La serie de televisión española "Águila Roja" desde una perspectiva audiométrica (2009-2012)

Abstract

Resumen: "Águila Roja", la serie de Globomedia emitida por la cadena de televisión pública nacional española TVE, se ha convertido en los últimos años en un interesante fenómeno de audiencia en España; por ello se realiza una investigación distributiva de audiencias con la que poder indagar en su evolución desde su estreno en febrero de 2009 hasta enero de 2012, estableciendo comparativas con los datos de audiencias medias, máximas y share por temporadas y capítulos. Igualmente se han contextualizado estos datos en el ámbito de las audiencias para aportar una visión global de los mismos.Palabras clave: Audiencia, serie de televisión, "Águila Roja", Globomedia, TVE. Abstract: "Águila Roja", Globomedia's TV series broadcasted by the Spanish public national wide television TVE (Televisión Española), has been turned into an interesting audience phenomenon in the last years in Spain; that's the reason why it has been made a distributive audience research, a way to make inquiries about this TV series evolution from

La investigación sobre series de televisión españolas de ficción. Un estudio de revisión crítica (1998-2020)

“…Television series have also been an object of study in content studies that contributed to the development of fictional television genres (22). After the historical genre (7, above), the most popular was comedy (6). Different articles were identified that covered certain periods, such as a series produced during Franco's regime, created by Jaime de Armiñán (Diego and Grandío, 2014); a series that were restricted to the family environment (Hidalgo-Marí, 2018); and those that studied the entire 1990-2018 period (Gómez, 2020;Gómez, 2017;Diego and Grandío, 2011).…”

“…There were also a few pieces of research focused on adapted series (6), such as the one that compiled the remakes produced in Spain in the 2000-2013 period (Puebla, Carrillo and Copado, 2014) and the one that compared Life on Mars with La chica de ayer (Gutiérrez and García, 2018); the article that analysed the adaptation of the novel by Blasco Ibáñez to the homonymous series Cañas y Barro (George, 2011); and those papers that covered adaptations of Spanish series such as Cuéntame (Dahl, 2017;Pousa and Fornasari, 2017) and Gran Hotel to Mexican soap operas (Smith, 2017).…”

“…Papers focused in greater numbers on women's representation, alone or in combination with other complementary dimensions such as motherhood, feminism and historical representation (Hidalgo-Marí and Palomares, 2020; Bonavitta and González de Garay, 2019;Chicharro, 2018;Hidalgo -Marí, 2017;Anderson, 2016;Coronado and Galán, 2015;Tous, Meso and Simelio, 2013;Ortega and Simelio, 2012; Galán, 2007). The female gender was also analysed as a whole or in comparison with the male gender (De The representation of the immigrant population as a social group was also studied in several papers(6). This was a characteristic of series broadcast in two periods:2002-2003 (Ruiz, Obradors, Pujadas, Ferrés and Pérez, 2011; Ruiz, Ferrés, Obradors, Pujadas and Pérez, 2006); and 2014-2017 (Marcos and González de Garay, 2019; Romero, de Casas and Maraver, 2018); as well as specifically in the series Aída (Biscarrat and Meléndez, 2014; González de Garay and Alfeo, 2012); El Comisario and Hospital Central.Other social representations that were found to be research topics were: adolescents(Guarinos, 2009;Crespo, 2005); family models in dramatic series and comedies from 1990 to 2010, in new series from 2013-2014 and in Hospital Central (Hidalgo-Marí,Tous and Morales, 2019;Martins, 2015;Chicharro, 2009); the elderly(Mancebo and Ramos, 2015;López and Cuenca, 2005); functional diversity, in series released in 2016-2018 (Palenzuela, Marcos and González de Garay, 2019); and the working class in Aída(Pao, 2014) combining it with the one shown in the soap opera Una palabra tuya, by Elvira Lindo.…”