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Diversidad Entre Rejas: Estereotipos E Identidad De Género En La Ficción Televisiva Orange Is the New Black De Una Manera Sincrónica” (2014: 1)

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Diversidad Entre Rejas: Estereotipos E Identidad De Género En La Ficción Televisiva Orange Is the New Black De Una Manera Sincrónica” (2014: 1) ° Comunicación y Medios N 37 (2018) www. comunicacionymedios.uchile.cl 79 Diversidad entre rejas: Estereotipos e identidad de género en la ficción televisiva Orange is the New Black Diversity behind bars: Gender stereotypes and identity in Orange is the New Black Leyre Eguskiza-Sesumaga. Universidad del País Vasco, Bilbao, España. [email protected] Resumen Abstract La multiplicidad de plataformas y canales en la The multiplicity of platforms and channels pre- Tercera Edad De Oro de la televisión ha genera- vailing in the Third Golden Age of television has do una expansión de la oferta ficcional, dando generated an expansion of fictional products, cabida a nuevos formatos, historias y persona- giving new formats, stories and characters their jes. Con un elenco mayoritariamente femenino, own place. Orange is the New Black, with a Orange is the New Black acerca a la audiencia mostly female cast, brings the audience closer la vida de un grupo de mujeres en prisión. Este to daily life of women in prison. This research trabajo de investigación ahonda en la represen- work delves into the representation of main cha- tación de la identidad de género de sus prota- racters’ gender identity, determining which fac- gonistas, determinando qué factores influyen tors affect the way these women are reflected. en dicho retrato. El análisis en profundidad de An in-depth analysis of fourteen female cha- catorce personajes femeninos detecta estereo- racters detects several stereotypes and values tipos y valores asociados al modelo heteronor- associated with the traditional heteronormative mativo. Sin embargo, la representación de los model. Nevertheless, prevailing social canons, cánones sociales imperantes, personificados a represented by the main character, open the través de la protagonista, abre la puerta a múl- door to multiple femininity models and give visi- tiples modelos de feminidad y a la visibilización bility to minority collectives. de colectivos minoritarios. Keywords Palabras clave Gender identity; stereotypes; television; fiction; Identidad de género; estereotipos; televisión; gender studies ficción; estudios de género Recibido: 14-03-2018/ Aceptado: 01-06-2018 / Publicado: 30-06-2018 DOI: 10.5354/0719-1529.2018.48622 ° Comunicación y Medios N 37 /2018 e-ISSN 0719-1529 L. guskiza-Sesumaga 80 1. Introducción 2. Representación de la mujer en la ficción televisiva Con el propósito de narrar la experiencia que había marcado su vida, la estadounidense Piper Mujeres y medios de comunicación forman un Kerman comenzó a escribir sus memorias. En binomio ampliamente investigado en las últimas Orange is the New Black: Cróni- 2010 veía la luz décadas, siendo profuso el número de estudios ca de mi año en una prisión federal de mujeres , que abordan las producciones audiovisuales una obra autobiográfica sobre su estancia en desde la perspectiva de género. Este interés la Institución Correccional Federal de Danbury académico por la representación de las múlti- (Connecticut). La productora y directora Jen- ples realidades de la feminidad en la ficción ji Kohan apostaría entonces por convertirla en televisiva, coincidente con el éxito cosechado Orange is the New Black una serie de televisión: por las series, se traduce en un nutrido conjun- (en referencia al naranja de los uniformes de las to de trabajos centrados en analizar los roles, reclusas a su llegada a prisión). estereotipos y representaciones sociales en la pequeña pantalla (De Miguel, Ituarte, Olábarri La primera temporada de esta comedia-drama & Siles, 2004; Galán, 2007; Belmonte & Guilla- llegó a Netflix en julio de 2013, siendo emitidos món, 2008; Menéndez & Zurian, 2014), además 1 65 episodios hasta la fecha . Desde su inclusión de abordar otras cuestiones como los modelos en el panorama televisivo mundial, la serie ha de familia (Lacalle & Hidalgo-Marí, 2016). De la cosechado un notable éxito, no exento de crí- misma manera, encontramos ejemplos de este ticas, por abordar temáticas de interés social tipo de investigaciones vinculadas a aclamadas como el racismo, los abusos de poder o la priva- ficciones como The Walking Dead, Mad Men o tización del sistema penitenciario. Su populari- Juego de Tronos (López & García, 2013; Chicha- dad se traduce, por ejemplo, en los 6,7 millones rro & Alcolea, 2014). de personas que siguieron en EEUU el inicio de la cuarta temporada durante sus dos primeras Algunas series norteamericanas como Ally Mc- jornadas en la plataforma digital (17/06/2016– Beal (1997-2002), Sexo en Nueva York (1998- 19/06/2016). Estos datos aportados por el con- 2004) y Mujeres Desesperadas (2004-2012), glomerado de comunicación Nielsen la sitúan consideradas precursoras en el ámbito audio- Ne- como una de las ficciones más seguidas de visual, trajeron consigo un cambio en la repre- tflix. sentación de los personajes femeninos y un empoderamiento de éstos frente a la tradicional En los capítulos iniciales el público acompaña a superioridad masculina. Así lo recogen inves- Piper Chapman, alter ego de Kerman, durante tigaciones entre las que se encuentra Mujeres su ingreso en prisión. Sin embargo, la prota- en serie (Fernández, Menéndez, Torras & Tra- gonista deja espacio progresivamente al resto pero, 2006), un conjunto de artículos acerca de de personajes, gestando una serie coral en la las dos primeras, junto a otros que las analizan que se entrelazan las vidas de reclusas y funcio- desde la perspectiva feminista y postfeminista narios de prisión. Con todo, esta investigación (Dubrofksy, 2002; Moseley & Read, 2002; Ger- ahonda en la representación de sus personajes hard, 2005; Kaufer, 2009; Hill, 2010; Lorié, 2011; femeninos, atendiendo a factores transversales Chicharro, 2013). como la edad, raza/etnia, clase social, religión, maternidad o diversidad sexual. Una de las prin- En este contexto, Orange is the New Black nace cipales tareas es determinar cuáles influyen en la en el seno de la Tercera Edad De Oro de la te- manera de retratar a estas mujeres, detectando levisión, un periodo iniciado a finales de los no- la posible presencia de estereotipos de géne- venta que se extiende hasta nuestros días. Para ro que pudieran subyacer tras una arriesgada y Alberto Nahum, “explicar este boom implica transgresora estética. tener en cuenta un conjunto de factores –indus- triales, tecnológicos, narrativos y de audiencia– que se han entrelazado y han influido entre sí Diversidad entre rejas: Estereotipos e identidad de género en la ficción televisiva Orange is the New Black de una manera sincrónica” (2014: 1). Entre ellos lem (América Latina) y The Ghetto (piel negra). 81 destaca la llegada de la televisión por cable y De forma simultánea, las mujeres de más edad por satélite a Estados Unidos, junto a la prolife- se adhieren también al grupo llamado Las chicas ración de plataformas digitales y la consecuen- de oro. Teniendo en cuenta esta circunstancia, te multiplicidad de la oferta temática. En busca se ha buscado un equilibrio en la procedencia de una audiencia cada vez más segmentada, las de las protagonistas –en torno a la veintena–, producciones han dado “un salto en la calidad integrando un número similar de personajes hacia una mayor ambición temática y un relato de cada agrupación. Dado que el sector de las cada vez más sofisticado” (Nahum, 2014: 1-2), reclusas más mayores es el menos extenso, su integrando narrativas que parecían no tener de- representación en la muestra es igualmente masiada cabida en las parrillas. menor. Los catorce personajes femeninos de la muestra se distribuyen de la siguiente manera: Es el caso de esta serie, “alejada de las represen- taciones vinculadas al tradicionalismo patriarcal” The Suburbs: Piper Chapman, Lorna Morello, (Aguado & Martínez, 2015: 263) y que apuesta Carrie Black y Tiffany Doggett por visibilizar las enfermedades mentales, las mu- jeres transgénero, el aborto, las agresiones sexua- The Spanish Harlem: Dayanara Díaz, Aleida les o la vejez. A pesar de su reciente andadura te- Díaz, Gloria Mendoza y María Ruiz levisiva, ha motivado profusas investigaciones que parten de los estudios de género (Artt & Schwan, The Ghetto: Sophia Burset, Tasha Jefferson, 2016; Fernández & Menéndez, 2016; Schwan, Suzanne Warren y Poussey Washington 2016; McKeown & Parry, 2017). De la misma ma- nera, la discriminación racial en prisión también Las chicas de oro: Galina Reznikov y Rosa Cis- es un recurrente tema de estudio (Caputi, 2015; neros Enck & Morrisey, 2015; Aguado & Martínez, 2016; Belcher, 2016), junto a la construcción de la línea El análisis se ha efectuado de acuerdo a una temporal de la serie (Silverman & Ryalls, 2016), las ficha basada en la metodología que Elena Ga- ocupaciones laborales de las protagonistas (Pra- lán Fajardo presenta en La imagen social de la maggiore, 2016) o la estrategia promocional de mujer en las series de ficción (2007). En prime- Netflix (DeCarvalho & Cox, 2016). ra instancia, distingue tres ejes fundamentales en la construcción de los personajes: descrip- ción física, psicológica y del entorno social (Ga- lán, 2007: 46). Posteriormente, se apoya en las aportaciones de Philip M. Parker para ampliar 3. Marco metodológico los parámetros (Galán, 2007: 48). La presencia externa se refiere al género, edad, apariencia o La metodología se articula en torno al estudio sexualidad. La presencia interna a los paráme- en profundidad de los personajes femeninos du- tros intelectuales y emocionales que rigen su rante las cuatro primeras temporadas, con trece conducta. Por último, el contexto corresponde capítulos cada una. La amplitud de personajes al ambiente, las relaciones con su entorno o su femeninos que integran el elenco ha llevado a historia personal. acotar la muestra, seleccionando únicamente a reclusas con un papel protagonista. Este factor Tomando en cuenta dichos factores, la autora viene determinado por el hecho de contar con confecciona una extensa plantilla de análisis de uno o más episodios propios en los que se na- personajes (Galán, 2007: 85-90) cuyo conteni- rra su vida previa al encarcelamiento. Asimismo, do ha sido adaptado a los objetivos del estu- han sido elegidos aquellos personajes que figu- dio, suprimiendo categorías y añadiendo otras ran en la serie desde su inicio.
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