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When Richard Donner's blockbuster Superman arrived in theaters in 1978, critics praised the filmmakers for avoiding camp in their adaptation of the comic book, comparing the film positively to the Batman television series (1966–68) of the previous decade. Several sequels later, critics attributed the series’ diminishing financial returns to its growing investment in camp, an investment that peaked in Jeannot Szwarc's Supergirl spinoff (1984), a critical and commercial misfire. Drawing on the work of camp theorists Susan Sontag, Moe Meyer, and Andrew Ross, I argue that critics have misrepresented the place of camp within the franchise, a misunderstanding stemming from their neglect of the film scores. There are two different yet overlapping forms of camp operating within these films. In their reviews, critics expressed disdain for pop camp, a highly legible form of camp, characterized by overblown performances, that the Batman show popularized in the 1960s. My analyses of Superman and Supergirl center on a subtler camp aesthetic present from the very start that critics celebrated: a playful mismatching of gender signifiers and an undercutting of heteronormative romantic relationships that I refer to as queer camp. I offer queer readings of John Williams's and Jerry Goldsmith's leitmotivic scores for Superman and Supergirl—supposedly the least campy and the campiest films in the franchise—to bring into focus the overlooked political work the series accomplishes. In a bold reclamation of the comic books’ suppressed queer legacy, the films’ queer camp aesthetic subverts the heteronormativity of the protagonists to construct Superman and Supergirl as queers of steel.

This paper seeks to examine some of the principles governing the representation of the contemporary metropolis in Brazilian audiovisual media. Beyond the progress and dynamism inherent to the modern city, contemporary discourse addresses the metropolis as a disorienting space that catalyzes and amplifies sensory experiences. Thus, we will investigate the representation of Sao Paulo in the television series Alice (2008), whose protagonist’s life is pierced with her impressions of the city as she engages in a “feminist strategy of reading space” (Bruno, 2007). Based on other audiovisual representations of the city from the first decade of the 2000s, we also intend to discuss the strategies employed by the contemporary world cinema for addressing the urban space, questioning its tendency to use sensory appeals towards the “return of the real”.

In 2017, BBC released a video revealing that Jodie Whittaker would be the actor to play the thirteenth Doctor in the 2018 season of Doctor Who (1963–), the popular BBC television series. The “reveal” that a woman had been cast in the role of the Doctor prompted an overwhelming backlash and fierce online discussion. The same period saw a number of popular films and series cast women as leads. The intense discussion that the reveal generated indicates that televisual representations of gender continue to matter greatly to viewers. The question is how? Fan comments posted below the reveal video on YouTube suggest that viewing publics are less engaged in a controversy over feminism than bewildered by gender categories becoming unstable. Notably, once the series aired, discussion about the Doctor’s gender died down. Seeing the Doctor addressed as “Ma’am,” it turned out, was not what upset viewers.

This empirical study investigates the differences in the appreciation of British humour by 128 British and 95 American English L1 users (with 18 having experiences in the UK). Participants rated the funniness of two short extracts from two British television series and answered an open question on their perceptions. Results indicated that American English L1 users perceived British humour as less funny and were less able to “get” the ironic and sarcastic aspect of British humour than British English L1 users. This study highlights the role of emotion, as both a reaction during humour processing and a prerequisite prior to it. Moreover, length of residence is not related to the appreciation of humour in another dialect in this study.

The TV series Our Boys (2019), which deals with traumatic historical events, provides the basis for a discussion of blind spots (scotoma) as a metaphor for collective denial. This social blindness ...

This research Take up the development of the introductions of the Egyptian television series in the eighties to the stage of digital technology, and the emergence of modern techniques, methods and graphic visual effects, to give a graphic value that expresses the dramatic, and be It is like the window that overlooks this work, which has become an art in itself, that is prepared separately and carefully. The study summarized: an attempt to understand and explain the visual language used in the design of the introductions, by providing an analytical study of a number of models for the introductions, the role of technology in graphic processing, and the extent of diversity caused by the development of the use of digital technology in the treatment of the introductions of the Egyptian television series. The researcher recommends: inviting the institutions concerned with teaching this field, inviting cultural and artistic institutions to sponsor and interest in this art and on television, and allocate budgets from the state and incentive awards for makers of television introductions.

Autor artykułu przedstawia przykłady tekstów literackich, w których można odnaleźć cechy gier komputerowych, takie jak poczucie zanurzenia, interaktywność czy złudzenie kontroli (sprawczości). Wśród nich najciekawiej prezentują się dzieła polskiego autora fantastyki naukowej Jacka Dukaja. Pisarz nawiązuje w swoich powieściach i opowiadaniach do gier cyfrowych poprzez imersywną konstrukcję świata przedstawionego, obrazowy i sugestywny język oraz specyficzne podejście do czytelnika, od którego pisarz wymaga ciągłej koncentracji. Opracowanie zawiera również rozważania na temat przekształceń współczesnych mediów pod wpływem gier komputerowych, które wymuszają na kinie, serialach telewizyjnych i literaturze zwrot w kierunku interaktywności.

This article addresses the benefits of audio-visual input for learning second language (L2) vocabulary and grammatical constructions. Specifically, it explores the role of frequency, the effects of subtitles and captions, and the mediating role of learner proficiency on language gains in two longitudinal studies. Study 1 targets vocabulary acquisition in two groups of adolescents with an elementary L2 proficiency level who view 24 episodes of a TV series spread weekly over a whole academic year, one group with subtitles (first language) and one with captions (second language). Study 2 targets grammar acquisition in two groups of university students with an intermediate proficiency level who view 10 episodes over five weeks, one group with captions and one without captions. Results of both studies show significant correlations between language gains and frequency in the input, but the size of the frequency effect appears to depend on the type of support provided by the on-screen text. The analyses also show no significant advantage of captions or subtitles for vocabulary learning at this proficiency level, a significant advantage of captions over no captions for grammatical constructions learning, as well as the significant role of proficiency. It is concluded that viewing audio-visual material leads to L2 learning and it can support learners in their preparation for study abroad and maximize their learning experience during their sojourn.

The critically celebrated but academically controversial Canadian television series Slings & Arrows presents a poignant exploration of the interrelations between art and life. By depicting a dialec...

espanolEste trabajo es un estudio sobre la aplicacion de la herramienta publicitaria del product placement inverso en la ficcion televisiva espanola. En el, se analiza con detalle el desarrollo de la misma a traves de un caso de reconocido prestigio. Se trata de la gama de productos de perfumeria y joyeria originarios de la serie de Antena 3, Velvet (2013-2016). Para esta investigacion se ha aplicado una metodologia exploratorio-descriptiva dividida en distintas fases. Primero, se ha realizado una exploracion bibliografica del estado de la cuestion que fundamenta el estudio. Posteriormente, se ha entrevistado en profundidad a Nicolas Gruber, director de nuevos negocios en Atresmedia. Finalmente, se han cruzado los resultados obtenidos previamente constituyendo un analisis que detecta las dimensiones de esta tecnica y sus resultados. Finalmente, se compone un estudio que reflexiona sobre las posibilidades de la publicidad transmedia en el contexto comunicacional presente y su relacion con la audiencia. EnglishThis paper is a study on the application of the advertising tool known as reverse product placement in Spanish fiction. Furthermore, its development is analyzed in detail through a case orig-inating in a television series, more specifically, the range of perfumery and jewelry products derived from Velvet (2013-2016) developed by Antena 3. To this end, we have applied an exploratory-descrip-tive methodology divided into different phases: firstly, a bibliographic exploration of the state of the question that supports the study has been carried out; secondly, we’ve had an in-depth interview with Nicolas Gruber, director of new businesses at Atresmedia and finally, the previously obtained results have been compared, constituting an analysis that detects the dimensions of this technique and its results. As a result, this research reflects on the possibilities of transmedia advertising in the present communicational context and its relationship with the audience.

El siguiente trabajo está estructurado en tres partes que confluyen en una misma conclusión: la necesidad de repensar las imágenes, que dicen mucho más de lo que puede parecer a simple vista. En un primer momento, se hará una pequeña introducción al feminismo, entendido como crítica al patriarcado. Tras esto, tratará de [de]mostrarse la importancia de leer y entender las imágenes que se nos presentan en nuestro día a día. Hoy en día, las imágenes, no hay duda, son el mayor medio de comunicación del que hacemos uso y no podemos dejar que simplemente pasen, sin cuestionarlas. Para acabar, tomando como ejemplo algunas imágenes del episodio piloto de la serie de televisión The Handmaid’s Tale, se llevará a cabo un análisis audiovisual interpretativo en el que tratará de des-velarse el poder que subyace tras las imágenes, todo aquello que pueden transmitirnos, incluso sin darnos cuenta de ello, y todo lo que pueden llegar a provocarnos.

Ron Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.

En este texto se analiza la primera temporada de Sitiados (coproducción de Fox International Channels, la productora independiente chilena Promocine y Televisión Nacional de Chile) considerando tres ámbitos: Narratividad/Serialidad, Televisualidad y Síntesis o interpretación hermenéutica. La serie, producida en el contexto de la conmemoración del Bicentenario de Chile, está ambientada, con respecto a la historia, en el sitio por parte de los mapuche al poblado colonial español de Villarrica, ubicado en el sur de Chile, ocurrido entre 1599 y 1602. El análisis realizado rompe una serie de mitos o discursos canónicos en torno a la colonia, la Guerra de Arauco y las relaciones entre colonos españoles y pueblos originarios, moviéndose hábilmente en su diálogo entre el pasado y el presente. De esta forma se propone una lectura sobre la construcción identitaria de lo chileno desde el presente, que resulta más matizada y compleja que las versiones clásicas consagradas. La producción, los contenidos, la construcción de personajes y la historia también es rica en explorar distintas representaciones de género This text analyzes the first season of television series Sitiados (co-produced by Fox International Channels, the Chilean independent production company Promocine and Televisión Nacional de Chile) considering three areas: Narrativity / Seriality, Televisuality and Hermeneutical Interpretation. The series, produced in the context of the commemoration of Chile’s Bicentennial, is historically set on the besiege of Spanish colonial town of Villarrica, located in southern Chile. This event took place between 1599 and 1602 and was carried out by the mapuche people who wanted to force the conquerors out of their territories. The analysis proposed breaks a series of myths or canonical discourses around the colonial period, the Arauco War and the relations between Spanish settlers and native peoples, skillfully moving in its dialogue between the past and the present. Thus, a more nuanced and complex reading of how Chileans’ identity was constructed is proposed from the present, opposite to the more established classical versions. The production, content, character construction and story is also rich to enable exploring different representations of gender

In this article I argue that a gaze-oriented analysis of the representations of the protagonists Caesar and Pompey in Lucan’s epic The Civil War (written 62–65 ce) and in the recent television series Rome (broadcast by HBO, BBC Two and Rai 2 between 2005 and 2007) opens new opportunities both for interpreting Lucan’s text and for comprehending its reception in the television series. Lucan deliberately employs intensive vocabulary and narrative of vision and visuality when his protagonists appear. In Lucan, Caesar and Pompey are represented, zoomed in upon, and put into action in a cinematic way. The manner in which they see and are seen is crucial for their distinctiveness and determine their function in epic. In the television series, these patterns are taken over and reused within the new technical medium.

American Movie Classics’ (AMC) popular television series The Walking Dead (2010–present) transports viewers into an apocalyptic zombie dystopia where the lines between safety and precarity, being g...

The British television series Downton Abbey (directed by Julian Fellowes) could be considered a media phenomenon without precedent. Since its release in 2010 and throughout its six seasons, it reached a global audience in over 220 countries. At a time when the father figure is dissolving, fading, or missing in the content of television series, the worldwide success of Downton Abbey features the image of Lord Robert Crawley (Hugh Bonneville), Earl of Grantham, the father of an aristocratic family in England. This article will analyze paternal image from its ontological and historical roots, considering truth, transcendence and goodness, as well as manifestations of paternal virtues. Given the fact that virtue is not easily measured, the analysis will show that a father's identity can be reflected in a series of virtuous actions, as manifestations of core virtues. These virtues are the basis for a quantitative content analysis of the seven episodes of the first season, through the application of a methodological tool for audiovisual analysis.

Resumo O tema investigado é o brincar como experiência criativa na psicanálise com crianças, partindo das contribuições freudianas e aprofundando os conceitos winnicottianos, sobretudo em relação ao brincar: uma noção que vai além do modo de expressão característico das crianças, relacionado à continuidade do ser. O objetivo é refletir essa temática, considerando o brincar como fenômeno transicional e experiência criativa própria à expansão do self. Duas vinhetas clínicas são trazidas, a fim de ilustrar as construções teóricas da psicanálise com crianças, do brincar, do jogo do rabisco e da melodia como fenômeno transicional. A título de conclusão, recorremos a uma série televisiva canadense, Anne with an “E”, para refletir sobre a vida de uma adolescente que foi adotada por uma família que conseguiu ser um ambiente suficientemente bom. Assim como nas sessões analíticas, entendemos que é preciso haver uma disponibilidade para brincar, bem como um encontro frutífero entre as pessoas para que elas possam concretizar seu potencial criativo. Abstract This study focuses on the play as a creative experience in psychoanalysis with children, from Freudian contributions and deepening in Winnicott’s concepts, especially in relation to playing: an assumption that goes beyond the typical way children usually express themselves, regarding the continuity of the self. The objective is to reflect upon this theme, considering playing as a transitional phenomenon and creative experience peculiar to the expansion of the self. Two clinical vignettes are introduced, to illustrate the theoretical constructions of psychoanalysis with children, of playing, of the scribble game and of the melody as a transitional phenomenon. In conclusion, we used a Canadian television series, Anne with an “E”, as a reference and inspiration to reflect upon the life of a teenager who was adopted by a family that managed to provide the young girl a suitable environment. Just as in the analytical sessions, we understand that there must be a willingness to play, as well as a fruitful meeting between people so that they can achieve their creative potential.

This article examines representations of high school athletes on sports teen drama television series by focusing on One Tree Hill, Friday Night Lights, and All American. Recognizing that these show...

espanolEste trabajo persigue como objetivo trazar un recorrido de la percepcion de la variedad del espanol hablada en Andalucia, desde sus comienzos en el siglo XVI hasta su presencia en soportes tecnologicos actuales, como los que evidencia la prensa digital. Para ello, seleccionaremos una serie de muestras representativas: referencias librescas de los siglos XVI al XIX, extractos audiovisuales procedentes de series de television y peliculas y, finalmente, textos periodisticos recogidos en la prensa digital espanola. El corpus surge como resultado de nuestra experiencia como investigadores de la representacion literaria del andaluz y las actitudes linguisticas reflejadas en los medios de comunicacion, inventariadas estas ultimas en un recurso disponible para toda la comunidad academica, como es la Hemeroteca Linguistica Virtual del proyecto Lengua y Prensa (www.lenguayprensa.uma.es). El analisis de algunoshitos cruciales servira para reforzar una conclusion fundamental:pese al disfraz de inocencia con que suele arroparse (mediante suasociacion a la gracia, al humor o a la simpatia como objeto deestudio antropologico), en otras ocasiones el discurso del odio alandaluz se despoja de todo ropaje para revelarse la mas cruda intencion de quien lo emite: la descalificacion personal, el desprecioa una sociedad o la posicion de superioridad. EnglishThe aim of this work is to trace a route on the perception of the variety of Spanish spoken in Andalusia, from its beginnings in the 16th century to its presence in current technological supports, such as those evidenced by the digital press. For this purpose, we will select a series of representative samples: book references from the 16th to 19th centuries, audiovisual extracts from television series,films and, finally, journalistic texts collected in the Spanish digital press. The corpus arises as a result of our experience as researchers of the literary representation of Andalusian and of the linguistic ideologies reflected in the media. The latter are inventoried in a resource available to the entire academic community, such as the Virtual Linguistic Archive of the “Lengua y Prensa” project (www.lenguayprensa.uma.es). The analysis of some crucial landmarks will serve to reinforce a fundamental conclusion: despite the disguise of innocence with which it is usually dressed (throughits association with grace, humour or sympathy as an object of anthropological study), on other occasions the hate speech to Andalusian reveals the crudest intention of the person who issues it: personal disqualification, contempt for a society or position of superiority

The remarkable number of books, theatrical productions, films, and television series about people who are Mormon (mostly families or missionaries) suggests that the media is enamored with Mormons. ...

espanolEn los ultimos anos hemos observado la aparicion de un importante numero de series de television que buscan acercar al gran publico el conocimiento de nuestra historia. Productos mediaticos con gran poder de influencia en el imaginario de sus espectadores, asi como en la creacion de estereotipos. Este articulo pretende reflexionar en torno al papel que los productos televisivos de pretendido caracter historico pueden jugar en el conocimiento de la gente, asi como sobre la utilidad de este modo de aproximacion al conocimiento historico. EnglishOver the past years, We have observed the appearance of a significant number of television series that seek to bring the general public closer to the knowledge of our history. Media products with high power to influence the imagery of their viewers, as well as the creation of stereotypes. This article proposes to reflect on the role that television products of the intended historical character can play in the knowledge of people as well as on the utility of this approach to historical knowledge.

Douala, the economic capital of Cameroon, is among the most complex cities in Africa, as it is defined as much by its creativity as by inertia and physical and symbolic barriers. This article examines the articulation of these dynamics through the prism of popular culture. While most research has focused on the reception of the global media by an African audience, the author analyses the hold that television series made in Douala have on the general public in the city. The article advances the hypothesis that the consumption of Cameroonian series involves a kind of “mirror” that allows the inhabitants of Douala to understand their collective existence and to open up new spaces for social collaboration. The “affective” power of images rooted in the local socio-cultural context plays a key role in these dynamics, because viewers develop a sense of community by sharing reactions and emotions. Douala, la capitale économique du Cameroun, figure parmi les villes les plus complexes d’Afrique, car elle se définit aussi bien par sa créativité que par l’inertie et des barrières physiques et symboliques. Cet article examine l’articulation de ces dynamiques à travers le prisme de la culture populaire. Alors que la plupart des études s’est concentrée sur la réception des médias globaux de la part du public africain, j’analyse l’emprise que les séries télévisées réalisées à Douala ont sur le public de la ville. J’avance l’hypothèse que la consommation de séries camerounaises implique une sorte de “miroir” qui permet aux habitants de Douala de comprendre leur existence collective et d’ouvrir de nouveaux espaces de collaboration sociale. Le pouvoir “affectif” des images ancrées dans le contexte socio-culturel local joue un rôle clé dans ces dynamiques, car les spectateurs développent un sentiment de communauté en partageant des réactions et des émotions.

In TV fiction, over the past years, it has been possible to detect the recuperation of specific themes linked to a particular sociopolitical context: the Cold War. The Russians and the Soviet era a...

This article is an ecocritical reading of the Swedish television series Jordskott. I discuss the effects in the series produced by the combination of the Nordic Noir's style and narrative techniques with elements of other genres, especially Gothic horror. I argue that through the contemporary reworking of the centuries-old Nordic mythology, Jordskott demonstrates how the aggressive powers of nature in Gothic narratives can no more be conventionally explained by referring to the pagan, pre-Christian beliefs, but need to be reconceived in light of the relentless environmental devastation brought about by humankind. The link unveiled between natural ecology and cultural mythology allows the series to surpass the limitations of the regionally informed folkloric story and to evolve into an ecological cautionary tale of global significance.

Este ensayo intenta analizar, desde la filosofía política y el análisis social contemporáneo, las razones por las cuales una serie como The Walking dead han generado tanta simpatía y aceptación, no solo entre el público en general, sino, y de manera notable, entre una audiencia poco esperable para una serie de televisión posapocalíptica: la militancia política de izquierda. Realidad: Revista de Ciencias Sociales y Humanidades No. 154, 2019: 89-108

The first episode of the critically acclaimed television series, Band of Brothers, juxtaposes two leaders navigating an environment of uncertainty and high-risk stakes. We review this first episode, titled Currahee, with the intention of adding to the library of teaching resources that instructors may use to illustrate leader–follower relations, power dynamics, contingency models, and follower voice and mutiny. This dramatic depiction of a team of paratroopers preparing for military engagement in World War II challenges students to examine the human and organizational antecedents and consequences associated with mundane, incompetent, tyrannical, or inspirational leaders. We provide a detailed set of discussion prompts and points of analysis for selected clips that will guide instructors as they implement this resource as part of an in-class exercise, a video case exam, and/or a written assignment for face-to-face and synchronous or asynchronous online classroom formats.

Resumen: Esta investigación pretendió revelar la configuración de la fraseología española documentada en conversaciones obtenidas de tres tipos de discurso oral informal: realidad, reality y ficción. Para tal efecto, se analizaron la frecuencia general de uso, la distribución tipológica y las marcas estilísticas de un total de 5 000 palabras obtenidas de tres fuentes orales: el corpus oral Val.Es.Co., el reality show Gran Hermano y la serie televisiva Cuéntame cómo pasó. Los resultados confirman que, en general, las conversaciones recogidas en Val.Es.Co. y en Gran Hermano muestran, a diferencia de Cuéntame cómo pasó, una configuración de la fraseología relativamente semejante. Abstract: This research sought to reveal the configuration of Spanish phraseology documented in conversations obtained from three types of informal oral discourse: reality, reality show and fiction. For this purpose, the general frequency of use, the typological distribution and the stylistic marks of 5,000 words obtained from three oral sources were analyzed: the oral corpus Val.Es.Co., the reality show Big Brother and the television series Cuéntame cómo pasó. The results confirm that, in general, the conversations collected in Val.Es.Co. and in Big Brother show that, unlike Cuéntame cómo pasó, of a relatively similar phraseology.

RESUMO A interdisciplinaridade que existe nos Estudos da Tradução permite vislumbrar e consolidar a ideia de paratradução e paratexto audiovisual. Ao saber que os paratextos são essenciais para a tradução e a interpretação, aborda-se aqui, sob os auspícios da paratradução, a relevância dos estudos das imagens apresentadas em tela. A cor vermelha predominante na série televisiva La Casa de Papel, da Netflix, conflui uma imagem subjetiva que corrobora com a compreensão do enredo. Assim, este artigo tem o objetivo de apresentar os caminhos necessários para conformar o estudo das cores - o vermelho especificamente - na paratradução de imagens. A confluência metodológica paratradutiva auxilia na busca de informações, as quais acabam por explicitar os adjetivos que descrevem as sensações do simbolismo da cor, vindouras e perpetuadas na compreensão geral da série que, de forma criativa e aculturada, foram apresentadas nos paratextos audiovisuais estudados.

espanolEl objetivo de esta investigacion fue identificar las relaciones intertextuales entre la serie televisiva Bolivar, una lucha admirable y la biografia escrita Bolivar, libertador y enemigo numero 1 del Peru. Para ello, se opto por un enfoque cualitativo y un diseno interpretativo. Se leyeron e interpretaron textos para identificar en ellos las relaciones intertextuales. Se encontraron las siguientes relaciones intertextuales: citas y alusiones. Existen semejanzas en la presentacion global de Simon Bolivar en relacion con el Peru; la Batalla de Pichincha; la entrada de Bolivar a las ciudades; las situaciones previas y el encuentro en Guayaquil entre Simon Bolivar y San Martin; los acontecimientos previos y la llegada de Bolivar al Peru; las batallas de Junin y Ayacucho; la Constitucion vitalicia; y los ultimos dias de Bolivar en Peru y su salida. La serie reafirma la idea de que la independencia del Peru fue “concedida”. EnglishThe objective of this research was to identify the intertextual relationships between the television series Bolivar, an admirable struggle and the written biography Bolivar, liberator and enemy number 1 of Peru. For this, a qualitative approach and an interpretive design were chosen. Texts were read and interpreted to identify intertextual relationships in them. The following intertextual relationships were found: citations and allusions. There are similarities in Simon Bolivar's global presentation in relation to Peru; the battle of Pichincha; the entrance of Bolivar to the cities; the situations prior and the meeting in Guayaquil between Simon Bolivar and San Martin; the previous events and Bolivar's arrival in Peru; the battles of Junin and Ayacucho; the lifetime Constitution; and the last days of Bolivar in Peru and his departure. The series reaffirms the idea that the independence of Peru was "granted”.

The television series are viewed from the perspective of their potential educational role. It is noted that television as a whole, and separately its component – the television series, remain an influential form of media communication of our time, despite the diversification of the delivery channels of the media message and the rapid spread of digital devices. In the complex hierarchy of TV formats, genres and niches, the television educational series, when it had being appear, became a hybrid documentary broadcast format. Considering the specificity of the video footage, television as a media is characterized by a high potential for reliable reflection of reality (another thing is how television channels operate on this potential). It is no wonder, then, that scientific documentary, as a genre, existed since the "pre-television" era. The focus is on documentary television series that can directly perform educational functions. It is generalized the idea of creating of the television series that are specifically designed for educational purposes and which can be part of relevant educational programs. It is substantiated the expediency of using educational serials on special educational television channels that are already operating abroad and just beginning to develop in Ukraine. It is emphasized that in the broad sense of the word, all television series, even entertaining ones, have a certain educational function – through the translation of certain ideas, values and patterns of behavior embodied by the characters of these serials. Typical popular documentary series of recent decades have been analyzed in terms of their specific educational functions. It is substantiated that documentary serials of the present day are able to relay information of a household, scientific and educational value, which should partially rehabilitate both television and television series for educational functions, which are guarded by the culture of any level of the organization. Despite belonging to one television format, science and education serials communicate at the level of iconic and index characters, and more entertaining reality shows are saturated with symbolic signs. Because of their conventionality, uncertainty, to some extent, nebula, these shows widen the range of potential interpretations, so they can target a flexible and fragmented audience.

This article combines ethnography and textual analysis to consider the reasons for the immense popularity of the 2012 Chinese television series “The Legend of Zhen Huan” (LZH). I argue that LZH, a ...

First airing on TVN between 2012 and 2014 and then acquired by Netflix in 2017, the television series El reemplazante chronicles the narrative arc of Carlos Valdivia, a successful financia...

Patrick Magee was Samuel Beckett’s close collaborator and friend who, through his monologues on BBC radio in the early 1960s, shaped the parameters of a generic Beckettian character, one that can still be detected in the production, reception and understanding of Beckett’s work today. Yet it has not been sufficiently understood that Magee’s performances emerge from a wide and shifting field of biographical, aesthetic, professional and economic forces, given his centrality not only to Beckett’s reception, but to many other areas of performance, from classic West End theatre to horror film, counter-cultural provocation to iconic Sixties television series. Magee’s distinctive realization of Beckett’s anonymous, isolated, seemingly ancient voices took place in the context of his sustained experiment with the nature and function of character across several media, and in this essay I think through the nature and consequences of this mobility. To do so I focus on his career from 1958 to 1964, that is to say, from the small part he played in the first airing of Beckett’s play All that Fall on the BBC Third Programme, to the Royal Shakespeare Company summer season at the Aldwych in London, which featured Magee as leading man in all four plays staged, including Beckett’s Endgame and Peter Weiss’s Marat/Sade.

The Krakow writer Antonina Domańska (1853–1917) occupies a permanent place in the Polish cultural tradition as an author of literary works for children and youth, mainly historical novels. Her best known books are Paziowie króla Zygmunta (1910) and Historia żółtej ciżemki (1913). These novels were adapted, the first as Sylwester Chęciński’s film (1961) and the second as television series of Grzegorz Warchoł (1989). Polish theaters also staged modifications to the Historia żółtej ciżemki. The subject of the article is the image of Krakow in these novels as a key element of Domańska’s historical and patriotic education. The second research issue is the film, television and theatre reception of the writer’s two works. Krakowska pisarka Antonina Domańska (1853–1917) zajmuje trwałe miejsce w polskiej tradycji kulturalnej jako autorka utworów literackich dla dzieci i młodzieży, głównie powieści historycznych. Jej najbardziej znane książki to Paziowie króla Zygmunta (1910) i Historia żółtej ciżemki (1913). Powieści te doczekały się adaptacji, pierwsza – filmowej Sylwestra Chęcińskiego (1961), druga – serialowej Grzegorza Warchoła (1989). W polskich teatrach były również wystawiane przeróbki sceniczne Historii żółtej ciżemki. Tematem artykułu jest obraz Krakowa w tych powieściach jako kluczowy element edukacji historyczno-patriotycznej A. Domańskiej. Drugie zagadnienie badawcze stanowi recepcja filmowa, telewizyjna oraz teatralna dwóch utworów pisarki.

To examine the prevalence and diversity of older adults on primetime television, and age stereotyping in these portrayals, we analysed the contents of 112 episodes of popular American television series aired between 2004 and 2018. We identified 6.6 per cent of characters as aged 65 and older – a slight improvement to the values reported in previous studies. However, older adult characters are still grossly under-represented, considering the actual proportion of older adults in the general population of the United States of America. Further, the typical older character was young-old, male, Caucasian, middle-class, able-bodied and straight – if his sexuality was referenced. Older women still face double discrimination in media representations. In addition, older adult characters with ethnicities other than Caucasian and African American are virtually invisible in primetime fiction series. Similarly, old-old characters, sexual minorities and persons with disabilities are particularly rare among older adult characters in this type of programming. Finally, portrayals of 51.9 per cent of characters included at least some elements of age stereotypes, most of which were positive. The most commonly applied positive and negative stereotypes were found to be the golden ager and the shrew, respectively. The findings are discussed in the context of the dominant discourse of ageing and the potential implications of how various social groups perceive ageing and older adults.

Resumen Este trabajo de investigación analiza la influencia que tienen las series televisivas que se difunden por medio de las plataformas streaming en México. La investigación tomó una muestra representativa de cuatrocientos jóvenes encuestados para conocer la incidencia que tienen estos productos comunicativos en la construcción de su percepción, participación política y cultura política en las pasadas elecciones de julio de 2018. Mediante una metodología cuantitativa y el uso de la muestra estadística de 12.884 electores de 18 a 19 años de la capital poblana, del distrito 12 electoral, se encontró que existe un grado de apropiación bajo. Los jóvenes encuestados no determinan su percepción sobre la política mexicana a partir de las series que visualizan, por tanto, la movilidad cognitiva no es determinante para el caso de estudio presentado. Abstract This research work analyzes the influence of television series that are broadcast through streaming platforms in Mexico. The research took a representative sample of 400 young people, who were surveyed to know the impact of these communication products in the construction of their perception, political participation and political culture in the last elections of July 2018. Through a quantitative methodology and the use of the statistical sample -composed by 12.884 voters from 18 to 19 years old from the capital of Puebla, from the electoral district 12- it was found that there is a low degree of appropriation, the young people surveyed do not determine their perception of Mexican politics from the series they visualize, cognitive mobility is therefore not determinant for the study case presented. Resumo Este artigo de pesquisa analisa a influência que as séries de televisão difundidas pelas plataformas streaming têm no México. Esta pesquisa utilizou uma amostra representativa de 400 jovens entrevistados para conhecer a incidência que esses produtos comunicativos têm na construção de sua percepção, participação política e cultura política nas eleições de julho de 2018. Por meio de uma metodologia quantitativa e do uso da amostra estatística de 12.884 eleitores de 18 a 19 anos, da capital camponesa, do distrito 12 eleitoral, foi constatado que existe grau de apropriação baixo; os jovens entrevistados não determinam sua percepção sobre a política mexicana a partir das séries a que assistem; portanto, a mobilidade cognitiva não é determinante para o caso de estudo apresentado.

[EN] This article explores the use ofthe plot twist in screen fictions.This is a largely unexplored area, as interest in this phenomenon has largely focused on the so-called "plot twist movie," which is an older narrative tradition. In order to explain this aesthetic phenomenon, it draws on the model of surprise originally proposed by the cognitive psychologists Wulf Meyer, Rainer Reisenzein, and Achim Schutzwohl. Plot twists are characterized by three distinct but intimately intertwined temporal segments and their corresponding functions, which are explained by this model. The objective of this article is to explore how cognitive -emotional interactions shape the aestheticviewing experience and to identify how that experience relates to shows' artistic qualities. Game of Thrones (Sol and 503), Homeland (Sol), and Westworld (Sol) will be used as test cases. In each of the three plot segments, there are specific processes that distinguish the experience of surprise as an aesthetic phenomenon., This article has undergone various phases of improvement, and I owe a lot to various colleagues who have helped me substantially with its development. First of all, my thanks to Rainer Reisenzein for his many readings and reviews of the article. I am also very grateful for the excellent work of the editors of this journal and the detailed suggestions I have received from the reviewers. I would like to acknowledge the contributions of all those colleagues who have provided me with feedback at different academic events where I have presented this research, especially the 2016 SCSMI Conference at Cornell University. Finally, I am very grateful to Martin Boyd for his work to improve the quality of the English of this article. This research was supported by The Secretary of State of Research, Development and Innovation (Ministry of Economy and Competitiveness, Spain) [Research Projects: Theoretical Innovation Strategies in the Analysis of Narration in Television Series CSO2014-51872-R; Interactions Between Cognitive Value and Aesthetic Properties in Contemporary Serials RTI2018-096596-B-I00.]

Treating bodies as explicitly rhetorical, this article analyzes two queer Christian characters from the television series Queer as Folk (Showtime, 2000–2005), arguing that these guest characters re...

Frasier, a television series (1993–2004), evolved from the film noir tradition, but as a comedy rather than as tragedy. This also represents the tendency of television to mute the existential crisi...

En 1970 se aprobaba en España la Ley de Peligrosidad Social que condenaba penalmente las relaciones homosexuales. Ese mismo año, en diversas ciudades de Estados Unidos, se celebraban las primeras marchas del orgullo en recuerdo de la revuelta de Stonewall (1969), que tardarían siete años en encontrar su réplica en nuestro país (Barcelona, 1977). Así, 2017, 2019, 2020 son fechas en las que resuenan décadas de lucha en la historia del activismo LGTBIQ+. A propósito de tales conmemoraciones, se propone un balance historiográfico con las aportaciones recientes más significativas, un estado de la cuestión en el que debe incluirse también la serie de televisión Nosotrxs somos como relato visual histórico de ese nuevo movimiento social., In 1970, the Law on Social Danger and Rehabilitation was passed in Spain, legislation that made homosexual relations a criminal offence. In the same year, in various cities in the United States, the first pride parades were held in memory of the Stonewall riots (1969), which found a response in our country seven years later (Barcelona, 1977). 2017, 2019, 2020 are landmark dates in the decades of struggle in the history of LGTBIQ+ activism. With regard to these commemorations, we propose a historiographic assessment of the most significant recent contributions, a state of affairs in which the television series Nosotrxs somos, a visual historical account of this new social movement, should be also included.

Este trabajo explora las opciones que existen para ampliar los horizontes narrativos de los mundos de ficción en las actuales series de televisión. En él se analizan, única y exclusivamente, contenidos de ficción. Teniendo en cuenta las unidades clásicas de tiempo, espacio y acción, se propone una serie de estrategias que amplían la información de la historia que se narra, añadiendo a los personajes como una importante fuente de expansión que genera gran riqueza narrativa a través de los medios. Toma como muestra para el análisis los contenidos de ficción del proyecto de la ficción audiovisual española El Ministerio del Tiempo (TVE, 2015-actualidad). Se concluye que la metodología y las estrategias de expansión propuestas son eficaces a la hora de crear este tipo de narraciones, demostrando que el concepto de la expansión narrativa es clave y es la principal característica en los proyectos transmedia. This work explores the options that exist to expand the narrative horizons of the fictional worlds in current TV series. This study analyze, exclusively, fiction contents. Considering the classic units of time, space and action, this paper suggests a series of strategies that expand the information of the story that is narrated, adding to the characters as an important source of expansion that generates great narrative wealth through the media. The sample for the analysis is Spanish audiovisual fiction project The Ministry of Time (El Ministerio del Tiempo, TVE, 2015-today). It concludes that the proposed expansion methodology and strategies are effective in creating this type of narration, demonstrating that the concept of narrative expansion is a key point and it is one of the main characteristics of transmedia projects.

El artículo analiza la diversidad de género, orientación sexual, nacionalidad y edad en las series de televisión españolas emitidas en prime time durante el año 2016 y el primer semestre de 2017. A partir de un análisis de contenido realizado a una muestra de más de 700 personajes se creó un índice de diversidad y se realizó una encuesta para analizar la percepción de la población. De este modo, en este trabajo se presentan los resultados de dos estudios, además de la creación de un índice elaborado ad-hoc. Una vez analizados los datos, se concluye que, en general, la diversidad mostrada en la ficción audiovisual española es baja (0,76 en una escala de 0-4), con diferencias importantes entre las series; sin embargo cuando los ciudadanos españoles fueron preguntados sobre este aspecto, expresaron estar ligeramente de acuerdo (2,16 en una escala de 0-4) en que las mujeres, los mayores de 65 años o la población LGBT+ estaban correctamente representados en la ficción, mientras que no se mostraron ni en acuerdo o desacuerdo con que el porcentaje de los personajes no nacionales se correspondiera con la realidad

Prosthetic Memory and Unreality of Time in Watchmen Starting from a reflection on the traumatic experience of racism, the author of the article considers the possibility of transmitting the knowledge about the past and retrieving memory, and then points out how the relationships between the past, the present and the future are problematized, if we change the way we think about time, namely when it ceases to be perceived as something real or objective. The point of reference for further considerations is the HBO Watchmen series, made in 2019, which exemplifies the mechanism of prosthetic memory. According to the definition proposed by Alison Landsberg, prosthetic memory includes continuity and rupture. It is connected not only with the individual but the collective dimension as well, as it is related to the sphere of politics. In other words, it is a vehicle thanks to which we can travel to other places and times, and thanks to which the viewer may refer to important social and psychological issues.

The article discussesa book by Patrycja Włodek entitled Kres niewinności. Obraz i upamiętnienie ery Eisenhowera w amerykańskich filmach i serialach – pomiędzy reprezentacją, nostalgią a krytycznym retro [The End of Innocence: The image and remembrance of the Eisenhower era in American feature films and television series – between representation, nostalgia, and critical retro style]. The author of the article positions her publication amongst other film studies research devoted to “nostalgic cinema” and enters into dialogue with concepts put forward by Włodek. The polemical pendants and glosses centre on searching for currents, titles, and readings both supporting Włodek’s considerations and transcending her interpretive framework relating to retro nostalgic (cinema of the 1980s) and retro classic (the most recent films and television series).

espanolIsabel I de Castilla, “La Catolica”, siempre ha sido un personaje admirado y rechazado a partes iguales. Sin embargo, en los ultimos anos ha surgido un creciente interes por conocer su vida y, principalmente, los sitios que formaron parte de su historia. El nacimiento de este fenomeno reside en el exito que tuvo la serie de television “Isabel”, emitida en Espana entre 2012 y 2014, que se centro en la biografia de esta reina mostrando los diferentes lugares en los que vivio. Con todo, esto tuvo una repercusion en el turismo, sumandose esta ficcion a la tendencia de emplear la aparicion de un destino turistico en series de television como herramienta para su promocion, tal y como se ha demostrado con el buen impacto que la serie causo en el turismo cultural de Castilla y Leon, favoreciendo al crecimiento de la oferta turistica de la comunidad y a la mejora de las estadisticas de llegada de visitantes. EnglishQueen Isabel of Castile, known as the Catholic, has always been admired and rejected in equal measure. However, in recent years there has been growing interest in knowing about his life and about the places that were part of its story. The birth of this phenomenon is to be found in the success of the television series “Isabel”, broadcast in Spain between 2012 and 2014, which focused on the biography of this queen and showed the different places where she lived. In addition, this had an impact on tourism, adding this fiction to the tendency to use the appearance of a tourist destination in television series as a promotional tool, as it has been demon- strated with the good impact that the series caused in the cultural tourism of Castile and Leon, favouring the growth of the tourist offer of the community and the improvement of the statistics of arrival of visitors.

I was born in Auchtermuchty, a small village in Fife, Scotland, the son of a lowland mother, Meta Mowat, daughter of a country headmaster, and a highland father, William Urquhart from Lairg, Sutherland. (Auchtermuchty appears as the fictional village of Tannochbrae in the 1990s television series Doctor Finlay.) The family business in Lairg was a butcher’s shop, known as Urquhart the Butcher, even for some years after my father’s family had given it up.

The idea of teaching and learning about public administration through pop culture has exploded in recent years. Borry (2018) details how to incorporate the popular television series Parks and Recre...