{"id":28680,"date":"2018-03-09T09:21:29","date_gmt":"2018-03-09T09:21:29","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-produccion-de-ficcion-televisiva-en-espana-1990-2002-evolucion-historica-industria-y-mercados\/"},"modified":"2018-03-09T09:21:29","modified_gmt":"2018-03-09T09:21:29","slug":"la-produccion-de-ficcion-televisiva-en-espana-1990-2002-evolucion-historica-industria-y-mercados","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/navarra\/la-produccion-de-ficcion-televisiva-en-espana-1990-2002-evolucion-historica-industria-y-mercados\/","title":{"rendered":"La producci\u00f3n de ficci\u00f3n televisiva en espa\u00f1a (1990-2002): evoluci\u00f3n hist\u00f3rica, industria y mercados"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Patricia Diego  Gonz\u00e1lez <\/strong><\/h2>\n<p>El objetivo esencial de este trabajo de investigaci\u00f3n es analizar la producci\u00f3n de ficci\u00f3n televisiva espa\u00f1ola realizada por la tres cadenas generalistas en abierto (tve, antena 3 y tele 5) desde 1990 hasta 2002. Se trata de dar respuesta a la siguiente pregunta: \u00c2\u00bfcu\u00e1les son los est\u00e1ndares de producci\u00f3n que se aplican en las series espa\u00f1olas durante estos a\u00f1os?.  el primer cap\u00edtulo ofrece una s\u00edntesis de la historia de la producci\u00f3n de ficci\u00f3n en la televisi\u00f3n espa\u00f1ola desde el principio del desarrollo hasta la consolidaci\u00f3n de est\u00e1ndares (1956-19990). El objetivo es presentar una evoluci\u00f3n hist\u00f3rica sobre la progresiva incorporaci\u00f3n de g\u00e9neros de ficci\u00f3n en la televisi\u00f3n de nuestro pa\u00eds, haciendo especial hincapi\u00e9 en los avances que se llevaron a cabo desde el punto de vista de las f\u00f3rmulas y est\u00e1ndares de producci\u00f3n, antecedentes de los actuales.  el segundo cap\u00edtulo consiste en analizar la situaci\u00f3n actual: c\u00f3mo funciona la industria de la ficci\u00f3n en espa\u00f1a y c\u00f3mo se producen las series. Examina la relaci\u00f3n entre los dos principales protagonistas del proceso de producci\u00f3n (cadenas, y productoras) y extrae los principales est\u00e1ndares de producci\u00f3n que hoy en d\u00eda se aplican a la ficci\u00f3n televisiva en espa\u00f1a.  el tercer y \u00fatlimo cap\u00edtulo analiza los contenidos de ficci\u00f3n en el mercado desde varios puntos de vista (tipol\u00f3gia o g\u00e9neros, relaci\u00f3n con cadenas y productoras y su audiencia). Demuestra con abundantes datos contrastados que el g\u00e9nero de la ficci\u00f3n ha sido uno de los contenidos televisivos m\u00e1s relevantes de la \u00faltima d\u00e9cada en las cadenas nacionales.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La producci\u00f3n de ficci\u00f3n televisiva en espa\u00f1a (1990-2002): evoluci\u00f3n hist\u00f3rica, industria y mercados<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La producci\u00f3n de ficci\u00f3n televisiva en espa\u00f1a (1990-2002): evoluci\u00f3n hist\u00f3rica, industria y mercados <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Patricia Diego  Gonz\u00e1lez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Navarra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 13\/02\/2004<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Alejandro Pardo Fern\u00e1ndez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Mar\u00eda Villagrasa sebastian <\/li>\n<li>Jos\u00e9 \u00e1ngel Cort\u00e9s lahera (vocal)<\/li>\n<li>Garc\u00eda De castro mario (vocal)<\/li>\n<li>mercedes Memdina laveron (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Patricia Diego Gonz\u00e1lez El objetivo esencial de este trabajo de investigaci\u00f3n es analizar la producci\u00f3n de ficci\u00f3n [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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