Family Television Series: Concept, Production and Exportation. The case of Médico de Familia

Authors

  • Mónica Herrero Subías University of Navarra
  • Patricia Diego González University of Navarra

DOI:

https://doi.org/10.4185/10.4185/RLCS-64-2009-820-238-247

Keywords:

television, fiction, cultural product, entertainment, TV series

Abstract

For this article we will study the economic foundations of television series as audiovisual products and from there the case of the Spanish dramedy Médico de Familia and its Latin commercialization. We will begin by considering television series as entertainment audiovisual products. Fiction series belong to the category of audiovisual products and thus comprise cultural products that draw on the potential afforded by the art of communication keeping in mind that these series are entertainment products. The features which define them as both audiovisual and entertainment products allow for the adaptations and direct sales on a speculative and practical basis. The study will focus on family series which are defined by their content and audience. We will pay special attention to the main characteristics which enable television series to succeed beyond local frontiers, especially in regions where the culture and language are similar.

Downloads

Download data is not yet available.

Author Biographies

Mónica Herrero Subías, University of Navarra

Mónica Herrero is Dean of the Faculty of Communication of the University of Navarra and professor of Informative Business and Structure of Journalism.

She obtained a European Doctorate in 2002 and a Master in Media Management from the University of Stirling (Scotland).

She was Vice Dean of the Faculty of Communication from 2004 to 2008. Her research activity focuses on the economics of audiovisual products and communication markets.

Patricia Diego González, University of Navarra

Patricia Diego is a professor of Television Fiction Programming and Production at the Faculty of Communication, where she combines her teaching tasks with the Sub-directorate of the Master of Management in Communication Companies (MGEC).

Her research activity focuses on fiction production and the television market.

References

AA.VV. (1996): Cómo se hizo Médico de familia. Madrid: GECA.

Bardají, J. y Gómez, S. (2004): La gestión de la creatividad en televisión: el caso de Globo Media. Pamplona: Eunsa.

Cantor, M. G. (1979): “Our Days and Our Nights on TV”. Journal of Communication, 29(4), p. 66.

Capilla, A. y Solé, J. (1999): Telemanía. Las 500 mejores series de TV de nuestra historia. Barcelona: Salvat.

Creeber, G. (2001): The Television Genre Book. London: B.F.I.

Del Pino, C. (2006): “El 'brand placement' en seis series españolas. De Farmacia de guardia a Periodistas: un estudio empírico”. Revista Latina de Comunicación Social, 61. Recuperado el 12 de 01 de 2008, de https://e-archivo.uc3m.es/handle/10016/9708

Del Pino, C. (2008): “Innovación y tendencias de la ficción televisiva en España”, La televisión en España. Informe 2008, Barcelona: Deusto, pp. 245-258.

Del Pino, C. y Pardo, A. (2008): ”Estándares de producción de dramedias familiares en España”, en Medina, Mercedes (ed.) Series de televisión. El caso de Médico de familia, Cuéntame cómo pasó y Los Serrano. Madrid: EIUNSA.

Dunleavy, T. (2005): “Coronation Street, Neighbours, Shortland Street: Localness and Universality in the Primetime Soap”. Television New Media, 6, p. 370.

Ecija Abogados (2000): El libro blanco del audiovisual. Cómo producir, distribuir y financiar una obra audiovisual. Madrid: Grupo Exportfilm.

Entrevista a Alfonso Mardones (Director General de Globomedia), 11/6/01, Madrid.

Entrevista a Miguel Morant (Productor Ejecutivo de Ficción de Tele 5), 11/6/01, Madrid.

Entrevista a Javier Méndez (Director de Contenidos Multimedia de Globomedia y Responsable de Ventas Internacionales), 17/10/08, Pamplona.

Franco, J. (2001): “Cultural identity in the community soap: A comparative analysis of Thuis (At Home) and EastEnders”. European Journal of Cultural Studies, 4(4), pp. 449- 472.

Fernández, A. (2007): “La ficción española se abre camino con éxito en las televisiones europeas”, elmundo.es (24 de Julio.

García de Castro, M. (2003): “Propiedades de la hegemonía de la ficción televisiva doméstica en España entre 1995-2000”, Zer 14, pp. 151-167.

García de Castro, M. (2008): “Los movimientos de renovación en las series televisivas españolas”, Comunicar , pp. 147-153.

GECA (1997): Anuario de la televisión 1997. Madrid: GECA

GECA (1999): Anuario de la televisión 1999. Madrid: GECA.

GECA (2001): Anuario de la televisión 2001. Madrid: GECA.

Geraghty, C. (1991): Women and Soap Opera. Cambridge: Polity.

Giomi, E. (2005): “It has to Mean Something...': Reading the Success of the Italian Soap Opera Vivere”. European Journal of Cultural Studies, 8, pp. 465- 482.

Grupo Árbol (2001): “Vendedores de latas”. Hojas: Boletín interno del Grupo Árbol, 5 (junio), p. 3.

Herrero, M. (2007): Mercado de la televisión de pago en España: Canal Plus (1990-2000). Pamplona: Ulzama Ediciones.

Hobson, D. (2003): Soap Operas. London: Polity Press.

Kilborn, R. (1992): Television Soaps. B.T. London: Batsford Ltd.

Luengo, M. (2008): “El producto cultural: claves epistemológicas de su estudio”. Zer 24, pp. 317-335.

Luhman, N. (2000): The reality of the Mass Media. Oxford: Polity Press.

Medina, M. (2007): “Explotación económica de las series familiares”, Comunicación y Sociedad, vol XX, n.2, pp. 51-78.

Medina, M. (ed.) (2008): Series de television. El caso de Médico de familia, Cuéntame cómo pasó y Los Serrano. Madrid: EIUNSA.

Medina, M. y Gutiérrez Rentería, M.E. (2008): Gobalization with Latin Flavor. Journal of Spanish Language Media, 1. Recuperado el 21 de enero de 2009 de http://www.spanishmedia.unt.edu/english/downloads/journal/vol-12008.pdf

Palacio, M. (2001): Historia de la televisión en España. Barcelona: Gedisa.

Ross, K. y Nightingale, V. (2003): Media and Audiences. New Perspectives. Buckingham: Open University Press.

Saló, G. (2003): ¿Qué es esto del formato? Cómo nace y se desarrolla un programa de televisión. Madrid: Gedisa.

Stump, M. (2006): “Clout and Doubt. A New Host of Delivery Options Changes the Dynamics of Programming”. Multichannel News, 6 (February).

Wittebols, J. (2004): The Soap Opera Paradigm: Television Programming and Corporate Priorities. Lanham: Rowman & Littlefield.

Downloads

Published

2009-01-01

How to Cite

Herrero Subías, M. ., & Diego González, P. . (2009). Family Television Series: Concept, Production and Exportation. The case of Médico de Familia. Revista Latina de Comunicación Social, (64), 238–247. https://doi.org/10.4185/10.4185/RLCS-64-2009-820-238-247

Issue

No. 64 (2009)

Section

Miscellaneous
Crossref
Scopus
Google Scholar
Europe PMC

Most read articles by the same author(s)