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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.
Theme of the year: 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: Cine. Despite these advances, the prophecies about the end of television are not yet fulfilled. 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: videoblogs, youtubers or influencers. 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.
References Baladron, M. Revista Fibra Labate and C. Arrueta coord. Mitchelstein, E. Smartphone, el aire que respiro. Re- vista Anfibia. Las series web argentinas crean nuevos lenguajes y se mul- tiplican.
Tiempo Argentino. Nuevos medios, nuevos formatos y transtextualidad en las narrativas audiovisuales: ficciones seriadas en UN3TV. Santa Fe: 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.
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.
Only RedeTV! Brazil: dynamics of television fiction in the multichannel transition The national audience for open TV grew compared to , from 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 Source: Kantar Ibope Media. 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.
Accessed in: Mar. Brazil: dynamics of television fiction in the multichannel transition The Brazilian time in front of the TV has been growing since 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. Advertising investments: in TV and in fiction Advertising investment in television in grew again, after a slight decrease in 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: commerce; personal hygiene, and beauty; pharmaceutical; financial and security; public and social administration. Acesso em: mar. 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: two characters shopped at the hotel shop of the 7 PM plot, Pega Pega. 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. Brazil: dynamics of television fiction in the multichannel transition vices are the main source of access — mobile phones are present in TV Brasil still had an increase in the importation of titles from Portu- guese-speaking countries.
Accessed in: Feb. Pay TV After the golden years of pay TV in Brazil , we see a sequence of subscriber decreases — currently, The second: increasing competition of digital services OTT such as Netflix. The decrease in pay TV penetration was not reflected in the audience since the subscriber spent more time on content: it was 3h19min a day in the first five months of versus 3h16min a day in 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 Acesso em: fev.
Brazil: dynamics of television fiction in the multichannel transition ruption issues. Independent production companies Independent productions have been progressively increasing their performance along the open channels, and this year we had nine co-productions.
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 Brazil: dynamics of television fiction in the multichannel transition 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 Apocalipse telenovela 5. Os Dez Mandamentos telenovela Belaventura telenovela 6. Vidas em Jogo telenovela Sem Volta series TV Brasil — 7 reruns 8. A Grande Viagem series Ernesto, o Exterminador de Seres Rarefeito series Celebridade telenovela 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 Chiquititas telenovela Rubi telenovela — Mexico ma 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. Brazil: dynamics of television fiction in the multichannel transition In the year, Brazil has observed a diversification in the origin of the Ibero-American fictions not seen since four countries of the Obitel scope aired. 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 PM to 11 PM. 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.
However, as in that year — in which telefims commemorating the 50 years of Globo were broad- cast —, also in there was an atypical factor: the titles broadcast on public TV stations from government policies encouraging the audiovisual. 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.
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. Brazil: dynamics of television fiction in the multichannel transition Table 7. The ten most watched titles: origin, rating, share Coun- N.
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.
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.
Graph 3. Brazil: dynamics of television fiction in the multichannel transition Brasil Globo, The analysis of a small random sample of ten videos29 available on the platform, indexed with the 27 Cf.
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