Chilean television is facing a new phenomenon: the production and broadcast of national fiction series that have reached an important place in television programming RESUMENLa televisión chilena ha enfrentado un nuevo fenómeno: la emisión de series de ficción nacionales que alcanzaron un lugar prioritario en la programación y en el seguimiento del público. Los 80, Los archivos del Cardenal y El reemplazante son producciones representativas, tanto por su audiencia como por el debate social que provocaron. En esta investigación se examinan estas series a partir del análisis tanto del relato como de la representación de género. Los resultados permiten relacionar el contexto sociopolítico del país con la elección de contenidos de ficción. Las series comienzan con intenciones innovadoras, pero devienen en propuestas más simplificadas.Palabras clave: televisión, series de televisión, relato, género, Chile. RESUMOA televisão chilena enfrenta um novo fenômeno: a emissão das séries de ficção nacionais que alcançaram um lugar prioritário na programação e na audiência. Los 80, Los Archivos del Cardenal e El Reemplazante são produções representativas, tanto graças à audiência como a partir do debate social que provocaram. Nesta pesquisa são examinadas estas séries a partir da análise tanto do relato como da representação de gênero. Os resultados permitem relacionar o contexto sociopolítico do país com a seleção dos conteúdos de ficção. As séries começam com intenções inovadoras mas convertem-se finalmente em propostas mais simplificadas.Palavras-chave: televisão, séries de televisão, relato, gênero, Chile. 56 EL AUGE DE LAS SERIES DE TELEVISIÓN CHILENASDesde inicios del siglo XXI, la ficción en la televisión chilena se ha revalorizado, llegando a ser el contenido de mayor consumo (Fuenzalida, Julio, Aguirre, Mujica & Silva, 2009). Tras el éxito de Los 80 (C13, 2008-15), se produjeron narraciones audiovisuales que incorporaron mecanismos de representación del pasado ambientadas en la dictadura iniciada en 1973, pero sin la intervención de personajes históricos reales. Son series de ficción cuyas tramas se acercan a la realidad y cuyos personajes deambulan por un contexto que da cuenta de la historia reciente del país. Entre ellas se encuentran Amar y morir en Chile (CHV, 2012); Ecos del desierto (CHV, 2013); El reemplazante (TVN, 2012) y No (TVN, 2013) 2 . Podemos señalar que la televisión chilena se ha enfrentado a un nuevo fenómeno: la producción y emisión de series de ficción nacionales que han alcanzado un lugar prioritario en la programación televisiva y de seguimiento por parte del público.En esta reflexión abordaremos tres producciones que se encuentran en la línea señalada: Los 80, Los archivos del Cardenal y El reemplazante. Estas series conforman un corpus en el que se representa, desde la ficción y de manera cronológica, un periodo histórico definitorio para la conformación de la actual sociedad chilena, que abarca los cambios sociales acontecidos y la evolución de la sociedad en los últimos cuarenta...

During the commemoration of the fortieth anniversary of the military coup d’état in Chile, several new fiction programs that appeared on TV had repercussions in the public sphere. One of them was the series Los archivos del Cardenal. The case study of said series, which was considered good quality fiction, makes it possible to address the relation between TV fiction, memory, and recent history. The series presents very select, simplified messages about history, but also makes it possible to illustrate real episodes in a captivating way and to visualize topics that had been silenced during the transition to democracy. Thus, this article shows that TV series are a format that complements the representation of the history of important events for a given society. Concretely, Los archivos del Cardenal constructs a story about the dictatorship from the viewpoint of the political opposition and proposes a collective memory in concordance with it.

This review paper  assesses academic articles published about Spanish fictional television series in scientific journals indexed in multidisciplinary databases: Web of Science (WoS), Scopus and Dialnet between 1998 and 2020. A combined quantitative and qualitative method of analysis based on the SALSA Framework was used,  in order to build a systematic bibliographic review. The results showed that the most common studies were those about the representation proposed in the fictional series about certain groups or social settings. Other approaches referred to the development of television fiction genres, adaptations, as well as to audiences and how audiences had received the series. Innovative research pointed  to the emerging themes of transmediality, participatory audiences, hybrid studies that explained the content from production and authorship, and feminist works. Among the gaps noted were approaches that addressed the audiovisual language and the aesthetics of television fiction as research opportunities.

This article analyzes the role of Spanish television in preparing children and young people for life in a society moving toward democracy after decades of authoritarian rule. The Spanish government, which had exceptional power over TVE, the country’s sole television network, hoped to use this medium to instill democratic values and convey a sense of normality. However, findings show that TVE’s new agenda was hampered by its programming requirements, responsibility as a monopoly to cater to the entire population, failure to understand the preferences and needs of young audiences, and emphasis on U.S. family-oriented series. Children’s and young people’s programming during the transition was a mix of innovative content and reactionary programs typical of the Franco era.

This article analyzes all fiction series and miniseries produced and broadcasted in Spain on linear and digital television channels as well as video-on-demand platforms in the period 2000–2020. The aim is to collect, quantify, classify, and characterize Spanish-produced television series. A methodology with a mixed, quantitative–qualitative design is proposed to quantify, classify, and categorize the 545 identified fictional works. The resulting database includes fields for the year of first broadcast, format, genre, platform, channel, number of episodes and seasons, duration, and rating. This taxonomy is the first to present a complete characterization of all fictional series produced and broadcasted in Spain during the digital era. Based on the results, three periods can be distinguished: the development of the series, the economic crisis of 2008, and the arrival of video-on-demand platforms in Spain. It is concluded that comedies have been overwhelmed by other major genres, such as dramas or police series. Television series are adapting to the new society that consumes them, portraying its social debates, fears, and aspirations through new themes while also reducing their length, mixing some genres with others, and with an increasing presence and prominence of female characters to the detriment of men. Resumen Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.