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Los Formatos De Televisión En El Mundo UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Ciencias de la Comunicación Aplicada TESIS DOCTORAL Los formatos de televisión en el mundo. De la globalización a la adaptación local. Análisis de formatos nórdicos MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Gloria Saló Benito Director Alberto Luis García García Madrid Ed. electrónica 2019 © Gloria Saló Benito, 2019 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Ciencias de la Comunicación Aplicada LOS FORMATOS DE TELEVISIÓN EN EL MUNDO. DE LA GLOBALIZACIÓNA LA ADAPTACIÓN LOCAL. ANÁLISIS DE FORMATOS NÓRDICOS MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Gloria Saló Benito Bajo la dirección del doctor Alberto Luis García García Madrid, 2018 1 2 Agradecimientos o Gratitudes (como decía mi admirado maestro Gabriel García Márquez). En el largo camino que he recorrido en la elaboración de esta tesis he contado con la colaboración, amabilidad y apoyo de muchas personas en el terreno personal y profesional. Ha sido un camino duro y con algunos obstáculos personales y profesionales que en ocasiones me han hecho pensar en renunciar a llevar a cabo esta investigación. Pero he encontrado personas que de un modo o de otro me han alentado a seguir adelante y gracias a ellas esta tesis es una realidad. Profesionalmente agradezco el tiempo dedicado y los conocimientos compartidos, por todas las personas que accedieron a ser entrevistadas o que respondieron a los cuestionarios enviados. Su colaboración ha sido un elemento fundamental para poder llevar a cabo mi investigación. Pilar Blasco y Maria Pinilla que me dedicaron su tiempo y me brindaron su sabiduría y compañerismo. Paolo Vasile que respondió casi antes de preguntarle. Hayley Babcock, Maarten Mejis y Arabelle Pouliot que lo saben todo del mercado internacional. Julia Dick, Ylva Hulten y Charlie Parsons que me descubrieron los secretos de uno de mis formatos favoritos, Survivor. Jan Salling, Jacob Houlind, Brita Sohlberg, Ole Hedemann, Marianne Gray, Espen Huseby y Anaïs de Neergard que me han ayudado a comprender el universo nórdico con su sabiduría, y especialmente a Jonas Linnander-Manfred. A Alberto García, mi director de tesis por aceptarme como doctoranda, en un momento muy complicado, y que me ha guiado por los vericuetos del mundo académico y me ha pedido siempre un poco más. Sin su exigencia y su empuje esta tesis no habría sido lo que es. A Paloma García Cuesta y Eva Zalve, compañeras y amigas incondicionales en los momentos que más las necesitaba y que hicieron posible mi participación en los foros internacionales de formatos, tan necesarios para poder llevar a cabo mi investigación. A Jesús Maraña, jefe, compañero y amigo, que dijo si sin dudarlo. A Luis Zubiaurre por no dejar pasar ni una sola coma. A Alejandro Rojas de Parrot Analytics por sus gráficos e interesantes análisis. A Emanuela Bosco por su traducción. Especialmente quiero demostrar mi gratitud a Patricia Marco, Olga Flórez y Pedro Revaldería, personas incondicionales que me he encontrado en mi vida profesional y que forman parte de mi vida personal, junto a las que he recorrido momentos importantes de mi vida. 3 4 Dedicatorias A mi padre, junto al que pasé muchas horas trabajando en esta tesis y que no ha podido verla terminada. A mi madre, a la que debo otorgar el título honorífico de “Doctora” por su empeño en que yo lo consiguiera. A Miguel Ángel, Tiaré y Darío a los que esta tesis ha robado muchas horas. A las mujeres que me han inspirado por su trabajo y tesón: Nellie Bly, Gertrude Bell, Clara Campoamor, Karen Blixen, Katharine Graham, Doris Lessing y Annie Wegelius. 5 6 ÍNDICE Resumen 15 1. CAPÍTULO 1 17 1.1. Introducción 19 1.2. Justificación de la investigación 23 1.3. Objetivos de la tesis 28 1.4. Formulación de la hipótesis 30 1.5. Metodología 32 1.5.1. Presentación metodológica 32 1.5.2. Estructura metodológica 33 1.5.3. Análisis metodológico 35 1.5.4. Muestra de análisis 36 2. CAPÍTULO 2 39 2. Los formatos de televisión en el mundo. El negocio de los formatos 41 de televisión. 2.1. Aproximaciones a la definición de formato. Ámbito académico y 43 Profesional. 2.2. Biblia del formato y transferencia del know how. Los elementos de un 48 formato de televisión. 2.3. Concepto de género. Tipología y clasificación de formatos y programas 51 2.3.1. La hibridación de los géneros televisivos. Transformación del 55 concepto de género. 2.3.2. Entretenimiento, Géneros y Subgéneros. Características 58 Diferenciadoras 2.3.2.1. Game show 59 2.3.2.2. Reality show 61 2.3.2.3. Talent show 66 2.3.2.4. Talk show 70 2.3.2.5. Magacín 73 2.3.2.6. Humor (Comedy) 74 7 2.3.3. Géneros de ficción 75 2.3.3.1. Serie o Drama 77 2.3.3.2. Sitcom 78 2.3.3.3. Serial: Soap opera y telenovela 79 2.3.3.4. Mini serie y TV Movie 80 2.4. Evolución de los formatos en el mercado internacional 81 2.4.1. El Boom del formato y la consolidación de un negocio 81 (2000-2003) 2.4.1.1. Del dating game al reality dating 83 2.4.1.2. La fortaleza de la telerrealidad. Versiones celebrities 84 2.4.1.3. La vanguardia de los nuevos formatos 85 2.4.2. El fenómeno de la telerrealidad (2004) 87 2.4.2.1. A vueltas con la interactividad 88 2.4.2.2. Reality y diversificación de contenidos 90 2.4.3. Nuevos giros y narrativas en Reality TV (2005-2006) 91 2.4.3.1. Reino Unido sigue liderando el mercado de formatos 93 2.4.3.2. Target familiar y televisión tradicional frente a target 94 juvenil y nuevas pantallas. 2.4.4. Televisión Digital Terrestre y crisis financiera (2007-2008) 97 2.4.4.1. Reto ecológico y entretenimiento 97 2.4.4.2. Los costes de producción marcan tendencias de 98 contenidos 2.4.4.3. El formato de telenovela, nueva línea de negocio 99 2.4.4.4. Feelgood formats 100 2.4.5. En busca de los mercados emergentes (2009-2010) 101 2.4.5.1. Los concursos salen a la calle 103 2.4.5.2. Corachín para jóvenes 104 2.4.5.3. Transformar la realidad, contar la realidad 105 2.4.5.4. El futuro ya está aquí. Nuevos medios 106 2.4.6. Marcas globales y nuevos territorios (2011-2012) 108 2.4.6.1. Game shows y segundas pantallas 110 2.4.6.2. Evolución y transformación del dating 111 8 2.4.6.3. Formatos nórdicos y conciencia social 111 2.4.6.4. Los formatos de ficción y su proyección internacional 114 2.4.7. La televisión se reinventa (2013-2014) 115 2.4.7.1. Mayor demanda de contenidos 116 2.4.7.2. Nuevos talentos para nuevas disciplinas 120 2.4.8. La era de la globalización (2015-2016) 122 2.4.8.1. Los scripted formats se afianzan en el mercado 125 2.4.8.2. Talent show en manos del espectador 127 2.4.8.3. No es reality, es la vida real 128 2.4.8.4. La fuerza del game sigue vigente 129 2.4.8.5. Formatos en la era digital 129 2.5. Los Superformatos o el mercado global del formato 130 2.6. Sociedad digital y nuevos formatos 135 2.6.1. Redes sociales y transmedia. El complicado juego de las 136 plataformas 2.6.2. Everytime, Everyday, Everywhere 138 2.6.3. Formatos 360º 139 3.CAPÍTULO 3 143 3. De la globalización a la adaptación local 145 3.1. La importancia de los formatos internacionales de televisión 145 3.2. Los mercados internacionales 153 3.2.1. Trade Markets 155 3.2.2. Showcase Markets 161 3.2.3. Festivales de televisión (Market Festivals) 163 3.3. El negocio internacional del formato 165 3.3.1. Quienes compran y quienes venden 167 3.3.2. Qué se compra y qué se vende 169 3.3.3. Opción y adquisición de formatos 170 3.3.4. Format Recognition and Protection Association (FRAPA) 172 3.4. Dimensión global del negocio de los formatos de televisión. Principales 175 compañías de creación y distribución de formatos 9 3.4.1. All3Media 178 3.4.2. Banijay Group 178 3.4.3. BBC Worldwide 179 3.4.4. Endemol Shine Group 180 3.4.5. Remante Media 181 3.4.6. ITV Studios Global Entertainment 182 3.4.7. Nice Group (NENT Group) 182 3.4.8. Red Arrow Studios 184 3.4.9. Talpa Media 184 3.4.10. Warner Bros. International TV Production 185 3.5. Adaptación de formatos 188 4. CAPÍTULO 4 193 4. Análisis de formatos nórdicos 195 4.1. Estrategias en el entorno digital 199 4.2. Análisis de creatividad, asunción de riesgos y bajos presupuestos 202 4.3. Los países 203 4.3.1 Suecia 205 4.3.2. Dinamarca 205 4.3.3. Finlandia 206 4.3.4. Noruega 207 4.3.5. Islandia 208 4.4. El estado del bienestar 208 4.4.1. Formatos de televisión para el estado del bienestar 210 4.4.2. Paradise hotel 211 4.4.3. Service with a smile 212 4.4.4. Diktatorn (Dictator) 212 4.4.5. Heja Sverige (Something Special) 213 4.4.6. Petter Uteligger (The Homeless Experiment) 214 4.4.7. Petter Uteligger: Fra gata til Nordkapp 216 (The Homeless Experiment: Into the wild) 4.4.8.
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