Young people and television fiction. Reception analysis

Abstract

This article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends' influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most participants criticized the propensity of television fiction to build extreme stereotypes, they also showed a clear predilection for Spanish programs, and admitted that their characters often offer inspiration to face everyday problems.

Searching for Oneself on YouTube: Teenage Peer Socialization and Social Recognition Processes

“…Research on young audiences indicates that, while viewing content is foremost an entertainment practice, it is also very much a social one (Astigarraga Agirre et al, 2016; Combes, 2013). Socializing around content is an integral part of the viewing experience, and digital media, such as YouTube, have enhanced the active socializing role of content watching (Lacalle, 2015; Livingstone & Das, 2012). Both online and offline, teenagers actively participate in conversations around content and meaning, discuss and share thoughts, and suggest content to be watched and appreciated (Bondad-Brown, 2011).…”

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

“…( 2) Another category referred specifically to the young audience (7). Audience studies have been carried out that inquired about consumption (Galán and Del Pino, 2010); taste (Korres and Alexpuru, 2016); reception (Lacalle, 2015); and the extent to which young people identified with the role models and characters represented in the series (Chicharro, 2017;Martínez, 2009). Some articles were related to young people with respect to the sexual content covered by the series (Aran, Media and Rodrigo, 2015).…”

“…The mixed study methodology that used content analysis as a tool was also applied to audience and reception studies that related works to the public response channelled through messages and products that come from fandom, participatory audience, platforms and content proposed by broadcasters in the transmedia environment (Ivars and Zaragoza, 2018;Hidalgo-Marí and Sánchez, 2016;Rodríguez, Tur and Mora, 2016); and the analysis of messages from both senders and receivers through forums and social networks such as Facebook or Twitter (Fernández and Martín, 2018;Castro, 2018;Chamorro, 2018;Chamorro, 2017;Lacalle and Castro, 2016;Rodríguez and Hernández, 2015;Tur and Rodríguez, 2014). Audience studies that used mixed methodologies also combined other qualitative techniques, such as surveys, in-depth interviews and focus groups (Chicharro, 2017;Korres and Elexpuru, 2016;Lacalle, 2015;Cortes, 2014;Corbalán , 2009;Crespo, 2005).…”

La audiencia social y el mundo narrativo de la ficción: Análisis de los comentarios de los fans y community managers sobre la ficción televisiva y webseries españolas

“…Los exiguos casos detectados provienen de los fans del entretenimiento que consideran el género de la ficción como el principal rival de sus programas favoritos. La búsqueda del disfrute (Rubin, 1985), la relajación (Madill y Goldmeier, 2003), combatir el aburrimiento o escapar de los problemas y de las responsabilidades diarias (Lacalle, 2015) son los principales acicates del consumo de programas televisivos, en general;, y de ficción, en particular. Estas motivaciones explican la tendencia a la valoración positiva de ingredientes como el humor, la sorpresa o los finales felices, en las tramas; y de las cualidades positivas (comicidad, integridad, afán de lucha…) en los personajes.…”