAuthorityforCommu-nications(ANACOM)madeapositiveassessmentoftheprocess,inspiteofnoting8.000complaints.Themajorityofthesecomplaintsoriginatedfromindividualswho,nothavingpaidsubscription,buthavingboughtequipment,didnothaveaccesstotheFTAchannelingoodconditions.

1.6. Pay TVWenotethatin2012TVIcreatedachanneldedicatedtofiction

(TVI Ficção/Channel11), inpartnershipwith the telecommunica-tionscompanyPT/MEO,withthepurposeofbroadcastingthesta-tion’sreruns.


1.7. ICT TrendsInPortugal,theinternetisusedby62.8%ofindividualsover15

yearsofage,withthehighestpercentagebeingofmalesandyoungpeoplebetweentheagesof18and24,withresidenceintheareaofGreaterLisbon,andbelongingtothehigherincomegroup,andmidandhighlevelprofessionals.Thegroupspresentingalowerusagearewomenandtheelderly,residentsintheNortherninterior,aswellaslowincomepeopleandhomemakers.AsperMarktest–inalon-gitudinalstudyconductedabouttheinternetusersinthelastsixteenyears–thenumberof“internauts”hasnotstoppedrising,increasinginthisperiodc.10%(from6.3%in1997to62.3%in2012).Weemphasize that theyoungest, thosebelonging to thehigh incomegroupsandstudents,arethesocialdemographicgroupswithhigherratesofuse.Onaverage,usersofsocialnetworkingsitesdedicate88minutesperdaytothesesites,rangingfrom62minutesamongindividualsbetween35and44yearsofage,and116minutesamongindividuals between15 and24years of age.Thehighest activityis located in theafterworkand schoolhours (54.7%),mainlyonFacebook.


Table 1. Fiction broadcasted in 2012 (national and imported; premier and rerun; co-production)

NATIONAL TITLES IN PREMIER – 26

RTP1 – 13 national titles1. 4-Portugal hoje(unitary)2.A rapariga da máquina de filmar (miniseries)3.A sagrada família(sitcom)4.Barcelona, cidade neutral(miniseries)5.Contos de Natal(series)6.Grandes histórias: toda a gente conta (TVmovie)7.Liberdade 21(series)8.Maternidade(series)

IMPORTED TITLES IN PREMIER – 9

RTP1 – 2 imported titles1. O direito de nascer(telenovela-Brazil)2.Vidas em jogo (telenovela-Brazil)

SIC – 7 imported titles3. Avenida Brasil(telenovela-Brazil)4.Dance!(series-Uruguay)5.Fina estampa(telenovela-Brazil)6.Gabriela(telenovela-Brazil)7.Insensato coração(telenovela-Brazil)8.Morde e assopra(telenovela-Brazil)

416 | Obitel 2013

Source:ObitelPortugal

9.Os compadres(sitcom)10.Pai à força(series)11.Perdidamente florbela(miniseries)12.Sangue do meu sangue(miniseries)13.Velhos amigos(sitcom)

SIC – 4 national titles14. A família Mata(sitcom)15.Cenas de um casamento(sitcom)16.Lua vermelha(series)17.Rosa fogo(telenovela)

TVI – 9 national titles18. Anjo meu(telenovela)19.Casos da vida(unitary)20.Doce tentação(telenovela)21.Doida por ti(telenovela)22.Filmes TVI(TVmovie)23.Louco amor(telenovela)24.Morangos com açúcar IX: segue o teu sonho(series)25.Morangos com açúcar IX: férias de verão(series)26.Remédio santo(telenovela)

9.O Astro(telenovela-Brazil)

TITLES IN RERUN – 20

RTP11. Poder paralelo(telenovela-Brazil)2.Revelação (telenovela-Brazil)3.Ribeirão do tempo(telenovela-Brazil)4.Cidade despida(series)

SIC5. Perfeito coração(telenovela)6.Podia acabar o mundo(telenovela)7.Rebelde way(series)8.Floribella(series)9.Páginas da vida(telenovela-Brazil)

TVI10. Campeões e detectives(series)11.O bando dos 4(series)12.Detective maravilhas(series)13.Clube das chaves(series)14.Ilha dos amores(telenovela)15.Inspector Max(series)16.Jardins proibidos(telenovela)17.Olhos de água(telenovela)18.Filha do mar(telenovela)19.Tempo de viver(telenovela)20.Sonhos traídos(telenovela)

CO-PRODUCTIONS – 2

RTP1 – 1 title in co-production1. Barcelona, cidade neutral(Portugal/Spain)

SIC – 1 title in co-production2. Dancin’Days(Portugal/Brazil)

GRAND TOTAL: 57


Table2.Originofthepremieredfictionaltitles


NATIONAL (total) 27 71 1.504 55.5 1.164:15 58

IBERO-AMERICAN (total) 11 29 1.205 44.5 835:50 42

Argentina – – – – – –

Brazil 9 23.7 1.191 44 814:35 40.7

Chile – – – – – –

Colombia – – – – – –

Ecuador – – – – – –

Spain 1 2.6 4 0.1 03:00 0.2

USA (Hispanic production) – – – – – –

Mexico – – – – – –

Peru – – – – – –

PORTUGAL 27 71.1 1.504 55.5 1.164:15 58.2

Uruguay 1 2.6 10 0.4 18:15 0.9

Venezuela – – – – – –

Latin American (Obitel) – – – – – –

Latin American (not Obitel) – – – – – –

Other (productions and co-produc.ofotherLatinAm./Ibero-Am.)

2 – 14 – 21:15 –

TOTAL 38 100 2.709 100 2.000:05 100

Source:ObitelPortugal,MediaMonitor/MarktestAudimetriaandGfK

In2012,weobservedadecreaseintheofferofdomesticfictionand Ibero-American fiction in justone title, although thenumberofchapters/episodesandthenumberofbroadcasthours increasedslightly. Breaking down by channels,we observe thatRTP1 andSICmaintaintheiroffer,whilethereisa30%decreaseintheofferofTVIcomparedto2011.Inspiteofthissituation,TVIcontinuesleading thenational televisionfictionmarket in the totalofhoursand inchapters/episodes,aconsequenceof thecontinuedproduc-

418 | Obitel 2013

tionof the telenovelaformat forprime time.TheIbero-Americancontents are73%(8 titles)ofBrazilianorigin, and the remaining27%aredistributedacrossthreetitles:Dance!(SIC),aUruguayanseriestargetingtheyoungpublic,andtwoco-productions,thetele-novelaDancin’Days(SIC/SPTelevisão/TVGlobo)andthemini-series Barcelona, Cidade Neutral (StoplineFilms,RTP/ProdigiusCinema,TV3).Contentbroadcastonpublicservicechannelispro-ducedbyRecordandSBT,whereasthecontentbroadcastonSICisexclusivelyfromTVGlobo.Asinyearspast,TVIdoesn’tbroadcastIbero-Americancontent.

Reruns and repeats are recurringprogramming strategies, al-lowingthefillingofmarginalslots,suchasmorning,afternoonandlate night. In 2012, 20 titleswere reruns,with TVI leadingwith11titles,followedbySIC,withfive,andbyRTP1,withfour.Ti-tles rebroadcastedbyTVI, fromnational origin, are series for anadolescent public and relevant telenovelas, such asFilha do Mar (2001/2002),whichhadanendchosenbythepublic,orTempo de

Viver(2006/2007),wherethedisclosureoftheidentityofthecrimi-nal“Tubarão” left theaudience insuspenseuntil the lastchapter,likethestorylinesdevelopedinBrazil(e.g.A Próxima Vítima,1995/TVGlobo).

Domesticfictionkeepsfillingtheprimetimeslot,andweseeanincreaseof37.5%inthenumberofchapters/episodesandhourscompared to 2011. In other time slots, there are no significantchanges,with theafternoon insecondplace,morning in the thirdandlatenightinthelastplace.Withintheafternoonslotlies“pre-primetime”,theperiodbetween7P.M.and8P.M.,usedinprogram-mingforthetransmissionofstrongproductsthatallowaspillovereffectofaudienceforprimetime.

Inspiteofmaintainingapattern,wenotean81.4%dropinthebroadcastoftitlesinpremiertotheyoungerpublicinthemorningslot,andtheuseofproductsinstockinrerun.TheIbero-Americancontentscontinueoccupyingmoresignificantlytheafternoonslot,followedbyprimetime,withthebroadcastofthemostrecenttele-


novelasofTVGlobobySIC,likeO Astro,GabrielaandAvenida

Brasil.While thesecontentsstartwithin themainslotof theday,themajorityofthetransmissiontakesplacealreadyduringthelatenightslot.

420 | Obitel 2013

Table3.C

hapters/Episodesandhoursbroadcastedbytimeslot

T

ime

Slot

sN

atio

nal

Iber

o-A

mer

ican

T

otal

C/E

%

H%

C/E

%H

%C/E

%H

%

Mor

ning

(6:0

0-13

:00)

18

1.2

14:15

1.2

100.8

18:15

2.2

281

32:30

1.6

Aft

erno

on (1

3:00

-20:

00)

234

15.6

172:25

14.8

636

52.8

527:50

63.2

880

32.4

700:15

35

Pri

me

Tim

e (2

0:00

-24:

00)

1.245

82.8

975:00

83.8

559

46.4

289:45

34.6

1.804

66.5

1.264:45

63.3

Lat

e ni

ght (

24:0

0-06

:00)

70.4

2:35

0.2

–0

–0

70,1

2:35

0.1

TO

TA

L1.504

100

1.164:15

100

1.205

100

835:50

100

2.709

100

2.000:05

100

Source:O

bitelPortugal,MediaMonitor/MarktestA

udimetriaandGfK

Ta

ble

4. F

orm

ats o

f Nat

iona

l and

Iber

o-A

mer

ican

fict

ion

titl

es

For

mat

sN

AT

ION

AL

IBE

RO

-AM

ER

ICA

NT

itle

s%

Cha./E

p.%

Hou

rs%

Tit

les

%Cha./E

p.%

Hou

rs%

Tel

enov

ela

725.9

1.071

71.2

853:10

73.3

981.8

1.191

98.9

814:35

97.4

Seri

es7

25.9

260

17.3

192:35

16.5

19.1

100.8

18:15

2.3

Min

iser

ies

414.8

120.8

10:40

0.9

19.1

40.3

03:00

0.3

TV

mov

ie2

7.4

201.3

26:30

2.3

––

––

––

Uni

tary

27.4

60.4

4:45

0.4

––

––

––

Doc

udra

ma

––

––

––

––

––

–O

ther

(sit

com

)5

18.6

135

976:35

6.6

––

––

––

TO

TA

L27

100

1.50

410

01.

164:

1510

011

100

1.20

510

083

5:50

100

Source:O

bitelPortugal,MediaMonitor/MarktestA

udimetriaandGfK


In2010andin2011,serieswasthemostexploredformatbynationalgeneralistchannels,followedbytelenovela.In2012,thereisabalancebetweentheseriesandtelenovela,withseventitlesforeachformat.Thetelenovelaisaformatadoptedonlybycommercialchannels,withTVIproducingfivetitlesandSICtwo,whiletheseriesformatismostlyproducedbyRTP1(fourtitles),followedbyTVI(twotitles)andSIC(onetitle).Theseriesproducedbypublicser-vicechannelaregearedtowardsanadultaudience,addressingpro-fessionalthemes(e.g.MaternidadeandLiberdade 21)andbybeingbroadcastedinlaterslots(pre-primetime,primetimeandlatenight).Seriesproducedbytheprivatechannelsaddressissuesclosertotheadolescentpublicandarebroadcastedinthemorningandafternoonslots(Lua Vermelha,SIC,Morangos com Açúcar,TVI).Thesitcomremainsaformatadoptedbyboththepublicandprivatechannels,to-talingfivetitlesin2012.Itsshortdurationcomparedtootherfictionalformats,aswellastheirbasiccharacteristics–humoroushouseholdplots,limitedcast,fixeddecors,amongothers–allowlow-costpro-ductionandthecreationofapoolofassetsavailabletofillupslots. TheminiseriesformatwasexploredbyRTP1,continuingthetrendof previous years. The characteristics of this format in conjunc-tionwith thepublicnatureof thestationallowedthepresentationof four titles:Barcelona, Cidade Neutral, a co-production Portu-gal/Spainwithadurationoffourchapters,andthreefeaturefilmsturnedintominiseries,A Rapariga da máquina de filmar,Sangue do

meu SangueandPerdidamente Florbela.Theconversionoffeaturefilmsintominiseriesisaccomplishedthroughadaptation,whichattimesincludesscenesnotseeninthefeaturefilm,havingasacon-sequenceanincreaseinthecirculationofPortuguesefilmsandofthenumberofviewers.

TheTVmovieformatassumedaprominentrolein2012,re-sulting from the initiatives of RTP1 (Grandes histórias: toda a

gente conta)andTVI(Filmes TVI),bringingtothegeneralpublic,allyearroundandregularly,storiesinspiredinreality.

422 | Obitel 2013

Table5.FormatsofNationalfictionaltitlesbytimeslot

Formats Mor ning- %

Af-ter-

noon% Prime

Time % Late Night % To-

tal %

Telenovela – – – – 7 41.2 – – 7 25.9

Series 1 100 4 50.0 1 5.9 1 100 7 25.9

Miniseries – – 1 12.5 3 17.6 – – 4 14.8

TV movie – – – – 2 11.8 – – 2 7.4

Unitary – – 1 12.5 1 5.9 – – 2 7.4

Docudrama – – – – – – – – – –

Other (sitcom) – – 2 25.0 3 17.6 – – 5 18.6

TOTAL 1 100 8 100 17 100 1 100 27 100

Source:ObitelPortugal,MediaMonitor/MarktestAudimetriaandGfK

All formats explored by the Portuguese generalist channels are present in prime time,with a clear predominance of the tele-novela,followed by the afternoon slot and,ex aequo,withonetitle, the morningandthenight slots.The morning slot is occupied with content destined to a juvenile audience (Dance!,SIC),and the night slot by a series (Contos de Natal,RTP1).

Table 6.Timeperiodoffictionaltitles


Present 24 88,9

Period piece 1 3,7

Historical 2 7,4

Other – –

TOTAL 27 100


The present is the dominant epoch with the exploration of themes anchored in contemporaneity (24 titles). In 2012, we can also find two historical titles:Barcelona, Cidade Neutral (RTP1),


whichtells the story of Barcelona as a neutralcityduring the World War I,and Perdidamente Florbela (RTP1),theintimate story of the Portuguese poet Florbela Espanca (nineteenth century).Lastly,weconsider the telenovela Anjo Meu (TVI)a period piece,asitisset in Portugal in the 70s of the twentieth century.

Table 7. Top Ten titles: origin, production house, rating, share

Title

Countryof origin of the original

idea or script

Production house

Chan-nel

Name of the writer or


Ra- ting

Sha- re

1Dancin’ Days

Brazil/Portugal

SIC/SPTelevi-são/TVGlobo

SIC

PedroLopes(adapted

fromGilbertoBraga)

15.1 30.9

2Louco amor

PortugalTVI/PluralEntertainment

TVI TozéMartinho 13.0 29.2

3Doce tentação


TVI SandraSantos 11.1 28.3

4 Rosa fogo PortugalSIC/SPTele-

visãoSIC PatríciaMüller 9.6 26.6

5Remédio santo


TVIAntonioBar-

reira9.4 28.6

6Doida por ti


TVIMariaJoão

Mira8.4 22.0

7

Moran-gos com açúcar IX: segue o teu sonho


TVI

Casa da Cria-ção(CláudiaSampaio,

IrinaGomes,MafaldaFer-reira,MarinaRibeiro,PedroCavaleiro)

7.6 21.9

8 Anjo meu PortugalTVI/PluralEntertainment

TVIMariaJoão

Mira6.9 28.3

9Os compa-dres

PortugalRTP1/Cine-

coolRTP1

NicolauBreyner

6.4 19.8

10A família Mata

SpainSIC/SPTele-

visãoSIC

DavidBer-mejo

6.3 19.1

Total of production: 10 Foreign scripts: 2

80% 20%


424 | Obitel 2013

The return of Brazilian fiction, especially the productions of TV Globo,was one of the highlights of the year.Throughout the year,the intercalated presence ofnationalandforeignproductions(mainlyfromBrazil)generated different behaviorsofthe audience.The Portuguese titleswiththehighestimpactinthemediawere re-spectively Dancin’Days (SIC),Louco Amor (TVI),Doce Tentação (TVI)and Doida por ti (TVI).Among the Brazilian,threeTVGlobo fictionsdisputedthe audience ratings withthenational ones: Gabri-ela,Avenida Brasil and Fina Estampa.

TVI ended the year leading the total audience and occupied the first positions of the ranking of fiction titles.However,in 2012,TVIlost groundtothefictional productionsofSIC andTVGlobo inprimetime,withSICbecomingtheleader in this time slot.Aswecansee inTable7,SICdislodgedTVIfrom the first place in the Top Ten.These data, however, indicate that, althoughfallingsome positions,TVIremainswithastrong presence,occupying60% of theTop Ten.SIC ends the year with 30%,andRTP1withonly 10%.

The news about possible dismissals in national productioncompanies (Plural andSP Televisão)made it clear that, in times of crisis and austerity measures,fiction production is also affected.

Table 8. Top Ten: format, length, schedule

Title Format Genre

Number ofchapters/episodes(in 2012)

Date of the firstandof

the last issue(in 2012)

Time slot

1Dancin’Days

Tele-novela

Drama,sus-pense,comedy

14604/06to

31/12(cont.)PrimeTime

2Louco amor

Tele-novela

Drama,sus-pense,tragedy,

comedy189

06/05to31/12(cont.)

PrimeTime

3Doce tentação

Tele-novela

Comedy,dra-ma,romance

28408/01to

31/12(cont.)PrimeTime

4 Rosa fogoTele-novela

Drama,sus-pense,tragedy,

comedy143

02/01to30/06

PrimeTime


5Remédio santo

Tele-novela

Comedy,dra-ma,suspense,romance

19202/01to15/09

PrimeTime

6Doida por ti

Tele-novela

Comedy,dra-ma,romance 44

24/10to31/12(cont.)

PrimeTime

7

Moran-gos com açúcar IX: segue o teu sonho

Series

Juvenile,ro-mance,drama,

comedy,Musical

12302/01to15/09

After-noon,access toPrimeTime

8 Anjo meuTele-novela

Historical,dra-ma,romance

9402/01to

05/05PrimeTime

9Os compa-dres

Series Comedy8

07/01to31/12(cont.)

PrimeTime

10A família Mata

Series Comedy21

11/07to31/11

PrimeTime


Dancin’Days (SIC)and Louco Amor (TVI)hadthehighestim-pactinthenews.The former,inadditiontoleading the Top Ten,was among the most watched television programs of 2012. It is important to note that this telenovela is a remake/adaptation of an originally Brazilianscriptand follows the co-production model,usedinpre-viousyearsbySIC and TV Globo.Dancin’Days and Louco Amor have some similarities:mostofsub-plots are set in nightclubsandin both the two main characters were imprisoned for many years and strive,on the one hand,forsocialreintegrationand, on the other,forfamily reconciliation.

Doce Tentação (TVI),both in terms of plot as aesthetics, re-veals elements inspired by fables and fairy tales.Tothe classic con-trast between the main characters–the sweet and feminine young woman and the artisan and uncouth young man– are the outdoor images, such as themysterious and magnificent sceneries of the mountains and the Sintra Royal Palace.Rosa Fogo, Remédio Santo, Anjo Meu and Morangos com Açúcar IX: segue o teu sonho, all fromTVI,migrated from the 2011 ranking for 2012,stayingin the

426 | Obitel 2013

spotlight. Doida por ti (TVI)also does not innovate,but,neverthe-less,conquers the audience with a loving urban plot.

Intheend,thesitcomsOs Compadres (RTP1)and A Família Mata (SIC)achieve prominencebybetting in the family environ-ment and the vicissitudes of daily life.

Table 9. Subject-matter in Top Ten titles

Titles Dominant Themes Social Themes

1 Dancin’Days–Familyrelationships–Vengeanceandambition–Revelationofidentity

–Socialreintegration–Alcoholaddiction–Homosexuality

2 Louco amor–Crimeresolution–Amorousrelationships–Familyrelationships

–Oldage–Lovebetweenelderpeople–Socialreintegration

3 Doce tentação

–Mystery–Amorousrelationships–Murdered–Illegitimatechildren

–Orphanage–Religiosity

4 Rosa fogo–Amorousrelationships–CrimeResolution–Illegitimatechildren

–Infertility–Breastcancer–Illegalfights

5 Remédio santo–Mysticism–Vengeance–Illegitimatechildren

–Religiosity–Hearinginsufficiency–SocialCritic

6 Doida por ti

–Amorousrelationships–Infidelity–Revelationofsecretsandidentities

–Unemployment–Economiccrises

7Morangos com açúcar IX: segue o teu sonho

–Adolescence–Conflictsandrivalries–Fashionworld–Envy

–Recycling–FeminineProtagonist–OlderpeopleatUniversity

8 Anjo meu–Crimeresolution–Lovetriangle–Vengeanceandambition

–Socialandhistoricalmove-ments–Politicalconflicts

9 Os compadres

–Familyrelationships–Neighboredrelation-ships–Friendship

–Financialcrises–Nostalgia–Moralprinciples

10 A família Mata–Familyrelationships–Adulteryandtreason–Generationalconflicts

–Financialcrises–Pettythefts–Moralprinciples



The main highlight of the year in the field of social issues was the tendencytoproducestorieswithandforsenior citizens.Devel-oped in different ways,the theme was present in Louco Amor (TVI),with love happening in old age, inOs Compadres and inVelhos Amigos (RTP1),with incidents and adventures among relatives and neighbors.The presence of unemployed characters and dialogues on various financial difficulties revealed as another trend:the concern of domestic fiction to address, even ifgently, issuesofeconomic crisis.

428 | Obitel 2013

Table10.AudienceprofileoftheTopTentitles:gender,age,socioeconom

icstatus

T

itle

sC

han-

nel

Gen

der

%A

ge g

roup

%So

cioe

cono

mic

sta

tus%

Wo-

m

enM

en4-

1415

-24

25-3

435

-44

45-

5455

-64

65+

A/B

CD

E

1Dancin’

D

ays

SIC

62.0

38.0

8.0

16.6

17.4

16.7

15.6

10.4

15.2

18.0

19.9

35.9

26.2

2L

ouco

am

orTVI

63.6

36.4

6.2

7.3

8.1

9.6

13.0

19.6

36.3

9.4

13.2

44.8

32.6

3D

oce

tent

ação

TVI

64.1

35.9

8.0

9.4

9.3

10.8

13.7

18.0

30.8

7.4

17.8

39.8

35.0

4R

osa

fogo

SIC

61.7

38.3

7.8

12.2

18.5

16.9

15.8

12.7

16.1

13.8

22.2

37.5

26.5

5R

eméd

io s

anto

TVI

64.4

35.6

6.5

9.1

9.2

9.5

13.7

18.5

33.5

6.9

18.6

38.0

36.5

6D

oida

por

tiTVI

64.2

35.8

11.8

12.8

8.7

10.8

11.1

15.7

29.2

11.2

10.3

44.1

34.4

7M

oran

gos

com

açú

car

IX:

segu

e o

teu

sonh

oTVI

63.3

36.7

17.6

17.2

10.0

12.4

12.8

9.8

20.2

8.9

17.7

40.5

32.9

8A

njo

meu

TVI

62.4

37.6

5.5

8.6

9.5

10.5

13.6

18.2

34.1

8.5

21.5

36.7

33.4

9O

s co

mpa

dres

RTP1

58.0

42.0

0.9

6.3

3.9

6.9

13.1

18.8

50.1

17.4

14.8

41.3

26.6

10A

fam

ília

Mat

aSIC

54.7

45.3

13.9

13.7

19.1

19.3

14.6

9.1

10.2

13.5

19.2

45.1

22.3

Source:O

bitelPortugalM

ediaMonitor/MarktestA

udimetriaandGfK


Asinpreviousyears,theprofileofSICandRTP1fictionau-diencesremainedmorebalancedinrelationtotheTVIspectators.InDancin’Days(SIC),forexample,thismoreuniformdivisionisobserved in age groups and socioeconomic status. The profile oftheaudienceofOs Compadres(RTP1)andA Família Mata(SIC)remainedmorebalanced in termsofgender.However, theageofRTP1viewersisconsiderablyhighertoSIC,with50.1%ofview-ersofOs Compadresover65yearsofage.Ingeneral,womenarestillthelargerpublicoffiction,aswellasolderpeople(excepttheproductionsbroadcastedbySIC,viewedbypersonsofallages)andthelowincomegroups,suchasDandE.ThesedatapointtotheideathatSIC/TVGlobotelenovelasreachmorediversifiedaudiences. 3. Transmedia reception

Theuniverseofcirculationof television fictionhasbeenex-pandedsignificantlyinrecentyears.Acrossdifferentplatforms,thefictionalproductionsandtheiraudiencesrelateinamoreparticipa-toryway,establishingnewtransmediadynamics.

In this section,we intend toconductananalysisof transme-diaofferandusers’practicesoftelenovelaDancin’Days(SIC),thefirst titleof theTopTen.Asaplatformforanalysis,weselectedFacebook,giventhatthissocialnetworkprovidesgreaterinteractiv-itybetweenproducers and fans.However,wemust point out theexistenceofaconcertedactionbetweentheofficialpageofthetele-novelaintheSICwebsiteanditsofficialFacebook.

Theobservationincludedtheweekof8thto14thofApril2013,correspondingtoepisodes212-217.UsuallybroadcastedfromMon-daytoFridayinprimetime,intheanalyzedperiodtherewasaspe-cialchapteronSunday,the14th,atthesametimeofthepremierofthenewtelenovelaofTVI,Mundo ao Contrário.

Therecordingofthedatawasdonedaily,withthetotalnum-bersofeachobservedcategorycollectedat theendofthesampleweek.Thus,thenumberoffans,orthosewho“like”thepage,was48,004andthevolumeofparticipantsreached3,145members.The

430 | Obitel 2013

production made 28 publications (posts), which received 2,885“likes”fromthefans.Itwasalsoobservablethatthefanspublished619 reviewson the content and shared the contentof theofficialpage119times. 3.1. Transmedia offer of Dancin’ Days

Regardingthetransmediainteractionofferedbythetelenovelaproducers,wenotea“transmediavisualization”.Inthismanner,thisplatformallowsthevisualizationoffictionvideos,photosdownload,theinteractionofusers inreal time, thesharingofpostedcontentandevendirectinteractionwithactorsofthetelenovelathroughthechat.Thisdynamic,weeklyperiodicityisentitled“FacebookHour”,inwhichanactortalkstothenetworkusersdirectly,answeringtheirquestionsandcomments.Followingthechat,socialnetworkadmin-istratorsprovideavideobytheactor,givinghisstatementregardingtheexperienceofinteractingwiththefans.

Anaverageoffourtosixpostsarepublisheddaily.Usually,thesocialnetworkmoderatorstalkaboutscenesthatwillbeairedinthenextchapters,launchinginquiriesabouttheplot,andprovidelinkstotheofficialwebsiteofthetelenovela,wheretheparticipantshaveaccess to synopsis, complete previous episodes and videos withpreviewof selected scenes.The last post of the day is publishedminutesbeforethestartofDancin’Daystransmission.Theadmin-istratorsseektoattracttheattentionoffansandinduceexpectationsregardingthechapterthatwillbebroadcastednext.However,theypostnocommentsduringtheactualbroadcast,whichmayindicateastrategytoallowafreerandmorespontaneousinteractionoftheparticipants.

3.2. Interactivity and users practices Regarding interactivity (Table 11),we note that the level of

useractiveinteractionispredominantandnotcreative.Thelackofcontentcreatedby thefansmightpoint to theabsenceofpropos-alsfromFacebookandofficialwebsiteproducersinordertomake


availablestrategies in theseplatforms thatenableamorecreativeappropriationoffiction.

In this sense, it is fair to refer to the transmedia initiativeoftheofficialwebsiteofseriesA Família Mata,broadcastedbySICin2012andin10thplace in theTopTen,whichorganizedanac-tioncalled“Uma Família Portuguesa, com certeza”.Suchastrategyrequestedthatthespectatorssendasmall30-secondvideowithim-ages,statementsandhumorousscenesoftheirfamilies.ThefunniervideoswereselectedtobebroadcastedattheendofepisodesoftheseriesandweremadeavailableinFacebookandinthewebsite.

Thus,basedonthePortuguesefictionDancin’Days,weunder-standthatthetransmediareceptionispartiallydeveloped,sincetheparticipationoccursmoreintermsofresponseandinteractionwiththe proposed content –through practical recommendation, discus-sion, critique and sharing– than actually in the transformation oftheconsumer intoproducerofnewcontents. Inaddition,wenoteamoderateproductionof fictionalnarrativematerial intendedex-clusivelyforthoseotherplatforms,independentlyofwhatisbroad-castedontelevision.

Table 11. Types of interaction and dominant practices

Chosen title Channel Internet

pages


Levels of in-terac-tivity

Dominant prac-tices by users

Dancin’Days SIC

FacebookTransmediavisualization Active

CommentaryCelebrationRecommendationSharingInterpretationCriticCollectionStorageDiscussion

Regardingthecontentof thecommentaries, theusers tendtousethenetworktoexpresstheiropinionaboutthebehaviorofthe

432 | Obitel 2013

charactersandtheplot,aswellastocelebratethequalityoffictionandofgoodperformanceoftheactors.It iscommontocommentoneachother’scomments,expressinghopeforthebeginningofthetelenovelaandreportinginrealtimethattheyarereadytowatchtheepisode.

ItisworthmentioningonecritiqueoftheonlinecontentofferedbytheproducersofDancin’Days.Acertainpost,inwhichthead-ministratorsofthesocialnetworkrevealedinadvancetheoutcomeof aparticular situation, causeddispleasure to some fans.This islikely to indicateaproblem thatarises forproducersbetween thestrategy of providing asmuch content on the social network andthedesireofsomeuserstonotknoweverythingthatwillhappeninadvance,prioritizing,inthiscase,thesuspenseofanunforeseeableoutcome.

Basedonthatweek’sanalysis,weidentifyamajorityparticipa-tionofayoungaudience,inspiteofstatisticalindexesrevealingthattheDancin’Daysaudiencecrossesseveralagegroups.Thereviewsoffemaleusersweremorefrequentinaratioofapproximately2/3rela-tivetomale,pointingtoahigherconsumptionofthisfictionbythefemaleaudience,butstillwithconsiderablecontingentofmalefans. 4. Highligths of the year

2012wasayearoftransition.Thenumberoftitlesperchan-nel,theprofileoffictionofferedandtheaudienceschanged,lead-ingtotheestablishmentofanewstageofproduction,supplyandconsumptioncomparedtopreviousyears.Thepublicservicechan-nel,despitetheuncertaintyofitsfuture,duetotheeconomiccrisis,broadcasted the same number of titles of the previous year (12).ThecommercialchannelSICstoodouton thenationalpanoramawiththerelationshipwithTVGlobo.Theremake/adaptationofthetelenovelaDancin’DaystocontemporaryPortugalwasabetofco-productionon thepathof the successof2011,Laços de Sangue,allowingthetitleandthechanneltobeonthefirstplaceoftheTopTen.LiketheEmmywinnertitleof2011,Dancin’Daysmanagedto


captivateaudiencesofallagegroupsandsocioeconomicstatus,go-ingagainstthetypologyoftelenovelaviewer(women,fromlowerincomegroupsandwithover64yearsofage).Thisachievementcanbe related to theprofile of the channel viewer-type (youngerindividualswith ahigher levelof interactivity), but alsowith thescript, with production conditions, including the coaching of thecastwhichallowsthedevelopmentofconsistentcharacters,aswellasproduction/broadcastingstrategiesandadvertisingactions.Thesestrategiesdifferfromtheofferoftheotherchannels,especiallyfromTVI,themaincompetitor.

From theproduction/broadcasting strategieswehighlight thedaily transmission at a fixed time, the inflexible pre-establishedlength,aswellastheuseofhooksattheendofeachchapter.Theseelementsallowtheestablishmentofalinkbetweenthecontentandtheaudience,creating,ontheonehand,aviewingroutineand,ontheotherhand,momentsofexpectation.Inrecentyears,thegrow-ingcompetitivenessledtothealignmentofthetransmissiontimesof the fictional contents with commercial imperatives, becomingregularthebroadcastofchapterswithdifferentlengths,abruptfinalsorevenfailingtobroadcastanepisode.

TheotherhighlightofSICwas the returnof theaudienceofBraziliantelenovelas,forwhichcontributedthebroadcastofthere-makesGabriela andO Astro, first broadcasted inPortugal in the70’sandwhichremainintheimaginaryofthePortuguesepublic.Inordertogivemoreprominencetothesetitles,thepremiereswereinpre-primetimeandspecialchapterswerebroadcastedwiththedes-ignationof “firstweek”, “presentation”or “finalmoments”.ThisreturnofBrazilian telenovelaswasalsomadeby the rerunof thesuccessofaudiencesPáginas da Vidaonthelatenightslot,aswellasbythedebutofAvenida BrasilwhenitwasendinginBrazil.TheimpactofthislatterstoryarrivedinPortugalthroughgossipmaga-zinesandtelevisionshowsthatfollowthelivesofthefamousandthebackstageworldofBrazilianandPortuguesefiction,contribut-ingtoexcitethecuriosityofthePortuguesepublic.

434 | Obitel 2013

TVI,thechannelthathasbeenleadingthefictionofferinre-centyears,aswellasthetelevisionmarket,keptthecontinuedpro-ductionoftelenovelastoprimetimeandbroadcastedMorangos com

Açúcar in pre-primetime for a younger audience. This latter titleremainedintheairfornineconsecutiveyearsanditslastseasonhasalreadybeenannounced.Afeaturefilmwasproducedtoclosetheserieswithcharactersfromallseasons,andwasthemostwatchedPortuguesemovieofalltime.Thehighlightofthestationwas,how-ever,theprojectFilmes TVI,aseriesof26TVmoviesproducedandperformedbydifferentteams.For26weeksstoriesbasedonthemesanchored in reality fromdifferentgenres, likecomedy, thrillerordrama,werebroadcasted.

Thespecificitiesidentifiedin2012introducebreaksinthety-pologyofsupplyanddemand,sotheOld strategies for new times (2011)ledtoayear of transitionandmaderoomfornewdevelop-mentsfornationaltelevisionfiction. 5. Topic of the year: social memory and television fiction

Toproduceandtoconsumetelevisioncontent in the twenty-firstisachallenge.Thescreensmultiply,thesupportingtechnolo-giesdevelop,thepossibilityofinteractionincreasesandconsump-tion practices becomemore plastic and adapted to everyday life(Ganitoetal.,2012).Withinthisreality,themostdynamicsegmentisundoubtedlyfiction,because,duetoitsserialnatureanditsnarra-tivestructure,ithastheabilitytosynchronizecurrentsocietalissuesin the actual society, to align social times and to create a collec-tivetime.Usingvariousformats(telenovela,series,TVmovie)andmultiplegenres(comedy,thriller,romance),thestoriespresentedinsmallscreenfunctionsimultaneouslyasamirror that reflectsandprojects,i.e.,asameansofpresenting,producing,andreproducingidentity(oridentities).

Societies live under the aegis of the present time, under theimperative of urgent and emergency of alternative values which


competewith the institutions andwith the establishment.At thiscrossroads,individualsfeel,cyclically,thewillandtheneedtocre-ate, strengthenorbreak the identitybonds theybuiltorassumed.Giventhisscenario,theintellectualsarecalledtoseteachtimeinanattempttocatalogtherealitiesandofferasafeharbortothosewho wander through liquid modernity (Bauman, 2001), to thosewhomeetdailytheplaces,thenon places(Augé,1994)andthenew

places(Monteiro,2003).Thispatternoflife,inwhichboundariesareblurred,meansthat

the“other”ismoreeasilyreached.Ifthisfactorcanbeunderstoodas a step towards a broad spectrumof co-living, it can also be asourceofpromotingaseparationfromtheaxisandadevaluationofthe“I”andofthe“we”asguidingcoordinates.Thus,wemustpayattentiontothetwofacesofJanus:knowingwhoweareandwhatsetsusapartfromthe“other”(Bhabha,2006).Inaddition,itisnec-essarynottofallintoeitheramnesia or excess of memory(Martins,2007, p. 13), so as to avoid resentments and inorder topromotelearningbyexperience.

Theworking of memory(Martins,2007,p.14)isessentialforthe(self)knowledgeandrecognition,whilefunctioningasoneac-tiveelementofidentity,especiallyatatimeinwhichconceptsofglobalizationandEuropeanizationarebeingexplored,beyondtheconceptsofnationalizationandregionalization.

Directly or indirectly, all individuals practice that exercisethroughthesociallyinstitutedrites,whichassumesanalmosttotemicdimension.Throughfestivals,thereisa(re)constructionofmultiple

layers of time and spacethatcomprisethe“I”and“we”(Feldman-Bianco,1995,p.76),presentingitselfasthequintessentialsymbolsofthedramatizationofsaudade.Withthedevelopmentofthemedia,“festivals”occurdailyandinprivatespaces,andweseeadeepen-ingofmediation,andeventhe“mediatization”ofmemory,leadingto theapparatus,suchas television,cometobeseenasmnemonic

devices or memorials par excellence(Sobral,2006,p.6).Tofulfillthismission,televisionlookstothepast(s),functioningasamade-

436 | Obitel 2013

for-TV history (Edgerton,2010),aglobalphenomenon thatbeginstotakeshapeinthe90s,withtheappearanceofchannelsspecializedinthepast(s)astheHistoryChannel,aswellasthedevelopmentoffictionalnarratives.The(re)constructionofHistoryinstorieshastooccurinanhonestanddocumentedway,since,formanyviewers,thisistheonlylinkbetweentheindividualandcollectivememory,functioningasasymbolic representation(Yeste,2009).

Theseexercisesofculturalproximity(Rueda,2011)gaindif-ferentshapesaccordingtothesubjectdiscussed,aswelltothepro-ductionandbroadcastingspaces.Accordingly, if the internationalchannelsexplore,aboveall,revisitationsofepicmomentsofgen-eralhistoryofmankind,suchastheseriesRome(2005)orThe Bor-

gias (2011), national channels have to lookon their past, events,momentsandpersonalities thatgivesubstance to the local imagi-nary.Withinthislineofthought,andlookingatthePortugueseex-perience,inthelastyears,televisionchannelshavebeenrevisitingimportantmomentsofpoliticalandsocialhistorywithtitleslikeO

Dia do Regicídio (2007),whichdealswith the fallof themonar-chy,Noite Sangrenta(2010),whichpresentstheFirstRepublic,A

Vida Privada de Salazar(2008),whichexplorestheinnerlifeofthePortugueseDictatorAntóniodeOliveiraSalazar,Conta-me como

Foi (2007-2012),whichdealswith thesocialand family lifedur-ingtheperiodofEstado Novoor,morerecently,Depois do Adeus (2012/2013),whichdepicts the returnof thePortuguese from theformercolonies.ThelattertitlerepresentsasectioninthetrendofhistoricalfictionalproductioninPortugal,sinceitisasubjectthatoccurredmorerecently,allowing,ontheonehand,challengingtheneedofdistancefromthepast,toreflectonit(Sobchack,1996)and,ontheotherhand,tostrengthentheroleoftelevisionasanautho-

rized historian(Dayan&Katz,1992).If we look at the Portuguese fictional television production

consideredhistoricalinthelasttwodecades(1990-2012)–titlesun-rolledinapasttimeand/oronrealmomentsandpersonalities–35titlescanbefound.Fromthesetitles,40%arelocated,infact,inthe


recentpast(between1930and1970),followed,withanincidencerate of 26%, by the adaptation ofworks by canonical authors ofthenineteenthcentury,and,with20%,thefirsttwodecadesofthetwentieth century (theFirstRepublic and the consequent govern-mentinstability).Theremaining14%ofthetitlesarescatteredbyundifferentiatedtimes(Torres&Burnay,2013).

Inabreakdownbychannels,itisclearthatpublicservicemakea continued commitment to this typeof content (27 titles),whileprivate channels do it irregularly and inmeetingother objectivessuchasthecreationoffantasticmomentsonthescreen(Equador,TVI)ortheexplorationofprivatelifepersonalities(A Vida Privada

de Salazar,SIC)(Burnay&Lopes,2013).In2012,weidentifiedtwotitlesconsideredhistorical–Perdi-

damente FlorbelaandBarcelona, Cidade Neutral(RTP1)–andoneconsideredaperiodpiece–Anjo Meu (TVI)–.Perdidamente Flor-

belapresentsthelifeofthePortuguesepoetFlorbelaEspancadur-ingtheearlytwentiethcentury.DirectedbyVicenteAlvesdoó,thefeaturefilm,whichwasbroadcastedontelevisionasathree-episodeminiseries,wasshowedinnationalandinternationalmoviefestivals(Rio de Janeiro, Bissau, Spain, andUnited States), accumulatingnominationsandawards.Barcelona, Cidade Neutral,alsoaminise-ries,butproduceddirectlyfortelevision,portraysBarcelona,duringtheWorldWarI,asaneutralcity.Onceagain, thepublicservicechannelparticipatedintheproductionthroughfinancialinvestment,allowingnotonly thepresenceofPortuguese actors, but also thepossibility to broadcast the content. The last titlementioned is atelenovela.TheplotofAnjo Meu took the70sasabackdropandthemeforthedevelopmentofthestory,andthescriptdidnotdepictrealevents.

Theinstabilityofthefutureofpublicservicechannel,themaindriverofthiskindofcontents,leavesopenthefutureofthisgenreoffiction.

438 | Obitel 2013

ReferencesAUGÉ,M.,Não Lugares: introdução a uma antropologia da sobremoder-

nidade.Lisbon:BertrandEditora,1994.

BAUMAN,Z.,Modernidade líquida.RiodeJaneiro:JorgeZaharEditor,

2001.

BHABHA,H.,Nation and Narration.NewYork:Routledge,2006.

BURNAY,C.D.;LOPES,P.«HistoryintoStories:Portuguesememories

andtelevisionfictionalnarratives»Revista VIA,Centred’EstudisJordiPujol,

Barcelona,2013,pp.138-147.

DAYAN,D.,KATZ,E.Media events: the live broadcasting of history.

Cambridge:HarvardUniversityPress,1992.

EDGERTON,G.R.“Where thepastcomesalive?”: television,history

andcollectivememory.In:WASKO,J.(ed.)A companion to television.United

Kingdom:Blackwell,2010,pp.361-378.

FELDMAN-BIANCO,B.«Reconstruindoasaudadeportuguesaemví-

deo:históriasorais,artefatosvisuaiseatradiçãodecódigosculturaisnapesqui-

saetnológica».Horizontes Antropológicos,year1,n.2,PortoAlegre:UFRGS,

1995,pp.73-86.

GANITO, C.; BURNAY, C.D.; FERREIRA, C. «Serialized Participa-

toryCulture:TheDigitalTransformationofYouthAudiences».Observatório

(OBS*) Journal Obercom,2012,pp.51-78.

JENKINS,R.Social Identity.London:Routledge,1996.

MARTINS, G. O. Portugal: identidade e diferença. Lisbon: Gradiva,

2007.

MONTEIRO,P.«Espaçopúbliconocentrocomercial:oAmoreirascomo

portadeentrada».Trajectos–Revistade Comunicação, Cultura e Educação,n.

3,Lisbon:ISCTE,2003,pp.9-19.

RUEDA,J.C.«Estatierraesmía.Espacioshistóricosygeografíadela

memoriaenlaficcióntelevisivaespañola».Haol,26,pp.27-39,2011.

SOBCHACK,V.The persistence of history: cinema, television and the

modern event.NewYork/London:Routledge,1996.

TORRES, E. C.; BURNAY, C.D. «The subject-matter of audiovisual

historical fiction inPortugal (1909-2010)». In:Cabecinhas,R.&Abadia,L.

(eds.).Narratives and social memory: theoreticalandmethodologicalapproa-

ches.Braga:UniversityofMinho,2013.pp.190-201.

YESTE,E.«Losmediosrevisitandoelpasado:loslímitesdelamemoria.»

Análise, 38,pp.71-84,2009.

11urugAy: seArchIng For

A susTAInAble model

Author:RosarioSánchezVilela

Team:PaulaSantos,LucíaAllegro,

EugeniaArmúa,IsabelDighiero


Introduction The audiovisual production in Uruguay has always had to

face theproblemofhighcosts related toasmallmarket.Thede-mand for stimulus policies and promotion of national produc-tion screen quotas have been recurrent over time,while employ-ers often insist on the difficulties to recover the investment. Thesustainabilityofproduction is thusoneof thekeys to thevariousstakeholdersanditisexacerbatedwhenitcomestotelevisionfic-tion.At the same time, initiatives to legislateon audiovisual ser-vicesand theadventofDigitalTerrestrialTelevisionarousevari-ouspositionsandinduceexpectationsregardingthetransformationof television.However, progress has been irregular,whenno ac-tion has been left in abeyance. Meanwhile, audiovisual produc-tionshowssomesignsofvitalityandpersistence:nationalcinemain2012openeda lockeroffifteen titlescorresponding to72,2741 tickets sold; about 150 active production companies diversifytheir linesofwork; theopentelevisionoffersagain threeproduc-

1Source:DataprovidedbyCinemaandAudiovisualInstitute(InstitutodelCineydelAudiovisual-ICAU).

440 | Obitel 2013

tions of television fiction, but this year not reaching the top ten. Strategicalliancesaimedattheexportofdomesticproductionsareconstant in various actors involved, both independent producersandproductionareasofthechannels.Inthissense,SaetaChannel10, that has takenmore strongly the production of fiction in re-centyears, developedvariouspartnershipswith foreign resources(producers,writers, directors),while pitching instances generatedwithin the channel to identify newproducts, and sells its outputsthroughagreementswithTelemundoInternacionalorFlorLatina.Itisalsoasignofthislooktowardstheinternationalizationofdomes-ticproductionthatOZMedia–tocelebrateitstenyears–organizedMonTV,aneventthatfocusedonnewtelevisionbusinessmodels,creatingnewformatsandmarketinganddistributingthemininter-nationalmarkets.Apart fromOZMedia, in recent years, severalindependent producers (Microtime,Nepal Films,ContenidosTV,etc.)participatedatinternationalfairsandfestivalsinordertoselltheirformats.2

1.1. The open television TheopenbroadcasttelevisionsysteminUruguayiscomposed

of 28 private television stations and 33 public ones, assigned toUruguayNationalTelevision(TelevisiónNacionalUruguay-TNU,Channel5).3TheprivatebroadcastiscomposedofthreefrequenciessettledinMontevideoandlinkedtothreeeconomicgroups:DeFeo-Fontaina group, owner ofChannel 10; theRomay-Salvo/Romay-Ecchergroup,ownerofChannel4;andtheCardoso-Pombo-Scheckgroup,ownerofChannel12.Oftheremaining25privatetelevisionstations,sevenareownedbyanyofthesegroupsortheirassociation

2 http://elobservador.com.uy/noticia/237518/productoras-van-tras-las-ideas-con-audien-cia-global/.3Source:CommunicativeServicesRegulatoryUnit(UnidadReguladoradeServiciosCo-municacionales-URSEC).Listofavailablestationsathttp://www.ursec.gub.uy/scripts/templates/portada.asp?=nota=Contenidos/Operadores/Radiodifusion/AM%20%20FM/DATOS%20TECNICOS%20EMISORAS&Despliegue=DATOS_big.asp.

Urugay – Searching for a sustainable model | 441

inRUTSA4.Throughthiscompanytheyprovidecontenttoothertenchannelswithinthecountry.5

Even though they do not constitute national chains, the pro-gramming of themetropolitan private channels aswell as of thepublictelevision(alsobasedinMontevideo)areexpandingtootherregionsofthecountry.Ononehand,localchannelsproducesomeprograms, particularly informative ones, but they do not tap intofiction.ThestudyofObitel-Uruguayfocuses in thefourchannelswhicharerecordedinGraph1.Ontheotherhand,itisrelevantnot-ingthatMontevideoanditsmetropolitanareaaccountforhalfofthecountry’spopulation.Moreover,audiencemeasurementsbyIbopearealsoperformedonthispopulation.6

Graph 1. National television chains in Uruguay

PRIVATE CHAINS (3) PUBLIC CHAINS ( 1 )MontecarloTV(Channel4) TelevisiónNacional(TNU,Channel5)

Saeta(Channel10)Teledoce/LaTele(Channel12)

TOTAL CHAINS = 4

Graph 2. Audience and share per channel

Total Channels Ra- ting

Sha- re

Teledoce/LaTele(Channel12) 8.6 43.2%

MontecarloTV(Channel4) 5.3 26.6%

Saeta(Channel10) 4.9 24.6%TelevisiónNacional(TNU,Channel5) 1.1 5.5%

Total 19.9 100Source:Obitel-UruguayonIbopedata

4RedUruguayadeTelevisiónS.A.,alsoknownasLaRed.5Thedetailof theconcentrationofownershipandcontrolover thegeneral televisionsystemisavailableatEdisonLanzaandGustavoBuquet(2011).La televisión privada comercial en Uruguay. Caracterización de la concentración de la propiedad, las audien-cias y la programación. Fesur,Montevideo.Seegraphicsonpage14to21.6 IbopeperformedtheirmeasurementsonauniverseconsistingofMontevideoprivatehouseholdswithat leastoneTV,coveringindividualsover4yearsoldlivinginthosehomes.In2012householduniversewas438,822.Aratingpointis1%oftheuniverseofreference.

Teledoce/LaTele

(Channel12)

MontecarloTV

(Channel4)

Saeta(Channel10)

TelevisiónNacional

(TNU,Channel5)

24.6%

5.5%

26.6%43.2%

442 | Obitel 2013

Graph 3. Genres offered in TV programming

Genres transmitted

Exhibition hours %

Entertainment 6,243:25 25.2Fiction 6,050:20 24.5Information 5,700:20 23.0

Others 2,352:30 9.5

Documentary 1,106:20 4.5Sports 963:30 3.9Educative 702:35 2.8

Religion 541:40 2.2

Agriculture 485:25 2.0Infotainment 250:00 1.0Specials 221:20 0.9

Health 113:30 0.5

Total 24,730:55 100

Graph 4. National production offer by genre7

Genres transmitted % Exhibi-tion

hours Information 38.4 5,684:55Entertain-ment

23.3 3,445:15

Others 15.9 2,352:30Sports 4.3 635:20Educational 4.3 633:50Documen-tary

4.1 602:55

Agriculture 3.3 485:25Religion 1.6 236:00Infotainment 1.6 232:50Fiction7 1.3 192:05Specials 1.3 195:40Health 0.8 113:30Total 100 14,810:15

7Nationalcinemaandrerunsareincluded.Mostly,thenationalproductionofferfollowsthesametrendofthepreviousyears.

Entertainment

Fiction

Information

Others

Documentary

Sports

Educative

Religion

Agriculture

Infotainemt

Specials

Health

9.5

0.9

24.5

25.2

23.0

0.5

4.53.9

2.82.2 2.0

Information

Entertainment

Others

Sports

Educational

Documentary

Agriculture

Religion

Infotainment

Fiction

Specials

Health

4.3%

1.3%

23.3%

38.4%

15.9%

0.8%

3.3%1.6%1.6% 1.3%

4.3%

Source:Obitel-UruguayonIbopedata



The supplyofbroadcast televisionprogramming reveals thatentertainment, fiction and information concentrate the highestairtime (72.7%). The programming of national origin occupied14,810:15hours, representing about 60%of total broadcast time.Whenanalyzingitscomposition,itisobservedthat38%ofnationalproductionisdevotedtonationalnewsand23.3%toentertainment,whilenationalfictionrepresented1.3%oftotalhours. 1.2. Advertising investment of the year: in TV and fiction

Establishing exactly what was the advertising investment intelevisionfictionin2012isnotaneasytask.Theavailableinforma-tionispartialandscattered.However,usingdifferentsourcesmadeitpossibletoachievesuchanapproachtothetopic.

GlobaladinvestmentinUruguayin2012wasestimatedatUS$263millionaccordingtoareportbyCINVE.8Itnotesthat“in2012openTV(56%)andradio(14%)participationwouldhaveremainedstable, while the share of investment in press would have fallen(9%).Meanwhile,therewasaslightincreaseintheshareofpublicparticipations(14%).Finally,itisemphasizedthateventhoughtheshareof investment in Internet is locatedatvery lowpercentages(5%),itcontinuestogrowsteadily”.Basedonthesedata,then,tele-visionadspendingwouldreachaboutUS$147million.

Howmuchofthatinvestmentwasconcentratedontelevisionfiction?Anapproximationcanbeobtainedfromthedataofadver-tisingseconds.During2012,totalsecondsforTVadvertisingwas13,324,2089andtotalsecondsforfictionwas2,557,177.TheIbero-Americanfictionpremiereissued1,546,056secondsofadvertising.Asfarasnationalfictionsrelates,thenextthreehadanunevendis-tributionofadvertisingturns:Bienes ganancialestook31,542sec-

8CINVE(CentrodeInvestigacionesEconómicas,orinEnglish,EconomicResearchCen-ter)reportforAUDAP(AsociaciónUruguayadeAgenciasdePublicidad,orUruguayanAssociationofAdvertisingAgencies),December2012.In:http://comunicacionpublicita-ria.com.uy/la-industria-publicitaria-y-su-impacto-en-la-economia-uruguaya/.9 Source:Data provided by Ibope-Uruguay fromMonitor Evolution, from January toDecember2012,includingalltypesofcommercialbroadcastinbatch.

444 | Obitel 2013

onds;Somos,6,241;andRec,859.Convertingthisdataintoaccuratefinancialinvestmentisnotpossiblewiththeinformationavailable.Theratesofthechannelscanbetakenasareference,10butthefinalcost for thesecondad is theresultofnegotiationswitheachcus-tomer.Accordingtovariousqueriesperformedinadvertisingandmediaagencies,theagentsstatethatfinallythepriceofthetelevi-sionminutefluctuatesbetweenUS$600andUS$2,500.

1.3. Communication policiesOnMay11th,2012theExecutiveapprovedthedecreereferred

totheregulatoryframeworkofdigitalTV11byestablishingthatforMontevideoanditsmetropolitanareatherewouldbesixpublicchan-nels(oneofwhichisreservedforTNU,onefortheMunicipalityofMontevideo, another to disseminate public channels of the region)and sevenprivate (ofwhichonewillbe “mirror signal”ofprivatechannels4,10and12andtheremnantthreecouldbegrantedtoeachoneofthesesignalstotransformtheirservicestodigital).Therewillalsobeothersevennonprofitcommunitychannels,appointedafteranopencall.Fortherestofthecountrytherewillbethreepublicchan-nels(oneofwhichisforTNU),threeprivateandthreecommunal.

Thedecreemadeitmandatorytodevote15minutestopublicwelfarecampaigns,whetherpublicornot,andtheneedtopromotenationalproducts.Inaddition,digitalservicesshouldofferprogres-sivelyaccessibilityforpeoplewithvisualandhearingdisabilities.Italsosetsanumberofconditionsforgrantingthosesignalstotheones that present to thepublic call.Among themost relevant re-quirementsare thedemonstrationofeconomiccapacityand trust-worthiness, as well as the presentation of a communication andbusinessplantobesubmittedtotheevaluationofannon-bindingIn-dependentHonoraryandAdvisoryCommission,whichwascreated

10Thesecondofprimetimecosts$3,429;atnight$1,649;and$1,008intheafternoon,accordingtothetariffofSaetaChannel10fromJanuary1st,2013whichwaspossibletoaccess.11 Original decree: http://archivo.presidencia.gub.uy/sci/decretos/2012/05/miem_585.pdf.


bythesamedecree.Theauthorizationswillbegrantedfor15yearswithanoption to renewevery10years,“provided that therewasno negative evaluation of the communication plan and that therewere nonewpre-qualified interestedpartiesforwhich therewerenotavailablechannelswithinthereservedones”.12

However, onDecember31st, 2012, thegovernmentmodifiedthisdecreeandprivatetelevisionswereexoneratedofcompliancewith therequirementsabovedescribedasa“convenientmeans topromotecontinuityofexistingcommercialtelevisionbroadcastingservicesinthenewdigitalenvironment,inresponsetogeneralandculturalinteresttargetsthathaveprovidedsofar,forwhattheback-groundofthechannelswillbeconsideredintheprocedurestobeestablished”13.Thus,privateopentelevisionchannelsinthecountry(Channels4,10and12)automaticallygetonedigitalsignalforape-riodof15yearswithoutexhibitinganyofthedocumentsrequestedtothenewstakeholders.Thismodificationandthedatewhenitwasdonecauseddiscomfort,mainlywithin theIndependentHonoraryandAdvisoryCommittee,responsibleforevaluatingtheprojects.

Thedecree signedonDecember 31st stated that the deadlineforsubmissionofproposalsfordigitalTVtotheRegulatoryUnitof Communication Services (Unidad Reguladora de ServiciosdeComunicaciones -URSEC)was February 25th, 2013, but twodays before President José Mujica suspended the call to stake-holdersina“transitory”wayarguing“reasonsofopportunityandconvenience”14.Theresumptionof thecallwasexpected inApril

12Article8.Initsliterale)setsoutindetailthecontenttheplanshouldhave:program-ming,amountandtypeofgenrestooffer,advertisingguidelinepolicy,amountandtypeofdomesticandownproduction,accessibilityforpeoplewithvisualandhearingimpair-mentsandemploymentitgenerates.13 http://www.presidencia.gub.uy/wps/wcm/connect/presidencia/portalpresidencia/comu-nicacion/comunicacionnoticias/ejecutivo-aprobo-pliego-para-llamado-tv-digital-abierta.14 Sources: http://www.180.com.uy/articulo/26133_Asi-sera-la-TV-digital-uruguaya;http://www.elobservador.com.uy/noticia/242125/mujica-freno-llamado-sobre-tv-digital-tras-pedido-de-los-canales/;http://www.presidencia.gub.uy/wps/wcm/connect/presidencia/portalpresidencia/comu-nicacion/comunicacionnoticias/ejecutivo-aprobo-pliego-para-llamado-tv-digital-abierta;http://180.com.uy/articulo/32687_TV-digital-La-antiguedad-da-prioridad-a-canales-pri-

446 | Obitel 2013

2013.ThemonitoringofthisissueinthelasttwoObitelYearbookshadshownupsanddowns,andthosereversalshadcontinuedduring2012.Attheclosingofthischapter,advancedthe2013,thecomple-tionofthenewcallisstillpending.Nevertheless,somestepshavebeenfinalized.InAugust2012,pilotemissionsfromTNUpublicchanneltoMontevideobegan.Privatechannelshavealsotested,butarenottransmittingintheirdigitalsignals.15Thedateforthe“digitalswitchover”apparentlyremainsNovember21st,2015.

RegardingtheAudiovisualServicesAct(LeydeServiciosAu-diovisuales), theproject isbeingconsideredby theExecutive. Itscontentshavebeenpartiallyrevealedinpressreleasesfromvariousgovernmentsources,butitsfulltexthasnotbeenpublishedyetnorenteredParliament.16

Tothesedebatesaboutthemedia,inAugust2012itwasaddedthecalloftheExecutivetoaTechnicalAdvisoryCommitteeontherightsofchildrenandadolescents,freedomofexpressionandmediawiththetaskofdevelopingasetofrecommendationsfromadiscus-sionagenda.17Theworkof thecommissiongeneratedsomepressdiscussionsaboutthelinksbetweenself-regulationandregulation,the desirability of regulation regarding contents and advertisingduring thehoursof childprotectionandchildren’sprogramming,amongothersubjects.

1.4. Pay TVThe number of paid TV services has experienced a steady

growthfromyeartoyear:inDecember2012thenumberamounted

vados; http://historico.elpais.com.uy/130124/ultmo-690824/ultimomomento/postergan-llamado-para-operar-la-television-digital/.15 http://www.180.com.uy/articulo/28114_La-television-digital-llego-a-medias.16 http://brecha.com.uy/index.php/politica-uruguaya/1111-el-modelo-uruguayo;http://www.montevideo.com.uy/notnoticias_174665_1.html.17Theminutesofeachmeetingweremadepublic,andtogetherwiththefinalreportandrecommendations, are available at: http://www.presidencia.gub.uy/wps/wcm/connect/presidencia/portalpresidencia/comunicacion/informes/comite-consultivo-sobre-ninez-y-medios.


to592,699,itmeans55,887morethanthepreviousyear.18Asfornationalcablechannelsprogramming, the trendofpreviousyearscontinues: they broadcast programs produced by open TV andamong these programs the journalistic ones of different themesdominate.Thenoveltyin2012wasthatthepubliccablechannelof-feredtwonationalfictiontitles:Laboratorio en casaandContámela

en colores.Thelatterreferstodifferentperiodsofnationalhistoryandhence it is related to theyear’s theme tobedeveloped in thecorrespondingsection.Laboratorio en casa isaprogramaimedatchildrenandeducation.ItisafictionproducedbyOZMedia,whichsomehowrecognizesas inspirationEl mundo de Beakmnan,19 butunlikethelatter,hasamoredevelopedfiction:varietyofcharacters,humoroussituationsmanagement,domesticspacewhereactionofthecharactershappens,amongothers.Thefictionalcomponentsaredeployedandsotheframeworkinwhicheducationalcontentdevel-ops.

1.5. Trends in ICTsIn the telecommunications market, there are 580,669 fixed

broadband services throughout Uruguay (97% operated by state-ownedAntel)and1,084,500mobilebroadband.Mobiletelephonycontinues to grow: it reached a total of 4,995,459 services untilDecember2012,implyingthatmobileteledensityservicesreached151.5pereach100inhabitants.20

Thestudyon theUruguayan InternetUserProfile (PerfildelInternautaUruguayo)thatRadarGroup21annuallypresentsshowed

18 http://www.ursec.gub.uy/scripts/locallib/imagenes/Informetelecomunicacionesdic 2012.pdf.19InterviewwithSeniorProducerPaulArriolapublishedinEl País,onSeptember8th,2012.20 http://www.180.com.uy/articulo/29534_El-42-de-los-uruguayos-tiene-banda-ancha;http://www.180.com.uy/articulo/31678_Uruguay-tiene-la-mejor-banda-ancha-http://www.ursec.gub.uy/scripts/locallib/imagenes/Informetelecomunicacionesdic2012.pdf;de-la-region.21 http://www.gruporadar.com.uy/01/wp-content/uploads/2012/08/El-Perfil-del-Internau-ta-Uruguayo-Resumen-ejecutivo.pdf.

448 | Obitel 2013

that in 2012 Uruguay reached almost two million Internet us-ers(17%haveinternetontheirmobilephoneanduseitmainlytoaccess socialnetworks), a totalof1.2millionFacebookusers,ofwhichmorethanhalfenterthenetworkeveryday,andabout140thousandusersofTwitter(ofwhich43%tweeteverydayoreverytwoorthreedays).Inaddition,thereareapproximately150thou-sandUruguayanblogsthataredevelopedmostly(56%)bypeopleunder20yearsold. 2. Yearly analysis: premiere of national and Ibero-American fiction

Table 1. Fictions exhibited in 2013

PREMIERE NATIONAL TITLES: 3 SAETA, Channel 101.Bienes gananciales(series)2.Somos(unitary)

TNU, Channel 5(Televisión Nacional del Uruguay) 3.REC.Una serie casera(miniseries)

PREMIERE IMPORTED TITLES: 44 SAETA, Channel 101.Amor real(telenovela-Mexico)2.Búsqueda desesperada(miniseries-Spain/Colombia)3.En terapia(series-Argentina)4.La promesa(miniseries-Colombia)5.Los Sánchez(telenovela-Mexico)6.Mentes en shock(series-Colombia/USA)7.Reparaciones (unitary-Argentina)8.Super Pá(series-Colombia)9.Una maid en Manhattan(telenovela-USA)

TELEDOCE, Channel 12 10.Condicionados(miniseries-Argentina)11.Cuchicheos(telenovela-Brazil)12.Cuento encantado(telenovela-Brazil)13.Daños colaterales(unitary-Argentina)14.El astro(telenovela-Brazil)15.Escrito en las estrellas(telenovela-

Brazil)16.Fina estampa(telenovela-Brazil)17.Herederos de una venganza (telenovela-Argentina)18.Insensato corazón(telenovela-Brazil)19. Maltratadas(unitary-Argentina)20.Passione (telenovela-Brazil)21.Sos mi hombre(telenovela-Argentina)22.Violetta(telenovela-Argentina/USA)

MONTECARLO, Channel 4 23.40 y tantos(telenovela-Chile)24.Abismo de pasión(telenovela-Mexico)25.Al fondo hay sitio(telenovela-Peru)26.Amar y temer(telenovela-Colombia/USA)27.Amor bravío(telenovela-Mexico)28.Aquí mando yo (telenovela-Chile)29.Dos hogares(telenovela-Mexico/USA)30.Dulce amor(telenovela-Argentina)31.El hombre de tu vida(series-Argentina)32.Graduados(telenovela-Argentina)33.Herederos del monte(telenovela-Colombia/USA)34.La dueña(telenovela,Argentina)35.La fuerza del destino(telenovela-Mexico)36.Los caballeros las prefieren brutas (series-Colombia/USA)


Source:Obitel-Uruguay

Inbroadcasttelevisionprogramming,fictionasawholerepre-sented24.5%ofthetotalandIbero-Americanfictionpremiererep-resented8.9%:itoccupied2,224:35ofthetotalhours(24,730:55).Premieretitlesaremostlyimportedproductions:fromatotalof47titles,only threewereproduceddomestically(Table1).Byobserv-ingthedistributionofthetitlesinrelationtothechannelsthatex-hibitthem,somepersistenttrendsarerevealed:Montecarlowasthechannel thatprovidedmore titles(17)ofdiverseorigin;TeledocefolloweditwithtwelvetitlesfromArgentinaandBrazilonly;Saetaemittedtentitles,amongwhichincluded twonationalproductions;TNU increased the supply of Ibero-American fiction titles com-paredtopreviousyears:fivetitles,beingoneanationalproduction.

37.Pablo Escobar: el patrón del mal (telenovela-Colombia)38.Pasión de gavilanes(telenovela-Colombia/USA)39.Triunfo del amor(telenovela-Mexico)40.Vecinos(telenovela-Colombia)

TNU, Channel 5 (Televisión Nacional del Uruguay) 41.Amar en Tiempos revueltos(series-Spain)42.Cuéntame(series-Spain)43.El Show de Alejandro Molina(series-Argentina)44.Vientos de agua (miniseries-Argentina/Spain)

IBERO-AMERICAN RERUNS: 9SAETA, Channel 101. Ana y los 7 (series-Spain)

2. Trillizos (telenovela-Argentina)3. La niñera (series-Argentina)

TELEDOCE, Channel 124. El chapulín colorado(series-Mexico)5. El Chavo(series-Mexico)

MONTECARLO, Channel 46. Casados con hijos (series-Argentina)7. Floricienta (telenovela-Argentina)8. Supertorpe (series-Argentina)

TNU, Channel 59. Ciega a Citas (telenovela-Argentina)

NATIONAL RERUNS: 1SAETA, Channel 101. Porque te quiero así

TOTAL TITLES OF IBERO-AMERICAN FICTION, RERUNS AND PREMIERES: 57

450 | Obitel 2013


Country Titles % Chapters/episodes % Hours %

NATIONAL (total) 3 6.4 82 2.6 36:35 1.6

IBERO-AMERICAN (total) 44 93.6 3,052 97.4 2,188:00 98.4

Argentina 12 25.5 658 21.0 514:00 23.1

Brazil 7 14.9 668 21.3 490:30 22.1

Chile 2 4.3 137 4.4 65:00 2.9

Colombia 4 8.5 235 7.5 165:12:00 7.4

Ecuador 0 0 0 0 0 0

Spain 2 4.3 557 17.8 405:20 18.2

USA (Hispanic production ) 1 2.1 61 1.9 46:05 2.1

Mexico 6 12.8 372 11.9 252:10 11.3

Peru 1 2.1 28 0.9 16:40 0.7

Portugal 0 0 0 0 0

URUGUAY 3 6.4 82 2.6 36:35 1.6

Venezuela 0 0 0 0 0 0

Ibero-American (not Obitel) 0 0 0 0 0 0

Others (productions and co-productionsfrom other Latin American/Ibero-American countries)

9 19.1 336 10.7 232:30 10.5

TOTAL 47 100 3,134 00 2,224:35 100


Theofferofpremiereskept thegrowth trend thatwasmani-festedin201122.Thecompositionofthe47titlesaccordingtotheiroriginevidences thathigherpercentagesare fictions fromArgen-tineanandBrazilianorigin,althoughtherewasanincreaseofco-productions that tripled over the past twoyears.The presence ofMexicodecreasedand, instead, it shows thenoveltyof fictionofPeruvianoriginthatisunusualinthenationalscreen.Thepresenceofnational fiction remains in the same termsas in thepast threeyears:threetitles,1.6%oftotalairtimeoffictionmovies.

22SeeYearbooks2011and2012:thesupplyofpremiereswere37titlesin2010andwentupto46in2011.


Table3.C


Tim

e sl

otN

atio

nal

Iber

o-A

mer

ican

Tot

al

C/E

%

H%

C/E

%H

%C/E

%H

%

Mor

ning

(6

:00-

12:0

0)*

00

00

110

3.6

67:50

3.1

110

3.5

67:50

3.1

Aft

erno

on (

12:0

0- 1

9:00

)

00

00

1,147

37.6

816:20

37.3

1,147

36.6

816:20

36.6

Prim

e tim

e (1

9:00

-22:

00)

7692.7

31:45

86.7

1,082

35.5

868:50

39.7

1,158

37.0

900:30

40.5

Nig

ht (2

2:00

-6:0

0)

6

7.3

4:50

13.3

713

23.4

434:30

19.9

719

22.9

439:20

19.8

TO

TA

L82

100

36:35

100

3,052

100

2,187:30

100

3,134

100

2,224:00

100

Source:O

bitel-UruguayonIbopedata

Table4.N


ats

For

mat

sN

atio

nal

Iber

o-A

mer

ican

Tit

les

%Chap/Ep

%H

ours

%T

itle

s%

Chap/Ep

%H

ours

%T

elen

ovel

a0

00

00

029

65.9

2,266

74.2

1,641:20

75.0

Seri

es1

33.3

6781.7

28:30

78.0

818.4

677

22.2

471:25

21.6

Min

iser

ies

133.3

911.0

3:15

8.9

49.1

943.1

64:20

2.9

Telefilm

00

00

00

00

00

00

Uni

tary

133.3

67.3

4:50

13.1

36.6

150.5

10:25

0.5

Doc

udra

ma

00

00

00

00

00

00

Oth

ers

(soa

p op

era,

etc

.)0

00

00

00

00

00

0

TO

TA

L3

100

8210

036:35

100

4410

03,052

100

2,187:30

100

Source:O

bitel-UruguayonIbopedata

452 | Obitel 2013

Table5.Nationalfictionformatsbytimeslot

Formats Mor-ning % After-


tal %

Telenovela 0 0 0 0 0 0 0 0 0 0

Series 0 0 0 0 1 50 0 0 1 33.3

Miniseries 0 0 0 0 1 50 0 0 1 33.3

Telefilm 0 0 0 0 0 0 0 0

Unitary 0 0 0 0 0 0 1 0 1 33.3

Docudrama 0 0 0 0 0 0 0 0 0 0

Others (soap opera, etc.) 0 0 0 0 0 0 0 0 0 0

TOTAL 0 0 0 0 2 100 1 0 3 100




Present 41 87.2

Epoch 5 10.6

Historical 1 2.2

Other 0 0

TOTAL 47 100


Over70%ofthepremierechaptersaredistributedbetweenaf-ternoonandprimetime,withaslightdifferenceinfavorofthelatterschedule.Thenational fictionswerebroadcast inprimetime threetimesaweek in thecaseofBienes gananciales, andonSaturdayinthecaseofREC. Una serie casera.Instead,Somoswasemittedin night time.Regarding formats, the telenovela is still dominantwith29titlesand75%ofairtime.Second,althoughwellbelow,theseriesappearedwitheighttitles,21.6%ofscreentime.Indomesticfiction, the series and the unitary are the formats adopted by theproductionsofChannel10.AndinthecaseofREC,eventhoughitpresentsitselfasaseries,itwasclassifiedasaminiseriesbecausetheamountofchaptersfitsbetterthisformat.Fictionstorieswereplacedpredominantlyinthepresent,fivetitlesdevelopedinepochsetting,withmoreorlesstemporalprecision,andonlyonefiction,


Pablo Escobar: el patrón del mal,canbelocatedintothehistoricalcategory.

2.1. The ten most watched titles


Title

Country of origin

of the original idea or script

Produc-tion

company

Chan-nel

Name of writer or author of the original idea

Ra- ting

Sha- re

1 Insensato corazón

Brazil TVGloboTele- doce

GilbertoBraga,RicardoLin-hares

20.7 32.0

2 Sos mi hombre

Argen-tina

PolkaTele- doce

LeandroCalderone 17.2 29.0

3 Passione Brazil TVGloboTele- doce

SilviodeAbreu 14.8 29.0

4 El Astro Brazil TVGloboTele- doce

Based on the homonymoustelenovela by Janete Clair(1977), was written by Al-cidesNogueira andGeraldoCarneiro, in collaborationwithTarcisioLaraPuiatiandVitor de Oliveira. Produc-tion:MauroMendonçaFilho

14.8 25.0

5Escrito en las estrellas


ElizabethJhin 14.5 28.0

6 Cuchi-cheos


Written by María AdelaideAmaral. Based on the tele-novela Ti-Ti-Ti by CassianoGabusMendes

14.2 27.5

7Hereder-os de una venganza

Argen-tina

PolkaTele- doce

LeandroCalderone 14.2 24.0

8 Fina estampa


AguinaldoSilva 14.1 28.0

9 Dulce amor

Argen-tina

L.C.AcciónProduc-cionesandTelefé

Monte-carlo

Quique Estevanez, MarceloNacci,LauraBarneix

12.3 20.0

10 Maltrata-das

Argen-tina

FlorLatina

Tele- doce

Esther Feldaman, AlejandroMaci

11.4 25.0


100% 100%


454 | Obitel 2013

LeadershipintheaudienceisdisputedbetweenBrazilianandArgentinian fictions. For the second consecutive year aBrazilianproduction ranks first, but also the presence of fictions from thiscountrygrows:sixofthetenmostviewed,twiceasin2011.Regard-ingthe2011 ranking,twotitlesrepeat:PassioneandHerederos de

una venganza,whichbegantheirbroadcastthatyearandre-capturetheattentionofaudiences.

Thetentitleswereemittedinprimetimeandpre-primetime,inadditiontothenighttime,asinthecaseof Maltratadas or Herede-

ros de una venganza.Aninterestingaspecttonoticeisthatthefirstplacewasoccupiedby Insensato corazón, emitted after themainnewsand that recovered for theBrazilian telenovela a traditionalslot.

Unlikethelast threeyears, in2012noneof thenationalpro-ductionsmanagedtoplaceamongthetoptenmostwatchedtitles.Bienes ganancialeswas one of the threeUruguayan fictions thatcameclosestwith10pointsofratingand15ofshare(alittleoverapointofdifferencefromMaltratadas,butwithaten-pointdiffer-enceinshare),Somoshad8.7%ratingand16%share,whileREC. Una serie casera had1%ratingand2%share,percentagesthatareamongthehighestranksthatusuallygetpublicchannelprograms.

Teledoceleadershipwasalmostabsolute:justonetitlewasnotissuedbythischannel, which confirmsthepositionof2011,whilein2010Saetahadmanagedtoplacefiveofitstitlesinthetopten.Channel12istheonethatproducedlessnationalfictions:afterLa

oveja negrain2007andLas novias de Travoltain2009,Adiccio-

neswasissuedin2011,whichtooksecondplaceinthetoptenofthat year, although itwas not a production of the channel but ofContenidosTV,which is a company that produces several of itsprograms.Itshouldbenoted thatMaltratadasoriginallyemergedasanArgentine-Uruguayanco-productionwiththeparticipationofTeledoce.Researchondomesticviolencecases,subjectaddressedbythisfiction,washeldinTeledoceandthepilot(whichlaterbe-camethefirstchapter)wasfilmedinUruguay.Finallytheproject


wasfinancedwithfundsfromtheFilmInstituteofArgentinaandgot apart fromTeledoce’s participation since the national fictionprojectofthischannelwhichhadbeenplannedforyearscouldnotbecarriedout.

Table 8. The 10 most watched titles:

format, length, time slot

Title For-mat Genre


Dates of the firstandlast

issue (in 2012) (*)

Time slots

1 Insensato corazónTele-novela

Drama Romance

14604/10/2012to

2/25/2012Primetime

2 Sos mi hombreTele-novela

Melo-drama

5509/24/2012to12/27/2012

Night

3 PassioneTele-novela

DramaRomance

11701/02/2012to

06/12/2012Primetime

4 El AstroTele-novela

Drama 5007/23/2012to

12/31/2012 (cont.)

Primetime

5Escrito en las estrel-las

Tele-novela

DramaRomance

10506/13/2012to

11/06/2012After-noon

6 CuchicheosTele-novela

RomanceComedy

10701/02/2012to07/20/2012

After-noon


Tele-novela

Melo-drama

4801/02/2012to

03/22/2012Primetime

8 Fina estampaTele-novela

Melo-drama

6610/01/2012to

12/31/2012 (cont.)

Primetime

9 Dulce amorTele-novela

Melo-drama

23102/13/2012to

12/31/2012 (cont.)

Primetime

10 Maltratadas Unitary Drama 1309/02/2102to

11/25/2012Night


456 | Obitel 2013

Table 9. Themes in the 10 most watched titles

Titles PREVAILING THEMES SOCIAL THEMES

1Insensato corazón

Siblingrivalry;loveandrevenge

Unwantedpregnancy;homo-sexuality-discrimination;corruption

2 Sos mi hombreLove,lovetriangle;familyrelationshipsandneighbor-hood;boxinganditsworld

Justiceandimpunity;homo-sexuality,fightinghomophobia;genderequalityandsports

3 Passione

Struggleforpowerinthebusinessworld;loveandrevenge;adultery;changeofidentity;bastardy

Childlabour,abandonment,adoption;teenpregnancy;abor-tion;drugaddiction;pedophilia;socialinclusionoftheblind

4 El astroIllusionism;love;crime;businessworld

Domesticviolence;delinquency;discrimination

5Escrito en las estrellas

Deathandlifeafterdeath;ambition;secretidentity;socialdifferences

Artificialinsemination;inter-generationalrelations;socialinclusion;culturaldiversity

6 Cuchicheos

Fashionworld;ambition,envyandrevenge;amne-sia;hiddenidentityanddisclosure

Homosexuality;prevention/treatmentofdiseases;culturaldiversity


Secretsocieties;savioursandcursed,propheciesandpun-ishments;loveandrevenge;incest

Alcoholism;homosexuality;or-derbasedonprinciplesofjusticevs.justiceintotheirownhands;corruption,justiceandimpunity

8 Fina estampaMotherhood;familyrelation-ships;secretidentity;socialdifferencesandconfrontation

Invitrofertilization;thestruggleforpossessionofchildren;newfamilyconfigurations;domesticviolence

9 Dulce amorLove,lovetriangle;bastardy;secret;familyrelationships;socialdifferences

Obsessive/compulsivedisorders

10 MaltratadasLove;work and family rela-tions

Domestic violence; sexual ha-rassment;procuring



Table10.Audienceprofileofthe10mostwatchedtitles: gender, age, socioeconomic status

Titles Chan-nel

Genre % Age % Socioeconomic status %

Wo-men

Men4-11

12-17

18-24

25-34

35-49

50-59

60+H+H-

A+ A A-L+L-

1

Insen-sato cora-zón

Tele-doce

63 37 5 5 5 9 22 16 38 16 20 22 17 25

2Sos mi hombre

Tele-doce

62 38 6 8 10 15 24 12 24 22 15 19 16 27

3Passio-ne

Tele-doce

70 30 4 5 6 11 19 13 42 10 20 21 20 29

4El astro

Tele-doce

72 28 6 6 7 10 20 16 35 10 18 28 18 27

5

Escrito en las estre-llas

Tele-doce

73 27 6 5 7 12 16 14 38 9 15 28 20 27

6Cuchi-cheos

Tele-doce

71 29 6 7 6 10 18 14 40 7 19 22 21 32

7

Here-deros de una ven-ganza

Tele-doce

67 33 6 8 9 14 20 13 29 15 14 17 25 29

8Fina estam-pa

Tele-doce

73 27 5 5 6 10 20 13 41 13 15 23 22 27

9Dulce amor

Mon-tecar-

lo 73 27 7 4 9 14 21 16 30 18 15 22 16 29

10Maltra-tadas

Tele-doce

61 39 3 5 8 17 27 13 27 21 15 19 16 28


The audience composition shows a high percentage of fe-maleviewers;between61%and73%ofthepublicofthetenmostwatchedtitlesarewomen.Themaleaudiencedoesnotexceed39%inanycaseandtheirincreasedpresenceisrecordedintitlesbeingissuedinprimeandnighttimeslot.Theageprofileagainconfirmsthepredominanceofpopulationover60years:between38%and

458 | Obitel 2013

42%oftheaudienceforthesetitlesrespondtothatagerange.An-otheragegroupwhichrecordedhighpercentageofaudienceistheonebetween35and49years.Childrenandyoungpeoplemakeupthesmallestportionoftheaudience.However,itcanbeseenthatina rangefromaminimumof3%to7%of theaudienceare theviewerswhoarebetween4and11yearsold,andalsobetween4%and9%oftheaudiencecorrespondtotheagegroupof12-17years.Noneofthesetitlesisspecificallyaimedatthispopulation.

Intermsofsocioeconomicstatus,thegreaterportionoftheau-dienceislocatedinthethreesegmentscorrespondingtotheaverage(A)level.Thelowandverylow(L)sectorscomprisebetween25and32%oftheaudience,butinallcasesthesumofthethreeaver-agesegmentsexceedsthesepercentages.Amongtheupperclasses,the titles that concentratedgreatest attentionwereSos mi hombre andMaltratadas,with22%and21%oftheaudiencerespectively.

3. Transmedia receptionUnlike2011,whenUruguayanTVincludedadramaaimedat

teenageaudiences23thatimpliedalargedeploymentoftransmediaresources, therewere littleoffersofprogramswithextensionsonthewebin2012.Thisyearnoneofthenationalfictionsmanagedtoplaceamongthetoptenmostwatchedtitles.REC. Una serie casera waschosenforthisstudyamongthethreeUruguayanproductionsoftheyear.Itwasselectedbecauseitisanationalproductionthatforitscharacters,thethemeandtheprofileofitsfilmmakersseemedaimedatayoungeraudienceandthereforemorelikelytoencourageparticipationanduseofthewebsite.

Itwasfirstbroadcastonthepublicchannel(TNU)inOctober2012andwhileontheair(atotalofnineweeklyepisodes)hadaspacedefinedwithintheTNUwebsite.There,youcouldfindabriefdescriptionoftheplotofthefiction,thenamesofthecreatorsandmainactorsandthetimeatwhichtheserieswasissued.RECchap-

23 Dance! La fuerza del corazón,issuedbySaetaChannel10.


terscouldbewatchedatwww.tnu.com.uy atthesametimethattheywereissuedbythechannel,buttheepisodeswereneitherputforlat-erobservationnorarenowwithinthefootage.Thechannel’sweb-sitedidnotofferaspecificspaceforcommentnoraplacewheretheaudiencecouldexchangeviews.However,theseriesitselffeaturedanofficialFacebookpage,24towhichatotalof1,450peoplegavea“like”.Inadditiontotheofficialwebsite,onFacebookthereisagroupcalled serie rec!25,whichisopenandinvitespeopletopartici-pateasextras,talksaboutthelocationswhereitwasfilmed,thecast-ing,andanswerstechnicalquestions.Thisgrouphas87members.

Table11.Thetransmediafiction: types of interaction and dominant practices

Fiction chosen

Televi-sion

Internet pages

Types of trans-media interac-tion

Interactivitylevels

Dominant practices of users

RECTNUChan-nel5

Televisionofficialwebsite

Viewingatthetimeoftheemis-sion

Passive None

FacebookPage

Interactive ActiveCommentCelebration

FacebookGroup

Interactiveview-ing

Active Comment


Asexpressed inTable11, the activity ismanifestedbothonthepageand in theFacebookgroupand thedominantpractice isthrough comments.Theofficial site only allows limited andpas-siveinteractivityintime,sothereisnopossibilitytoidentifyusers’practices.

ThesocialnetworkchosenforobservationwasFacebookanditcoveredallcommentsmadesincethepagewascreated.Withanumberof1,450fans,Facebookrecordedfivespeakers,whilethepublished postingswere 113.The number of “likes” of the post-ingsreached1,361,thecommentstothepostingswere122andthe

24http://www.facebook.com/serieREC?fref=ts.25http://www.facebook.com/#!/groups/390347437649601/?fref=ts.

460 | Obitel 2013

numberof“share”ofthepostingswas1,011.Mostofthecommentswererequestsforclarificationonwheretofindtheepisodesaired,showinginterestintheseriesandthegrowingdemandforproductavailabilityinotherformats.Inresponsetothis,theadministratorsofthepage(whichprobablyarethecreatorsorsomeseriesproduc-er)explainthatchapterscannotbeuploadedbyamusicrightsissue.Also,questionsaboutthepossibilityofrepetitionofcertainepisodesarenoticed,butonceagaintheanswerwasnegative.Thismaybedue to thepossibility that theserieswouldbebackinfull, issuedbythecablechannelTevéCiudad,butsofartherearenonewsnorstipulateddateofissuing.

The remaining comments that can be found on the page arecongratulations to the creators of the series. The comments ex-pressedwordsofencouragementandreferencesthatitispossibletomakequalityproductswithoutrepeatingformulasusedpreviouslyorrecognizedmediacharacters:

“Anexamplethatshowsitispossibletodogreatthingsinthiscountry,withoutcopyingandwithoutenteringgossipsandwithoutappearancesoftheblackRada.CheerstoREC entireteam!”(Post1-postedonAugust23rd,2012).

Other comments, such as the one illustrated by Post 2 tran-scriptedbelow,makeconnectionswithdiscussiontopicsrelatedtoyouth.So, tocelebrateanationalproductiondevelopedbyyoungpeople,thecontentsoffictionarelinkedtotheslogan“beingyoungisnotacrime”,associatedwithoppositiontothecampaignledtopromoteloweringtheageofcriminalresponsibility:

“It’slikewatchingmyteensonTV,thesekidsaremortal,longlifetolocalproductions!Orrather,peñaroles!

P.S.:Toallwhobelievethatbeingyoungisnotacrime,Iin-viteyoutositandthinkfiveminutesandseeifloweringtheageofcriminalresponsibilityisthewaytocombattheproblemsofsafety.Obviouslyitisanotherwaytocontinuetostigmatizepoliticalmi-norities,inthiscase,theyoung”(Post2-postedonNovember8th,2012).


Onthewhole pagetherewereabout30posts,andtheonlyma-terialavailabletoseewerethespotsofthenextchapter.Onthepageyoucouldalso findmanyphotosof thepromotions,ofadvertise-mentsonbusstopsandothersofthebackstageoftheshooting.

4. Highlight of the yearThehighlightof2012couldbesummedupinthreeevents:the

presenceoffictiononpublictelevision;theemergenceofthefirstsitcominUruguay;thebettingtotheconvergenceofnationallitera-tureandtelevisiondramainanambitiousproduction.

PublictelevisionofferedafictiononopenTVandtwoonthecablechannel26,whichwasanoveltycomparedtopreviousyears.Afternearly twodecadeswithout thepresenceofnational televi-sionfiction,TNUissuedREC.Thisfictionpresentsitself,fromitssubtitle,asUna serie casera,orinEnglish,ahomemadeseries.Theexpressionpoints to severalmeanings: it realizes the chosennar-rativestrategy,saysthekindsofstoriesitcontains,butalsoreferstothescarcityofresourcesthatareavailable.Throughninechap-ters,onecharacter,Sebastián,recordswithahandheldcamerawhathappens inside his housewith his family, going outwith friendsand thedaily routine.Eachchapteralternatesstories thatdevelopin these twoareasof relationships: family-friends.The aestheticsof this fiction simulates a homemade video with its movementsandimperfections,aswellastheapparentirrelevanceofmostcir-cumstancesherecorded.Asoneofitsmakerspointedout,itisanaestheticchoiceandnarrativethatemergesfromeconomicreasons:“Theseriesstartswiththeideathatwewanttodosomethingandweknowwedonothaveabuck.Whatcanwedowithabuck?Ahomemadevideo”.At the same time, the influenceofTV showslikeThe Officeisacknowledged:“Fromherewemanagedtostealthesemi-documentaryformatwherethecameraparticipatesofthehistoryandthenaturalistictoneoftheproceedings,whichexploit

26 Contámela en colores andLaboratorio en casa.Seesections1and5ofthischapter.

462 | Obitel 2013

thetensiongeneratedbyuncomfortablemoments.WewanttobringeverydaylifetoTVasfaithfullyaspossible”.27

Anoteworthyaspectisthatitisaproductionbyreallyyoungfilmmakers,between25and26yearsold,andoneofthefewexam-plesoftelevisionfictionsupportedbydevelopmentfunds:theserieswasawarded in theSecondCallof theCinematographicandAu-diovisualFosteringFund2009–2010(SegundaConvocatoriadelFondodeFomentoCinematográficoyAudiovisual 2009–2010)oftheInstituteofCinemaandAudiovisual(InstitutodelCineyelAudiovisual - ICAU) in the categoryofScriptDevelopment,TVSeries.In2011,itwontheprizeintheFirstCalloftheCinemato-graphicFosteringFund2011(PrimeraConvocatoriadelFondodeFomentoCinematográfico2011)of theICAUin thecategoryTVFictionSeriesProduction, and finally in 2012 itwon the supportoftheSecondCalloftheSocioAudiovisualMVDprograminthecategoryTeleserieCompletion.28

However,themostambitiousfictionalproductionin2012wasundertakenwithSomos.29 ItconjugatedprestigiousauthorsofUru-guayan literature with a careful visual production and cinemato-graphic cut. The cycle consisted of an adaptation of a novel andthreestoriesinatotalofsixdeliveries:Cadáver se necesita,byMil-tonFornaro; El vigilante,byHenryTrujillo;Terribles ojos verdes,byMarioDelgadoAparaín;andElogio de la nieve,byHugoBurel.30

27Statementsbyoneoftheauthors,MatíasGanz,transcribedinMariángelSolomitanote,“LaTVquiereficción.Otrocuento”.ElPaís,September8th,2012.28 REC. Una serie casera.premieredonOctober13th,2012andwasissuedonSaturdaysat21:30byTNU.Itconsistedofnine25-minuteepisodesCast:CésarTroncoso,MaríaElenaPérez,AgustínPérez,SolRegules,MateoAltesandAlanOrtizstarintheseriesasparents,siblingsandfriendsofSebastián,whoisrepresentedbyLuisSanguinetti.Writ-tenanddirectedbyMatíasGanz(25yearsold)andRodrigoLappado(26yearsold).ThecreditsexplicittheadviceofCarlosTanco.Co-productionofNegroJefeandBuenCine. Fundingdevotedwasabout$120,000.29ArtDirection:InésOlmedo.Costumes:AnaDomínguez.Directorofphotography:Mil-tonDujó.Coordinatingproduction:MirthaMolina,MaríaNoelGarcía.Production:Vir-giniaAltlelri,RossanaCarrasco.Author:BeatrizCarbajales.Directionassistant:DiegoSoto.Generalproduction:AnabelaPinilla.Director:EduardoRípari.Editingandmusiccomposition:MartínEtchebehere,KaterinaGorbarán.30Althoughpresentedasaseriesofunitariesandthusclassifiedhere, itdoesnotfully


SomoswasoneofthemostimportantproductionprojectsofSaetaChannel10inco-productionwithAGADU,involvingprofessionalslinked to thecinemaandactors thathavehad filmand televisionexperience.Theambienceofthespaceswheretheactiontookplace,photographyandmusiccompositionweresomeoftheaspectsthatrevealedcarefulprocessing.

Bienes ganancialesisthefirstnationalfictioninwhichrulesofsitcomgenreapply.Itwasissuedthreetimesaweekafterthemainchannelnews,raisedavarietyoftransmediainthewebandwasof-feredinthetheaterduringthewinterholidays.

ThefictiontellsthestoryofGasparandKarina,twojournalistswhoshareaTVshow.Theyhavetwodaughters,oneofthemwasborninthefirstchapterandfromthereshewillberesponsiblefortellingthestory.Parentsofthecouple,neighboursandfriends,pluscelebrityguestsinterventionscompletethespectrumofcharacters.Theproductplayswiththerelationshipbetweenrealityandfictioninsuchawaythatitisalmostonthevergeof reality:thenamesofthemaincharactersarethesameasthoseoftheactorswhoarealsoacouplemedia,theyhavemadeseveraltelevisionprogramstogetherandjusthadhadtheirseconddaughter.

Fromtheprivateopen televisionchannels,Channel10 is theonethathasmadeheavybetsonfiction.Amongtheactionstakeninthisdirection,theinvestmentinPalacioSudaméricafacilitiesasaspacefordevelopingfictionprojectsishighlighted.Thereanun-usualactivityfortheUruguayanaudiovisualcontextwasdisplayed:recordings ofBienes ganancialesweremade, courses to the pro-posedprojectSomoswereofferedandchaptersofanotherfiction,Historias de diván,wererecordedtheretoo,whichfinallycametobeissuedin2012.Thejointventuresareevidenceofdifferentstrat-egies insearchofaproductionmodelbasedonpartnershipswithforeignresources,sometimesintheformofco-production(asthe

complywithitsrules:bothinCadáver se necesitaandEl vigilante, thefictionisdevel-opedintwochapters,whereasinTerribles ojos verdesandElogio de la nievethefictionisresolvedinachaptereach,correspondingtotheunitaryformat.

464 | Obitel 2013

case ofDance in 2011), sometimes hiringArgentinewriters anddirectors,asitisthecaseofEduardoRípari31whodirectedSomos andBienes ganancialesin2012,butthatalreadyhadthisroleintheproductionsofthechannelinthepast.

5. Topic of the year: social memory and television fictionThe themeof theyear,TV fictionand socialmemory, is en-

rolled inaproblemthatencompasses it: the relationshipsbetweenfictionandreality.Thisiscompoundedbythecomplexityofthere-lationshipbetweenmemoryandhistoryandthecomplexityofbothwiththetruth.CarloGinzburgusesaveryexpressivemetaphoroftheserelationships:“Theclosenessbetweenfictionandhistorysug-gests thosepaintingsbyMagrittewhichare renderednext toeachother,alandscapeanditsreflectioninabrokenmirror.”32Itisnotpossibleheretocoverthevarioustheoreticalapproachesanddiscus-sionsthatthissubjecthashad.However,itisimportanttoconsidertheAristoteliandistinctionbetweentruthandplausibilityfromwhicharederivedthelimitsoftheroleoffictioninshapingsocialmemory.Aristotlepointedoutthat“itisnotthepoet’sfunctiontotellthingsastheyhappened,butastheyshouldorcouldhavehappened,probably,ornecessarily;forthehistorianandthepoetarenodifferentpeoplebecausetheyspeakinverseorprose(...)butthediversityconsistsintheformertellingthingsastheyhappenedandthelatterasitwasnaturalthattheyhappened.”33Fromthisperspective,thelikelihoodoffictionisrelevantanditdoesnotrefertothetruth,buttoitsap-pearance:“tellingtaleswithhintsoftruth”,inthewordsofAristotle.Theproblembecomesmorecomplexwithfictionsthatconcernthisstudybecausemanyof themworkon thehistoricalpast inwhichtheydevelopintworegisters:theprobable,butalsotherelationshipwithtruthfulness,atleastinwhatreferstotheoccurrenceofevents.

31HewasdirectorofArgentineanproductionssuchasLos exitosos PellsandLos Roldán,andnationallydirectedthetwoseasonsofPorque te quiero así.32Ginzburg,Carlo.El hilo y las huellas. Lo verdadero, lo falso, lo ficticio.FondodeCulturaEconómica,Argentina,2010,p.20.33Aristotle. Poética.Chap.IV.EspasaCalpe,BuenosAires,1948,p.43.


The fiction, with its requirement of plausibility, allowing aquickening of the past, gives the recipient the opportunity to beplaced in thedifferent subjectivitiesof the characters, even thoseconsideredcondemnable.Allthisispartofthesymbolicrepertoirefor shaping collective memories, interacting with other accountssuchashistoriography,thejournalism,personalmemoirs,andtesti-monies.Inthissense,fictiontelevisioncanbeconsideredpartofaprocessofconstructionofcollectivememoriesastheyarenotfixedandimmutable,butasnotedbyE.Jelin,“thecollectiveofmemoriesis the interweavingof traditionsand individualmemories, india-loguewithothers,inastateofconstantflux”.34

Amongthefictionsexhibitedin2012inUruguay,therewerefourofferedwhichraiseddifferentwaysofrelatingtothepast:Pab-

lo Escobar: el patrón del mal,Cuéntame,GraduadosandContáme-

la en colores.Of theseonlythe lastoneisadomesticproductionissuedbythepublictelevisioncablechannel.

Thefirst twostoriesunfold in thepastandcouldcorrespondtowhattheliteratureon“thememorializing”designatedastraumamemorytorefertoallthosestories,fictionalornot,linkedtotheex-perienceofextermination(withtheHolocaustasaparadigmaticref-erence),war,dictatorships,amongothers.However,eachofthempresentsadifferentworkonthepastandposesadifferentappealtomemory.

Pablo Escobar: el patrón del mal35recreatesthestoryofCo-lombiandrug lordPabloEmilioEscobarGaviria in113chapters.Inthisfiction,theappealingtomemoryisexplicitlyrepeatedatthebeginningofeachchapter:“Whodoesnotknowhistoryisdoomedtorepeatit”isthesentencetobereadonablackbackground.The

34Jelin,Elizabeth.Los trabajos de la memoria.SigloXXI,Madrid,2002,p.22.35 Pablo Escobar el patrón del mal. Production: Caracol Television.Director: CarlosMoreno.Screenwriters:JuanCamiloFerrand.Cast:AndresParra,AngieCepeda,Nicho-lasMontero,CeciliaNavia,AldemarCorrea,GermánQuintero,HelenaMallarino,Chris-tianTappan,AlejandroMartinez,ErnestoBenjumea,CarlosMariño,MarcelaGallego,JuanchoArango,DianaHoyos,VickyHernández,DianaNeira. Issued inUruguaybyMontecarlo,Channel4,betweenJuly2012andApril2013.Itreacheda7.1ratinganda12share.

466 | Obitel 2013

statementrevealskeyaspectsoftherelationshipwithpasttraumaticevents:first“panicintooblivion”experiencedfromthepresentinwhichperhapssymptomsofforgetfulnessareobservedand,ontheotherhand,concernforthefuture,somethinglikeasortof“futurecolonization”36 frommemory,which allows not to live again thetrauma.Theopeningsongdevelopsintegratedonthesameseman-ticstensionlineofpast-present-futureafore-mentioned:“Iwilltellthisstoryathousandtimes.Neveragain.Donotdeleteitfromyourmind,tohonorourdeadwhofellfoully.”37

Fictionslike Pablo Escobar: el patrón del mal or Cuéntame38,inwhichspecifichistoricalevents representacountry,butwhichareexhibitedinmanyothers,arepartofasymbolicandinterpreta-tiverepertoirewhichmakecollectivememoriesthattranscendtheboundariesoftheoriginalcountry.Fictionalimages,documentaryfragments,privateexperienceofpubliceventssuchasthedeathoftheeditorofthenewspaperEl Espectador,inthefirstone,ortheas-sassinationofCarreroBlancoorthedeathofFranco,inthesecond,circulateinfictionsacrossbordersinwhatJean-MarcFerry39definesas“thepublic spacewidened”:a space fundamentallydefinedbythemediaframeworkinwhichpublicspacesofdifferentcountriesareinterpenetrated,butalsotheirpastsandthediscussionsthattheyprovoke.Whilenewsanddocumentarygenresarethosethatmostintensely generate that expansion of public space, the fictions donotplayaminorroleinthisregard.Thus,thetelenovelasandfilmsabouttheHolocaust,WorldWarIIortheattackstotheTwinTow-ers,amongotherhistorymilestonesbecomepartofauniverseofsharedmemoryresources.Thatmovementofrepresentationsofthepastwiththeirmemoryexercises(rememberingandforgetting,se-lectionandomission)allowtheimaginaryconstructionofthe“oth-

36Guiddens,A.Modernidad e identidad del yo. Península,Barcelona,1997.37ThesongisLa última bala(Thelastbullet)byYuriBuenaventura.38 Cuéntame.SpanishTVseries.CreatedbyMiguelAngelBernardeu.Production:GangaGroup.Cast:ImanolArias,AnaDuato,MariaGaliana,JuanEchanove.IssuedbyTNU.Rating:1.9%.Share:3%.39Ferry,Jean-Marc.El nuevo espacio público.Gedisa,Barcelona,1998.


ers”displayedinfiction,whilerecognizea“we”withproximitiesanddistanceswithrespecttothose.InthisdirectionFerrynotesthat“thepublicspacecanbeunderstoodasaprivilegedmeansfortheformationofacollectiveidentitythroughtheappropriationofhis-tory(...)asocietyfoundameaningfulaccesstoherselfortoothersinthe(...)memoryofthepeople.Upgradeyourpast;morethanthat,becomefamiliarwiththepastoftheothersand,therefore,learntorecognizeprima facieremoteidentitiesofyourown.Fromthis,it followsacertaindepthofsocialcommunication,depthwhichcouldhardlybeconceivablewithoutthispublicspacehistoricallyextend-edandculturallyenriched”.40

Inbothfictions,adifferentrelationshipwiththehistoricalpastisproposed.InPablo Escobar…,thefictionstartedwiththechar-acterEscobarjustbeforehisend.Therealizationofhisdeathwouldbeseenonlyinthelastchapter,butinthefirstsectionsofthefirstchapter,milestonesofMedellincartelviolenceareshowedthroughdocumentedimagesalternatedwithfictionalrecreation:acompactthatconcentratesthehistoryinorderto, then,resumethestoryinastartingpoint,1959,withachildPabloEmilio.Thecenterofthenarrative is thenhere a characterwithhistorical existence. In thecase ofCuéntame, the events of Spanish history occurred duringthelastyearsoftheFrancodictatorshipandthetransitiontodemoc-racyarepresentinthedialogues,intheimagesthatappearedontheTVseries,andindocumentaryfragments,butitistotheAlcántarafamily,theirneighbourhoodandthecharactersthattheyarelinked,whichwas thecenterof thenarrative.Theemphasiswas thenonthefictionalcharactersandwasinthepassingofeverydaylifethattherecreationofthepastwasembodied.Thereishereanappealtolinkedmemories:which refer to theSpanishnationalvicissitudesand referring to some transformations of contemporary societiesliketheadventoftelevisiontohomes,theinstallationofthefirstsu-permarketinaneighbourhood,andthechangesitproducesincon-

40Ídem,page.20.

468 | Obitel 2013

sumerpracticesandsocialrelationships.Theseevocationsthatcrossdifferentlevelsofdailylife:listeningtotheradioanditsplaceinthedomesticroutine,aswellasthesignificanceofthefoodforthosewholivedthroughthewaranditsaftermath,thesenseofauthorityofthefatherandtheplaceofwomenandchildrenfacingchangesandconflicts.Thefictionworksthenasa“revival”ofthepast:itisexperiencedbyordinarybeingsastheviewerprobablywas.Thereiswherethedifferentmemorieswereconnected,privateandpublic:for example, thememory that consists of a series of images thatevoketheannouncementofthedeathandthewakeofFranco(docu-mentary component) plus how they lived in different householdsandgenerationsthen(fictionalcomponent).

Memoryisalsothenarrativeframingoftheentireseries:thevoiceofoneof thecharacters,Carlosadult,evokesdifferentmo-mentsofhistorythroughhischildhoodandadolescence.However,this serieshas thedistinctionofbringing intoplaymemories thattranscendthelocalandconnectwithotherpeople,especiallyiftheyhavehadastrongpresenceofSpanishemigrationasinthecaseofUruguay. It is then that characters likeHerminia dialogwith thememoryofourimmigrantancestors,withtheirstoriesandcustoms.Butatthesametime,connectionswiththememoryofwhatitwastoliveunderadictatorshipinotherdictatorshipswereestablished:fears,resistancepractices,parish,andshelterspacetoorganizedif-ferentactivities.

InthecaseofGraduados41, however,thefictionaimedmoreatacollectivememoryreferred toamomentofpersonalexperiencerather than toeventsorhistorical figures: through thecoregroupofeightcharacters(graduates)theevocationofadolescenceisap-pealed,inconstantconnectionwiththepresentofthecharactersbe-causethereromanticrelationshipsweredevelopedthatconstituted

41 Graduados. Production: Underground Contenidos and Endemol. Direction:MiguelColom,PaulAmbrosini,JavierPérez.Writers:ErnestoKorovsky,SilvinaFrejdkes,Ale-jandroQuesada.Cast:NancyDupláa,DanielHendler,LucianoCáceres,JulietaOrtega,IsabelMacedo.IssuedbyMontecarlo.Rating:11.1%.Share:17%.


the driving narrative fiction and the bonds of friendship and dis-agreementtakingplaceinthepresent.

Theeighties isthepastinwhichsuchevocationsarelocated,butunlike theother twofictions thatwereaddressedbefore,herethehistoricalcontextisonlyraisedwithmusicalreferencesandtheparticipation,insomechapters,ofCharlyGarcía,FabianaCantiloor Fito Páez. It is an intervention on the pastwhich is producedeliminatingreferencestopolitics.Historicaleventsoftheeightiesareomitted:thereisnoreferencetothedictatorship,toArgentina’spoliticsortothetransitionstodemocracy.Theeightiesareanex-cuse to place fiction in relation to the age of the characters (andtheactorswhoembodiedthem)intothepresent,ratherthanatimeitself relevant to thenarrative.However, there isanappeal to thememoryoftheaudienceinthesensethatitaimstherecognitionbytheviewerofsometeenagers’practices,asetofagreedtopicsandmusicalreferencesthatcanbeidentifiedaspartoftheirbiography.Thecharactersevokesharedmomentsoftheiryouth:scenesofthetriptoBariloche,choirclasses,andgraduationparty,forexample,areinsertedintotheplotthroughflashbacks.

Contámela en colores. El Bicentenario visto desde Montevideo,42 isadomesticproductionintenchaptersthatwasgeneratedfollow-ingthecommemorationofthebicentennialandaimsatfictionalrec-reationofsomemilestonesinthehistoryofemancipationbetween1806-1830.

Althoughitfallsinthecelebratorynatureand,therefore,theBicentennialeventshavehadevocativecharacter,therelationshipwiththepastisnotsomuchwithmemorybutitslinkistothehis-tory.The series spans theBritish Invasions, theMayRevolution

42Itisa10-chapterproduction,ajointinitiativeofTVCiudad,InformationandCommu-nicationDivisionoftheAdministrationwiththesupportoftheHeritageCommissionoftheMinistryofEducationandCulture,andtheBicentennialCommissionoftheMinistryofEducationandCulture.Itwasairedbythecablepublicchannelin2012.Screenplay:PabloVierci.Director:NicoSoto.Production:TVCiudad.Cast:Performanceprotago-nistofPabloTateandparticipationofRafaelSoliwoda,GracielaGelós,JuanSaraví,Cés-arTroncoso,NelsonLence,RosaSimonelli,SantiagoSanguinetti,NicolásBallestrino,IleanaLópezandDaríoCampalanz.

470 | Obitel 2013

andBoardofMontevideo, theCryofAsencio, theBattleofLasPiedras,thetwositestoMontevideo,theExodusandTheCisplatin,theLandingofthe33OrientalesandthePledgeofConstitutionof1830ascentralevents.However,itisneitherpresentedasarecre-ationofthosemomentsfromthepast,norworkswiththememoryoftheaudienceasinthecaseofPablo Escobar or Cuéntame.Inanycase,Contámela en colores causestheevocationofhistoricalnar-rative:thenarrator’svoiceineachchapter,oftenembodiedbyanyof thecharactersormore thanone,playingahistoricalnarrativetypeusually foundon a classical textbook, listing events, namesanddates.

As an example: the third chapter is fully developed withinthescenarioofapulpería(grocerystore)andthestoryrestsonthecharacterofthepreacherthat,althoughindialoguewiththepulpero (shopkeeper),playstheroleoftellingthestoryofCryofAsencioortheBattleofLasPiedrasandhedoesitsaying:“(...)IbegintotellyouthatonJanuary11th,1811FranciscoJavierdeElioarrivedatMontevideo replacingBuenosAiresas thecapitalof theVice-royaltyandsworeallegiancetoFerdinandVIIassolekingofSpain(...)”.Furtheredon thesequenceofevents,he said:“onFebruary28th starts theOrientalRevolutionwith theCryofAsencio”.Thelanguage,howtodesignatetheevents,istheconventionalintext-books,buteverynowandthensomebreakswithhumorousintentare introduced.Thenarrativevoiceschange ineveryepisode,butthe rhetoric is the same, enhanced by overprintedwith dates andnamesandillustrationsofancientappearance.

Fictionisthenarrativeframeworkforthehistoricalevent,butthisinitselfisnotrecreatedinafictionalway.Thecomponentsthatarefictionalarethecharacters43andsituationsinwhichthedialogueisdevelopedthatallowsthereferencetothehistoricalpast.Histori-calfactspassthroughtheword,withsomeoverallvisualallusion

43Almostall thecharacters (except the representationofMiguelBarreiroanda refer-encetoLordPonsonbyinthefinalchapter)areinventedtogiveplacetothenarrationofhistoricalfact.


madebythecharacterizationofacharacter,thetourfortracesleftintheplaceswheretheeventstookplace,theuseoflocationsofthattime(astheMontevideoCabildo)ortherecreationofanyenviron-ment(suchasagrocerystore,orpulpería inSpanish).Uprisings,battlesandinvasionsaretold,fromcharacterstalking,ofteninen-closedspaces.Thus,thepathoftheExodusissolvedthroughdia-logueofagrandchildwhoreadstohisgrandmotherthefamily’slet-tersthatisfollowingtheArtigasandallthefictionhappensamongthewallsofgrandma’sbedroom.

Thehumorisproposedasoneofthefeaturesofthisproduc-tionandthroughitisthattheuniformityofthereferreddiscourseisbroken.Thehumorousresourcesarebasedprimarilyontheuseofanachronisms:eitherbytheuseofexpressionsoridiomsthatdonotcorrespondto1800,byreferencestothepresentputintothemouthsofcharactersofthenineteenthcenturyorbythecontrastbetweencharactersof thepast andpresentdialoguing in the scenarioof acurrentMontevideo.

Theanachronismisbothafictionalandhumorousresourceinwhichthisproductionbets.ThisfeatureisinstalledasreadingkeyfromthefirstchapterinwhichanineteenthcenturyBritishcharac-terisinthemidstofthecurrentMontevideoandisguidedbyataxidriverwhotellshimwhatwasthefateof theBritishin theRiverPlate.Forthis,theresourceusedwasaradio:theeventisnarratedasifitwereafootballgameandbreaksthesolemnityoftherhetoricofahistoricaldiscourse.Theanachronismsarepresented invari-ousforms,withvaryingdegreesofnarrativejustification:thus,ina chapter, a teacher talks to a characterwho comesout from thepaintby JuanManuelBlaneson the landingof the33OrientalesandinotherchapterscharacterscharacterizedasfromthepastuseaCeibalitatofindinformation.44

Theresourcesoffictiondonotstickhereneithertocriteriaofcredibilitynorveracity.Theemphasisismoretoproduceempathy

44XOorCeibalitaarecomputersoftheprogramUnoaUnothathasbeenimplementedinUruguaysince2007:PlanCeibal.

472 | Obitel 2013

withtheviewerdoingwinkstothepresent.Withouttheeducationoftheaudience,thehistoricaleventwouldnotbeunderstandable.

ReferencesARISTOTLE (1948), Poética, chap. IV, Espasa Calpe, Buenos Aires,

1948.

FERRY,JEAN-MARC(1998),El nuevo espacio público,Gedisa,Bar-

celona.

GINZBURG,CARLO(2010),El hilo y las huellas. Lo verdadero, lo fal-

so, lo ficticio,FondodeCulturaEconómica,Argentina.

GUIDDENS,A.(1997),Modernidad e identidad del yo,Península,Bar-

celona.

HUYSSEN,ANDREAS (2002),En busca del futuro perdido,Mexico,

FondodeCulturaEconómica.

JELIN,ELIZABETH(2002),Las políticas de la memoria,BuenosAires,

SigloXXI.

RICOEUR,PAUL(2004),La memoria, la historia y el olvido, Buenos

Aires,FondodeCulturaEconómica.

RILLA,JOSÉ(2008),Historias en segundo grado. Pierre Nora y los lu-

gares de la memoria,In:http://www.trilce.com.uy/pierre-nora-en-les-lieux-de-

-memoire.html.

12venezuelA: From susPense FIcTIon To

nATIonAlIzed FIcTIon

Authors:MorellaAlvarado,LuisaTorrealba

Team:MabelCalderín,CarlosArcila1

IntroductionFictionpremieres inVenezuelahad twocrucialelements:on

onehand,thehighestaudienceratesremainedinthepublicchannel,which presented contents inwhich suspense andmystery are themainstylisticcomponents.Alongwiththisoverview,thebroadcast-ingofthefirstserialproductthatrespondstotherequirementsofa“socialisttelenovela”,suggestedbyPresidentHugoRafaelChávezFrías (HRCF) in2010,canbehighlighted.Thisallowsus to talkaboutastate-centeredfiction.Ontheotherhand,theendof2012wasmarkedby thepoliticaluncertainty resulting from thePresident’sdisease.OnDecember8th,hislastnationwidebroadcastwasaired.Itwasbarely35minutesand54secondslong,andinitheexplaineditwasnecessaryforhimtoundergosurgery.InthisbroadcasthegavethepeopleofVenezuelainstructionstochooseVicePresidentNico-lásMaduroaspresidentifhewerepoliticallydisabled.Somepeoplereferredtothateventas“thesuccession”.HRCFwontheelectoralbattleofOctober7th inacampaignmarkedbyabuse,unfairplay,

1Specialthankstothestudentsofthesubject“CultureandMassMedia”deliveredintheSchoolofArts, forstudentsoftheDegreeinCinematographyduringthefirstsemesterof2012,fortheinformationtheygathered.Likewise,tothecompanyAGBNielsenMediaResearch, for their selfless collaboration, especiallyMissAlejandraCuttone.The fol-lowingpeopleparticipatedinthisresearchasassistants:NazarethSoto(UCV),AndreaAbreu(UCAB),andPedrodeMendonca(UCV).SpecialthankstoMabelCalderínandCarlosArcila,whocarriedouttheanalysisofCharts1to4andthetransmediareception.

474 | Obitel 2013

andinequality,mainlyexpressedinthedisproportionateuseofpub-licfundsinhisfavor.Attheendoftheyear,thenewsrelatedwiththepresident’shealthwereinexactandcontradictory.Thisplungedthecountryintoalongperiodofnewsopacity.Theamountofau-diovisualcontentthatwascreatedtohighlightepisodesofthelifeand achievementsof theBolivarianRevolution’sCommandant isnoteworthy.2Thesecontentsarerelatedwithacommunicationstrat-egywhich,ononehand,soughttokeeptheaudience’semotionalconnectionwiththefigureof“TheLeader”and,ontheother,aimedtostrengthenhisfollower’spoliticalcommitment.TheBolivarianSystemofPublicMedia(Sistema Bolivariano de Medios Públicos)wasthemachineryusedtocarryoutthatstrategy.


Chart 1. Nationwide open television stations in Venezuela

PRIVATE STATIONS (8) PUBLIC STATIONS (5)

CanalIFundaciónTelevisoradelaAsambleaNacionaldeVenezuelaANTV

Globovisión FundaciónTelevisoraVenezolanaSocial–TVESLaTele LaNuevaTelevisióndelSurC.A–TeleSur

MeridianoTelevisiónCompañíaAnónimaVenezolanadeTelevisión–VTV

Televen COVETELS.A.–ViveTVTVFamiliaValeTVVenevisión

TOTAL STATIONS = 13

Source:DatafromtheObitelResearchTeamVenezuela-2013

2InDecember2012,ViveTVlaunchedthedocumentaryseriestheyproduced:Coman-dante Chávez.ItwasbroadcastsimultaneouslybyVenezolanadeTelevisión.Initsfirstseason,threeepisodeswereaired:El arañero de Sabaneta,La forja del soldadoandLa toma del cielo por asalto.TheseriescoversseveralaspectsofPresidentHugoRafaelChávezFría’slife(1955-2013).

Venezuela – From suspense fiction to nationalized fiction | 475

TheincorporationofHighDefinition(HD)infictionproduc-tioninVenezuelawasasignificantindicatorofprogress.Thus,Te-levenproducedthetelenovelaNacer Contigo,writtenanddirectedby José Simón Escalona. Thiswas the first drama production inVenezuelainwhichthattechnologywasused.Meanwhile,Venev-isiónannounced theproductionof the telenovela Los Secretos de

Lucia inHD,togetherwithBE-TVandUnivisión,and,stemmingfrompublic funds, the first episodes ofLa Precursorawere pro-duced.AnothernoteworthyfactisthatGermánPérezNahimjoinedtheTVstationLa Tele’s staff.Thankstothis,theprogramgridwasrefreshed,whensomeBrazilianandColumbiantelenovelas werein-cluded.El color del pecado(2004,Brazil),Chocolate con pimienta (2003,Brazil)andVecinos (2008,Colombia)managedtoincreasethisTVstation’saudience.TothislistwemustaddSouthKoreanproductionspresentedaspremieresMi adorable Sam Soom (2005)andUn deseo en las estrellas (2007)andthererunsofOtoño en mi

corazón(2000),Sonata de invierno(2003),Todo sobre Eva(2000),andUna joya en el palacio(2003).

Chart 2. TV audience per channel3

Stations %

Venevisión 39.0

Televen 27.0

VTV 8.0

Meridiano 6.0

Globovisión 6.0

TVES 3.0

Others 11.0

3Thisdatareferstothe“turningon”forthemonthofNovember2012.Source:AGB,quotedbyMercadeoInteractivo,availablein:http://www.slideshare.net/ImanComunica-ciones/audiencias-noviembre.

8.0%

11.0%

27.0%

39.0%

Venevisión

Televen

VTV

Meridiano

Globovisión

TVES

Others

6.0%

6.0%3.0%

476 | Obitel 2013

Chart 3. Market share per channel4

Stations %

Venevisión 43.48

Televen 31.64

Meridiano 4.62

Globovisión 8.06

TVES 2.67

VTV 9.54

Chart 4. Genre offer in TV programming

Aired Genres Broad-casts %

News 2,176 14.0

Fictionseries 4,076 27.0

Entertainment 2,252 15.0Religious 509 3.0Sports 506 3.0Culturalandeducational

1,984 13.0

Miscellaneous 487 3.0Film 1,222 8.0Animation 1,427 9.0Documentary 689 5.0Total 15,489 100

The estimates in the last chartweremadebased on the pro-grammingofthefourchannelsthatbroadcastfictionseries.Ariseintheamountoffictionprogramsbroadcastwasobserved,butnotin their rating.This could be directly relatedwith the audience’spreferencesfor theprogramsofferedonpay television.Theaver-age rating in the fictionprogramswhichwere in the top tendur-ing2011was5.9%,butduring2012thisindicatorwasjust4.4%,whereasthebroadcastofnewsprogramsincreased,mainlyduetothetwoelectionprocessesthattookplacein2012.Bothprocesses,aswellastheclimateofuncertaintyinVenezuelaatthetimedueto

4TheinformationquotedhereincorrespondstothemeasuringfromMondaytoFridayinNovember2012.Source:AGB,quotedbyMercadeoInteractivo,availablein:http://www.slideshare.net/ImanComunicaciones/audiencias-noviembre.

9.54%

43.48%

Venevisión

Televen

Meridiano

Globovisión

TVES

VTV

4.62%

8.06%

2.67%

31.64%

9,0%

14,0%

News

Fictionseries

Entertainment

Religious

Sports

Culturalandeduca-

tional

Miscellaneous

Film

Animation

Documentary

13,0%

5,0%8,0%

15,0%

27,0%

3,0%

3,0%3,0%


thepresident’shealthcondition,aroseagreatdealofnationalandinternationalinterest.

Trends of the audience in 2012Compared to previous years, the audience ratings present a

similartrend.Womencontinuetobetheprevailinggender,theagerangeisabove35,andsocioeconomiclevelsareDandE.Itiscon-firmedthatthetelenovela hasanimportantplaceamongconsump-tionhabitsofwomen.Nevertheless,itcannotbestatedthatitisagenresolelyforwomen.Thisisconfirmedwhencheckinginterac-tivesitesavailableintheweb,inwhichmanyofthecommentsaremadebymenandalsothroughdirectobservationoftheviewinginpublicspacessuchas:cafés,bars,recreationcentersorotherslikesecuritybooths.¡VálgameDios!has thehighestviewingpercent-agespergenre,althoughitdidnotoccupythefirstplaceinrating. Alikelyexplanationmightbethepresenceofcertainamountofhumorintheplot.Outoffourchannelsthatairedfictionseriesduring2012,Venevisión continuestobeinthefirstplacebycaptivating80%oftheaudience,eventhoughnationalproductionsonlyreached1st,3rd and6thplaceinthetopten. 40%oftheaudiencepreferstelenovelas inthenightscheduleandpreciselyinthatschedule(primetime)iswhenthehighestviewingratingsareregistered.Thiscorrespondstothehighestshare (40.3%)registeredinthattimeslot.

Public investments throughout the year: In TV and in fiction

Public investments in TV during the Top Ten in 2012

Num-ber Category

Amount of an-

nouncers

Total amount in Bs Amount in US$

1 Foodandfoodservices 69 1,787,007,924.00 415,583,238.142 Costumeandshoes 82 1,477,552,406.00 343,616,838.60

3Beautyproductsandcosmetics

23 1,135,942,008.00 264,172,560.00

4Medicationandhealthservices

49 891,744,181.00 207,382,367.67

478 | Obitel 2013

5Bolivariangovernmentandrelatedactivities

20 610,006,592.00 141,861,998.14

6Electricalappliancesandhousehold

44 584,736,797.00 135,985,301.63

7 Insurance 10 473,236,435.00 110,054,984.888 Toystores 6 463,840,048.00 107,869,778.60

9Media,cellulartelephony,communicationandInternet

28 432,825,619.00 100,657,120.70

10 Others 41 331,073,463.00 76,993,828.6011 Financialservices 11 286,860,969.00 66,711,853.2612 Commercialchains 8 248,279,566.00 57,739,433.9513 Drinks 5 243,310,388.00 56,583,811.1614 Cleaningsupplies 7 218,752,752.00 50,872,733.0215 Politicalparties 10 198,349,094.00 46,127,696.2816 Individuals 17 126,175,449.00 29,343,127.6717 Localgovernments 18 109,194,918.00 25,394,166.9818 Liveshows 24 101,897,285.00 23,697,043.0219 Electoralpower 1 95,032,045.00 22,100,475.58

20Vehiclesandmeansoftransportation

11 94,940,957.00 22,079,292.33

21 Gambling 2 77,072,358.00 17,923,804.1922 NGOs 13 46,552,823.00 10,826,237.9123 Religion 2 5,480,262.00 1,274,479.53

24Filmindustryandrelatedactivities

4 4,194,826.00 975,540.93

TOTAL 505 10,044,059,165.00 2,335,827,712.79


Ashasbeennotedpreviously,advertisingbroadcastonprivate

TVstations(eight)runsaccordingtothesamepattern:theadvertis-ingofproducts and services aimedat covering threeof themainbasic needs,which are food, clothing and health.Officialmeansofcommunicationstilldonotairpaidadvertisementsand,instead,issuefreepropagandisticcontents,promotionof theirownstationprograms, aswell as some spotswith cultural, educational, newsandpreventionmessages,underthefigureofpublicservice.Beautyand body care, through cosmetics, occupy the third category. InVenezuela,thepromotionofbeautyarticlesandtreatments,aswellasaestheticcenterswhereplasticsurgeriesarecarriedout,isrecur-rent.Therearenotrigorouscontrolstoguaranteethenecessarysani-


taryconditionsforthetypeofservicetheyoffer.Malpracticeshaveledtobodilyinjuriesandevendeath.5Atthebeginningoftheyear,ahottopicwasthecaseofmorethan60thousandwomenaffectedbytheuseofdefectivebreastimplantsofFrenchandChineseorigin.Asignificanteventthatmustbehighlightedalongwiththepreviousone is the advertising investment that theBolivarian governmenthasmadeforitsself-promotion.Comparatively,thesumassignedfor institutional propaganda is equivalent to 35.1%of the budgetspentbytheMinistryoftheCulture(MinisteriodelPoderPopularparalaCultura)throughout2012.Ontheotherhand,theprolifera-tionofservicessuchassecurityandinsuranceinadvertisingreflectstheimpactofthehighcrimeandviolenceratestowhichthecountryiscurrentlysubject.Violentdeathsareamatterofpublichealthnoteffectivelytakencareof.

Merchandising and Social MerchandisingItshouldbepointedoutthataccordingtoArt.6oftheLawon

SocialResponsibilityofRadio,TVandElectronicMedia(Ley de

Responsabilidad Social en Radio, Televisión y Medios Electrónicos,

LRSRTVME, 2010), the insertionof advertising is limited to “theliveanddirectbroadcastofrecreationalprogramsonsportseventsorshows,aslongasitdoesnotinterrupttheviewingoftheseanddoesnottakeupmorethanonesixthpartofthescreen.”6Thisiswhywefindnomerchandisingorproductplacementinnationalproductionfictionseries.Weseethat,insportsshows,themainannouncersarecompaniesrelatedwithdrinks,financialandtelecommunicationser-vices.Socialmerchandisingiscarriedoutthroughtwomeans.Oneissocialresponsibilitycampaigns,whichfavorsnationwidemanda-torybroadcasts,andtheotheristheinsertionofcontentinplots.Re-

5Anemblematiccaseoccurredin2012whenaMagistrateoftheCourtofCassationoftheSupremeCourt,NinoskaQueipo,diedduetoacomplicationthatresultedfromacosmeticsurgery.Itwasnecessarytohappenacaselikethisforthelegalnormforbiddingtheuseandapplicationoffillersubstancesintreatmentswithaestheticpurposestobeenacted.(GacetaOficialNumber40,065ofDecember5th,2012).6AccordingtoGacetaOficialNumber39,610ofFebrurary7th,2011.

480 | Obitel 2013

gardingsocialresponsibilitycampaigns,onlyTeleven,VenevisiónandTVFamiliacarrythemoutexplicitly.Lo bueno se pega, ponte

a valer is thenameofTeleven’svaluescampaign. InMay2011,Venevisionstarteditssocialresponsibilitycampaign,calledSomos

lo que queremos.Conceivedindiverseformats,themostnotoriousaremicro-journalisticreports,dramatizationofeverydaysituationsand video clips. In the case ofTVFamilia, the campaign is car-riedoutthroughshortaudiovisualprogramscalledTú decides (shortprograms thatdramatize situations related to alcohol and tobaccoconsumption),Cápsulas de saludandGreen News (thetwolatterareshortprogramsfocusedonnews).ValeTVassumesthatallofitsprogrammingcanbeconsideredsocialresponsibilitymaterialandtheotherstationsoffernoexplanationsonthetopic.

Communication PoliciesThroughouttheyear,nospecificlawswerepassedrelatedwith

the television sector.The regulations that continue to be in forceforthesectorarethosecontainedintheLawonSocialResponsibil-ity of Radio, TV and ElectronicMedia (Ley deResponsabilidadSocialenRadio,TelevisiónyMediosElectrónicos,LRSRTVME,2010),whichcontains legalprovisions thatcouldbe thecauseofpriorcensorship,andintheTelecommunicationsOrganicLaw(LeyOrgánicadeTelecomunicaciones,2000).TheMinistryof InteriorRelationsandJustice (MinisteriodelPoderPopularparaRelacio-nesInterioresyJusticia)createdtheso-called“MisiónSeguridad”,aiming to issue the topic of high crime andviolence rateswhichaffectVenezuela. In its thirdvortex, itproposes the regulationofcontentsissuedbyTVstations.ThisisduetotheassumptionthatmeansofsocialcommunicationareresponsiblefortheviolencethatoccursinVenezuela.Thisrenderedconcernamongjournalists,aca-demics,andhumanrightssupporters,forconsideringthatitleads,onceagain,tocensorshipandcontrolofinformation.Althoughnospecificregulationwasdefinedthatwouldcensormeansofcommu-nication,therewerelegalandadministrativeactionsthatcensored


contentsonthecoverageofviolenteventsorotherpublicinteresttopicswhichrevealedinefficiencyinstateactionsandharmtotheintegrityandhealthofthecitizens.7

Likewise, Globovisión, the TV channel devoted to 24-hour-broadcastnews,wasforcedtopayafineofovertwomilliondol-larsduetothecoverageitmadeofaviolentconfrontationthattookplace inJuly2011 inElRodeoprison, located in theoutskirtsofCaracas.8Thisactionconstitutedaneconomicinjurytothestation.Anotherrelevantcensorshipmeasuretookplaceduringtheelectoralcampaign.TheNationalElectoralCouncil (ConsejoNacionalElec-toral),highestelectoralbodyinthecountry,censoredthebroadcastofapropagandaofanoppositionpoliticalparty,calledLaseguridadeselcamino,thatreferredtothetopicofinsecurityinthecountry.9 TheserestrictionswerefollowedbyaspeechinwhichTVprogramcontentsthatreflectedviolenteventswerecriticized.

Public TVRegarding fiction aired by open signal in publicTV, the in-

terest to include contents of fiction series that stem fromdiversecontextsisnotorious.Thus,throughTelevisoraVenezolanaSocial(TVES), the following premiereswere aired:Mysterious Dissap-

pearance(1994,Japan)andAutumn in my heart(2000,SouthKo-rea);andthereruns:Naturally, Sadie(2005,USA,Canada);Coffee

Prince (2006,SouthKorea);Summer Scent (2006;SouthKorea);Winter Sonata(2003,SouthKorea);Spring Waltz (2006,SouthKo-

7Forexample,onMarch22nd2012,the25thCourtofControloftheMetropolitanAreaofCaracasforbidmeansofcommunicationtoissueinformationrelatedwiththepollutionofsourcesofdrinkingwater,unlesstheywerebackedbyatechnicalreport.TheGeneralProsecutoroftheRepublicwarnedthatthemeansthatdidnotcomplywiththisprohibi-tioncouldbesanctionedandsheremindedthemthattheCriminalCodeestablishespe-nalizationsof2to5yearsofprisonforthebroadcastoffalseinformation.Thismeasurearoseafterthemainnationalmeansofcommunicationreportedanoilspillthathadoc-curredintheGuarapicheRiver(westernVenezuela),thatsupplieswatertonearbytowns,andaftercivilianorganizationsofthestateofCarabobo(centerofthecountry)reportedthepollutionoftheriversthatprovidewatertothecitiesinthatregion.8InstitutoPrensaySociedaddeVenezuela,2012b,nonumber.9InstitutoPrensaySociedaddeVenezuela,2012c,nonumber.

482 | Obitel 2013

rea);Bitter Tropics (2007,France); andThe Last Emperor (1987,China,France,ItalyandUK).Thelatterisalongfilm,fractionedforTV.Tothesewemustaddtheairingoftheonlytelenovela pro-ducedwithpublicfinancinginthelastthreeyears.Throughapri-vatecompany,AlterProducciones10,Teresa in three seasons(2012)wasproduced.Thisallowsustomentioninthisreportthatthereisastatizationoffiction,althoughitisalowpercentage.Ontheotherhand,publicmediainVenezuelahasnotvariedinitsroleasgovern-mentmedia, since theyareusedasopenpropagandamechanism.Although,fromaquantitativepointofview,privatemediaoutnum-berpublicones,itisobviousthataccordingtotheterritorialscope,thisrelationchanges.TothepreviousinformationwemustaddthebroadnessandvarietyofcommunityTVstations(43intotal),whicharepartoftheVenezuelanaudiovisualuniverse,althoughtheyarebeyondthescopeofthisresearch.Despitethefactthatsomehaveexisted formore than twodecades,manyhavebeenconsolidatedin the last fewyears, as of the enactmentof theOrganicLawofTelecommunications(LeyOrgánicadeTelecomunicaciones,2000) andtheRegulationofCommunityPublicServiceSoundandOpenTelevisionBroadcasting (Reglamento deRadiodifusión Sonora yTelevisiónAbiertaComunitariasdeServicioPúblico,sinfinesdelucro,2002).Due to thecharacteristicsof thecommunityandal-ternativemediamovementinVenezuela,therearefewreferentsintheLatinAmericancontext.Itssociopoliticalandculturalimpactisundeniable,mainlyforthreereasons:(1)thepreparationofpopularcommunicators;(2)medialiteracyandempowermentofindividualsandgroups;and (3) infrastructureandequipment theyhandle;allthis,besidesreportsfromdiversespacesregardingtheirexplicitad-hesiontothepoliticalprojectofHRCFanditsuseaspropagandisticwindow.CommunityTVsnowadaysofferanorganizational,edu-cationalandcreativebalancethatmustbestudiedandunderstood.

10ThiscompanyproducedCaramelo e´ chocolate (2008)forTVES.


Pay TVComparedtosubscriptionTV,payTVreachedduring2012a

marketpenetrationof47.1%,equivalentto7.209.370households.This service, rendered by a total of 181 companies (CONATEL,2013c),impliedagrowthof7.6%inthesector,inrelationwiththeyear2011(39.5%).ThissectorhasconsolidatedinthecountryintheabsenceofapluralofferinopenTV,whichcanguaranteevariedcontents, particularly those relatedwith fiction series. InOctober2012,theboardoftheNationalAssemblyPermanentCommissionofCommunicationMedia(ComisiónPermanentedelPoderPopularydeMediosdeComunicacióndelaAsambleaNacional)(Legisla-tivePower)announceditsintentiontoregulatecontents,operationandcostsoftheservice(fees).Likewise,theimportanceofnationalprogramsandparticularlyNationalIndependentProductions(Pro-duccionesNacionalesIndependientes,PNI),throughtheDraftLawfortheProvisionofSubscriptionTVService(ProyectodeLeyparalaPrestacióndeServiciodeTelevisiónporSuscripción),was in-cludedinitsagenda.Afewdayslater,theverysameparliamentar-iansdeniedthedraftingofthelawandexplainedthatthetopicofsubscriptionTVwasaresponsibilityof theNationalCommissionofTelecommunications (ComisiónNacionaldeTelecomunicacio-nes,CONATEL),administrativelyattachedtotheExecutiveVice-PresidencyoftheRepublic.

During thatperiod, thenationalgovernmentcontinuedoffer-ingtheserviceofpayTVthroughtheCANTV(CompañíaAnón-imaNacionaldeTeléfonosdeVenezuela).CANTV’sSatelliteTVserviceisofferedatalowercostthanthistypeofserviceinothercompaniesinthesector.However,thenumberofchannelsitoffersissmalleranddoesnot include,forexample,Globovisión,whoseeditoriallineiscriticalagainstthegovernment’sactions.Opensig-nalchannelsarealsoincludedintheofferofsubscriptionTV.Thus,thecontentsofpremierenationalfictionarebroadcastthroughthere.WecanstatethatthewindowoffictionseriesproducedinVenezu-

484 | Obitel 2013

ela,whosescopeisinternational,isinthehandsofVenevisiónPlus,thatduring2012broadcastCiudad Bendita (2006).

Trends of the ICTsInternetpenetrationby theendof2012 reached42.1%11, ac-

cordingtopreliminarydatafromtheCONATEL.This impliesanincreaseof1.7%comparedtothepreviousyearwhentherewasamarketpenetrationof40.4%.Growthinthatperiodwassmallerthanbetween2010and2011,whichwas2.8%12.ThepresidentofthestatecompanyCANTV,ManuelFernández,admittedinMay2012thatthestandardInternetspeedinthecountryis0.71megabytes(MB).13 Internetpenetrationreachedaround12,555,010users(CONATEL,2013a)anddidnotreachhalfoftheVenezuelanpopulationwhich,accordingtotheNationalInstituteofStatistics(InstitutoNacionaldeEstadística),for2012wasaround29,718,357(INE,2013).How-ever,therewasanincreaseinthenumberofcompaniesthatofferInternetservice,whichreached43(CONATEL,2013a).OutofthetotalamountofsubscriberstoInternetservice,54.9%(2,020,623)wereresidential;6.5%(239,499)werenon-residential;and38.5%(1,419,754)connectedviamobile(CONATEL,2013b).Thelargestnumberofuserswasresidential,followedbythosewhoconnectedusingmobile Internet connection,which has gradually increased.ThistrendisharnessedbyVenezuelanTVstationsthatincorporateintheirwebsitescontentslinkedtonationalproductionfictionse-ries.Thus,forexample,thetelenovelaMi ex me tiene ganasinitswebportal14hadaspacecalledExclusivoweb,inwhichtheaudi-

11Thisinformationcomesfrompreliminaryfiguresfortheendof2012fromtheNationalCommission of Telecommunications (Comisión Nacional de Telecomunicaciones),whichisbasedontheQuarterlyAddedSurveyoftheMainIndicatorsintheSector(En-cuestaTrimestralAgregadadelosPrincipalesIndicadoresdelSector).12Thisdecelerationingrowthmayberelatedwithfailuresintheprovisionof theser-viceinthecountry,linkedtobandwidth.AccordingtoNextIndex(http://netindex.com/download/allcountries/) regardingslownessofconnection,Venezuela is located in thethirdfromtheendposition,belowHaitiandjustaboveSuriname,NicaraguaandBolivia.13Fernández, 2012, s/n.14 http://www.venevision.net/programa/mi-ex-me-tiene-ganas/exclusivo-web


encecouldaccesstobothliveanddelayedTwittcamtogetherwiththemaincharacters.Likewisetheyofferedthepressa“behindthescenes”ofthepremiere,aspecialprogramtransmittedexclusivelybeforethefirstchapterofthetelenovela:exclusiveinterviewswiththeactors,behindthecamsduringtherecordingsandaspacecalledPonte al día, inwhich therewere summaries of the last chaptersaired.Theyalsoincorporatedthreealternativeendingsthathadbeendevelopedfor this telenovela inorder tocreatemore intrigueandattractionfortheoutcomeandthatalsoconstitutedastrategywhichallowedthetelenovelatobemarketedindifferentcountries,offer-ingtheaddedvaluethatineachonetheycouldchoosetheidentityoftheserialkillerwhowasinthemainthreadoftheplot,accordingtohowwell thecharactershadbeenacceptedand the local audi-ence’spreference.

Asfortheperformanceofmobilephone,for2012,itreflectedapenetrationof106%.Thisindicatesthat,inVenezuela,thenum-berofmobilelines(31,732,781,intotal)ishigherthanthenumberofpeople.ForNovember2012,a32%penetrationofsmartphones(more than sixmillion devices)15 was registered, fact that placesVenezuelainthefirstpositioninLatinAmerica.

2. Yearly analysis: premiere of national and Ibero-American fiction

Chart 1. Fiction shown in 2012

PREMIERES: 48 RERUNS: 38VENEVISIÓN: 4 national titles VENEVISIÓN: 2 national titles

1 El árbol de Gabriel(Telenovela) 1 Corazones extremos(Series)2 Mi Ex me tiene ganas(Telenovela) 2 Mujeres con historia(Unitaryseries)3 Natalia del mar(Telenovela)4 ¡VálgameDios!(Telenovela) VENEVISIÓN: 7 imported titles

3A corazón abierto(Telenovela)Colombia

VENEVISIÓN: 13 imported titles 4A mano limpia (Telenovela)Colom-bia

15Herrera,quotedbyLozano,2012,s/n.

486 | Obitel 2013

5Abismo de pasión (Telenovela)Mexico

5El Chapulín Colorado(Series)Mexico

6 Amor bravío (Telenovela)Mexico 6 El Chavo(Series)Mexico

7Amores verdaderos(Telenovela)Mexico

7La Rosa de Guadalupe(Unitaryseries)Mexico

8Carita de ángel (Telenovela)Mexico

8 Mujeres al límite(Unitaryseries)Colombia

9¿DóndediablosestáUmaña?(Mini-series)Colombia

9 Pequeños gigantes(Sketches)Mexico

10 El laberinto(Series)Colombia11 El secretario(Telenovela)Colombia TVES: 5 national titles12 Emperatriz(Telenovela)Mexico 10 Aprendiendo con la música(Series)

13La teacher de inglés(Series)Co-lombia

11 Caramelo ećhocolate(Telenovela)

14La traicionera(Telenovela)Co-lombia

12Crónicas extraordinarias(Unitaryseries)

15La que no podía amar(Telenovela)Mexico

13 Historias del más acá(Unitaryseries)

16Los exitosos Pérez (Miniseries)Mexico

14 La única opción(Miniseries)

17Retrato de una mujer (Telenovela)Colombia

TVES: 1 imported titlesTVES: 3 national titles 15 La oveja negra(Series)Uruguay

18 Hotel de locura(Miniseries)19 Nos vemos en el espejo (Series) TELEVEN: 3 national titles

20Teresa en tres estaciones(Tele-novela)

16 Mi gorda bella(Telenovela)

17 Rosas y espinas(Telenovela)TVES: 1 imported title 18 Toda una dama (Telenovela)

21India, una historia de amor(Teleno-vela)Brazil

TELEVEN: 9 imported titles

TELEVEN: 1 national titles 19A cada quien su santo(Unitaryseries)Mexico

22 Nacer contigo(Telenovela) 20 Agua en laboca (Telenovela)Brazil21 Alguien te mira (Telenovela)USA

TELEVEN: 12 imported titles 22 Amar de nuevo (Telenovela)Mexico

23 Corazón Valiente (Telenovela)USA 23Amor, mentiras y videos (Series)Colombia

24Deseos de mujer(Telenovela)Colombia

24 Cielo rojo(Telenovela)Mexico

25 Dos hogares(Telenovela)Mexico 25Lo que callamos las mujeres (Unitaryseries)Mexico

26 El encantador (Telenovela)Mexico 26 Padres e hijos (Series)Colombia

27La casa de al lado(Telenovela)USA

27Tu voz estéreo (Unitaryseries)Colombia


28 Los canarios(Series)Colombia

29 Luna roja(Telenovela)Portugal LA TELE: 4 national titles

30Mi corazón insiste en Lola Volcán (Telenovela)USA

28 Emperatriz(Telenovela)

31Porella…soyEva(Telenovela)Mexico

29 La llaman Mariamor(Telenovela)

32Relaciones peligrosas (Telenovela)USA

30 La traidora(Telenovela

33Tres milagros(Telenovela)Colom-bia

31 Sirena (Telenovela)

34Un sueño llamado salsa(Series)Colombia

LA TELE: 2 imported titlesLA TELE: 5 imported titles 32 Frecuencia 04(Series)Argentina

35Chocolate con pimienta(Telenove-la)Brazil

33 Lalola (Telenovela)Peru

36El color del pecado(Telenovela)Brazil

34 Los Roldán(Telenovela)Argentina

37Historias de hombres sólo para mujeres(Series)Colombia

38 Las profesionales(Series)Colombia CO-PRODUCTIONS – Reruns39 Vecinos(Series)Mexico VENEVISIÓN: 1 title

35Mentes en shock(Series)USA-Colombia

CO-PRODUCTIONS – PremieresVENEVISIÓN: 9 titles TELEVEN: 3 titles

40Corazón apasionado(Telenovela)Venezuela-USA

36Decisiones(UnitarySeries)USA-Colombia

41El talismán(Telenovela)Venezuela-USA

-Mexico-PuertoRico

42Los años dorados(Series)Venezu-ela-USA

37ISA TK+(TeenageSeries)Venezue-la-USA-Colombia

43Los caballeros las prefieren brutas (Telenovela)USA-Colombia

38 Los Barriga(Series)Ecuador-Peru

44Si me miran tus ojos (Telenovela)Venezuela-USA

TELEVEN: 4 titles TOTAL NUMBER OF TITLES

45Amor sin barreras (Telenovela)USA-Mexico

AIRED: 86

46Dulce amargo así es el amor(Tele-novela)Venezuela-USA-Mexico

47Flor salvaje(Telenovela)USA-Colombia

48Rosa Diamante(Telenovela)USA--Mexico


488 | Obitel 2013

BroadcastoffictionTVinVenezueladuringtheyear2012wasatotalofonly86titles.Thisrepresents16titleslessthantheprevi-ousyear(102titles).Outofthe86titlesshowninthecountry,38(41.1%)werererunsand48(55.8)werepremieres.Only22titles,that is 25.5% of the total fiction shown, were produced in Ven-ezuela.Outof this figure,barelyeight titleswerepremieres.Theinformation inChart 1 reflects aprogressivedecrease innationalinvestmentsaimedattheproductionoffiction.VenevisiónandTe-leven,with32titleseach,standoutasthemainexhibitorsoffictionseries.InthecaseofVenevisión,onlyfourtitles(12.5%ofthetotalairedinthechannel)arepremierenationalfiction,whereasTelev-enonly aired1 (3.1%). InTelevisoraVenezolanaSocial (TVES)only4outofthe10fictiontitlesitairedwerepremieres.AndinLaTele,althoughitaired12titles,nonewasapremiere.Theamountofimportedproductswasnotsignificanteither,althoughitexceedsnationalfictionproduction.Thus,31premieretitleswereimported(36.0%)and20 reruns (23.0%).On theotherhand,onlyTelevenand Venevisión showed co-productions, out of which nine werepremieres and four reruns. In the caseofTVES, apublic servicechannelwhoseprogrammingiscomposedin48%byNationalInde-pendentProducers(PNI,inSpanish),itairedfivefictiontitlesintheObitelscope.Outofthese,fourarepremieres(oneimported)andoneisanimportedrerun.ThenumberofhoursofairingofnationalseriesfictioninTVESwas17hoursand30minutes,whichrepre-sents2.1%ofthetotalhoursofnationalproduction(783hours).


Chart2.Premierefictionin2012:Countriesoforigin


NATIONAL (total) 13 22.4 1,081 16.5 783:00 21.5

IBERO-AMERICAN (total) 45 77.5 3,862 83.5 2874:10 78.5

Argentina 0 0 0 0 0 0

Brazil 3 5.2 260 5.9 145:00 3.9

Chile 0 0 0 0 0 0

Colombia 15 26.3 1,349 30.8 1,039:00 28.4

Ecuador 0 0 0 0 0 0

Spain 0 0 0 0 0 0

USA (Hispanic production) 13 22.8 1,162 24.2 821:10 22.4

Mexico 13 21.0 1,069 21.8 855:00 23.3

Peru 0 0 0 0 0 0

Portugal 1 1.7 22 0.5 18:00 0.3

Uruguay 0 0 0 0 0 0

VENEZUELA 13 22.8 1,081 16.5 783:00 21.4

Latin American (Obitel) 58 100 4,943 100.0 4,572:00 100


Others (productions and co-produc.fromotherLatinAm./Ibero-Am. countries)

0 0 0 0 0 0

TOTAL 58 100 4,943 100 3,657:00 100


FictionshowninVenezuelafollowsthesamepatternofprevi-

ousyearsinwhatreferstocountriesoforigin.AswemaynoticeinChart2,thereisaclearpreferenceforLatinAmericanproduction,since58ofthetitles(100%)comefromthepartoftheregioncir-cumscribedtotheObitelscope.Regardingcountriesoforiginoffic-tionairedinVenezuela,inthefirstplaceisColombia–theneighborcountry–,whichproducedfifteenofthetitles,followedbyMexico,USA(Hispanicproduction)andVenezuelawiththirteentitleseach.Then,therearethreeBrazilianproductionsandonefromPortugal.Thenumberofco-productionsin2012wasthirteen,thesameasin

490 | Obitel 2013

2011.Outofthese,nineproductionswerepremieres.Venezuelatookpartinfivepremiereco-productions,fourwithUSAandonewithUSA-Mexico. Other premiere co-productions aired in VenezuelacomefromUSA-Colombia(twopremieresandonererun)andfromEcuador-Peru(onererun).Hereitbecomesevidentthattheflowofmarket transnationalization is stillheadedby theNorthAmericanandColombianindustries.CountriesfromtheObitelscope,suchasArgentina,Chile,Ecuador,andSpain,didnotmanagetointroducetheirproductionsintheVenezuelanmarketin2012.Inthepreviousreport,somereasonthatcouldjustifythepreferenceforColombianproductionswereexposed.Twoothertitlesco-producedbyColom-bia-USAraisethefigureofColombian-originproductionsairedinVenezuelato17.


Chart3.C

hapters/episodesandhoursbroadcastedbytimeslots

T

ime

slot

sN

atio

nal

Iber

o-A

mer

ican

T

otal

C/E

%H

%C/E

%H

%C/E

%H

%

Mor

ning

(06:

00 –

12:

00)

00

00

20.05

77:00

2.8

20.04

77:00

2.1

Aft

erno

on (1

2:00

– 1

9:00

)

319.5

29.6

295:00

37.7

1,854

48.0

1,136:00

40.9

2,173.5

43.9

1,431:00

40.1

Prim

e tim

e (1

9:00

– 2

2:00

) 435.1

40.3

216:00

27.6

1,078

28.0

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492 | Obitel 2013

Traditionally in Venezuela, national premiere fiction coversprimetimeandnighttimeslots.However,aswecanseeinChart3,during2012therewasahighpercentageintheseslots,buttheywereexceededbytheafternoonschedulein3%ofthenumberofhoursoverthenightslotand10%overprimetime.ThesamethinghappenedwithIbero-Americanoriginfictions,althoughthegapin-creasedin19%thenumberofhoursoverthenightslotand9%inrelationtoprimetime.Ifweturntheanalysistowardsthenumberofchapters/episodes,thetrendisverysimilar.Noticethatonlyinthecaseofnationalproductionstheprimetimeslotexceedsin11%thenumberofchaptersairedintheafternoontimeslot,butintotalthehighestpercentageisaccumulatedintheafternoontimeslot,with44%,asopposedto56%ofthechapters/episodesairedintheothertwoschedules.

InVenezuela,thetelenovelacontinuestobethemostdesiredfictionformat,beitnationalorIbero-Americanproduction.Thefactisthat,aswecanseeinChart4,thistypeofprogrammingisinfirstplaceregardingtimeslotsinwhichtheyareaired(97.1%devotedtonationalprogrammingand84.8%Ibero-American),inthenumberof titles (69.2% are national and 81.8% are Ibero-American) andalsowithrespecttonumberofchapters/episodesaired(96.7%na-tionaland84%Ibero-American).Seriesistheformatthatremainsinsecondplaceinthecountry,butitsairingisnotrelevantcomparedtothetelenovela’s.

Chart5.Nationalfictionformatsintimeslots



tal %

Telenovela 0 0 3 23 4 30.8 2 15.4 9 69.2Series 0 0 0 0 2 15.4 0 0 2 15.4Miniseries 0 0 0 0 0 0 2 15.4 2 15.4Telefilm 0 0 0 0 0 0 0 0 0 0Unitary 0 0 0 0 0 0 0 0 0 0Docudrama 0 0 0 0 0 0 0 0 0 0Others (soap opera, etc.) 0 0 0 0 0 0 0 0 0 0

TOTAL 0 0 3 100 6 46.2 4 30.8 13 100

Source:DatafromtheObitelResearchTeamVenezuela-2013.


As in the previous year inVenezuela, fiction productions intelenovelaformatprevailed.Long-rangestories,thenarrativecon-structionofplots,evolutionofthecharactersandthesearchforanoutcomearenotonlyinterestingfortheTVstations,thatcanguar-anteeformonthsthecompanyofacaptiveaudience,butalsofortheaudiencethatexpectstheevolutionofthestorydayafterdayandthepossibilitytobuildtheirownalternativehypothesisorsolutionstothecharactersdrama.

Chart6.Periodofthefiction


Present 47 97.9

Epochal 1 2.1

Historical 0 0

Other 0 0

TOTAL 48 100

Source:DatafromtheObitelResearchTeamVenezuela-2013.

Again,theperiodinwhichfictionprogramsissetisthepresent,andinaverylowpercentageitissetinothertimeperiods.Histori-calfictionstilldoesnotshowupinVenezuelanscreens,although,amongnationalproduction,thereareseveralprojectsmadewithanimportanteconomicinvestmentandthatwillbeairedduring2013.

Chart 7. The ten most watched titles: origin, rating, share

Title

Country of origin of the original idea or script

Produc-tion house

Chan-nel

Name of the writer or author of the original idea

Ra- ting%

Sha- re%

1Mi ex me tiene ganas

VenezuelaVene- visión

Vene- visión

MartínHahn 5.38 40.17

2 Flor salvaje USA

RadioTele-visiónIntera-mericana

TelevenLauraRe-strepo

5.12 38.16

3¡VálgameDios!


Vene- visión

MónicaMon-tañéz

4.67 32.38

494 | Obitel 2013

4La casa de al lado

ChileTel-emundo

TelevenJoséIgnacioValenzuelaGuiraldes

4.64 39.34

5La traicio-nera

ArgentinaFOXTeleco-lombia

Vene- visión

AdriánSuar,FaberSoto,AuraNiñoandRodrigoHolguín

4.57 40.32

6Natalia del Mar


Vene- visión

AlbertoGómez

4.44 30.71

7Abismo de pasión

Mexico TelevisaVene- visión

CaridadBravoAdams

4.06 32.49


USA TelevisaVene- visión

DeliaFiallo 3.99 29.54

9 Emperatriz VenezuelaTVAzteca

Vene- visión

JoséIgnacioCabrujas

3.81 34.52


ColombiaFOXTeleco-lombia

Vene- visión

MónicaAgudelo

3.74 32.94

Total of productions: 10 Foreign scripts: 6

100% 60%


Writers’appealtotheaudienceswasparticularlyimportantthis

yearwhentheyofferedinnovativestoriesthatbrokewiththetradi-tionalpatternofasweet,chasteandstylizedmaincharacter.Thus,Mi ex me tiene ganasstarredayoungactresswhosephysiqueisdif-ferentfromtheconventionalslimmodels’orparticipantsinbeautypageants.Theactress’scurvedphenotype,morelikeanyordinaryLatinwoman’s,andherexcellentactingtalentallowedaconnectionwiththeaudience.Ontheotherhand,thestorypresentedinvitedtheTVspectatortolinkcluesandevidencetotrytoguesstheidentityoftheserialkiller.Also,thetelenovelathatwasinsecondplaceinthetopten,Flor Salvaje, showedastarthatevolvedandwentfromasweet,chaste,model-lookingyounggirltoawomanwhoenteredtheworldofprostitutioninordertoearnalivingandcareforhersisters,whomshewasresponsiblefor.


Chart 8. The ten most watched titles: format, length, time slot

Title Format Genre

Number of chapters/episodes (in 2012)

Dates of the firstandlast

broadcast(in 2012)

Time slot

1Mi ex me tiene ganas

TelenovelaDrama/mystery

17016/05/201205/12/2012

21:00-22:00

2 Flor salvaje TelenovelaDrama/romance

10119/10/201116/04/2012

21:00-22:00

3 ¡VálgameDios! TelenovelaRomanticComedy

17913/03/201203/10/2012

14:00-15:00

4La casa de al lado

TelenovelaDrama/romance

11326/10/201114/05/2012

22:00-23:00

5 La traicionera TelenovelaDrama/romance

19027/02/201221/12/2012

21:00-22:00

6 Natalia del Mar TelenovelaComedy/Drama/romance

6128/06/201112/03/2012

14:00-15:00

7Abismo de pasión


15715/05/201219/11/2012

13:00-14:00



11525/10/201114/05/2012

13:00-14:00

9 Emperatriz Telenovela Drama 12107/08/2012(cont.)

15:00-16:00



6701/10/2012 (cont.)

13:00-14:00


ThetasteforhumorisafeaturethatdefinesthetypicalVenezu-

elan.Therefore,theknownalburaswellaseventsofthenationalpubliclife–suchasamistakeintheuseofthelanguagemadebyapublicfunctionary–giveorigintojokesthatarespreadviaInter-net,cellphonesandfrompersontoperson.Thetelenovela¡VálgameDios! usesaneverydayphrasetoexpresssurpriseorresignationandpresents a fresh and fun story.Themostpopular characterswereGamboa and Marbelis. The first one was gallant, attractive androguish, capable of having three simultaneous relationships.AndMarbelis(knownasSantaMarbelis),whoappearsasaloving,dedi-catedandvery religiouswoman,wasactuallyavengeful,wickedwoman,capableofmurderingherenemies.Likewise,thetelenovelathatcameinfourth,La Casa de al lado, gatheredsuspenseanddeathelementsthatdrewtheaudience’sattention.

496 | Obitel 2013

Chart 9. Topics in the 10 most watched titles

TitlesPREVAILING TOPICS

(UP TO 5 MOST IMPOR-TANT TOPICS)

SOCIAL TOPICS(UP TO 5 MOST IMPORTANT

TOPICS)

1Mi ex me

tiene ganas

Crimesolving;developmentofprofessionallegalpractice;identityrevelation;revenge.

Oldage;unwantedpregnancy;mentalillness;addictions;citizen

insecurity.

2Flor sal-

vajeLove;discord;familyrelation-shipsinconflict;bastardy.

Prostitution;addictions;unwantedpregnancy.

3¡Válgame

Dios!

Bastardy;familyrelationshipsinconflict;love,comedy;

revenge.Unwantedpregnancy;diseases.

4La casa de

al lado

Crimesolving;professionalle-galpractice;identityrevelation;familyrelationshipsinconflict.

Citizeninsecurity;diseases;ad-dictions;devaluationoffamily

relationships.

5La traicio-

neraCrimesolving;professionalle-galpractice;revenge;bastardy.

Mentalillness;lossofmoralvalues;destructionoffamily

relationships.

6Natalia del

Mar

Thwartedlove;infidelity;revenge;identityrevelation;

bastardy.

Addictions;unwantedpreg-nancy;differencesbetweensocialclasses;personalgrowth;natural

scenarios.

7Abismo de

pasión

Revenge;murders;professionallegalpractice;familyrelation-

ships.

Lossofmoralvalues;unwantedpregnancies;addictions;immigra-

tion;diseases.

8La que no

podía amar

Revenge;thwartedlove;devel-opmentofprofessionallegal

practice.Bigamy;addictions;immigration.

9 EmperatrizBastardy;revenge;love;crimesolving;professionallegalprac-

tice;identityrevelation.

Addictions;mentalillnesses;unwantedpregnancies;family

relationshipsinconflict.


Love;familyrelationships.Familyrelationshipsinconflict;

lossofpersonalidentity.


Regarding insertionofcontent in theplots, thefollowingareconstantly present in the threenational premiere productions thatreachedthetopten:unwantedpregnancies,addictions,andmentalillnesses.In2012,Venezuelarankedfirstplaceinunplannedpreg-nanciesinSouthAmerica16andestimatedahighrateofearlypreg-

16Thedemographicdataandvitalstatisticsofthe2011censusindicatethatoutof615,132livebirths,23%correspondtomotherswhoarenotyet19yearsold.


nancies,atopicthatisindirectlycoveredinNataliadelMar,¡Vál-game dios! and Mi ex me tiene ganas. Ontheotherhand,thereisabudding interest inshowing thecountry’snatural landscapesand,thisway,indirectlyencouragingtourism.Playa Esperanza and Mar

Encantado aretwofictitioustownsthathavenodirectreferencesinthe national geography, therefore the promotional possibility andstrategyareweakened.

498 | Obitel 2013

Chart10.Audienceprofileofthe10mostw

atchedtitles:genre,age,socioeconom

iclevel

Tit

les

Cha

nnel

Gen

re %

Age

gro

up %

Soci

oeco

nom

ic le

vel %

Men

Wom

en4-7

8-11

12-17

18-24

25-34

35-44

45-54

55+

AB

CD

E

Mi e

x m

e ti

ene

gana

s Venevisión

6.41

4.33

3.08

3.61

4.80

4.99

4.11

5.90

6.92

7.63

1.47

2.96

4.46

8.19

Flo

r sa

lvaj

e Televen

6.80

3.94

2.33

3.83

3.36

4.49

3.61

6.88

8.08

8.00

4.06

3.55

5.15

6.70

¡VálgameDios!

Venevisión

7.36

4.26

4.03

3.63

4.73

5.58

4.16

6.09

8.35

8.29

2.89

3.69

5.13

8.10

La

casa

de

al la

do

Televen

6.05

3.39

1.94

2.93

3.11

4.16

3.47

6.49

7.19

6.26

3.19

3.59

4.28

6.10

La

trai

cion

era

Venevisión

5.44

3.72

2.73

2.60

3.93

4.49

3.67

4.70

5.75

6.88

1.79

2.37

3.92

6.82

Nat

alia

del

Mar

Venevisión

6.94

4.67

4.68

3.54

4.10

5.51

4.20

6.09

7.63

9.07

3.04

3.66

5.49

7.50

Abi

smo

de p

asió

n Venevisión

6.34

3.70

2.93

2.88

3.72

4.56

3.27

5.48

7.54

7.86

1.58

3.34

4.18

7.37

La

que

no p

odía

am

ar

Venevisión

6.68

4.21

3.82

2.86

3.72

5.22

3.72

5.81

7.66

8.76

3.01

3.55

4.91

7.37

Em

pera

triz

Venevisión

5.61

3.25

2.80

2.85

3.80

4.31

2.98

4.45

7.00

6.10

1.00

2.49

3.41

7.23

Ret

rato

de

una

muj

er

Venevisión

5.81

3.30

2.71

3.07

3.46

4.24

2.79

4.88

7.15

6.80

1.10

3.34

3.49

7.10

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3. Transmedia receptionFictionprogramsthatareamongthetoptenmostwatchedtitles

inVenezuela in2012areconcentrated in twoprivateTVstations(Venevisión,witheight,andTeleven,withjusttwo)andbothhaveincorporated some spreading initiatives supported on social net-worksasa strategy tobetter reach theaudience.Below is anex-ampleofhowitworks,usingthefictionprogramFlor Salvaje.

Chart11.Transmediaticfiction: types of interaction and prevailing practices

TitleTV sta-tion

Transmediation proposal

Type of transmedi-atic interac-tion

Levels of in-terac-tivity

Types of prevailing practices

Flor Salvaje

Te-leven

Officialsitehttp://msnlatino.telemundo.com/novelas/Flor_Salvaje/

Transmedi-aticviewing

Active

CommentsNews

Specialan-nouncementsaboutthetelenovelaSurveys

Facebook https://www.facebook.com/FlorSalvajeTV?ref=ts &fref=ts

Interactiveviewing

Active

CommentsReviewsSurveys

Recommen-dations

Twitterhttps://twitter.com/FlorSal-vajeTV

Interactiveviewing

ActiveCommentsReviewsSurveys

YouTubehttp://www.youtube.com/user/TVTelemundo

Interactiveviewing

Active Comments

Facebookhttps://www.facebook.com/FlorSalvajeTelemundo

Interactiveviewing

ActiveCommentsReviews


WhencheckingthetransmediaticproposalfromtheinitiativesofthementionedTVstations,itseemsthatskepticismandindeci-sivenessofthementionedstationsexpressedinpreviousyearsabouttheacknowledgementofInternet’spotentialityhaschanged.Eachtitlehasitsofficialsite,aswellasinteractionspacesinthesocialnet

500 | Obitel 2013

Facebook.Insomecases,theyhaveincorporatedothertools,suchasTwitter, InstagramandYoutube, that,due tospace limitations,havenotbeenincludedinthisreport.Eachofthe10titlesincludedinthetoptenhasanofficialsiteandaFacebookfanpage.Thelevelofinteractivitythatprevailsisactive.Usersareinterestedinmakingcommentsandreviewsandtheyarereceptivetothestimulusofan-sweringsurveys,givingtheiropinionandevenproposingtheirver-sionofthestory.However,itisnecessarytopointoutthatthelevelof creative interactivity is still insufficient to consider this groupofpeopleasprosumers.ItislikelythatcommunicationcompanieswatchmorecarefullytheacceleratedgrowthofthenumberofInter-netusersinthecountryandtheadvantagesthatdigitalmediareport.Forexample,regardingcommunicationsadjustedtotheaudience’smode,totheexpansionofthebrandanditsproducts,gatheringin-formationtogettobetterknowtheaudience-goneprosumer-andsegmentingthehandinginofvalueaccordingtotheneedsofspe-cificgroups(Jiménez,2011).

Fortheparticularanalysisofafictionpiece,Flor Salvajewaschosen.Itisthesecondmostwatchedtelenovela ofthetopten,witharatingof5.1%andashareof38.1%.Thischoicerespondstothemostrepresentative transmediaticoffer.TheproductionwasairedfromOctober9th2011toApril16th2012,intheschedulecomprisedbetween21:00to22:00,onTeleven.IthasanofficialsitecreatedbythecompanyTelemundotointeractwithitsaudience.Thesiteofferspictures,videos,stories,charactersandFacebookandTwitterpro-files.Intheofficialsitethereisaselectionofexclusivepicturesandvideosclassifiedaccordingto:episodes,thebest,behindthecams,andothers.Also,aselectionofthemostwatchedvideosispresent-ed,includingagamethataimstomeasurehowmuchtheaudienceknowsabouttelenovela,aswellassectionsofthemostshared,themostcommented,widgetwiththelistoftwits,constantlyupdating,summaryof chapters, amongotheroptionsm, such as like, share,sendtoFacebook,toTwitterorthroughemail.TheFacebookpro-file,linkedtotheofficialpage,wascreatedonMay17th2011inthe


following link: https://www.facebook.com/FlorSalvajeTelemundo.There,45,548 peoplehavepointedoutthattheylikethesiteand81othersaretalkingaboutthesite.DuringthemonthofApril2012,periodwhentheendofthetelenovelawasaired,theFacebooksitereportedthat2,935peoplelikeditand3,123weretalkingaboutit.

Forthepurposeoftheanalysisofthefictionpiece,thesecondprofilecreatedonJuly25th2011bytheVenezuelanchannelTelevenwaschosen.Thelinkisthefollowing:https://www.facebook.com/FlorSalvajeTV.Inthiscase,32,307peoplehavesaidtheylikethesiteand97are talkingabout it.The intervalchosenwasbetweenApril12thandApril17th,periodwhentherewasmoreinteractivityandmentions to the last fourchaptersof the telenovela. Thepro-filedoesnotindicatethenumberofvisitors/usersperday,buttheglobalupdatednumber.Thus,thenumbercalculatedwastheresultofaddingtwotypesoffeedback(“Like”and“Comments”).Thereisanotoriousincreaseintheinteractivityoftheuser’scomments,that tookplaceonApril 16th (2,018visits),when the last chapterwasaired.Itispossibletoinferthatthatmoment,thefinaloutcomeoftheplot,intensifiestheaudience’sparticipationandtheneedtoexpressemotions,feelings,praise,criticismandcommentsonthestorythatisending.

As for the typesofcommentsposted, it ispossible tonoticethat the ones that prevail are about the description of characters,commentsonthem,predictionsaboutthesubjectmatterorthede-velopmentofthestory.Wecanfindcriticismthatrevealsiftheus-ersareinfavorornotwiththeendofthestoryandproposalsonthedesiredend,forexample,“Nothingcompares!!WiththissuccessofTeleven!”postedonApril13thbyLizcaryChirinos(2012).Someusersinteractamongthemselveswhentheyargueonother’scom-ments,answerquestionsorsimplyexpresstheemotionalimpactaspecificsituationintheplothadonthem.

Thepredominantfunctionsonthepostedcommentsareemo-tional,referential,connective,andrelatedtofacts.Itisimportanttopointoutthatthechannelalsopostedcommentsrelatedtofacts,for

502 | Obitel 2013

example,onApril13thitpublished“Chooseyourending”,aques-tionwith fiveansweroptions: a)WouldyoubringPabloback tolifeforhimtomarryAmanda?;b)AmandaandRafaellivehappilyeverafter; c)AbeldefeatsRafaeland takesAmanda;d)Amandaremainsalone;e)AmandareturnstoSacramento.Itispossibletoin-ferthatinthiscasetheintentionistogeneratedebateandstimulatethe audience’s interactivity. 372 comments and 244 “likes”wereachieved, however, onlyoneuser shared it. In the same line, thechanneladdedtwosurveysonthe16th,probablywiththeintentionof raisingexpectationsandstimulatinguser’s interactivity for theairingofthefinalchapter.Thefirstsurveyquestioned:“ReadytowatchtheGrandEndofFlorSalvaje?”Thepositiveanswerwasthemostvotedby97people.Thesecondsurveyasked:“WhotriedtostoptheweddingbetweenFlorandRafael?”Inthiscase,theinter-estisaimedatidentifyingtheaudience’sknowledgeoftheplot.Themostvotedoptionwaschosenby319people.Finally,therewasonecommentwithaconativefunction.Inthiscase,thechannelpostedthe following invitation: “Click on like if you arewatchingFlor

SalvajeonTeleven.”Itispresumedthatheretheintentioncouldberelatedwiththeratingmeasurement.

4. Highlights of the yearRegardingfiction,theaspectsthatstandoutfortheyear2012

havebeengroupedinfourcategories:(1)Statizationoffiction;(2)Production of fiction from community spaces; (3) Fiction serieslinked tomythicalandreligiousaspects;and(4)Public financingfor theaudiovisualproductionof fiction.Since theyear2010 theproduction of national fiction series has decreased considerably.Togetherwith this, in2010,PresidentHugoRafaelChávezFríasproposedtheneedtocreatethe“socialisttelenovela”.Asananswer,in2012,Teresa en tres estacionesisaired.Itwasproducedwithfi-nancingfromtheFondodeResponsabilidadSocialforanamountof17,000,000.00Bs.,equivalentto3,953,488.37dollars,attheofficialexchangerateof4.30Bs.perdollar.With4024-minutechapters,it


triestovindicatetheroleoftheVenezuelanwomanfromdifferentstereotypesthantheonesthatareproposedbythetraditionalpinktelenovela. InTeresa en tres estaciones,thelivesofthesewomenareshown:asinglemother;anartstudent;andthedriverofatrainthatcoverstherouteCaracas-VallesdelTuy.Thisproductionwastrans-mittedbyTVES,which,bytheway,istheonlynationalscopeopensignal channel that transmits films fromVenezuela, LatinAmer-ica, and fromother contexts,with the determinationof includingproductionsmadewithhighlyaesthetic considerations.With this,theyseektooffer theaudienceoptionsdifferentfromotherchan-nels.However,lowaudienceratesthatyearafteryearhavebecomeevidentrevealthat,beyondcontents,itisnecessarytoaimtowardspolicies that can impactTV spectators.An element that explainsthisrealityisthefactthatinitialTVESbroadcastsweremarkedbythenon-renewaloftheRCTV’sbroadcastinglicenseanditsconse-quentpolitical,economicandaudienceloyaltyimplications.FromthecommunityspacecalledParque Cultural Tiuna El Fuerte17,spe-cificallyfromtheLaboratoryofUrbanArts(LaboratoriodeArtesUrbanas,LAU),sponsoredbytheFondodeResponsabilidadSo-cialdelaComisiónNacionaldeTelecomunicaciones(CONATEL) andthefigureofNationalIndependentProduction,theseriesBarrio

Surwasproduced.Withanextensionofthirteenchapters,thefirsttitledEl desafío wasshowntotheaudienceonSeptember25thintheTeatroPrincipalofCaracas,althoughitwasnotbroadcastthroughopensignal.TheplotrevolvesaroundagroupofyounginhabitantsofapopularsluminthecityofCaracas.ManyofthecharactersareplayedbyyoungstersfromthegroupTiunaElFuerte,whodonothaveactingexperienceandwhomainlyliveinElValleandCoche.

17Thisnamewasusedduetothefactthatitislocatedacrossfromthemilitarypremises(FuerteTiuna)andwheretheMinistryofPopularPowerforDefenseislocated,intheparishofElValle, inCaracas.Theydescribethemselvesas“apolitical-culturalgroupofyoungactivistsofpublicart.Wewerebornin2005,takingurbanartsasourfightingweaponsforaradicaltransformationofthesocietywelivein.Weareartisticsensitivity,whichdaytodaybuildsapublicalternativespaceforthemeeting,expression,education,recreationandinclusionofyouthfrompopularclasses”.Tiuna El Fuerte.Inhttp://labora-toriodeartesurbanas.blogspot.com/(RetrievedonApril13th,2013).

504 | Obitel 2013

DirectedbyMichaelLabarca, it alsocountedwith the supportofthe Fundación Infocentro through the PlanNacional deBrigadasComunicacionales(NationalPlanofCommunicationalBrigades).18 The third element is linked to fiction series relatedwith religion.Traición y Perdón (2012)isthethirdofTVminiseriesproducedinthecountry,withVenezuelantalent,althoughitwasn’ttransmittedinVenezuela.EnlaceTVisaChristianinternationalstationofsatel-litecommunication,inSpanish,whichproducedtheseries.Thecon-tentsofEnlaceTVaregeneratedinseveralcountriesofAmerica,EuropeandAsiaandbroadcast in theUSA,ArgentinaColombia,Chile,Spain,MexicoandVenezuela.InpreviousyearsPecado de

Soberbia (2011) andRedención de amor (2010) were produced.AllhavebeenwrittenbyCarlosRoaVianaanddirectedbyHenryCasares. This reveals two things: (1) audience segmentation dueto faith;and (2) transnational flowsof this typeof fictionpieces,whichopensanewnicheinaudienceresearch.Thefourthelementisrelatedwithfinancingactionsforaudiovisualproduction,whichisgeneratedfromtheState.TheFondodeResponsabilidadSocialenRadioyTV(FRS)providesresourcestoencouragetheso-calledNationalIndependentProduction(PNI,inSpanish),aswellasotherproductionsthatarenotnecessarilyinthiscategory.TheFRSfeedsoff4%ofthenetannualincomegeneratedbyoperatorsofthetele-communicationssector,aswellasfines.19During2012,thefollow-

18“Thebrigadesareconformedbysocialorganizations,membersoforganizedcommuni-tiesandInfocenterfacilitators,whopromotethecollectivecreationofrevolutionarymes-sagesoperatingfromtheterritoryoftheircommunity.Thebrigadiersturntheirpracticeintoanendogenousprocessofemancipatingeducation.Activeactioninthemediaandcommunicationaldomainsarepromoted,whereeach individualororganization that isincorporatedtotheproposaladdsfromhisownreferenceandabilitiestotheprocessofproductionanddistributionofcontents”.¿Quésonlasbrigadascomunicacionales?In:http://www.infocentro.gob.ve/sitios_index.php(RetrievedonApril13th,2013).19AccordingtostatementsofJorgeRopero,“inthelast2years,theFondo de Respon-sabilidad Socialhasfinanced98productionsforTV,forasumof173millionbolívares;22radioproductionsthatreceived10million700thousandbolívares;threeinfrastructureprojects,whichreceived7million600thousandbolívares;twocommunicationsresearchprojectsthatweregranted674thousandbolívares;acriticalperceptionprojectfor262thousandbolívaresandatrainingproject,whichreceivedamillion92thousandbolíva-res.”All this investmentaddsup toa totalof186,735,600.00bolívares, equivalent to


ingfictionserieswereproducedaccordingtohismodality:Barrio

Sur(ParqueCulturalTiunaElFuerte);Hotel de Locura(QuimeraVisión);Teresa en tres estaciones (AlterProductions,VilladelCineandTVES);Nos vemos en el Espejo (PNI);La residencia(LinternaRoja films);El Diario de Bucaramanga.El Retrato de un héroe (SPMProduccionesandMontesacroFilms);Guerreras y Centau-

ros(TVES-LaVilladelCine);andLa Precursoraarestillbeingproduced.20

5. Topic of the year: social memory and television fictionThe treatment of social memory or narration of the past in

VenezuelanTVfictionispresentedintwodirections.Ononehand,recentmemorylinkedtothesociopoliticalenvironmentofthecoun-try,ontheother,thehistoricalmemoryinwhichcertaineventsareexalted;waysoflookingatcertaincharactersand/orreferentsthatallowustounderstandsomephenomenathatoccurnowadays.Re-garding recentmemory, it ispossible toascertain thatBarrio sur

andTeresa en tres estaciones integrateelements that rescuesomedefining aspects of the identities of current Venezuelans: youngpeople who live in depressed urban communities and that fightfor their dreams and ideals or the new roles that theVenezuelanwomancarriesout–asatraindriver,asinglemotherwhoworksasahairdresserandsinger,andanartstudent,whoselivesaretrans-formedwhentherailwaysystemisinaugurated–.ThebackgroundforthistypeofcontentsarefoundinwhatwascalledinVenezuelacultural telenovela, and that later extended toothers, suchasPor

estas calles (1992),Amores de fin de siglo (2004)andAmores de

barrio adentro (2004). Othertypesofcontentsassociatedwiththesocialmemoryaretheonesthatstemfrompoliticaleventsand/orthat reflecthistoricalperiods thatwerekey for thecountry.Este-

fanía (1979) that reflected the period ofMarcosPérez Jiménez’s

43,426,883.70dollars,usingtheofficialexchangerateof4.30bolívaresperdollar.20TothesewemustaddanArgentinean-VenezuelanprojectidentifiedasUnitarios de Televisión Digital Abierta,afictionseriesconsistingofseven50-minutechapters.

506 | Obitel 2013

dictatorship(1953-1958);Gómez I(1980),Gómez II (1981)andLa

Dueña(1984),whichweresetinJuanVicenteGómez’sdictatorship(1908-1935), nicknamedElBagre, are examples of this. Inwhatcouldbeconsideredculturalmemory,itispossibletofindcontentsthataresetinkeymomentsinVenezuela’shistory,topicslikeeth-nicity,heroismorpro-independence.Inthiscontext,wecanincludePobre Negro (1976), Sangre azul (1979) and Guerreras y centauros

(2012-2013). Inthefirstone, theyhistoricizethe“popularcollec-tivememory,formulatingthe‘identitary’fableof‘mestizaje’withthepopulistemphasisthatimpliedtheconstructionofhybrid‘whit-ened’individualsandtheimaginarydomesticationoftherunawayslave(cimarrón)”.21Inthesecondone,Sangre azul, episodesoftheFederalWarthatoccurredinthemid-19thcenturyarereminisced.Guerreras y centauroscoversthespanbetween1821untilthebe-ginningofthe20thcenturyframedinJuanVicenteGómez’sdicta-torship.Thetopicsrevolvearoundlatifundiumandexploitationofheronfeathers.Inthisgrouptwoofthetitlesproducedinthecountryin2012are inscribed,whichhavenotbeenairedyet inopensig-nal.El diario de Bucaramanga. El retrato de un héroe (2012-2013)andLa precursora (2012-2013)areexamplesofthis.El diario de

Bucaramanga. El retrato de un héroecentersonthelifeofSimónBolívarandtheevents linkedto theGranColombia(1828)whileLa Precursora, set between1799 and1811, reflects the indepen-denceperiod.In2012,thememorythatisencouragedfromfictionserieshastodowiththeromanticgazeuponthepastseekingalostheroismthatisinstalledinnewheroes:womenwithvirtuesthataretraditionallyattributedtohegemonicmasculinity(strength,bravery,courage)inthewarsandintheactionsprecedingtheindependence.Thesearenarrationsinwhichgrandiloquenceaswellasbattlesandpower struggles areusedas a formula. It seems that for the timebeing inourcontext, it isnotpossible togenerateanyother typeofhistoricmemory.Amemoryinwhichstoriesareasimportantas

21 RaquelRivasRojas. Cimarronaje, exclusion, mestizaje y blanqueamiento en Pobre Negro de Rómulo Gallegos (Estudios,USB:2002)105.


History,theonewrittenfromtheofficialpointofviewandthatendsupbeing“officializing”.Memory inwhichstories fromeverydaylifearestrongenoughtobetakenintoaccount.Memoryinwhichaspectssuchastheeconomicandculturalimpulse,technologicalorscientificinnovationsorthecreationofinstitutions–tonamejustafew–arecovered.Theexplanationsareclear:ononehand,themili-taristicgraspthatgaveshapetoournationsisstillaconditionerforourwaystoexpresstheworld,and,ontheother,theneedtokeepacharacteralive–SimónBolívar,whowillalwaysofferrevenuestothosewhowishtoemulatehim–.

ReferencesCONATEL(2013a).Servicio de Internet. Indicadores. Años 1998-2012.

Retrievedon:March25th, 2013 in:http://www.conatel.gob.ve/files/Indicado-

res/indicadores_2012_anual/internet_13.pdf.

CONATEL(2013b).Servicio de internet. Suscriptores residenciales y no

residenciales.Años2001–12.Retrievedon:March25th,2013in:http://www.

conatel.gob.ve/files/Indicadores/indicadores_2011_anual/internet_residencial_

no_residencial13.pdf.

CONATEL (2013c).Difusión por suscripción. Indicadores. Años 2000

–2011.Retrievedon:March25th,2013in:http://www.conatel.gob.ve/files/In-

dicadores/indicadores_2012_anual/difusion13.pdf

CONATEL (2013d).Telefoníamóvil. Indicadores.Años1997–2012.

Retrievedon:March25th, 2013 in:http://www.conatel.gob.ve/files/Indicado-

res/indicadores_2012_anual/telefonia_movil13.pdf

FERNÁNDEZ,M.(2012)en:Cantv aumentará velocidad de conexión a

Internet en próximos 6 meses.Retrievedon:March25th,2013in:http://www.

correodelorinoco.gob.ve/nacionales/cantv-aumentara-velocidad-conexion-a-

-internet-proximos-6-meses/

INE(2013).SDD Cuadro de Estadística de Proyecciones de Población.

Retrievedon:March25th,2013in:http://www.ine.gob.ve/documentos/Demo-

grafia/SituacionDinamica/Proyecciones/html/PoblacionSexo.html.

JIMÉNEZ,C.et al(2011)Internet y los negocios: manual para aprove-

char las ventajas de internet en su empresa.Caracas:EdicionesIESA

LOZANO,D.(2012),April1,2012in:http://www.elmundo.com.ve/no-

ticias/tecnologia/internet/se-sacude-el-mercado-de-telefonos-inteligentes-por.

aspx

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NETINDEX(2013).All countries.Retrievedon:April5,2013in:http://

netindex.com/download/allcountries/

RIVASR.,R.(2002)Cimarronaje, exclusión, mestizaje y blanqueamien-

to en Pobre Negro de Rómulo Gallegos. Caracas: Estudios,USB.

ARGENTINA1. Graduados Production:UndergoundConteni-dos,EndemolArgentinaeTeleféContenidosDirection: SebastiánOrtegaScreenwriters: ErnestoKoro-vosky,SilvinaFredjkeseAlejandroQuesadaCast: NancyDupláa,DanielHendler,LucianoCáceres,JulietaOrtegaeIsabelMaceo

2. Dulce amor Production: LCProduccioneseTeleféContenidosDirection: HugoAlejandroMosereMauroScandolariScreenwriters: EnriqueEstevanez,MarceloNaccieLauraBarneixCast: SebastiánEstevanez,JuanDarthés,CarinaAmpini,LauraNovoaePedroCernnadas

3. Herederos de una venganzaProduction: Pol-kaDirection: JorgeMonteroeJorgeBecharaScreenwriters: LeandroCalderoneCast: LucianoCastro,RominaGaetani,MarcelaKloosterboer,Fed-ricoAmadoreLeonorBenedetto

ToP Ten Tv FIcTIon In obITel counTrIes

4. El hombre de tu vidaProduction: 100bareseTeleféContenidosDirection: JuanJoséCampanellaScreenwriters: CeciliaMontieJuanJoséCampanellaCast: GuillermoFrancella,Mer-cedesMorán,LuisBrandonieTupacLarriera

5. La dueñaProduction: TeleféContenidosDirection: MartínKwellerScreenwriters: MarceloCaamañoCast: MirthaLegrand,FlorenciaBertotti,BenjamínVicuña,FabianVenaeRaúlTaibo

6. Mi problema con las mujeresProduction: 13MaresProduccioneseVincentEntertainmentDirection: DanielDefelippoScreenwriters: SebastiánRoststeineAlbertoRojasApel(adaptadores)Cast: MarianoMartínez,AnaMaríaOrozco,MónicaGonzagaeYayoGuridi

7. Sos mi hombreProduction: Pol-kaDirection: SebastiánPivottoeMartínSabanScreenwriters: LeandroCalderoneCast: LucianoCastro,CelesteCid,

510 | Obitel 2013

GabrielGoity,GonzaloValenzuelaeFedericoDiSanto

8. Mi amor, mi amor Production: Elárbol,EndemolArgentinaeTeleféContenidosDirection: MarianoArdanzeJuanPabloLaplaceScreenwriters: GustavoBelattieLeonelDÁgostinoCast: JuanGilNavarro,JazmínStu-art,BrendaGandini,MartínSeefeldeFedericoDÉlía

9. Los únicos Production: Pol-kaDirection: SebastiánPivotto,LucasGil,RodolfoAntunezeVíctoStellaScreenwriters: LeandroCalderoneeMarianoVeraCast: NicolásCabré,NicolasVázquez,EmiliaAttías,MarcoAntonioCaponieMaríaEugeniaSuárez

10. Lobo Production: Pol-kaDirection: LucasRuizBarreaeAlejandroIbáñezScreenwriters: LilyAnnMartin,CeciliaGuertyePabloJunovichCast: GonzaloHeredia,VanesaGonzález,OsvaldoLaport,VivianaSacconeeLuisanaLopilato

BRAZIL1. Fina EstampaProduction: Globo/92Direction: WolfMayaScreenplay: AguinaldoSilvaCasting: LiliaCabral,Christiane

Torloni,DaltonVigh,MarceloSer-rado,PauloRocha

2. Avenida BrasilProduction: GloboDirection: RicardoWaddington,AmoraMautner,JoséLuizVilla-marimScreenplay: JoãoEmanuelCarneiroCasting: DéboraFalabella,AdrianaEsteves,MuriloBenício,CauãRey-mond,MarcelloNovaes

3. Cheias de CharmeProduction: GloboDirection: CarlosAraujo,DeniseSaraceniScreenplay: FilipeMiguez,IzabeldeOliveiraCasting: TaísAraújo,LeandraLeal,IsabelleDrummond,CláudiaAbreu,RicardoTozzi

4. Salve JorgeProduction: GloboDirection: MarcosSchechtman,FredMayrinkScreenplay: GlóriaPerezCasting: NandaCosta,RodrigoLombardi,GiovannaAntonelli,ClaudiaRaia,TotiaMeirelles

5. Tapas & Beijos (2nd season)Production: GloboDirection: MaurícioFarias,DanielaBraga,ClaraKutnerScreenplay: ClaudioPaiva,PériclesBarros,ClaudioLisboa,NiltonBraga,ReginaValladaresCasting: FernandaTorres,AndreaBeltrão,FábioAssunção,VladimirBrichta,OtavioMuller

Top ten tv fiction in Obitel countries | 511

6. Aquele BeijoProduction: GloboDirection: CininhadePaula,Ro-bertoTalmaScreenplay: MiguelFalabellaCasting: GiovannaAntonelli,MaríliaPêra,HersonCapri,GraziMassafera,RicardoPereira 7. A Grande Família (12th season)Production: GloboDirection: LuisFelipeSá,GuelArraesScreenplay: BernardoGuilherme,MarceloGonçalves,OlíviaGui-marãesCasting: MarcoNanini,Mar-ietaSevero,PedroCardoso,LúcioMauroFilho,GutaStresser

8. Amor Eterno AmorProduction: GloboDirection: PedroVasconcelos,RogérioGomesScreenplay: ElizabethJinCasting: GabrielBragaNunes,Letí-ciaPersiles,CarlosDallaVecchia,AndréiaHorta,GiuliaGam

9. Doce de MãeProduction: GloboDirection: AnaLuizaAzevedo,JorgeFurtado,GuelArraesScreenplay: AnaLuizaAzevedo,JorgeFurtado,MigueldaCostaFrancoCasting: FernandaMontenegro,MarcoRicca,LouiseCardoso,MirnaSpritzer,ElisaVolpato

10. Guerra dos SexosProduction: GloboDirection: JorgeFernandoScreenplay: SilviodeAbreuCasting: TonyRamos,IreneRav-ache,GlóriaPires,EdsonCelulari,MarianaXimenes

CHILE1. Soltera otra vezDirector: HervalAbreuScriptwriter: MarceloCastañonCast: PazBascuñán,CristiánAr-riagada,JosefinaMontané,PabloMacaya

2. Los 80 más que una modaDirector: BorisQuerciaScriptwriter: RodrigoCuevasCast: TámaraAcosta,DanielMu- ñoz,LucasEscobar,LoretoArav-ena,TomásVerdejo

3. Pobre ricoDirector: RodrigoVelásquez,NicolásAlemparte,MaríaEugeniaRenconretScriptwriter: AlejandroCabreraCast:SimónPesutic,AlonsoQuintero,CarolinaArregui,FrancisoReyes

4. SeparadosDirector: MaríaEugeniaRencoret,ItaloGalleaniScriptwriter: DanielaCastagnoCast: JorgeZabaleta,ÁlvaroRudol-phy,SigridAlegría,LuzValdivieso

512 | Obitel 2013

5. PelelesDirector: RobertoRebolledoScriptwriter: RodrigoCuevasCast: CristiánCampos,ClaudioArredondo,MarioHorton,DanielAlcaíno,NestorCantillana

6. Reserva de familiaDirector: MaríaEugeniaRencoretScriptwriter: PabloIllanes,LarissaContrerasCast: NelsonVillagra,GloriaMünchmeyer,FranciscoMelo,PaolaVolpato,MarceloAlonso

7. Aquí mando yoDirector: MaríaEugeniaRencoret,ItaloGalleaniScriptwriter: DanielaCastagnoCast: JorgeZabelata,MaríaEugeniaSwett,CristianRiquelme,CarolinaVarleta,CocaGuazzini

8. Dama y obreroDirector: MaríaEugeniaRencoret,ClaudioLópezdeLéridaScriptwriter: JoséIgnacioValen-zuelaCast: MaríaGraciaOmegna,Fran-ciscoPérezBannen,CésarSepúlve-da,ElisaZulueta

9. El reemplazanteDirector: NicolásAcuña,CristiánJiménezScriptwriter: HernánRodríguezCast: IvánAlvárez,BlancaLewin,IgnacioAllamand,RobertoFarías,KarlaMelo

10. Violeta se fue a los cielosDirector: AndrésWoodScriptwriter: AndrésWood,EliseoAltunaga,GuillermoCalderón,RodrigoBazaesCast: FranciscaGavilán,ThomasDurand,PatricioOssa,JorgeLópez,StephaniaBarbageleta

COLOMBIA1. Escobar el patrón del malProduction: CaracolTelevisiónDirector: CarlosMorenoScript: JuanCamiloFerrandCast: AndresParra,AngieCepeda,NicolasMontero,CeciliaNavia,AldemarCorrea

2. La mariposaProduction: RCNandFoxTeleco-lombiaDirector: RicardoGabrielli,LiloVilaplanaScript: GerardoReyesCast: MariaAdelaidaPuerta,Mi-chelleBrown,LincolnPalomeque,AnaWills,CesarMora

3. El capo IIProduction: RCNandFoxTeleco-lombiaDirector: LiloVilaplana,RiccardoGabrielli,KlychLopezScript: GustavoBolivarCast: MarlonMoreno,CristinaUmana,CarolinaRamirez,OscarBorda

4. Casa de reinasProduction: RCNTelevisiónDirector: MarioRibero


Script: MiguelAngelBaquero,EloisaInfanteCast: RodrigoCandamil,CatalinaLondoño,LornaCepeda,MauricioMejia,OmerisArrieta

5. Corazones blindadosProduction: TelesetandRCNDirector: IsraelSanchez,JuanFelipeCanoScript: RafaelNoguera,AnaMariaLondoñoandJuanAndresRendonCast: AndrewSandoval,MajidaIssa,OscarBorda,JulianRoman

6. Rafael Orozco, el ídoloProduction: CaracolTelevisiónDirector: AndrésMarroquínScript: ArlethCastilloCast: AlejandroPalacio,TalianaVargas,MaritzaRodriguez,MarioEspitia,RafaelSantos

7. ¿Dónde carajos está Umaña?Production: CaracolTVDirector: Anselmo“Chemo”Calvo,LuisOrjuelaScript: JohnnyOrtizCast: DiegoTrujillo,CarlosMuñoz,MarcelaCarvajal,CarolinaLopez,AnaMariaKamper

8. ¿Dónde está Elisa?Production: RCNTelevisiónDirector: RodrigoTriana,DanielMoureScript: PabloIllanesCast: CristinaUmana,JuanPabloGamboa,JorgeEnriqueAbello,AnabellRivero

9. A mano limpia IIProduction: RCNTelevisiónDirector: RocioCruz,MónicaCifuentesScript: DiegoVivanco,AndrewGuevara,JulioContrerasCast: MarioDuarte,ValentinaAcosta,VarielSanchez,MonicaChavez,ManuelSarmiento

10. El laberintoProduction: CaracolTVandSonyPicturesTelevisionDirector: JaimeOsorio,JuanCarlosBeltranScript: MauricioMirandaCast: RobinsonDiaz,SandraReyes,JorgeCao,ClaudiaMoreno,Ad-elaidaLópez

ECUADOR1. El Capo 2Director: LiloVilaplana,RicardoGabrielliScreenwriters: AndreaBasabe,MarisolGalindoCast: MarlonMoreno,CristinaUmaña,CarolinaRamírez,OscarBorda,AlexBetancourt

2. El combo amarilloDirector: CristianCortez,MiguelCaleroScreenwriters: MiguelCalero,CecilEstacioCast: JoséNorthia,MaríaMercedesPacheco,MaríaFernandaRíos,JonathanEstrada,RicardoGonzález

514 | Obitel 2013

3. El combo amarillo 3DDirector: CristianCortez,MiguelCaleroScreenwriters: MiguelCalero,CecilEstacioCast: MercedesPayne,MaríaFer-nandaRíos,JonathanEstrada,JoséNorthia,MaríaMercedesPacheco

4. El Joe, la leyendaDirector: HerneyLunaScreenwriters: AndrésSalgado,NataliaOspinaCast: JairRomero,EstefaníaBorge,AndrésSuárez,DiegoVásquez,IsabelCristinaEstrada

5. Corazón apasionadoDirector: CarlosPérezSantosScreenwriter: AlbertoGómezCast: MarleneFavela,GuyEcker,SusanaDosamantes,LorenaMerit-ano,LuisJoséSantander

6. Tres milagrosDirector: RodrigoLalinde,IsraelSánchezScreenwriters: CarlosDuplat,LuzMarielaSantofimioCast: JohannaBahamón,AngélicaBlandón,FarinaFranco,AndrésSandoval,JuanDiegoSánchez

7. Fina EstampaDirector: WolfMayaScreenwriter: AguinaldoSilvaCast: LiliaCabral,ChristianeTorloni,DaltonVigh,CarolinaDieckmann,JoséMeyer

8. La MariposaDirector: LiloVilaplanaScreenwriter: DiegoMejíaMontes(co-director)Cast: MaríaAdelaidaPuerta,MichelBrown,LincolnPalomeque,AnaWills,RafaelLahera

9. El man es Germán (2nd season)Director: ConsueloGonzálezCuel-larScreenwriter: JuanManuelCáceresCast: MarcelaGallego,SantiagoAlarcón,HeidyBermúdez,SantiagoReyes,JesúsDavidForero

10. Mi recintoDirector: FernandoVillarruelScreenwriter: FernandoVillarruelCast: FernandoVillarruel,TatianaMacías,PaolaOlaya,AlexPlúas,MiguelSantana

ESPANHA1. Águila rojaProduction: GlobomediaDirection: JoséRamónAyerra,ArantxaÉcija,MarcoA.Castillo,MarcVigil,MiguelAlcantudScreenplay:PilarNadalCasting: DavidJaner,JavierGu-tiérrez,FrancisLorenzo,MiryamGallego,InmaCuesta

2. Cuéntame cómo pasóProduction: GrupoGangaProduc-cionesDirection: AgustínCrespi,AntonioCano,AzucenaRodríguez,MoisésRamos,ManuelPalaciosScreenplay: M.Á.Bernardeau,Edu-


ardoLadróndeGuevara,AlbertoMacías,JacoboDelgadoCasting: ImanolArias,AnaDuato,RicardoGómez,MaríaGaliana,PabloRivero

3. La que se avecinaProduction: AlbaAdriáticaDirection: LauraCaballeroScreenplay: AlbertoCaballero,LauraCaballero,DanielDeorador,SergioMitjansCasting: JoséLuisGil,JordiSánchez,EduardoGarcía,PabloChiapella,NathalieSeseña

4. IsabelProduction: DiagonalTVDirection: JordiFradesScreenplay: JavierOlivares,JoanBarbero,JordiCalafi,PabloOliva-res,SalvadorPerpiñá,AnaïsSchaaffCasting: MichelleJenner,Rodol-foSancho,PabloDerqui,BárbaraLennie,PedroCasablanc

5. Mi gitanaProduction: ProduccionesManda-rinaDirection: AlejandroBazzanoScreenplay: AntonioHernándezCenteno,CarmenPomberoCasting: BlancaApilánez.AníbalSoto,EvaMarciel,CarmenGutiér-rez,LulúPalomares

6. AídaProduction: GlobomediaDirection: MarOlid,JesúsRodrigo,RaúlDíaz,MarioMontero,AntonioSánchez

Screenplay: FernandoAbad,Rodri-goMartín,TatianaChisleanschiCasting: PacoLeón,MirenIbargu-ren,MarianoPeña,PepeViyuela,MelanieOlivares

7. Con el culo al aireProduction: NotroTVDirection: DavidFernández,DavidAbajoScreenplay: DavidFernández,DavidAbajoCasting: PacoTous,MaríaLeón,ToniAcosta,IñakiMiramón,RaúlFernández

8. FenómenosProduction: AparteProduccionesDirection: NachoGarcíaVelillaScreenplay: OriolCapel,DavidS.Olivas,AntonioSánchez,NachoG.VelillaCasting: AlejoSauras,KiraMiró,JuliánLópez,MiguelRellán,JavierMora

9. Gran hotelProduction: BambúProduccionesDirection: CarlosSedes,SilviaQuer,JorgeSánchez-CabezudoScreenplay: RamónCampos,Gema.R.NeiraCasting: AdrianaOzores,AmaiaSalamanca,YonGonzález,ConchaVelasco,EloyAzorín

10. Luna, el misterio de CalendaProduction: GlobomediaDirection: LauraBelloso,DavidBermejo,JesúsRodrigoScreenplay: LauraBelloso,David

516 | Obitel 2013

BermejoCasting: BelénRueda,DanielGrao,FranPerea,LucíaGuerrero,ÁlvaroCervantes

ESTADOS UNIDOS1. La que no podía amar Producer: JoséAlbertoCastroDirector: SalvadorGarcini,Alejan-droGamboaScreenplay: GuionXimenaSuarez,DeliaFialloCast: AnaBrendaContreras,JorgeSalinas,JoséRon,SusanaGonzález,JuliánGil

2. Abismo de pasiónProducer: AngeliNesmaMedina,IgnacioAlcoronDirector: SergioCataño,ClaudioReyesRubioScreenplay: JuanCarlosAcaláCast: AngeliqueBoyer,DavidZepeda,BlancaGuerra,AlejandroCamacho,MarkTacher,SabineMoussier,LiviaBrito,SalvadorZerboni

3. Amores verdaderosProducer: NicandroDíazGonzález,AntonioArvizuDirector: SalvadorGarcini,RicardoParraScreenplay: EnriqueEstébanez,MarcelaCitterio,KaryFajerCast: ErikaBuenfil,EduardoYáñez,EizaGonzalez,SebastianRulli

4. Por ella soy EvaProducer: RosyCampoDirector: BenjaminCannScreenplay: PedroRodríguez,Ale-jandraRomero,HumbertoRoblesCast: JaimeCamil,Lucero,MarianaSeoane,ManuelOjeda,PatriciaNavidad,MeticiaPerdigón,MarceloCórdoba,JesúsOchoa,ManuelaImaz,TiareScanda,HelenaRojo,CarlosBracho

5. Amor bravíoProducer: CarlosMorenoLaguilloDirector: LilyGarza,FernandoNesme,JesúsNájeraSaro,JorgeRoblesScreenplay:MaríaZarattini, MarthaCarrillo,CristinaGarcíaCast: SilviaNavarro,CristiándelaFuente,LeticiaCalderón,CesarÉvora,FlavioMedina,ReneStrickler

6. Una familia con suerteProducer: JuanOsorio,RoyNelsonRojasVargasDirector: SalvadorSánchez,Aure-lioÁvilaScreenplay: MarioSchajris,AdrianaLorenzón,MarciadelRío,AlejandroPohlenz,MaríaAntonietaCast: LuzElenaGonzález,ArathdelaTorre,MayrínVillanueva,DanielaCastro 7. Un refugio para el amorProducer: IgnacioSadaMaderoDirector: EduardoSaid,AnaLo-renaPérez


Screenplay: DeliaFialo,NoraAlemán,GeorginaTinocoCast: ZuriaVega,GabrielSoto,Jes-sicaCoch,LauraFlores

8. Corona de lágrimasProducer: JoséAlbertoCastroDirector: PedroTorres,BernardoNájera,NarcisoColungaScreenplay: IgnacioSadaMaderoCast: VictoriaRuffo,MaribelGuardia,ErnestoLaguardia,ÁfricaZavala,JosemaríaTorreHütt,ManédelaParra

9. El Talismán Producer: PeterTinoco,CarlosSotomayorDirector: ArquímedesRivero,DulceTranScreenplay: VerónicaSuárezCast: BlancaSoto,RafaelNovoa,AarónDíaz,LolaPonce

10. Pablo Escobar: El Patrón Del MalProducer: JuanUribe,CamiloCanoDirector: CarlosMoreno,LauraMoraScreenplay: JuanCamiloFerrandCast: AndrésParra,AngieCepeda,VickyHernández,CeciliaNavia,NicolásMontero,ErnestoBen-jumea,GermánQuintero

MÉXICO1. Abismo de pasiónDirection: AngeliNesmaScreenwriter: CaridadBravoCast: AngeliqueBoyer,DavidZepeda,MarkTacher,AlexisAyala,

AlejandroCamacho,LudwikaPal-eta,SabineMoissier,BlancaGuerra,AlejandroGattorno,CésarÉvora

2. Amores verdaderos Direction: NicandroDíazScreenwriter: MarcelaCitterioCast: ErikaBuenfil,EduardoYa-ñez,EizaGonzález,SebastiánRulli,GuillermoCapetillo,LiliaAragón,Sherlyn,AnaMartín,EnriqueRo-cha,NataliaEsperón

3. Porque el amor mandaDirection: JuanOsorioScreenwriter: JorgHillerCast: FernandoColunga,BlancaSoto,ErickElías,MariaElisaCamargo,ClaudiaÁlvarez,JorgeAravena

4. Por ella soy EvaDirection: RosyOcampoScreenwriter: ElkimOspinaCast: Lucero,JaimeCamil,MarianaSeoane,MarceloCórdoba,JesúsOchoa,LeticiaPerdigón

5. Qué bonito amor Direction: SalvadorMejíaScreenwriter: MónicaAgudeloCast: JorgeSalinas,DannaGarcía,PabloMontero,MalillanyMarín,KarlaÁlvarez,ArturoPeniche,AngélicaMaría

6. Amor bravío Direction: CarlosMorenoScreenwriter: MaríaZarattiniCast: SilviaNavarro,ChristiandelaFuente,Lisset,FernandoZarrillo,

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LeticiaCalderón,YolandaVentura,JoséElíasMoreno

7. Un refugio para el amor Direction: NachoZadaScreenwriter: DeliaFialloCast: ZuriaVega,GabrielSoto,AleidaNuñez,RobertoBlandón,LauraFlores

8. La familia Peluche Direction: EugenioDerbezScreenwriter: EugenioDerbezCast: EugenioDerbez,ConsueloDuval,ReginaBlandón,MiguelPérez,LuisManuelÁvila,BárbaraTorres,BrayanGibranMateo,PierreAngelo

9. La mujer del vendavalDirection: MapatL.deZatarainScreenwriter: ÁngeldelCerroCast: AriadneDíaz,JoséRon,ChantalAndere,AlfredoAdame,MaríaMarcela,Manuel“Flaco”IbáñezyAgustínArana 10. Cachito de cielo Direction: RobertoGómezFernán-dezScreenwriter: MarioSchajrisCast: MaitePerroni,PedroFernán-dez,JorgePoza,RafaelInclán,AzelaRobinson

PERU1. Al fondo hay sitio (4th season)Production: AméricaTelevisión-EfraínAguilarDirection: JorgeTapia,ToñoVegaScreenplay: GigioAranda

Cast: IrmaMaury,YvonneFrays-sinet,SergioGalliani,MónicaSánchez,AdolfoChuiman

2. Mi amor el wachimánProduction: DelBarrioProduccio-nes-MichelleAlexanderDirection: FranciscoÁlvarezScreenplay: VíctorFalcónCast: ChristianDomínguez,MariaGraziaGamarra,NikkoPonce,AndréSilva,KarlaMedina

3. La reina de las carretillasProduction: DelBarrioProduccio-nes-MichelleAlexanderDirection: FranciscoÁlvarezScreenplay: VíctorFalcónCast: PierinaCarcelén,FiorellaDíaz,DiegoLombardi,óscarLópezArias,TeddyGuzmán

4. La faraonaProduction: AméricaTelevisión--EfraínAguilarDirection: JoséMercadoScreenplay: RosaGutiérrez,óscarAybarCast: AlejandraPascucci,GerardoZamora,NataliaSalas,SandroMon-zante,MayraGoñi

5. La que no podía amarProduction: Televisa-JoséAlbertoCastroDirection: SalvadorGarcini,Ale-jandroGamboaScreenplay: XimenaSuárezCast: AnaBrendaContreras,JorgeSalinas,JoséRon,JuliánGil,SusanaGonzález


6. Solamente milagros (2nd season)Production: AméricaTelevisión--CésarAranaDíazDirection: JorgeTapia,SantiagoVitteriScreenplay: RosaGutiérrezCast: JesúsAranda,MaricarmenPinedo,JuliaRuiz,LilianaAlegría,SandroCalderón(independentchaptersseries;thecastchangeseachchapter)

7. GamarraProduction: DelBarrioProduccio-nes-MichelleAlexanderDirection: FranciscoÁlvarezScreenplay: VíctorFalcón,EduardoAdrianzénCast: MarioBallón,LeslieGuillén,NikkoPonce,FiorellaDíaz,LuchoCáceres

8. La reina del surProduction: Telemundo/RTI-Patri-cio WillsDirection: WalterDoehnerScreenplay: JuanMarcosBlanco,ValentinaPárraga,RobertoStopelloCast: KatedelCastillo,HumbertoZurita,RafaelAmaya,IvánSánchez,CristinaUrgel

9. Yo no me llamo Natacha (2nd season)Production: DelBarrioProduccio-nes-MichelleAlexanderDirection: FranciscoÁlvarezScreenplay: VíctorFalcónCast: MaricarmenMarín,PierinaCarcelén,OscarLópez-Arias,Chris-tianDomínguez,PoldGastelo

10. Corazón de fuegoProduction: GrupoATV-RodolfoHoppeDirection: AldoSalviniScreenplay: KathyCárdenas,Mari-anaSilva,BrunoAscenzo,NataliaParodiCast: NatashaKlauss,TiberioCruz,SoniaOquendo,AlessandraDene-gri,JoaquíndeOrbegoso

PORTUGAL1. Dancin’ DaysDirector: ManuelAmarodaCostaScreenwriter: PedroLopes(adap-tedfromGilbertoBraga)Cast: JoanaSantos,SoraiaChaves,JoanaRibeiro,AlexandreSousa,Jú-lioCésar,CristinaHomemdeMelo,AlbanoJerónimo,SisleyDias

2. Louco Amor Director: AntónioCorreiaScreenwriter: TozéMartinhoCast: FernandaSerrano,NicolauBreyner,LuísEsparteiro,MafaldaLuísdeCastro,JoséCarlosPereira

3. Doce TentaçãoDirector: AntónioBorgesCorreiaScreenwriter: SandraSantosCast: DiogoAmaral,MarianaMonteiro,PedroLima,CristovãoCampos,JessicaAthayde

4. Rosa FogoDirector: HugoXavierScreenwriter: PatríciaMüllerCast: CláudiaVieira,RogérioSamora,JoséFidalgo,ÂngeloRo-drigues,IreneCruz

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5. Remédio Santo Director: HugodeSousaScreenwriter: AntonioBarreiraCast: MargaridaMarinho,AdrianoLuz,RitaPereira,AlmenoGonçal-ves,SílviaRizzo

6. Doida por tiDirector: HugodeSousaScreenwriter: MariaJoãoMiraCast: SaraMatos,AfonsoPimentel,VeraKolodzig,JoãoCatarré

7. Morangos com açúcar IX: segue o teu sonho Director: HugodeSousaScreenwriter: CasadaCriação-CláudiaSampaio,IrinaGomes,MafaldaFerreira,MarinaRibeiro,PedroCavaleiroCast: LuísGarcia,FilipaAreosa,TiagoCosta,AnaBustorff,JoãoCabral

8. Anjo MeuDirector: ArturRibeiroScreenwriter: MariaJoãoMiraCast: AlexandraLencastre,JoãoReis,PauloPires,ManuelaCouto,JoseWallenstein

9. Os compadresDirector: AnaCostaScreenwriter: NicolauBreynerCast: NicolauBreyner,AnaZanatti,FernandoMendes,RosadoCanto

10. A família MataDirector: JorgeDuarteMarecosScreenwriter: SPTelevisão–AnaLúciaCarvalho,AnaMorgado,João

Pupo,JoséPintoCameiro(adaptedfromDavidBermejo)Cast: AndréNunes,MayaBooth,JoséPedroGomes,RitaBlanco,MarcoHorácio

URUGUAY1. Insensato corazónProduction: RedeGloboDirection: DennisCarvalho,Viní-ciusCoimbraScreenwriters: GilbertoBraga,RicardoLinharesCast: GlóriaPires,GabrielBragaNunes,PaolaOliveira,EribertoLeao,DeborahSecco,CamilaPitangaYear of production: 2010

2. Sos mi hombreProduction: Pol-kaDirection: MartínSaban,SebastiánPivottoScreenwriter: LeandroCalderoneCast: LucianoCastro,CelesteCid,GabrielGoity,GonzaloValenzuela,LudovicoDiSanto,EugeniaTobal,JimenaBarón,GimenaAccardi,LitoCruzYear of production: 2011/2012

3. PassioneProduction: RedeGloboDirection: DeniseSaraceniScreenwriter: SílviodeAbreuCast: FernandaMontenegro,TonyRamos,MarianaXimenes,ReynaldoGianecchiniYear of production: 2010


4. El astroProduction: RedeGloboDirection: MauroMendonçaFilhoScreenwriters: AlcidesNogueira,GeraldoCarneiroCast: RodrigoLombardi,CarolinaFerraz,AlinneMoraes,ThiagoFragoso,ReginaDuarte,DanielFilho,HumbertoMartins,JulianaPaes,FernandaRodrigues,MarcoRicca,HenriCastelli,TatoGabusMendes,CarolinaKasting,Guilher-minaGuinle,VeraZimmermannYear of production: 2010

5. Escrito en las estrellasProduction: RedeGloboDirection: RicardoWaddington,AmoraMautnerScreenwriter: ElizabethJhinCast: NathaliaDill,JaymeMata-razzo,HumbertoMartins,DéboraFalabella,ZezéPolessa,CássiaKis,CarlosVereza,AndréGonçalves,GiseleFróes,AntonioCalloni,CarolCastro,CarolinaKasting,GiovannaEwbank,ManueladoMonte,JandiraMartiniYear of production: 2009/2010

6. Fina EstampaProduction: RedeGloboDirection: WolfMayaScreenwriter: AguinaldoSilvaCast: LiliaCabral,ChristianeTorloni,DaltonVigh,CarolinaDieckmann,PauloRocha,MalvinoSalvador,JúliaLemmertz,DanStul-bach,MarceloSerrado,JoséMayer,CaioCastro,AdrianaBirolli,Sophie

Charlotte,EvaWilma,MoniqueAlfradiqueYear of production: 2011

7. CuchicheosOriginal title: Ti-Ti-TiProduction: RedeGloboDirection: JorgeFernandoScreenwriter: MariaAdelaideAmaralCast: MuriloBenício,AlexandreBorges,CláudiaRaia,ChristianeTorloni,ÍsisValverde,GiuliaGamYear of production: 2010

8. Herederos de una venganzaProduction: Pol-kaDirection: JorgeMontero,JorgeBecharaScreenwriter: LeandroCalderoneCast: LucianoCastro,RominaGaetani,MarcelaKloosterboer,Fe- dericoAmador,BenjamínVicuñaYear of production: 2011/2012

9. Dulce amorProduction: L.CAcciónProduc-cionesDirection: MauroScandolari,HugoAlejandroMoserScreenwriters: QuiqueEstevanez,MarceloNacci,LauraBarneixCast: SebastiánEstevanez,JuanDarthés,CarinaZampini,SegundoCernadas,LauraNovoa,GeorginaBarbarossa,ArturoBonín,MaríaValenzuela,CaluRivero,MercedesOviedoYear of production: 2011/2012

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10. MaltratadasProduction: TorneosyCompe-tencias,INCAA’sfunds.“Ficciónparatodos”.FirstchapterfilmedinUruguay,coproducedbyFlorLatinaandTeledoceDirection: AlbertoLechiScreenwriters: EstherFeldman,AlejandroMaciCast: ValentinaBassi,SoledadFandiño,GonzaloValenzuela,Fac-undoEspinosa,CarlosSantamaría,MaríaIbarreta,MirellaPascual,Au-gustoMazzarelli,DiegoDelgrossiYear of production: 2010/2011

VENEZUELA1. Mi ex me tiene ganas Direction: YuriDelgadoScreenplay: MartinHahnCast: DanielaAlvarado,LucianoD’Alessandro,NorkysBatista,Guill-ermoGarcía,WinstonVallenilla,LilibethMorillo,JonathanMontene-gro,EileenAbad

2. Flor salvajeDirection: AgustínRestrepo,MarioMitrottiScreenplay: LauraRestrepo,adaptedfromPerlaFaríasCast: MónicaSpear,TonyDalton,JoséLuisResendez,RobertoMan-rique,NorkysBatista,PedroPalacio,CarolinaGaitán,MariaElisaCa-margo,GregorioPernia,JuanPabloRaba,GeraldineZivic

3. Válgame diosDirection: JoséAlcaldeScreenplay: MónicaMontañez

Cast: SabrinaSeara,EduardoOro-zco,RicardoÁlamo,CarlotaSosa,FlaviaGleske,RaquelYánez

4. La casa de al ladoDirection: LuisManzo,RamiroSchwarzScreenplay: JoséIgnacioValenzu-elaGuiraldesCast: MaritzaRodríguez,GabrielPorras,CatherineSiachoque,MiguelVaroni,JorgeLuisPila,KarlaMon-roig,DavidChocarro

5. La traicioneraDirection: LiloVilaplana,CeciliaVásquezScreenplay: AdriánSuar,FaberSoto,AuraNiño,RodrigoHolguínCast:MarianelaGonzález,JuanManuelMendoza,VíctorMallarino,AnaLucíaDominguez,JorgeCárde-nas,JoséNarváez,VickyHernán-dez,KristinaLilley,SilviadeDios

6. Natalia del marDirection: CarlosIzquierdoScreenplay: AlbertoGómezCast: SabrinaSalvador,ManuelSosa,AdriánDelgado,JulietLima,FedraLópez,VíctorCámara,EduardoSerrano,DoraMazzone,RosalindaSerfaty

7. Abismo de pasiónDirection: ArmandoZafra,ManuelBarajasScreenplay: CaridadBravoAdams,adaptedfromJuanCarlosAlcaláCast: AngeliqueBoyer,DavidZepeda,MarkTacher,Blanca


9. EmperatrizDirection: JavierPatrónFox,CarlosÁngelGuerraScreenplay: JoséIgnacioCabrujasCast: GabrielaSpanic,BerniePaz,AdrianaLouvier,MarimarVega,OmarFierro,MartínGarza

10. Retrato de una mujerDirection: PepeSánchez,JulioCésarRomeroScreenplay: MónicaAgudeloCast: KatherineVélez,PatrickDel-mas,VickyHernández,JuanPabloFranco,AlejandroLópez,SebastiánCaicedo

Guerra,SabineMoussier,AltairJarabo,AlejandroCamacho

8. La que no podía amar Direction: SalvadorGarcini,Ale-jandroGamboaScreenplay: DeliaFiallo,adaptedfromXimenaSuárezCast: AnaBrendaContreras,JorgeSalinas,JoséRon,JuliánGil,Su-sanaGonzález,AnaBerthaEspín,AnaMartín,MarContreras,JorgeAravena

Obitel 2013_Inglês.indd - Globo

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