Sun. Jun 23rd, 2024

“I hope another one unites us again”

By knl9j Mar22,2024
News

Together with Julia Sabina Gutiérrez, a professor and an expert, we conduct an analysis of the current situation regarding multichannel services.

This situation is characterized by a younger generation that prefers alternative media, live events, and series that no longer bring the entire family together in front of the television.

‘Tell me how it happened’ has come to an end, and with it has come “the possible end of an era.” This television series, which has been on the air for 22 years and has been a significant part of an entire generation, has written its final lines at a time when the fiction offer is more fragmented and dispersed than it has ever been. This includes public television channels, private television channels, thematic television channels, streaming platforms, and other transmedia models and formats.

It is for this reason that it is inherently perilous to discuss the potential of a unitary, collective, and family phenomena arising again, similar to the one that was caused by the Alcántara family that was featured on television. Neither is it known nor is it possible to forecast it, but the content and technologies that are available now make it difficult to do so.

In her capacity as a professor at the University of Alcalá (UAH), Julia Sabina Gutiérrez, who teaches the course “A history of Spanish cinema and TV series” at the Guadalajara Campus, has the sense that this is the case. Together with her, we discussed this phenomenon, its predecessors, as well as its potential in the future.

The fact that streaming platforms have brought about changes in recent years, which have in turn brought about modifications to the content of their subject matter year after year, is evidence of the revolutionary moment that Spanish television shows are currently experiencing that is currently taking place. Due to the fact that young people are avid viewers of television series, it is essential to maintain a holistic perspective.

Even while it may appear like there have never been any series that are comparable to the ones that are now airing, the reality is that they have been around ever since television was invented. “And additionally, in Spain, in contrast to other countries, the series have always been very followed and popular; you just need to see how it has happened at certain times, with ‘Los Serrano’ or ‘Médico de familia,’ which have been exported and continue to work,” she said.

This expert in audiovisual communication also recalls past series such as “Juncal,” “Curro Jiménez,” and “Verano azul,” as well as the consecutive literary adaptations of the 1980s, which also garnered the attention of the general people. The argument that she makes is that Spain has a rich tradition and a series of high quality. During the 1950s, José Luis García Berlanga and Rafael Azcona collaborated for the first time in an episode of a television series called “Los Pícaros.” However, this particular episode was never broadcast. She claims that this was the first time they had worked together.

And then everything was different. In the 1990s, the offering of the first two public Spanish television channels began to compete with that of the private channels, and the remote control became the “real king” of the television industry. “In the past, there were restrictions placed on the manner in which people watched television, and this is what has changed. Making a decision between two different chains has absolutely nothing to do with transitioning to a multichannel offer.

The television series in Spain went from being a cultural interest on public television to being a competition on private channels as a result of this significant transition. “It was a transformation that changed the way television series were conceived in Spain.” Beginning from that point on, the purpose was to reach the greatest possible audience, which resulted in the production of gigantic works such as “Family Doctor.”

The instructor believes that in truth, that particular moment is just as intriguing as the one that we are experiencing right now. This is due to the fact that it was the event that led to the series becoming longer and featuring a greater number of characters. The ‘Berlangian‘ side is responsible for the choirality and comic aspect, which are also characteristics that are very Spanish. During the course of the same series, it was possible for there to be a storyline that was geared toward children, another for adults, and yet another for adolescents. Additionally, the scriptwriters were expected to have lengthier durations in order to cover prime time or even late night, which allowed them to potentially earn minutes of screen share.

‘Cuéntame’ is the single best illustration of this. On the other hand, in recent years, new phenomena have emerged, such as the series “Paquita Salas,” which are shorter in terms of the length of each episode and the number of seasons they consist of. From that point forward, two distinct types of Spanish television series coexisted at the same time, as the production of long-term fiction has maintained.

Is it possible that the phenomenon known as “Cuéntame” could occur once more with the shift in formats? I have high hopes that there will be a spontaneous occurrence of another series that will bring us back together, but I also know that it will be very challenging. Due to the fact that it would have “abandoned the element of nostalgia that has made it survive,” Julia Sabina Gutiérrez is of the opinion that this series would have been everlasting if “a very strange temporal paradox” had not taken place.

And now, on the new platforms, with everything being “industrial and cross-border,” they are attempting tosegment the audience as much as possible.” The Alcántara series was one of the few that “made the family get together to watch it.” It was one of the less popular series. She places a strong emphasis on the fact that “for me, it is not so much the end of a series as it is the end of a way of watching television and of an era.”

As far as this format is concerned, it is difficult to speculate on what the television industry in Spain will have to offer. For a considerable amount of time, there have been television shows that have mostly concentrated on the past, such as “Isabel,” “Hispania,” “Inés del alma mia,” or “Águila Roja.” The question that needs to be answered now is how public television, for instance, is going to deal with this new period. Public television already has its own platforms and channels that are geared toward young people, and it also does its own segmentation, he says.

In earlier editions of his topic, the students at the university have discussed a great deal about series like “La casa de papel” or “Skam,” which are particularly noteworthy due to the transmedia narrative framework employed by these shows.

However, I have noticed that young people are increasingly more focused on problems such as Eurovision or reality programs. It was a pretty successful endeavor. He feels that live events such as Eurovision or Operación Triunfo are the places where this union of viewing ‘Cuéntame’ collectively takes place. This is also due to the fact that the series may be seen anytime we want with no restrictions.

“The fact that they are able to remark and argue at the same time that they view it brings them together. On top of that, they utilize highly different channels that feature a significant amount of Korean literature. He comes to the conclusion that “they are going at full speed, and we always have to leave space for them to speak and teach, and in doing so, we are fighting against a generational gap that is going to get bigger.”

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