Autoría promocional en la ficción televisivael caso español de Movistar+

  1. Higueras-Ruiz, María José
  2. Cascajosa-Virino, Concepción 1
  1. 1 Universidad Carlos III de Madrid
    info

    Universidad Carlos III de Madrid

    Madrid, España

    ROR https://ror.org/03ths8210

Journal:
Index.comunicación: Revista científica en el ámbito de la Comunicación Aplicada

ISSN: 2174-1859

Year of publication: 2024

Issue Title: Disinformation and media trust

Volume: 14

Issue: 2

Pages: 215-239

Type: Article

DOI: 10.62008/IXC/14/02AUTORI DIALNET GOOGLE SCHOLAR

More publications in: Index.comunicación: Revista científica en el ámbito de la Comunicación Aplicada

Abstract

The goal of this paper is to analyze promotional authorship in the original production of Movistar+ fiction series. Taking as a reference the contributions made in the study of authorship in audiovisual media, this research proposes to fill a gap in the academic literature by exploring the use of authorship beyond the production process and as part of the promotional process of the series (Hadas, 2020), including paratextual elements (such as trailers and posters) and launch events. In the case of the pay-TV platform Movistar+, the use of promotional authorship can be related, within a global process of legitimization of fiction series, to the building of a brand associated with the prestige of the film medium. The research is based on the analysis of a corpus of 35 series, the original fiction premieres of Movistar+ between 2017 and 2022.

Bibliographic References

  • BARRA, L. & SCAGLIONI, M. (2021). A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation. Routledge.
  • BELLE, J. V. (2019) Re-conceptualizing Ingmar Bergman's status as auteur du cinema. European Journal of Cultural Studies, 22(1), 3-17. https://doi.org/10.1177/1367549417718211
  • BENSHOFF, H. M. (2016). Film and Television Analysis. Taylor & Francis.
  • CASCAJOSA-VIRINO, C. (2018). De la televisión de pago al vídeo bajo demanda. Análisis de la primera temporada de la estrategia de producción original de ficción de Movistar+. Fonseca, Journal of Communication, (17), 57-74. https://doi.org/10.14201/fjc2018175774
  • CASCAJOSA-VIRINO, C. (2020). Resumen del estudio “La creación de ficción televisiva en España. Estudio profesional desde la perspectiva del guion y análisis marco para la acreditación y el reparto de derechos de autor”. Sindicato ALMA Guionistas. https://bit.ly/40Bwvs7
  • CASTRO, D. & CASCAJOSA-VIRINO, C. (2020). From Netflix to Movistar+: How subscription video-on-demand services have transformed Spanish TV production. JCMS: Journal of Cinema and Media Studies, 59 (3), 154-160. https://doi.org/10.1353/cj.2020.0019
  • CNMC DATA (2021). Estadísticas Trimestral III 2021. https://bit.ly/3My8yfz
  • CORRIGAN, T. J. (1990). The commerce of auteurism: A voice without authority. New German Critique, (49), 43-57.
  • DEFINO, D. J. (2014). The HBO Effect. Bloomsbury.
  • FEHRMAN, C. (2013, 13 de junio). The showrunner fallacy. TV's auteurs matter much less than you think. The New Republic. https://bit.ly/45VPLli
  • FERNÁNDEZ-GÓMEZ, E. & MARTÍN-QUEVEDO, J. (2018). La estrategia de engagement de Netflix España en Twitter. El Profesional de la Información, 27(6), 1292-1302. https://doi.org/10.3145/epi.2018.nov.12
  • FERNÁNDEZ GÓMEZ, E., MARTÍN-QUEVEDO, J. & FEIJOO FERNÁNDEZ. B. (2022). Netflix’s communication strategy on Twitter and Instagram during the unlock in Spain: Humour, proximity and information. Observatorio (OBS*), 16(3), 34-52. https://doi.org/10.15847/obsOBS16320222054
  • FROW, J. (2002). Signature and brand. En J. COLLINS (Ed.), High-Pop: Making Culture into Public Entertainment (pp. 56-74). Blackwell.
  • GENETTE, G. & MACLEAN, M. (1991). Introduction to the paratext. New Literary History, 22(2), 261–272. https://doi.org/10.2307/469037
  • GRAY, J. & JOHNSON, D. (2013). A Companion to Media Authorship. Wiley-Blackwell.
  • GUTIÉRREZ LOZANO, J. F. (2021). Ways of production and distribution of Movistar+. En L. BARRA & M. SCAGLIONI (Eds.), A European Television Fiction Renaissance. Premium Production Models and Transnational Circulation (pp. 213-226). Routledge.
  • HADAS, L. (2017a). A new vision: J. J. Abrams, Star Trek, and promotional authorship. Cinema Journal, 56(2), 46-66. https://doi.org/10.1353/cj.2017.0002
  • HADAS, L. (2017b). From the workshop of J.J. Abrams: Bad Robot, networked collaboration, and promotional authorship. En J. GRAHAM & A. GANDINI (Eds.), Collaborative Production in the Creative Industries (pp. 87–103). University of Westminster Press.
  • HADAS, L. (2020). Authorship as Promotional Discourse in the Screen Industries. Selling Genius. Routledge.
  • HIGUERAS-RUIZ, M. J., GÓMEZ-PÉREZ, F. J. & ALBERICH-PASCUAL, J. (2018). Historical and conceptual review of authorship and its implications for television media: the concept of author in American contemporary fiction TV-series. Doxa Comunicación, (28), 79-96. https://doi.org/10.31921/doxacom.n28a04
  • HIGUERAS-RUIZ, M. J. & ALBERICH-PASCUAL, J. (2021). Estrategias de interacción y comunicación de showrunners de series de ficción televisiva de Netflix en Twitter. Comunicación Y Sociedad, 1-25. https://doi.org/10.32870/cys.v2021.7772
  • JENNER, M. (2018). Netflix and the Re-invention of Television. Palgrave Macmillan.
  • JENSEN, M. (2017). From the mind of David Simon: A case for the showrunner approach. Series. International Journal of TV Serial Narratives, 3(2), 31-42. https://doi.org/10.6092/issn.2421-454X/7610
  • JOHNSON, C. (2012). Branding Television. Routledge.
  • JUNKE, D. (2020). The showrunner as televisual auteur in promotional materials- a case study of posters for David Simon's television shows. Prace Kulturoznawcze, 24(4), 77-91. https://doi.org/10.19195/0860-6668.24.4.6
  • KOMPARE, D. (2011). More «moment of television»: Online cult television authorship. En M. KACKMAN, M. BINFIELD, M. T. PAYNE, A. PERLMAN & B. SEBOK (Eds.), Flow TV: Television in the Age of Media Convergence (pp. 95–113). Routledge.
  • LINARES, R. (2015) Marketing en el cine. En J. HERBERA, R. LINARES & E. NEIRA (Coord.) Marketing cinematográfico. Cómo promocionar una película en el entorno digital (pp. 15-79). Editorial UOC.
  • MARTÍN-QUEVEDO, J., FERNÁNDEZ-GÓMEZ, E., & SEGADO-BOJ, F. (2021). La estrategia promocional de Netflix y HBO en Instagram en un escenario de competencia. Análisis de sus perfiles en España y en EE.UU. Obra digital: revista de comunicación, 20, 97-112. https://raco.cat/index.php/ObraDigital/article/view/385600
  • MATEOS-PÉREZ, J. & SIRERA-BLANCO, R. (2021). Taxonomía de las series de televisión españolas en la era digital (2000-2020). El profesional de la información, 30(6). https://doi.org/10.3145/epi.2021.nov.08
  • MINISTERIO DE CULTURA (1996). Real Decreto Legislativo 1/1996, de 12 de abril, por el que se aprueba el texto refundido de la Ley de Propiedad Intelectual, regularizando, aclarando y armonizando las disposiciones legales vigentes sobre la materia. Boletín Oficial del Estado, núm. 97, de 22/04/1996. España. https://bit.ly/47qufWB
  • MITTELL, J. (2015). Complex TV: The Poetics of Contemporary Television storytelling. New York University Press.
  • NAVAR-GILL, A. (2017). From strategic retweets to group hangs: Writers’ room Twitter accounts and the productive ecosystem of TV social media fans. Television & New Media, 19(5), 415-430. https://doi.org/10.1177/1527476417728376
  • NAVAR-GILL, A. (2018). The fan/creator alliance: Social media, audience mandates, and the rebalancing of power in studio-showrunner disputes. Media Industries Journal, 5(2), 19-34. http://dx.doi.org/ 10.3998/mij.15031809.0005.202
  • NEIRA, N. (2015). Las redes sociales en la promoción cinematográfica. En J. HERBERA, R. LINARES & E. NEIRA (Coord.) Marketing cinematográfico. Cómo promocionar una película en el entorno digital (pp. 109-175). Editorial UOC.
  • NEIRA, N. (2020). Streaming Wars. La nueva televisión. Libros Cúpula.
  • NEWMAN, M. Z. & LEVINE, E. (2012). Legitimating Television: Media Convergence and Cultural Status. Routledge.
  • PEARSON, R. (2011). Cult television as digital television's cutting edge. En J. BENNETT & N. STRANGE (Eds.), Television as Digital Media (pp. 105-131). Duke University Press.
  • PERREN, A. & SCHATZ, T. (2015). Theorizing television's writer-producer: Re-viewing The Producer's Medium. Television & New Media, 16(1), 86-93. https://doi.org/10.1177/1527476414552907
  • POUSA, L. (2015). Formatos elásticos y cuestiones de identidad en Todas las mujeres. En B. PUEBLA-MARTÍNEZ, N. NAVARRO-SIERRA, & E. CARRILLO-PASCUAL (Eds.), Ficcionando en el siglo XXI: La ficción televisiva en España (pp. 393–412). Icono 14.
  • ROGERS, M. C., EPSTEIN, M. & REEVES, J. L. (2002). The Sopranos as HBO brand equity. The art of commerce in the age of digital reproduction. En D. LAVERY (Ed.), This Thing of Ours. Investigating The Sopranos (pp. 42-47). Columbia University Press.
  • SARRIS, A. (1977 [2011]). The autheur theory revisited. American Film, 2(9), 49-53.
  • SINDICATO ALMA GUIONISTAS (2020). Sistema de créditos para guiones de obras audiovisuales de ficción y entretenimiento en España. Sindicato ALMA Guionistas. https://bit.ly/3S6QxbB
  • STEINER, T. (2015) Steering the author discourse: The construction of authorship in Quality TV, and the Case of Game of Thrones. Series. International Journal of TV Serial Narratives, 1(2), 181-192. https://doi.org/10.6092/issn.2421-454X/5903
  • STEWARD, T. (2010). Authorship, creativity and personalization in US television drama (Tesis doctoral, University of Warwick). https://bit.ly/3MJFoKz
  • TRUFFAUT, F. (1954). Une certaine tendance du cinema français. Cahiers du cinéma, 31, 15-29.
  • WOODS, F. (2015). Girls talk: Authorship and authenticity in the reception of Lena Dunham's Girls. Critical Studies in Television, 10(2), 37-54. https://doi.org/10.7227/CST.10.2.4