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This last data in particular con- trasted with the behavior of private advertising that grows on the internet. Thus, analyzed by Espada and Marino , the state be- comes a key agent in the survival of some traditional media whose audiences fall, but not so the financing. Merchandising and social merchandising In there are no cases of products or cultural goods derived from television fiction. Among the most viewed series, two address social issues: La Fragilidad de los Cuerpos El Trece takes suicide as the starting point of its narration, while Un Gallo para Esculapio Telefe shows with cruelty the violence between rival bands on im- poverished stages of the Buenosairean conurbano.
To these we can add Cartoneros El Nueve , which is set in the social and economic crisis of La Pulsera addresses the world of house arrest; Mis Noches Sin Ti, set in , recounts the tensions unleashed by Peronism and its rise to power; Olimpia shows sports as a path towards social inclusion and personal im- provement; Siete Vuelos is about the search for true identity.
The state channel also made the local adaptation of Spanish telenovela 7 Data from Magna Global annual report, retrieved by specialized portal Total Media. Communication policies As of December , and with the argument of adapting the regulations in force to technological progress and digital conver- gence, the government modified central aspects of the laws of Au- diovisual Communication Services At the same time, the political authority of the sector under the executive power was concentrated, for which the institutional architecture of pre-existing regulation and control was completely dynamited, limiting or eliminating the participation of civil society and a large group of interested parties.
This intervention, carried out mainly by way of presidential de- crees, some of necessity and urgency, was presented as a transitory instance that would lead to the elaboration of a new bill. However, the commission created for these purposes has not submitted any proposal for new regulation after receiving numerous extensions since its creation, in April In this context, during the modifications introduced in recent years became consolidated and permanent. At the end of , Decree allows telephone companies to provide pay TV services as of January ; it also protects op- erators of new generation networks for 15 years and raises barriers against the entry of new competitors.
If it happens, this merger will be the largest act of concentration in the history of communications in the country and it would lead to the largest telecommunications group in Argentina, gaining significant or dominant market power in several urban centers. Regarding open digital television TDA , the government dismantled its content area and paralyzed the expansion of the physical transmission infrastruc- ture. In two years, it inaugurated just six towers, putting in doubt the deadlines of the analogical blackout, originally planned for ICT trends According to official figures, in the first semester of there were 7.
The cost of average broadband subscription increased In turn, there were deep inequalities in terms of penetration by provinces: As of June , there were 13, 4G radio base stations in the country, almost the double of the previous year. Fixed telephony, following the global trend, is a mature market and in vir- tual stagnation for ten years: Public TV During , the loss of audience and centrality in all media operated by the National State deepened. In the last stretch of the year, there were also budget cuts and reduction of the employee plant.
It also dropped almost contracts in the area in charge of the TDA contents, a project that was virtually paralyzed. This consultant estimated that about 4. In this scheme, during , they produced: The tendency seems to be a relief and for they announced the second seasons of: As mentioned 12 Source: This way, lo- cal companies set production agreements with companies such as Turner, HBO, Televisa and TNT, among others, for the production of potential miniseries. However, the crisis in the sector is maintained, due to the de- crease of national fiction and the strong presence of international titles.
Also, there is the unexpected result of high bet national fic- tion. This is the case of Fanny, la fan Undergound — Telefe , a com- edy that was originally programmed to be aired in prime time, but, one month later its premiere, and after changing time slots twice, it started to be broadcast online, also resulting in low ratings.
International trends As in previous years, the tendency of programming Turkish telenovelas and biblical transpositions from Brazil is maintained. Likewise, the denomination of season converges for the series and miniseries format, in a duration of less than one hour. Reality and entertainment programs whose format comes from abroad were in- corporated.
Revancha telenovela — Colombia Telefe — 5 national titles 1. Fanny, la Fan comedy 5. Amo Despertar Contigo cont. Amores con Trampa telenovela — Mex- 5. Un Gallo para Esculapio series ico 7. El Maestro series 8. La Doble Vida de Estela Carrillo tele- 7. La Fragilidad de los Cuerpos minise- novela — Mexico ries 9. La Rosa de Guadalupe cont. Las Estrellas telenovela Mexico 9. Quiero Vivir a tu Lado telenovela Muchacha Italiana Viene a Casarse Tres Veces Ana cont.
Animadores miniseries Mexico Balas Perdidas miniseries Un Camino Hacia el Destino tele- La Pulsera miniseries Vino el Amor telenovela — Mexico Los Rampante miniseries Siete Vuelos miniseries Casados con Hijos comedy — Argen- 1. Kantar Ibope Media and Obitel Argentina In , 39 titles were released, three fewer than in ; the number of repetitions also dropped.
Like the previous year, Telefe and El Trece released nine fictions of their own. Out of the Obitel field, four Turkish and one Hindu fiction were issued. Premiere iction in Kantar Ibope Media and Obitel Argentina The number of national premieres increases from 16 to 19 in relation to As a counterpart, the fictions of the Obitel field fall from 25 to 15 due to changes in the policy of El Nueve, which programmed fewer foreign telenovelas in its afternoons. The co-production is gaining ground and this year four titles in which Argentina participates with companies such as Turner, Televisa and TNT were released.
The privilege of national fiction is maintained in prime time. The novelty is the growth of Ibero-American fictions during this time, although its privilege remains in the afternoon hours. The titles of the Obitel field predominate in the afternoon as in the previous year. For the second year in a row, the national tele- novela increases in number of titles, episodes and hours broadcast. Regarding Ibero-American premiere fiction, the predominance of telenovela is maintained. Kantar Ibope Media and Obitel Argentina The predominance of national fiction set in the present is main- tained.
The ten most watched titles: The ten most watched national titles Country N. Kantar Ibope Media and Obitel Argentina In relation to , the average rating and share of the ten most watched titles remains constant, as well as the proportion in national and Brazilian fictions that make up the list. As in the previous year, Telefe issued seven of the ten most watched fictions. Among the national ones, we highlight the entry into the top ten of three co- production miniseries and a telenovela Fanny, la Fan, Telefe that was lifted from the air by low rating.
Regarding the dominant themes of the top ten fiction programs, the interest in biblical dramas and religious themes continues. The national telenovelas cover more common themes such as union, the importance of family, betrayal and the search for love. The minise- ries of co-production risk in their themes and approach from suicide and the exploration of sexuality to a realistic portrait of marginality and social conflicts. Audience proile of the ten most watched titles: There was a slight increase of 2. The outstanding figure is the greater aging of the spectators: Transmedia reception In general terms, the transmedia reception of fiction in Argen- tina does not present particularly noteworthy actions since the main open television signals do not establish links that go beyond a series of referrals to the series itself, feeding the social networks in such a way that, in turn, they feed the visualization on the television screen.
In the field of nonfiction, however, the activity of viewers in differ- ent spaces presents a more creative and online response to events. In the field of information, in general, and sports and politics, in particular, the production of memes and videos that rework what is displayed is of great importance.
However, in the year under study, transmedia production and reception in our country maintains the usual spaces, especially on social networks Facebook, Twitter, Instagram and the websites of television signals. It is interesting to highlight some cases. However, despite being a series aimed at an adolescent audience, it was not successful either in a viewing on demand, and on its official Face- book page it only had 19 thousand followers. It is a story in which transmedia production could have been explored, due to the meta- discursive character that it entailed.
On the official page of the TV station only photos and videos of the backstage are offered, as well as some videos of the actors greeting the community that follows them. The VoD platform has more ways to access the chapters and their summaries than a true transmedia expansion. The other case of transmedia reception that is interesting to note is Las Estrellas, the most watched fiction of the year, which presents the story of the five daughters of Mr.
Estrellas, who upon dying gives them a hotel, which they decide to manage together. Throughout the story, one of the sisters will discover her gay sexual preference. In national fictions of previous years, this subject and mode of treatment have been well considered by the audience. In the transmedia reception, certain critical participations begin to appear more strongly, showing distance between the insistence of fiction in the development of the story and positions of the audience. Within the responses to the posting of the couple of women about Valentine, there are, among others, comments such as: Facebook page El Trece — Las Estrellas In this way, we find that the fictions and proposals generated from the networks that produce the most fiction present a certain disorientation regarding the direction of the audience.
In contrast, it is interesting to tell the case of a fiction that has jumped, this year, from the video on demand platforms to the television screen. This inverse passage is interesting since its broadcast on the televi- sion screen revived its views on YouTube and fed back the com- ments that are enabled there. Highlights of the year In strategies are defined to maintain the audience of fic- tions in open television. With this objective, a large part of the pro- gramming and the audience turn to the narrations linked to the clas- sical melodramatic matrix.
In this context, the Turkish telenovelas, the Brazilian productions from Record and the Mexican produc- tions from Televisa cover most of the programming hours, and in the first two cases they call the largest audiences. Faced with this difficult scenario, national producers and open television networks propose different strategies. The first did not issue any because it was focused on entertainment and information, away from fiction.
The second, although occupying big part of its time with fiction of Mexican origin, barely aired, in a marginal hour, a national minise- ries produced by state development fund. Despite the production effort made, the telenovela did not exceed the low levels of audience that the state network has. However, in there was a renewal in the offer. The two daily programs drama Las Estrellas and comedy Quiero Vivir a tu Lado were produced exclusively by Pol-ka, as has been happening in recent years.
The two weekly series El maestro and La Fragilidad de los Cuerpos were co-produced with international network TNT, being broadcast simultaneously by the cable signal at a different time. The four fictions were shown during prime time with unequal luck. While telenovela Las Estrellas was the most watched national production program, comedy Quiero Vivir a tu Lado did not meet previous expectations and was sus- pended earlier than planned.
Series El Maestro, interpreted by Julio Chavez the usual protagonist of this type of Pol-ka programs , did not reach the top ten of the national productions, but miniseries La Fragilidad de los Cuerpos had a greater impact, although limited within the low audience levels of Argentine fiction. Within the pro- gramming of El Trece there is a fall of comedy until a few years ago, the most popular fiction genre and a greater interest in minise- ries than in traditional series.
The greatest fortune can be attributed to programs that, while preserving generic conventions love with difficulties, problems of identity , introduce renewed themes such as crossed couples, homosexual love, new views on motherhood or child exploitation. Also it produced telenovela ADDA. The failure of Fanny, la fan expresses the fall of the interest for the local comedy and the success of the most conservative variants of the telenovela linked to its clas- sic matrix.
The exception is series Un Gallo para Esculapio, which, with a view to a wider international audience, places its story in environments of marginality and poverty where cockfighting intro- duces a new content for the stories of Argentine television. In turn, telenovela ADDA. Focused on an exchange of couples, with lost and recovered identities, it renews the classic themes of telenovelas.
In general, it is possible to consider some common strategies in the main national productions, such as the tendency of formats reduction, approaching new themes maintaining the classical melo- dramatic narratives, and the abandonment of comedy. TV fiction on video on demand platforms Two elements are fundamental to understand the panorama of fiction on video on demand VoD platforms. On the one hand, there is the concentration of companies that offer internet, telephony and television services, facilitated by the regulations promoted by the government since December During , this process is con- creted with the purchase of Telefe by Viacom, defining a project from a multiscreen perspective, where internet platforms appear as a fundamental axis.
At the same time, El Trece directs part of its fiction production by partnering with international cable networks and platforms. On the other hand, with the passing of the years, the fall in the rating of fictions broadcast by open television and the increase in the consumption of audiovisual stories through streaming on demand are verified simultaneously.
This platform had a slow start, but, according to data collected in the New Media Essentials report, from Business Bureau Consultancy, by August it had reached , unique sub- scribers, leading the video on demand segment. It was followed by: Despite these advances, the prophecies about the end of television are not yet fulfilled. A survey conducted by Eugenia Mitchelstein and Pablo Boczkowski define the three main cultural con- sumptions: The same survey shows a lower prevalence of television in the sectors of greater purchasing power. While the trend of commercial production is oriented towards the stories for VoD, the serial narrative of the internet does not orig- inate either in the networks or in the producers of open TV.
The first webseries made in Argentina started experimentally. This is how some producers were born, interspersing their work in webseries with advertisements, short films and video clips such as Tangram, Dontask, Macaco Films or Soleado Films. These bets served to rehearse formal aspects and a narrative that manages a rhythm and duration of its own. Thus, producer Pol-ka launched in the first fiction for the web, Igual te Quiero, which extended to one of the stories addressed in television fiction Esperanza Mia, broadcast by El Trece that same year. In , Tele- fe released Primera Cita, a specific content for the internet.
In addition, it distributed the six- episode web miniseries Secretarias. In relation to the financing of VoD fictions, the business model is diffuse and is in the process of being transformed. In principle, state promotion played a key role. The Opera- tive Plan for the Support and Promotion of Digital Audiovisual Con- tent for TV carried out 43 contests and distributed subsidies, of which productions series, animations, short films and docu- mentaries were equivalent to 1, hours of content.
Some of them were programmed by private channels from the City of Buenos Ai- res and the countryside and by public channels, while others were not broadcast on television. Most of the productions were hosted at the Audiovisual Bank of Argentine Universal Content Bacua , a repository that distributed 12 thousand hours of programming to 74 public and private channels from all over the country. However, this VoD plat- form has been offline since October , so that fictions produced through state promotion are not available for public access.
As an alternative, public platform Cine. However, at present, it does not include public promotion series in its catalog and it maintains an offer that highlights the hits of private television, also giving the pay-per-view possibility for na- tional film premieres. From the point of view of government policy regulation, guid- ance has not yet defined a strategy for State intervention, except concerning the tax regime.
Following this posi- tion, in the Ministry of Communications prepares a prelimi- nary draft resolution that maintains that the provision of OTT ser- vices does not require a license, authorization, permit or registration of any kind. Silvana Giudici, coordinator of the drafting commis- sion for the new Communications Law and director of the National Communications Agency, believes that OTT should be considered in future regulation. In this sense, it takes into account the need to promote and protect national audiovisual contents. The initiative was approved by the Culture Committee of the Chamber of Deputies and awaits its treatment.
So far, the bulk of national webseries has been developed out- side of television production. There are few transmedia narratives that articulately use social networks and open or cable television. In this sense, it is worth highlighting UN3TV experience. At the same time, the project develops a web platform through which all its streaming programs can be accessed freely. Most of the contents that are hosted on UN3TV and circulate on television are fiction and non-fiction webseries, for whose production the university provides resources to independent producers, who develop content with an aesthetic proposal and a novel narrative that points to ways of consumption characteristic of social networks.
They present a linear narrative structure, without the capacity for expansion or modification of the universes through the intervention of the specta- tors. Each chapter does not run for more than ten minutes, the plot is developed from few characters and in few locations. However, other programs have a strong link with forms of audiovisual narra- tion of the web: Some fictions focus on personalities from the web. For its part, the pro- grams of director Esteban Menis Un Mundo Horrendo and Dilemas Existenciales present a proposal halfway between docu-reality and fiction, whose themes and humor can be perceived as extensions of the content that the protagonist generates on Instagram.
These are mixed with comic sketches, docu-reality, webseries and stand-up. The content of the stories, the tone and the protagonists of UN3TV expand the narrative universe of social networks and generate new forms that express the convergence between platforms and new me- dia. Redes sociales, nuevas audiencias y convergencia: San Salvador de Jujuy: Editorial de la Universidad Nacional de Jujuy.
Smartphone, el aire que respiro. Las series web argentinas crean nuevos lenguajes y se mul- tiplican. Nuevos medios, nuevos formatos y transtextualidad en las narrativas audiovisuales: Universidad Na- cional del Litoral. Investments in the areas of cre- ation, production, distribution, and marketing have led to a rapid and growing presence of fictional products and formats in differ- ent channels, whether in open or pay television, digital channels, streaming and mobile devices.
We exemplify with the pro- duction of a series that premieres on Globo Play with a start allocation in out-of-network or post-network channel with all the episodes of the first season, which allows watching it in a marathon or at the time the user wants to. After a while, we check its reallocation in a nar- rowcasting network — Mais Globosat — a paid channel, already with a time slot and some advertising breaks.
Editorial Reviews. About the Author. New York Times and USA Today bestselling author Traición dorada: Subastas de seducción (6) (Miniserie Deseo) (Spanish Edition) - Kindle edition by Barbara Dunlop. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking. Traición dorada: Subastas de seducción (6) (Miniserie Deseo) and millions of Betrayal) (Harlequin Deseo\A Golden Betrayal) (Spanish Edition) (Spanish).
Soon after, the same series has 1 Obitel Brazil team thanks Kantar Ibope Media, whose information, kindly provided, made it possible to carry out the analyses presented here. Open TV in Brazil The Brazilian television system started being composed of sev- en national networks, with the entry, in , of a public station, TV Cultura. Thus, there are five private and two public broadcasters.
Obitel Brazil Graph 1. Globo is still leading, with an increase of 0. Band, in the third position, had a decrease from 1. There was a decrease in the audi- ence of RedeTV! Even with a loss of 2. It is not possible to compare the index to that of the open channels since it reflects the sum of the audiences of the pay TV broadcasters.
As for the other broadcasters, the share on TLE remained stable fluctuations below one percentage point. The penetration of the audience in the year decreased in all means5, except for the internet. In third place, we have the internet, which, with an increase of 3. Next, in order, radio, pay TV, cinema and magazines, which started occupying the last position. Internet was the only means with an increase, going from While information and entertainment grew more than 3 points each, fiction remained stable.
The other genres had small oscillations from one point up religious or down sport. Audience trends over the year Telenovelas were the highlight of the audience in Two productions of 9 PM set records. The daily average went from 5h57min in to 6h04min in , an increase observed mainly between the ages of 18 and 24 years an increase of 6.
In a brilliant way, Pescetti does not only make his readers laugh out loud; he also manages to disturb them and make them think. His animals, landscapes, and objects with strangely distorted proportions add a unique, expressive, sometimes even mysterious note to the fables. This time, unlike previous years monitored by Obitel, the first place in the audience of the top ten was also the first in terms of transmedia reception. Please send all requests through my agent. For the present yearbook, several TV shows were monitored, shows from open channels — both private and public — with national reach, in 11 out of the 12 countries that form the geocultural scope of the Observatory. Thus, the account has allowed a continuity between the three seasons, broadcast at non-consecutive periods, added new layers to the television narrative and tried new forms of advertising.
We have noticed a significant increase in investments in out-of-home OOH media and digital formats. The first one advertisements in com- mercial buildings, street clocks, subways, etc. These include advertisements on internet websites display and search engines such as Google search. In the open TV, the main advertisers were, in order: An example is the scene in which a char- acter discovers that his driver is a cross-dresser in a lingerie show.
In the same telenovela, there was merchandising crossover, unprec- edented until then9: The theme of transgender people has mobilized public opinion in media and social networks. Treated with sensitivity, it followed the transformation of the pro- tagonist Ivana into Ivan. Its relevance lies in having addressed the issue within gender policies, illuminating its complexity.
Communication policies Started in , the analog TV signal shutdown has already occurred in most of the country. The switch off10, which in some operators lasted up to five months, has caused these channels to lose their audience. The termination of the analog shutdown is scheduled to the end of Mobile de- 9 Cf. TV Brasil still had an increase in the importation of titles from Portu- guese-speaking countries. Pay TV After the golden years of pay TV in Brazil , we see a sequence of subscriber decreases — currently, The decrease in pay TV penetration was not reflected in the audience since the subscriber spent more time on content: Brazil is the eighth pay TV market in the world — paid channels are watched daily by There was also the second season of the most watched national series of , Um Contra Todos Fox , presenting political and cor- 15 In , they were Independent production companies Independent productions have been progressively increasing their performance along the open channels, and this year we had nine co-productions.
Globo co-produced three miniseries: Production company Casablanca and Record made five fictions in Merging in- formation and dramaturgy, in four episodes it dealt with the history of Brazil, since the coming of the Portuguese Court until the Procla- mation of the Republic. Told in chapters, such as telenovelas, the term seems to want to create a niche audience, with more adult themes and scenes with violence and sexuality. A Cara do Pai series — 1st season 2. A Gata telenovela — Mexico 4. A Lei do Amor telenovela ico 6.
Aldo — Mais Forte que o Mundo mini- 3. O que a Vida me Roubou telenovela series — Mexico 7. Cidade dos Homens miniseries 4. Querida Inimiga telenovela — Mexico 8. Cidade Proibida series 5. Sou Luna telenovela — Argentina — 1st 9. Sou Luna telenovela — Argentina — 2nd Malasartes miniseries season Um Caminho para o Destino telenove- soap opera — 24th season la — Mexico TV Brasil — 3 imported titles Mister Brau serie — 3rd season 8. A Casa docudrama — Portugal Novo Mundo telenovela 9. O Dia em que as Cartas Pararam tele- Os Dias Eram Assim telenovela 19 O Tempo Entre Costuras series — Pega telenovela Spain Sol Nascente telenovela Tempo de Amar telenovela Record TV — 7 reruns Vade Retro series 1.
A Escrava Isaura telenovela 2. Amor e Intrigas telenovela Record TV — 6 national titles 3. Bicho do Mato telenovela A Terra Prometida telenovela 4. Milagres de Jesus miniseries Os Dez Mandamentos telenovela Vidas em Jogo telenovela Sem Volta series TV Brasil — 7 reruns 8. A Grande Viagem series Ernesto, o Exterminador de Seres Cheias de Charme telenovela Gonzaga — De Pai pra Filho minise- Rarefeito series ries Terradois others — 1st season Senhora do Destino telenovela A Usurpadora telenovela — Mexico Carinha de Anjo telenovela Rubi telenovela — Mexico ma This increase was due to the titles showed on public TV stations: We also observed a record in the number of imported fictions see Table 2 and reruns.
It seems logical that, in a year marked by the economic crisis, broadcasters have resorted to their archives to maintain the programming grid. As in , Globo, besides the reruns of telenovelas in the evening Vale a Pena Ver de Novo, broad- cast other productions again during the night period; Record and SBT consolidated the rerun of telenovelas in their afternoons, while TV Brasil resorted to excessive reruns of series and miniseries. On the other hand, the number of hours presented a slight decrease of 0.
This was due to two factors: SBT, the broadcaster that most imports titles, re- duced the schedules aimed at Mexican telenovelas in its afternoons from three to two, dedicating one of them to reruns; TV Brasil has favored short seriality formats. Recent years have revealed changes in the habits of viewers, who are increasingly watching the night range — dawns have shown a higher average audience than in the morning. Facing this scenario, we consider it appropriate, as of this year, to adjust the prime time period, marking it from 7: If in Ibero-American fictions, although they remain con- centrated in the afternoon, also appeared in prime time, this year they appear in all the time slots.
During the night period, two Por- tuguese fictions were shown on TV Brasil. Obitel Brazil Table 4. However, as in that year — in which telefims commemorating the 50 years of Globo were broad- cast —, also in there was an atypical factor: Obitel Brazil The adjustment in prime time made the slot return to concen- trating the largest number of national titles. On the other hand, the number of telenovelas recorded the lowest percentage in prime time since the beginning of Obitel monitoring, in , while the series reached a record — summed, short seriality formats represent The night period, despite having registered a decrease in the number of titles, is still the one that presents greater diversification of formats.
Obitel Brazil Although the primacy of present-day fictions remains the same, the sum of the percentages of titles set in the past period and histori- cal — In the midst of the troubled Brazilian socio-political scenario, the past, in the case of Novo Mundo, interested not only as an allegory but as a reflection on the historical process of the coun- try, bringing the people to the centrality of remarkable events such as the Proclamation of the Independence. The period titles are: In addition, the last time all the top three places in the table recorded indexes above 30 points was in The share of the most watched title, however, decreases yearly since This scenario proves the indisputable centrality of television, but it also highlights the increase of new options to watch.
Kantar Ibope Media — Media Workstation — Metropolitan Regions TR Premium Obitel Brazil We observe the preference of the female audience for the ro- mances exhibited at 6 PM, while the male audience registers ex- pressive percentages in the adapted fictions of movies shown in the cinema, mainly in drama Aldo — Mais Forte que o Mundo, based on the life of an MMA fighter.
DE class again reaches its apex in the genres of romance and comedy. Transmedia reception The actions of broadcasters to accompany their audiences on multi-platforms in were of different orders. The main concern of open TV is to observe the business model of SVoD companies such as Netflix , especially the offer of products for continuous and immersive watching, without intervals binge watching. Each digital book has links to videos that are up to one minute long to be seen with Kindle application.
This project is an example of what authors like Ryan and Scolari point out as the use of various types of media to create experiences that cannot be achieved with just one means. An example of a project involving TV companies and social networks was the first Twitter live transmission in partnership with Record to show the final of reality show Dancing Brasil. The project was developed by agency iProspect and it represents another possi- bility of interaction and audience participation on multiple screens. The clip fea- tured a mix between comic animation and scenes of the series.
In addition to the success of the audience, the social and controversial character of the topics covered in the plot contributed to content spreading. The data from Kantar Ibope Media indicate that this was the most successful television fiction on Twitter in , recording more than million impressions through 6 mil- lion tweets, as we can see in the Graph 3.
Titles with the most impact on Twitter in Source: Google Trends The most talked about characters on Twitter were those who fomented the discussion of social issues, such as gender identity in the case of transgender people Ivana, who, throughout history, became Ivan , the lifestyle known as mermaidism Rita and the role of women in drug trafficking in Brazil Bibi Perigosa. The analysis of a small random sample of ten videos29 available on the platform, indexed with the 27 Cf.
Is the issue handled appropriately? The exposure of a controversial subject on open TV is understood positively by the majority. The second issue has generated more debate, especially regarding hor- monal manipulation and the choice of the actress since some you- tubers consider that the selection of a trans actor would be more appropriate.
We thus notice that several factors contributed to the discussion of telenovela subjects in the networks. This time, unlike previous years monitored by Obitel, the first place in the audience of the top ten was also the first in terms of transmedia reception. Before, only Porto dos Milagres Globo, was located mainly outside the big capitals. One of the indicators is the sequence of 9 PM plots outside the traditional region.
If we cannot yet confirm a trend, we emphasize a higher fre- quency of stories with regional content. The last chapter reached 50 points31, the highest average since Avenida Brasil Globo, , whose final scored 56 points. The audience followed his transition since he found himself being a trans man, surrounded by prejudices and family repulsion.
Self- acceptance, love and sexual relations, struggle for the social name, and the unprecedented transgender pregnancy were a true socio- educational action. Decrease of biblical telenovelas? In , there was a reduction of audience of the biblical tele- novelas. Os Dez Mandamentos Record, was the first of these productions and it had a successful audience. Due to these factors, it is still difficult to say whether the de- crease in the audience was a momentary consequence or if we ob- served a depletion of the genre.
The monitoring will tell us that in the coming years. In , with Rocky Story and Pega Pega, it was no different. Merging romantic comedy with the music scene, Rocky Story focused on the story of a decadent musician attempting to return to the spotlight and a girl cheated and accused of international drug trafficking. The production was based on a record label and it dis- cussed current issues, such as the nudes leak on the internet.
Its successor was police comedy Pega Pega, which dealt with ethical conflicts regarding crime and punishment. One of the cores was a popular class black family, whose eldest son disap- peared as a child — and soon we know he had been adopted by a rich white woman and raised in Switzerland. This is a reality of non-linear network connections, with ratings not yet established, where actors and service modalities may belong to one or more segments and new arrangements.
In Brazil, the diffusion of these technologies falls within frame- works that, stable for many years, have also been reconfigured by communication policies. Historically, pay TV and open TV had a development imbricated to infrastructural issues, which was reflect- ed in the production and distribution of television fiction. The Pay TV Law changed this scenario by requiring the production and exhibition of Brazilian content on paid channels. At the beginning of , Ancine, the Brazilian cinema and audiovisual regulator, started the process to regulate34 VoD services in the country, but there are still divergences of representatives of pay TV companies, teles, collectors and other stakeholders regard- ing the model and deadlines to be adopted.
We are facing structural changes in the audiovisual field where television fiction circulates, amidst market pressures, demands for content, new production models, and a series of distribution possi- bilities. Next, we present an overview of VoD in the country, seeking to identify the reconfigurations of the Brazilian television scenario based on the analysis of open TV, YouTube, pay TV and Netflix. The dialogue between open TV and new platforms of produc- tion, sharing and consumption of videos started intensifying when Globo and Record36 entered YouTube, in and respective- ly.
The high productive capacity of the broadcaster al- lows it to dialogue with VoD more broadly than other channels. The presence of amateur channels with TV content on YouTube is relevant and it raises comments and discussions. Of the titles broadcast in , we noticed that all the works were broadcast by some ama- teur channel. Not without a cause, the platform has become a debate environment that will certainly deserve a closer look in the next few years, especially when it comes to its dialogue with television.
Therefore, two models coexist: The complexity of the environment, however, goes beyond these notions: Thus, the television fiction distribution configurations change: Distributed worldwide, it was the most watched non-English language series in the United States. There are also two other Brazilian productions in progress. In this sense, it is important to remember that, in some countries, there is a mandatory quota of national content in VoD, issue still being studied in Brazil. In open TV, the increase in actions that encourage audience participation in the web universe and the multiplication of screens are important factors Mendes and Amaral, Regard- ing pay TV, the sector extends the bet on VoD without, however, giv- ing up the traditional means.
In relation to Netflix, there is a strategy to stimulate the development of local productions. These reconfigurations also come into conflict with the strength of the telenovela, which remains a paradigm for other formats, both in terms of narrative parameters and production logic. The Pay TV Law, on the other hand, extended the performance of independent producers in order to create narratives of short seri- ality, affecting the labor market and business possibilities.
There is also experimentation with new production models, typical of North 44 Cf. However, a greater distance is needed to see how these dy- namics will act in terms of industrial formats and cultural matrices. In a continuous expansion, studies and research on television fiction are faced with issues that involve paradigm adjustments. The ques- tion of what we consider television — in television itself and in other environments — tends to be one of the most problematic issues.
Tese de doutorado, Universidade de Coimbra, Coimbra, Portugal. The Politics of World Communication. Contracampo, 26 1 , Telenovela como recurso comunicativo. Linguagem e Cultura, 2, The rating per household is falling and that of cable television not only stopped its ten-year growing period, but slightly decreased. Regarding the offer, last year there was a drop in the Ibero- American titles, shown by the reduction to a half of the hours of exhibition of regional fiction.
Although the Turkish telenovelas no longer have the success they had when they began to be broadcast in , what matters nowadays is their volume of titles. In any case, despite the changes, telenovela continues to be the fiction format with the greatest presence on television.
There is an audience and an au- diovisual consumption, but which platform they use is still unclear. In this chapter, we hope to give clues to find that lost audience. Open TV in Chile Chart 1. Obitel Chile The year was the period in which the university television model, established 60 years ago in Chile, came to an end. The Cath- olic University of Chile sold its share in Canal 13 to Luksic group, thus putting an end to both the only participation left of an academic entity in television and to the last link of the Catholic Church in a mass media.
Kantar Ibope Media Chile There is not a significant change in the overall audience results from to As we will see later, the various programming strategies of Canal 13 point to a search for differentiation and an audience rise.
Kantar Ibope Media Chile — Obitel Chile The fiction and the informative content decidedly dominate the offer of contents in open television. In the case of fiction, compared to the previous year, the exhibition time fell almost 5 points, leaving it just under 3 thousand hours in This remaining time was divided into informative content, entertainment, service programs and oth- ers, all of which went up in Audience trends over the year Despite the diversification of the platforms through which tele- vision content can be accessed, television continues to be the pre- ferred medium in front of which people gather to share.
According to figures from the Chilean Association of Advertising Agencies, in advertising invest- ment in Chile represented 0. This affects the whole sector, but in the case of open television, the situation is aggravated because, in addition, there is a reduction of its participation in these numbers. Merchandising and social merchandising The use of fiction as a deliberate instrument to promote social causes is rare in Chile — a big contrast with countries such as Brazil or Mexico, with a strong tradition in this area. However, in a production, La Colombiana, broke the mold completely.
In the last decade, the phenomenon of immigration has gained relevance and visibility in Chile: Each one has a very different nature. As in other countries, the migratory wave has been rejected by some sectors of the population, and there is a surge of xenophobic expressions. TVN, the public channel, saw the phenomenon as an opportu- nity. Although it was not a great audience success, it fulfilled its objective of giving visibility to the subject through deeply relatable characters.
The embassies of Peru and Colombia made an explicit acknowledgment of the contribution that this production represent- ed. La Colombiana had a spin off through the webseries James Style, a Colombian hairdresser with a secondary role in the tele- novela that became very popular. Communication policies Although it has not had a major media impact at the national level, the implementation of digital terrestrial TV has continued within the framework of Law n. The deadline to end the analog transmissions of free reception television is set for April For those border areas with scarce popu- lation and difficult access to the territory — localities —, the State has already implemented an alternative solution to terrestrial trans- mission: The pilot plan began in northern Chile, with over a hundred households.
Likewise, the government opened public tenders for the new digital concessions of frequencies available throughout Chile; applications were submitted. This process is carried out by the National Television Council and its results are expected in early In September , the percentage of growth compared to the last 12 months was negative, with a variation of 0.
The positions of mobile telephone companies have remained the same as last year, although the relative share of each one has changed: The growth in the use of 4G technology and access to the inter- net via mobile telephony needs to be highlighted due to its potential of accessing audiovisual content wirelessly. In September , the penetration of this technology was of It should be noted that, during the last year, mobile companies offered flat rate subscription plans to access certain audiovisual contents, although with a limit on monthly data traffic.
This commercial strategy could be one of the reasons for the constant increase in the use of mobile internet. The imminence of bankruptcy urged the Congress to approve a capitalization plan that had been postponed: On the other hand, the children-cultural channel project seems stagnated and there has been no political will to push it. Pay TV Until September , the penetration of pay television has had a slow but steady growth. Compared to the previous year, the total variation was 7.
The official figures given by the Chilean Undersecretary of Telecommunications indicate that the total number of subscribers of pay TV was 3,, in the last quarter of After three years in which the number of subscribers of direct-to-home satellite tele- vision exceeded the cable subscriptions, in , the difference be- tween both platforms was a little more than 15 thousand subscribers. As for the audience, there has been a general stagnation, and, even in general terms, pay television has dropped for the second year in a row.
There have also been no changes regarding the exhi- bition of national television fiction. It was a textbook marriage of convenience: But the elaborate game of make-believe soon became more intoxicating than either of them expected. Could a marriage built on a lie withstand the test of true passion? Three classic Texas Cattleman's Club: The battle of the sexes rages on, but a very intimate ceasefire is in store for the most eligible bachelors in Royal, Texas… One Night, Two Heirs by Maureen Child Upon seeing Sadie Price with twin girls, marine Rick Pruitt realizes he's a father and has some proposing to do.
Yet the feisty single mom has no intention of agreeing to a loveless marriage. Now Rick's new mission is to change her mind… The Rebel Tycoon Returns by Katherine Garbera When self-made millionaire Christopher Richardson returns to Royal and comes face-to-face with Macy Reynolds, his renewed interest in her is flattering. He left town years before the accident that had changed her life—and her appearance.
But does Christopher truly want her…or does he have a secret agenda? And on one very special night, he gives in to this brand-new temptation… And be sure to pick up Texas Cattleman's Club: