In order to understand the current state of television serial fiction, it is first of all necessary to pay attention to the inseparable evolution of the technology that supports it, of the models of consumption and of the different narrative and aesthetic forms that coexist within a format that is increasingly diverse and difficult to delimit. We intend, on the one hand, to trace a journey through the TV series that have changed the medium in order to map the present, while at the same time seeking to relate ‘television’ with the latest trends in contemporary cinema, without forgetting the influence of other expressive/narrative media such as sound fiction or social networks.
Based on narrative and formal analysis, the course aims to enable students to identify the main features of teleseriality so that, by viewing different case studies, they can endorse or refute the permanence of certain patterns and traditions. In any case, the aim is to take an unprejudiced approach to television serial fiction that will help students to develop the necessary analytical skills that will enable them to relate the (very diverse) forms of contemporary telefiction to other audiovisual disciplines. It is, therefore, a subject in which transversality and comparative analysis will be fundamental in order to achieve a further objective: the production of critical texts (regardless of their format) in which intertextuality and the ability to establish relevant interrelations with other forms of creation will be paramount.
-15% participation in the sessions: collaborate in the analyses, present proposals for debate and viewing.
-20% presentation of a critical text (A) on a complete season of series 1 previously agreed with the students (Topic 0). Submission in the middle of the course.
-30% presentation of a critical text (B) on a complete season of series 2 previously agreed with the students (Topic 0). Submission in the last session of the course.
-35% presentation of a critical text. On the last day of class, the teacher will select a pilot episode released that month (which the students will watch on their own) and then prepare an analytical written text of 4000 characters (spaces included) to be handed in within two working days.
NOTE 1: Texts A and B may take the form of a written, audio-visual or audio-visual essay.
-NOTE 2: Throughout the course, the teacher will introduce each of the analytical tools necessary to carry out the practical work on the basis of various case studies.
-NOTE 3: Anyone who does not attend 80% of the classes will not receive any marks for participation (15%).
-NOTE 4: In addition to the films that will be shown in the classroom, there will be other compulsory films that students will have to watch on their own and an additional list related to the course contents.
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Cascajosa, Concepción (2016). La cultura de las series. Barcelona. Ed. Laertes.
Garín, Manuel (2017). Heridas infinitas: estructura narrativa y dinámicas seriales en la ficción televisiva. L’Atalante. Julio-Diciembre 2017.
Huerta, Miguel Ángel (ed.) (2020). Revolución seriada: el gran cambio de la ficción televisiva en España. Ed. Tirant Humanidades.
Huerta, Miguel Ángel y Sangro, Pedro (ed.) (2018). La estética televisiva en las series contemporáneas. Valencia. Ed. Tirant Humanidades.
Mittel, Jason (2015). Complex TV: The Poetics of Contemporary Television Storytelling. NYU Press.
Neira, Elena (2015). La otra pantalla. Barcelona. Ed. UOC
Neira, Elena (2020). Streaming Wars. La nueva televisión. Barcelona. Libros Cúpula.
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Palacio, Manuel (2001). Historia de la televisión en España. Gedisa.
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