María del Carmen Caña Jiménez is Associate Professor of Spanish at Virginia Tech. She is the coeditor of Horacio Castellanos Moya: El diablo en el espejo (with Vinodh Venkatesh). Vinodh Venkatesh is Professor of Spanish at Virginia Tech. He is the author of Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series, also published by SUNY Press. and New Maricón Cinema: Outing Latin American Film.

"A groundbreaking study of new tendencies in television from Spain and Latin America. Innovative and timely, Crisis TV makes an important contribution to Hispanic cultural studies, taking the disjunction of the financial crisis as a framing device to theorize the production and reception of Hispanic TV in a multinational context." — Ana Corbalán, University of Alabama"Featuring distinguished contributors from both sides of the Atlantic, Crisis TV ranges across multiple and far-flung territories which are rarely considered side by side: Spain and Chile, Brazil and Argentina, Central America and Mexico. One does not need to be familiar with the primary texts analyzed in these chapters to be fascinated by their exposition." — from the foreword by Paul Julian Smith

• AcknowledgmentsForewordPaul Julian SmithIntroduction: Crisis TV: Hispanic Television Narratives after 2008María del Carmen Caña Jiménez and Vinodh VenkateshSection 1: Crisis Industries 1. From the Big Freeze to Peak TV: A Decade in the Spanish TV Drama Industry between Two Crises (2010–2020)Concepción Cascajosa Virino2. The Perfect Storm: Chilean Audiovisual Fiction in Times of GlobalizationLorena Antezana BarriosSection 2: Crisis Societies 3. Immigration, Exploitation, and Assemblage in Destino: São PauloDorian Lee Jackson4. Notes on Prison Saga El Marginal: New Alliances and Transformations in the Argentine Serial NarrativeCarolina Soria, translated by María Victoria BoanoSection 3: Crisis Genres and Transnational Productions 5. Banking on Crisis Capitalism: Money and the State in Bank Heist MediaCamilla Fojas6. Televisual Narco Fiction in Times of Crisis: The Case of FariñaFrancisca LópezSection 4: Crisis Temporalities: Rethinking the Past in the Present 7. Netflix and "España Global": Promoting Spain through Television Streaming in La casa de papel, Las chicas del cable, and ÉliteJoanne Britland8. Crises Upon Crisis: Game of Mirrors, Baroque Elements, and Cervantine Influences in La que se avecinaMaría del Carmen Caña JiménezSection 5: Crisis Futures: Superheroes and Science Fiction 9. Alternative Realities: Central American Science Fiction Television and the Reimagining of Society's FutureGreg C. Severyn10. Small-Screen Superheroes in Argentina and Mexico: Nafta Súper and Blue DemonVinodh VenkateshClosing Credits Conclusion: La DebacleHernán Rodríguez MatteContributorsIndex

María del Carmen Caña Jiménez is Associate Professor of Spanish at Virginia Tech. She is the coeditor of Horacio Castellanos Moya: El diablo en el espejo (with Vinodh Venkatesh). Vinodh Venkatesh is Professor of Spanish at Virginia Tech. He is the author of Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series, also published by SUNY Press. and New Maricón Cinema: Outing Latin American Film.

"A groundbreaking study of new tendencies in television from Spain and Latin America. Innovative and timely, Crisis TV makes an important contribution to Hispanic cultural studies, taking the disjunction of the financial crisis as a framing device to theorize the production and reception of Hispanic TV in a multinational context." — Ana Corbalán, University of Alabama"Featuring distinguished contributors from both sides of the Atlantic, Crisis TV ranges across multiple and far-flung territories which are rarely considered side by side: Spain and Chile, Brazil and Argentina, Central America and Mexico. One does not need to be familiar with the primary texts analyzed in these chapters to be fascinated by their exposition." — from the foreword by Paul Julian Smith

• AcknowledgmentsForewordPaul Julian SmithIntroduction: Crisis TV: Hispanic Television Narratives after 2008María del Carmen Caña Jiménez and Vinodh VenkateshSection 1: Crisis Industries 1. From the Big Freeze to Peak TV: A Decade in the Spanish TV Drama Industry between Two Crises (2010–2020)Concepción Cascajosa Virino2. The Perfect Storm: Chilean Audiovisual Fiction in Times of GlobalizationLorena Antezana BarriosSection 2: Crisis Societies 3. Immigration, Exploitation, and Assemblage in Destino: São PauloDorian Lee Jackson4. Notes on Prison Saga El Marginal: New Alliances and Transformations in the Argentine Serial NarrativeCarolina Soria, translated by María Victoria BoanoSection 3: Crisis Genres and Transnational Productions 5. Banking on Crisis Capitalism: Money and the State in Bank Heist MediaCamilla Fojas6. Televisual Narco Fiction in Times of Crisis: The Case of FariñaFrancisca LópezSection 4: Crisis Temporalities: Rethinking the Past in the Present 7. Netflix and "España Global": Promoting Spain through Television Streaming in La casa de papel, Las chicas del cable, and ÉliteJoanne Britland8. Crises Upon Crisis: Game of Mirrors, Baroque Elements, and Cervantine Influences in La que se avecinaMaría del Carmen Caña JiménezSection 5: Crisis Futures: Superheroes and Science Fiction 9. Alternative Realities: Central American Science Fiction Television and the Reimagining of Society's FutureGreg C. Severyn10. Small-Screen Superheroes in Argentina and Mexico: Nafta Súper and Blue DemonVinodh VenkateshClosing Credits Conclusion: La DebacleHernán Rodríguez MatteContributorsIndex

María del Carmen Caña Jiménez is Associate Professor of Spanish at Virginia Tech. She is the coeditor of Horacio Castellanos Moya: El diablo en el espejo (with Vinodh Venkatesh). Vinodh Venkatesh is Professor of Spanish at Virginia Tech. He is the author of Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series, also published by SUNY Press. and New Maricón Cinema: Outing Latin American Film.

"A groundbreaking study of new tendencies in television from Spain and Latin America. Innovative and timely, Crisis TV makes an important contribution to Hispanic cultural studies, taking the disjunction of the financial crisis as a framing device to theorize the production and reception of Hispanic TV in a multinational context." — Ana Corbalán, University of Alabama"Featuring distinguished contributors from both sides of the Atlantic, Crisis TV ranges across multiple and far-flung territories which are rarely considered side by side: Spain and Chile, Brazil and Argentina, Central America and Mexico. One does not need to be familiar with the primary texts analyzed in these chapters to be fascinated by their exposition." — from the foreword by Paul Julian Smith

• AcknowledgmentsForewordPaul Julian SmithIntroduction: Crisis TV: Hispanic Television Narratives after 2008María del Carmen Caña Jiménez and Vinodh VenkateshSection 1: Crisis Industries 1. From the Big Freeze to Peak TV: A Decade in the Spanish TV Drama Industry between Two Crises (2010–2020)Concepción Cascajosa Virino2. The Perfect Storm: Chilean Audiovisual Fiction in Times of GlobalizationLorena Antezana BarriosSection 2: Crisis Societies 3. Immigration, Exploitation, and Assemblage in Destino: São PauloDorian Lee Jackson4. Notes on Prison Saga El Marginal: New Alliances and Transformations in the Argentine Serial NarrativeCarolina Soria, translated by María Victoria BoanoSection 3: Crisis Genres and Transnational Productions 5. Banking on Crisis Capitalism: Money and the State in Bank Heist MediaCamilla Fojas6. Televisual Narco Fiction in Times of Crisis: The Case of FariñaFrancisca LópezSection 4: Crisis Temporalities: Rethinking the Past in the Present 7. Netflix and "España Global": Promoting Spain through Television Streaming in La casa de papel, Las chicas del cable, and ÉliteJoanne Britland8. Crises Upon Crisis: Game of Mirrors, Baroque Elements, and Cervantine Influences in La que se avecinaMaría del Carmen Caña JiménezSection 5: Crisis Futures: Superheroes and Science Fiction 9. Alternative Realities: Central American Science Fiction Television and the Reimagining of Society's FutureGreg C. Severyn10. Small-Screen Superheroes in Argentina and Mexico: Nafta Súper and Blue DemonVinodh VenkateshClosing Credits Conclusion: La DebacleHernán Rodríguez MatteContributorsIndex