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.
Зміст
Acknowledgments
Foreword
Paul Julian Smith
Introduction: Crisis TV: Hispanic Television Narratives after 2008
María del Carmen Caña Jiménez and Vinodh Venkatesh
Section 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 Virino
2. The Perfect Storm: Chilean Audiovisual Fiction in Times of Globalization
Lorena Antezana Barrios
Section 2: Crisis Societies
3. Immigration, Exploitation, and Assemblage in
Destino: São Paulo
Dorian Lee Jackson
4. Notes on Prison
Saga El Marginal: New Alliances and Transformations in the Argentine Serial Narrative
Carolina Soria, translated by María Victoria Boano
Section 3: Crisis Genres and Transnational Productions
5. Banking on Crisis Capitalism: Money and the State in Bank Heist Media
Camilla Fojas
6. Televisual Narco Fiction in Times of Crisis: The Case of
Fariña
Francisca López
Section 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
Élite
Joanne Britland
8. Crises Upon Crisis: Game of Mirrors, Baroque Elements, and Cervantine Influences in
La que se avecina
María del Carmen Caña Jiménez
Section 5: Crisis Futures: Superheroes and Science Fiction
9. Alternative Realities: Central American Science Fiction Television and the Reimagining of Society’s Future
Greg C. Severyn
10. Small-Screen Superheroes in Argentina and Mexico:
Nafta Súper and
Blue Demon
Vinodh Venkatesh
Closing Credits
Conclusion: La Debacle
Hernán Rodríguez Matte
Contributors
Index
Про автора
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.
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