Narrativas de ficción para relatar una pandemiaanálisis y recepción de "Diarios de la cuarentena" (Televisión Española, 2020)

  1. Chicharro-Merayo, Mar 1
  2. Gil-Gascón, Fátima 1
  3. Arce García, Sergio 2
  1. 1 Universidad de Burgos
    info

    Universidad de Burgos

    Burgos, España

    ROR https://ror.org/049da5t36

  2. 2 Universidad Internacional de La Rioja
    info

    Universidad Internacional de La Rioja

    Logroño, España

    ROR https://ror.org/029gnnp81

Journal:
Estudios sobre el mensaje periodístico

ISSN: 1988-2696

Year of publication: 2022

Issue: 28

Pages: 293-304

Type: Article

DOI: 10.5209/ESMP.75946 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Estudios sobre el mensaje periodístico

Sustainable development goals

Abstract

This work analyzes the relationships between television fiction and the pandemic in Spain, through the study of a case: Diarios de la cuarentena (Diaries of Quarantine, TVE, 2020). Created, produced and consumed on the scene of the Covid-19 crisis, this situation comedy is an absolutely conjunctural product in which both visuality and the hegemonic television themes of the crisis converge. The work focuses on the content, analyzing it, to delve into the narrative and visuality of the story, using close reading technique. But it also includes its reception on Twitter: the comments, the most prominent broadcasters, the users' assessment, or the emotions linked to the tweets will be unraveled to identify the meanings of the TV series for the public. The results affect how the readings of the series have been eminently political, and less humorous than the narrative intended.

Bibliographic References

  • Aitaki G. (2018). Domesticating pathogenies, evaluating change: the Eurozone crisis as a ‘hot moment’ in Greek television fiction. Media, Culture and Society, 40 (7), 957-972. https://doi.org/10.1177/0163443717734403
  • Alex, V. (2020). Pantalla partida: la metáfora visual de la pandemia. El País, 9 mayo. https://bit.ly/2QWp0wP
  • Alvite, M. (2020). David Marqués: Rodar Diarios de la cuarentena está siendo muy intenso y difícil. Diario de Ibiza, 6 abril. https://bit.ly/3uz9NQF
  • Ares, M. (2020). La conserva exige a TVE que retire una escena de humor que dice que el virus se queda 3 días pegado a una lata de atún. La voz de Galicia, 14 abril. https://bit.ly/3bcP6T2
  • Bailey, R. (2018). When journalism and satire merge: The implications for impartiality, engagement and ‘post-truth’ politics-A UK perspective on the serious side of US TV comedy. European journal of communication, 33 (2), 200-213. https://doi.org/10.1177/0267323118760322
  • Bastian, M., Heymann, S. & Jacomy, Mathieu (2009). Gephi: An Open Source Software for Exploring and Manipulating Networks [Conference]. Third International ICWSM Conference, California. https://cutt.ly/RyDUtNZ
  • Bergson, H. (2016). La risa. Ensayo sobre el significado de la comicidad. Ediciones Godot.
  • Blondel, V., Guillaume, J.-L., Lambiotte, R., & Lefebvre, E. (2008). Fast unfolding of communities in large networks. Journal of Statistical Mechanics: Theory and Experiment, 10. https://doi.org/10.1088/1742-5468/2008/10/P10008
  • Buonanno, M. (2018). Widening landscapes of TV storytelling in the digital media environment of the 21st century. Anàlisi: Quaderns de comunicació i cultura, 58, 1-12. https://doi.org/10.5565/rev/analisi.3133
  • Cabalin, C., & Antezana, L. (2020). Melodrama and public pedagogy: The construction of memory from television fiction. Comunicación y Sociedad, 1-19. https://doi.org/10.32870/cys.v2020.7362
  • Callejo, J. (1995). La audiencia activa. Centro de Investigaciones Sociológicas.
  • Carlón, M. (2006). De lo cinematográfico a lo televisivo. Metatelevisión, lenguaje y temporalidad. La Crujía.
  • Cascajosa, C. (2016). La cultura de las series. Laertes.
  • Cortés, H. (2020). La 1 se ríe del encierro en Diarios de la cuarentena: No gastamos, invertimos en ficción. ABC, 9 abril. https://bit.ly/3f1JkEV
  • Damásio, M. J, & Paixão da Costa J. (2020). Portuguese Soap Operas: A case study on the emergence of an original production culture”. Critical Studies in Television, 15 (1), pp 25-48. https://doi.org/10.1177/1749602019892463
  • Eco, U. (1986). La estrategia de la ilusión. Lumen.
  • Fraticelli, D. (2020) La pandemia del humor. Hipermediaciones, abril. https://bit.ly/3tv8vF7
  • Galán, E. (2007). Fundamentos básicos en la construcción de personajes para medios audiovisuales. Enlaces, 7. http://hdl.handle.net/10016/55
  • Gómez Morales, B. (2015). La parodia en la comedia animada estadounidense de prime time. El caso de la sitcom. Zer, 20 (39), pp. 67-83
  • Gómez Morales, B. (2020). Televisión crítica o industria de la risa: El caso de la comedia televisiva española (1990-2018). Signa: Revista de la Asociación Española de Semiótica, 29, pp. 467-494
  • Harthaway J. (2015). Connect to Text: Strategies for Close Reading and Writing. Shell Education.
  • Hidalgo-Marí, T., Tous Rovirosa, A., & Morales Morante L. F. (2019). Los modelos familiares en la comedia televisiva española: (1990-2010. Revista Latina de Comunicación Social, 73, 1-11. https://doi.org/10.4185/RLCS-2019-131
  • Kassam, A. (2020). Drama out of crisis: Spanish sitcom tackles life in lockdom. The guardian, 9 abril. https://bit.ly/3o1BiQg
  • Kearney, M. V. (2018). Tweetbotornot: An R package for classifying Twitter accounts as bot or not. https://bit.ly/3bfq2Lf
  • Marcos Ramos, M., González-de-Garay, B. & Arcila Calderón, A. (2020). Grupos minoritarios en la ficción televisiva española: análisis de contenido y percepciones ciudadanas para la creación de un índice de diversidad. Cuadernos.info, (46), 307-341. https://doi.org/10.7764/cdi.46.1739
  • Marx, N. (2019). Sketch Comedy: Identity, Reflexivity and American Television. Indiana University Press.
  • McCombs, M. (1994). Influencing the pictures in our heads: two dimensions of Agenda-setting. Journal of Mass Communication Studies, 45.
  • McCombs, M., & Evatt, D. (1995). Los temas y los aspectos: explorando una nueva dimensión de la agenda setting. Comunicación y sociedad, 8 (1), 7-32.
  • McCombs, M., & Shaw D. (1972). The Agenda-Setting Function of Mass Media. The Public Opinion Quaterly, 36, 2, (Summer, 1972), 176-187.
  • Mejía, D. (2020). El lugar del dolor. The Objective, 12 abril 2020. https://theobjective.com/elsubjetivo/el-lugar-del-dolor/
  • Milburn, K. (2019). The comedian as populist leader: Postironic narratives in an age of cynical irony. Leadership, 15 (2), 226-244. https://doi.org/10.1177/1742715018809750
  • Mills, B. (2004). Comedy verite: contemporary sitcom form. Screen, primavera, 45 (1), 63-78. https://doi.org/10.1093/screen/45.1.63
  • Mills, B. (2005). Television sitcom. British Film Institute.
  • Mohammad, S.-M., & Turney, P. (2010). Emotions Evoked by Common Words and Phrases: UsingMechanical Turk to Create an Emotion Lexicon. En Proceedings of the NAACL-HLT 2010 Workshop on Computational Approaches to Analysis and Generation of Emotion in Text, Los Angeles: North American Chapter of the Association for Computational Linguistics.
  • Molina, B. (2020). Maldita la gracia: Abascal (Vox) carga contra la serie cómica de TVE sobre coronavirus. El Confidencial, 9 abril. https://bit.ly/2RF2qIJ
  • Paterson, R. (1995). Drama and entertainment. En A. Smith (ed.). Television: An international history. Oxford University Press, 95-117.
  • Pineda, I. (2019). The Killing: The Gender Politics of the Nordic Noir Crime Drama and Its American Remake. Televisión and New Media, online first September 2019. https://doi.org/10.1177/1527476419875572
  • Rtve (2020). La 1 estrena Diarios de la cuarentena. https://bit.ly/3vP461e
  • Saito, S. (2007). Television and the cultivation of gender-role attitudes in Japan: Does television contribute to the maintenance of the status quo? Journal of Communication, 57 (3), 511–531. https://doi.org/10.1111/j.1460-2466.2007.00355x
  • Sautera, D.-A., Eisner, F., Ekman, P., & Scott, S.-K. (2010). Cross-cultural recognition of basic emotions through nonverbal emotional vocalizations. Proceedings of the National Academy of Sciences, 107 (6), 2408–2412.
  • Straubhaar, Joseph D. (1991). Beyond media imperialism: Assymetrical interdependence and cultural proximity. Critical Studies in Mass Communication, 8 (1), 39–59.
  • Torgeir Uberg, N. (2020). From pleasure to politics: Five functions of watching TV-series for public connection. European Journal of Communication, 35 (2), pp. 93-107. https://doi.org/10.1177/0267323119894481
  • Van Bauwel, S. (2018). Invisible golden girls? Post-feminist discourses and female ageing bodies in contemporary television fiction. Feminist Media Studies, 18 (1), 21-33. https://doi.org/10.1080/14680777.2018.1409969
Data source: Dialnet