Maria del Carmen Cana Jimenez – författare

Wide-ranging, in-depth analysis of Spanish-language television fiction after the 2008 global financial crisis.Crisis TV addresses the motif of crisis that has come to dominate contemporary Hispanic televisual production since 2008 and the onset of the global financial crisis. In almost unprecedented fashion, the global economy came to a standstill, reshaping both geopolitical organizations and, more importantly, the lives of billions across the globe. The Great Recession, sociopolitical instabilities, the rise of extremist political parties and governments, and a worldwide pandemic have resulted in a mode of crisis that pervades contemporary television fiction. 2008 also marks a revolution in television, as local and global streaming services began to gain market share and even overtake traditional over-the-air transmission. The essays in Crisis TV identify and analyze the narrative tropes and aesthetic qualities of Hispanic television post-2008 to understand how different regions and genres have negotiated these intersecting crises and changing dynamics in production, dissemination, and consumption.

Wide-ranging, in-depth analysis of Spanish-language television fiction after the 2008 global financial crisis.Crisis TV addresses the motif of crisis that has come to dominate contemporary Hispanic televisual production since 2008 and the onset of the global financial crisis. In almost unprecedented fashion, the global economy came to a standstill, reshaping both geopolitical organizations and, more importantly, the lives of billions across the globe. The Great Recession, sociopolitical instabilities, the rise of extremist political parties and governments, and a worldwide pandemic have resulted in a mode of crisis that pervades contemporary television fiction. 2008 also marks a revolution in television, as local and global streaming services began to gain market share and even overtake traditional over-the-air transmission. The essays in Crisis TV identify and analyze the narrative tropes and aesthetic qualities of Hispanic television post-2008 to understand how different regions and genres have negotiated these intersecting crises and changing dynamics in production, dissemination, and consumption.

Desafios, diferencias y deformaciones de la ciudadania: mutantes y monstruos en la produccion cultural latinoamericana reciente se inserta dentro del creciente interes en los estudios sobre ciudadania al tener como objetivo el entender las diferentes formas en las que las politicas-economicas neoliberales cuestionan, controvierten e incluso mutan el concepto de ciudadania y el consecuente derecho a la titularidad de una serie de libertades en un espacio cada vez mas privatizado. Con un enfoque en la produccion cultural latinoamericana contemporanea, los ensayos aqui compilados exploran la presencia del monstruo y del mutante—literal o figurado—como tropos utiles para capturar los matices y las vicisitudes de la cambiante naturaleza de la ciudadania. Desafios, diferencias y deformaciones de la ciudadania busca mostrar como la literatura y el cine conforman espacios privilegiados para representar, problematizar y reflexionar sobre los complicados asuntos de ciudadania en la era neoliberal.

Argentina en la pequena pantalla. Reescrituras de la nacion en la ficcion televisiva es el primer estudio que explora la forma en que series de television no pertenecientes a la ficcion historica y producidas en las ultimas tres decadas reescriben tropos culturales, codigos historicos y figuras discursivas que han definido, desde sus inicios, la produccion cultural de la nacion. Muestra, ademas, que a traves de generos tales como el terror, la ciencia ficcion y el policial, la ficcion televisiva invita al espectador a acercarse a la historia y cultura de la nacion argentina, a traves de un examen critico que insta a indagar en aquello que con frecuencia queda invisibilizado en plasmaciones mas realistas, e incluso didacticas, de la historia. Argentina en la pequena pantalla ofrece argumentos para desmentir la percepcion convencional de la television como una forma de arte menor o de mero entretenimiento popular, elevando asi su estudio critico al mismo nivel del cine y la literatura.