scholarly journals Taxonomía de las series de televisión españolas en la era digital (2000-2020)

Author(s):  
Javier Mateos-Pérez ◽  
Rebeca Sirera-Blanco

This article analyzes all fiction series and miniseries produced and broadcasted in Spain on linear and digital television channels as well as video-on-demand platforms in the period 2000–2020. The aim is to collect, quantify, classify, and characterize Spanish-produced television series. A methodology with a mixed, quantitative–qualitative design is proposed to quantify, classify, and categorize the 545 identified fictional works. The resulting database includes fields for the year of first broadcast, format, genre, platform, channel, number of episodes and seasons, duration, and rating. This taxonomy is the first to present a complete characterization of all fictional series produced and broadcasted in Spain during the digital era. Based on the results, three periods can be distinguished: the development of the series, the economic crisis of 2008, and the arrival of video-on-demand platforms in Spain. It is concluded that comedies have been overwhelmed by other major genres, such as dramas or police series. Television series are adapting to the new society that consumes them, portraying its social debates, fears, and aspirations through new themes while also reducing their length, mixing some genres with others, and with an increasing presence and prominence of female characters to the detriment of men. Resumen Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
María-del-Rosario Fernández-Falero

The challenge of the electronic commerce for the new century is going to be the step to the digital television, so that we go away to having to adapt at the rate of a television been founded on the diffusion, to a set of services of digital video based on the access. Of this form, the spectator of television is going to meet the possibility of interacting with the way, which supposes a change in the industry of the broadcast, so then though till now they were the distribution companies of information and entertainment the only ones with possibilities of controlling such events, the possibility of interaction the way on the part of the spectators of the digital television it will allow them intervening in the diffusion of information, which supposes a significant change for the hearing of the television. The companies must elaborate contents directed a users who are going to have access to will: it is necessary to offer them what want, when they want - this is VOD (video on demand) - Then the digital television not only is going to modify the way of doing television, but also the way of seeing television. The electronic market is guaranteeing positions in the commercial Spanish panorama, growth that becomes clear in the increase so much of the number of users as of the volume of business, of the number of economic operations by Internet and of the number of web pages of companies dedicated to the trade across the Net. This positive evolution of the market shows how a way technologically so new as it is Internet, has allowed that in only 15 years it could speak about a historical evolution of the same one. This makes foresee that the step and evolution of the electronic market from Internet to the digital television could have a similar evolution in acceptance and consolidation. Finally, the future of the electronic commerce not only is subject to the appearance of new commercial models, but also to the technology; this way, the following step, technologically speaking, it is that of the digital television, which interactive and to allow to the user a use similar to that of Internet, does to the being that the challenge of the electronic trade is to go on to this way and to evolve in agreement with the characteristics of the same one. The first problem to which one is going to face this market is that of the user's change: in Spain the Internet user (according to the AECE, Spanish Association of Electronic Trade) is for the most part a male, with an age understood between 25 and 34 years; the television, nevertheless, is a very spread way and within reach of all, which will suppose a change both in the content and in the way of presenting the information (definitively, the product that is wanted to sell). El reto del comercio electrónico para el nuevo siglo va a ser el paso a la televisión digital, de manera que nos vamos a tener que adaptar al cambio de una televisión fundada en la difusión, a un conjunto de servicios de video digital basados en el acceso. De esta forma, el espectador de televisión se va a encontrar con la posibilidad de interactuar con el medio, lo que supone un cambio en la industria de la teledifusión, pues si bien hasta ahora eran las empresas distribuidoras de información y entretenimiento las únicas con posibilidades de controlar tales eventos, la posibilidad de interacción con el medio por parte de los espectadores de la televisión digital permitirá a estos intervenir en la difusión de información, lo que supone un cambio significativo para la audiencia de la televisión. Las empresas deben elaborar contenidos dirigidos a un usuario que va a tener acceso a voluntad: hay que ofrecerle lo que quiera, cuando quiera -es decir VOD (video on demand)- Luego la televisión digital no sólo va a modificar la forma de hacer televisión, sino también la forma de ver televisión. El mercado electrónico está afianzando posiciones en el panorama comercial español, crecimiento que se hace patente en el aumento tanto del número de usuarios como del volumen de negocio, del número de operaciones económicas por Internet y del número de páginas web de empresas dedicadas al comercio a través de la Red. Esta evolución positiva del mercado muestra cómo un medio tecnológicamente tan joven como es Internet, ha permitido que en apenas 15 años se pueda hablar de una evolución histórica del mismo. Esto hace prever que el paso y evolución del mercado electrónico desde Internet a la televisión digital pueda tener una evolución parecida en aceptación y consolidación. Finalmente, el futuro del comercio electrónico no sólo está sujeto a la aparición de nuevos modelos comerciales, sino también a la tecnología; así, el siguiente paso, tecnológicamente hablando, es el de la televisión digital, la cual por ser interactiva y permitir al usuario un uso parecido al de Internet, hace que el reto del comercio electrónico sea pasar a este medio y evolucionar de acuerdo con las características del mismo. Uno de los primeros problemas a los que se va a enfrentar este mercado es el del cambio de usuario: en España el usuario de Internet (según la AECE, Asociación Española de Comercio Electrónico)es mayoritariamente varón, con una edad comprendida entre 25 y 34 años; la televisión, sin embargo, es un medio muy difundido y al alcance de todos, lo que supondrá un cambio tanto en el contenido como en la forma de presentar la información (en definitiva, el producto que se desea vender).


2021 ◽  
Vol 3 (5) ◽  
pp. 3230-3240
Author(s):  
Aline Diniz De Oliveira ◽  
Joaquim Pires De Oliveira ◽  
Kayllah Cunha Dos Santos ◽  
Stéphany Moraes Martins ◽  
Umbelina Macedo Dos Santos Filha

Soluções baseadas em redes de comunicação podem ser aplicadas nas mais diversas áreas, tais como a Televisão Digital e comunicação entre dispositivos móveis. O presente artigo se propõe a descrever os estudos e experimentos realizados no desenvolvimento de um servidor IPTV na Faculdade Católica do Tocantins (FACTO) para distribuir conteúdo institucional na Internet, utilizando um servidor Video on Demand (VoD) e uma página web como meio de acesso ao streaming de vídeo disponibilizados pelo servidor.   Solutions based on communication networks can be applied in the most diverse areas, such as Digital Television and communication between mobile devices. This paper proposes to describe the studies and experiments carried out in the development of an IPTV server at Faculdade Católica do Tocantins (FACTO) to distribute institutional content on the Internet, using a Video on Demand (VoD) server and a web page as a means to access the video streaming made available by the server.


Author(s):  
Álvaro J. Rojas-Lamorena ◽  
Salvador del Barrio-García ◽  
Juan Miguel Alcántara-Pilar

The undeniable development of the television series sector in recent years has resulted in viewers having access to a large amount of television content, thanks largely to the development of technologies such as the internet and the emergence of video on demand. Given the scarcity of academic works that categorise these television contents, this chapter comes to conceptually delimit the television drama genre, as well as its different sub-genres. With this, the authors seek to centralise in a single academic work the main characteristics of each dramatic sub-genre that causes a series to be ascribed to a certain category, serving as a guide for potential academic works related to this growing sector.


2020 ◽  
Vol 8 (3) ◽  
pp. 313-319 ◽  
Author(s):  
Ece Vitrinel

Thanks to a growing television drama industry with notable success beyond its borders, domestic television series have, since the 2000s, become the dominant programme category on broadcast and cable television in Turkey. This article considers the presence of Anglo-Saxon TV series in an audio-visual landscape characterized by a widespread taste for local content. Briefly describing the differences between Turkish and foreign series in terms of format and appeal to audiences, it argues that English-language series may play a more decisive role than local content in the success of video on demand (VOD) platforms, which have been launched relatively late in the country.


Author(s):  
Hanne Bruun

This article presents results from a production study on how the on-air schedule is changing in the digital era at the Danish public service broadcaster, TV 2. TV 2’s multichannel and increasingly non-linear television portfolio has a profound impact on the production practices involved in order to meet the public service obligations. The analysis shows that the producers develop new ways to secure an audience of scale under these conditions. So far three lessons are learned: First, the workflow of promoting content and the demands on the qualities of the promotional material have changed. Second, an understanding of the interplay between flow and subscribtion-video-on-demand (SVOD) scheduling is emerging. And third, a renewed focus is put on branding the viewer–provider relationship. The article concludes that the production of on-air scheduling makes the contours of what can be termed ‘a third television paradigm’ visible in which a distinction between linear and non-linear television does not apply.


2013 ◽  
Vol 694-697 ◽  
pp. 2313-2316
Author(s):  
Xiang Jun Li ◽  
Qiao Zheng Ma ◽  
Xiao Fei Zhang

The wide application of audio and video technology is becoming more and more popular, involving the development of audio and video players, video conference, digital television, video on demand software, etc. This paper first studies and analyzes the structures of audio and video systems; then according to the analytical results, this paper expands the audio-video system by transplanting the FFmpeg framework, enabling it to support the parsing and decoding of a variety of audio and video formats. At last, this paper proposes the player development scheme by adopting the expanded audio-video system.


Author(s):  
Hun-Hui Hsu ◽  
Yi-Chun Liao ◽  
Yi-Jen Liu ◽  
Timothy K. Shih

Lecture-on-Demand (LOD) multimedia presentation technologies among the network are most often used in many communication services. Examples of those applications include video-on-demand, interactive TV and the communication tools on a distance-learning system, and so on. We describe how to present different multimedia objects on a Web-based presentation system. Using characterization of extended media-streaming technologies, we developed a comprehensive system for advanced multimedia content production: support for recording the presentation, retrieving the content, summarizing the presentation, and customizing the presentation. This approach significantly impacts and supports the multimedia presentation authoring processes in terms of methodology and commercial aspects. Using the browser with the Windows Media Services allows those students to view live video of the teacher giving his or her speech, along with synchronized images of presentation slides, and all the annotations/comments. In our experience, this very approach is sufficient to the use of distance learning environment.


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