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OBITEL 2011 QUALITY in TELEVISION FICTION and AUDIENCES´ TRANSMEDIA INTERACTIONS Maria Immacolata Vassallo De Lopes, Guillermo Orozco Gómez General Coordinators

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OBITEL 2011 QUALITY in TELEVISION FICTION and AUDIENCES´ TRANSMEDIA INTERACTIONS Maria Immacolata Vassallo De Lopes, Guillermo Orozco Gómez General Coordinators Quality in television fiction and audiences’ transmedia interactions general Maria Immacolata Vassallo de Lopes coordinators Guillermo Orozco Gómez national Morella Alvarado, Fernando Aranguren, Gustavo Aprea, coordinators Alexandra Ayala, Borys Bustamante, Isabel Ferin Cunha, Catarina Duff Burnay, Valerio Fuenzalida, Francisco Hernández, César Herrera, Pablo Julio Pohlhammer, Mónica Kirchheimer, Charo Lacalle, Juan Piñón, Guillermo Orozco Gómez, Rosario Sánchez Vilela and Maria Immacolata Vassallo de Lopes Title page OBITEL 2011 QUALITY IN TELEVISION FICTION AND AUDIENCES´ TRANSMEDIA INTERACTIONS Maria Immacolata Vassallo de Lopes, Guillermo Orozco Gómez General Coordinators Morella Alvarado, Fernando Aranguren, Gustavo Aprea, Alexandra Ayala, Borys Bustamante, Isabel Ferin Cunha, Catarina Duff Burnay, Valerio Fuenzalida, Francisco Hernández, César Herrera, Pablo Julio Pohlhammer, Mónica Kirchheimer, Charo Lacalle, Juan Piñón, Guillermo Orozco Gómez, Rosario Sánchez Vilela and Maria Immacolata Vassallo de Lopes National Coordinators ISBN 978-85-250-4968-1 EDITORS´ NOTE THIS YEARBOOK IS PUBLISHED in three languages simultaneously: Portuguese, Spanish, and English, and its predecessors are the Obitel Yearbook 2007, published in Spanish by Editorial Gedisa, Spain, Obitel Yearbook 2008, published in Portuguese and English, by Globo Universidade, Brazil, Obitel Yearbook 2009, published in Spanish, by OETI, Spain, and in Portuguese and English, by Globo Universidade, Brazil, and Obitel Yearbook 2010, published in Portuguese and Spanish, by Globo Universidade Brazil, as well. On June 21, 2008, in a general meeting held in Rio de Janeiro, the vote of the majority of members of Obitel renovated its international coordination. The original general coordinator, Prof. Maria Immacolata Vassallo de Lopes, PhD, remained at her position, and the other general coordinator was replaced by Prof. Guillermo Orozco Gómez, PhD. In July 2008, Uruguay joined in as a new member of Obitel. Since the withdrawal of the national coordinators of Spain, United States, Colombia and Argentina in November 2008, and with the subsequent incorporation of Ecuador this year, Obitel became a renewed international institution for the comparative research on television fiction, with the participation of eleven countries, which integrate the national chapters of this Yearbook. Four actual coordinators are founding members of Obitel, and the other coordinators are new members. The increase of Obitel´s membership shows by itself the consolidation and leadership of its analytical and provocative work around the Ibero-American world. On behalf of all the national coordinators, the general coordinators of this Yearbook wish to express our gratitude to Globo Universidade for their continuous support and timely collaboration to this publication. We reiterate our appreciation for the support received from the institutes: Ibope (Brazil), Time-Ibope (Chile) Ibope (Colombia, Uruguay), Ibope-agb (Mexico), Media Monitor-Marktest Audimetria (Portugal), Kantar Media and Barlovento Comunicaciones (Spain), Nielsen (United States), agb Nielsen Media Research (Venezuela), and from all and each one of the universities where the authors belong. NOTE ON METHODOLOGY THE SCIENTIFIC OBSERVATION of such a rich, innovative and complex genre as the television fiction involves an effort that renovates itself continuously from a methodological point of view. The experience accumulated by the participants in this Yearbook helps us to face always new challenges and see new opportunity areas to be included in the observation. The analysis we developed for this Yearbook, and for previous ones published by Obitel, aims to be multiple and at the same time balanced, dealing with at least five dimensions: production, exhibition, consumption, marketing and transmedia interactions with television fiction. The goals of the methodology we used are: 1) The systematic monitoring of the fiction shows that are broadcast through the open channels of the 11 countries who participate in the network; 2) The generation of comparable data between these countries; 3) The identification of plural and bilateral flows of genres and formats; 4) The analysis of trends in narratives and thematic content in each country; 5) The analysis of the transmedia reception and audience´s interaction with fiction in each country; 6) The publication of the outcomes of the systematic monitoring under yearbook format. Our observation is carried out by a network of research teams from 11 countries from different universities throughout the Ibero-American region: Argentina, Brazil, Chile, Colombia, Ecuador, Spain, USA, Mexico, Portugal, Venezuela and Uruguay. The primary sources of audience measurement data are provided by the entities in charge of such studies in the different countries: Ibope and its agencies in Brazil, Mexico, Argentina, Colombia, Ecuador, Uruguay and Chile; Taylor Nielsen-Sofres in Spain, Marktest in Portugal; and Nielsen in the USA. We also work with data generated within the research teams from other sources, such as press releases, the internet, audio and video material, and data obtained from direct contact with agencies and actors from the audiovisual milieu. The statistical processing of the data was carried out based in production typologies (TV schedules, time slots, duration time of each fiction product or episode) and measurement typologies (rating, share), which allows the development of comparative frames on the supply conditions on the profiles of the production of television fiction in each country, which include categories such as schedule volume, formats, producers, scriptwriters, creators and broadcast strategies. Throughout the year, the research teams from each nation enrich their image database, where each new product, either domestic or co-produced with another country of the region, is classified and catalogued. This work displays the four research lines developed from our observation: 1) A quantitative/descriptive line for the fiction production of the year, with the aim of situating the data within the fiction production and reception and distribution in each country; 2) A qualitative/interpretative line of production and reception analysis, with the aim of studying the economic and sociocultural aspects which are inherent to the contents conveyed through the television fiction of each country; 3) A quantitative and qualitative analysis on the audience´s transmedia interactions; 4) A comparative analysis line, which aims to identifying similarities, differences and trends in television fiction products from the member countries of the network. The overall analysis of this Yearbook is divided into three parts. In the first part, there is an introductory chapter with a comparative synthesis of fiction from the countries involved. It contains a quantitative and qualitative comparison of the development of fiction within each country, regarding prominent productions and the year´s theme, which for this Yearbook 2011 was Quality in TV Fiction. In the second part, there are eleven chapters, which have their internal structure articulated into four parts: 1) Each country`s audiovisual context, which presents an overview of the audiovisual sector, regarding the production of television fiction: history, trends and most relevant facts; 2) An analysis of the new television fiction programs throughout the year. This is displayed on tables with specific data from both, domestic and Ibero-American programs shows in each country. 3) This year, the analysis included one general view of the transmedia audiences´ interaction with fiction in Internet. 4) The most prominent productions of the year: those that have been most significant not only regarding rating, but also in terms of sociocultural impact or innovation in the television industry or in the market. 5) Finally, there is the Theme of the Year, which in this delivery is: Quality in TV Fiction. Especially how quality is conceived and how models for good or bad television fiction in each Obitel country becomes established. In the third part, the Yearbook 2011 presents the 10 most viewed fiction titles of each country, with their technical specifications containing information on their production. Part one PART ONE Television fiction in the Ibero-American countries in 2010 Comparative synthesis of the Obitel countries in 2010 COMPARATIVE SYNTHESIS OF THE OBITEL COUNTRIES IN 2010 By Maria Immacolata Vassallo de Lopes and Guillermo Orozco Gómez 1. Quantitative comparison of television fiction in Ibero-American countries This chapter analyzes the production and circulation of television fiction1 programming in Ibero-American countries. With this aim, the programming of 69 private and public broadcast television networks with national coverage from 11 countries were observed; all of them constitute the Obitel universe in 2010. Table 1. Member-countries of Obitel and analyzed channels – 2010 Total - Obitel Private channels Public channels television countries stations América 2, Canal 9, Argentina Canal 7 Televisión Public 5 Telefé, El Trece Globo, Record, sbt, Bandeirantes, Brazil tv Brasil 6 Rede tv uc tv, ucv tv, Chilevisión, Mega, Red, Chile tvn 7 Telecanal Señal Colombia, Canal Colombia rcn, Caracol, Canal uno 5 Institucional Teleamazonas, rts, Ecuavisa, Canal Ecuador ectv, Gama tv, tc Televisión 7 Uno Mexico Televisa, tv Azteca Once tv, Conaculta 4 Portugal sic, tvI rtp1, rtp22 4 Antena3, Tele5, Cuatro, Spain tve1, La 2 71 LaSexta, Veo 7 Azteca América,
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