Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020)
Recent history serves as an inexhaustible source for fictional productions and television biopics (Bignell, 2019), which establish how the “history” of figures that are part of a particular cultural imaginary is represented. Although the narrative strategies of biographical series are articulated ar...
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| Format: | Article |
| Language: | Spanish |
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Groupe de Recherche Amérique Latine Histoire et Mémoire
2024-11-01
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| Series: | Les Cahiers ALHIM |
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| Online Access: | https://journals.openedition.org/alhim/13263 |
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| author | Consuelo Ábalos |
| author_facet | Consuelo Ábalos |
| author_sort | Consuelo Ábalos |
| collection | DOAJ |
| description | Recent history serves as an inexhaustible source for fictional productions and television biopics (Bignell, 2019), which establish how the “history” of figures that are part of a particular cultural imaginary is represented. Although the narrative strategies of biographical series are articulated around personal stories and represent real events, there is a construction linked to televisuality (Caldwell, 1995) that problematizes how the veracity and similarity of the historical context in which the biographical elements are inserted is constructed. This paper seeks to examine the operations of historical resignification in relation to the conditions of production under which the mediation of television biopics operates and its potential difference in terms of citizenship formation. This proposal contrasts the narrative strategies of two series about the same musical band, the Chilean group Los Prisioneros. Through a narratological analysis (Aumont and Marie, 2009) of the series Sudamerican Rockers (2014) and Los Prisioneros (2020), we identify the differences in the way in which the story of the same musical group is constructed and the impact that the production conditions have on the emphasis of the same “story” and its historical context. |
| format | Article |
| id | doaj-art-89ba2ce1e9364ef5859ca9c33fd046fe |
| institution | Kabale University |
| issn | 1628-6731 1777-5175 |
| language | Spanish |
| publishDate | 2024-11-01 |
| publisher | Groupe de Recherche Amérique Latine Histoire et Mémoire |
| record_format | Article |
| series | Les Cahiers ALHIM |
| spelling | doaj-art-89ba2ce1e9364ef5859ca9c33fd046fe2025-01-10T14:56:39ZspaGroupe de Recherche Amérique Latine Histoire et MémoireLes Cahiers ALHIM1628-67311777-51752024-11-014810.4000/12vhqRepresentación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020)Consuelo ÁbalosRecent history serves as an inexhaustible source for fictional productions and television biopics (Bignell, 2019), which establish how the “history” of figures that are part of a particular cultural imaginary is represented. Although the narrative strategies of biographical series are articulated around personal stories and represent real events, there is a construction linked to televisuality (Caldwell, 1995) that problematizes how the veracity and similarity of the historical context in which the biographical elements are inserted is constructed. This paper seeks to examine the operations of historical resignification in relation to the conditions of production under which the mediation of television biopics operates and its potential difference in terms of citizenship formation. This proposal contrasts the narrative strategies of two series about the same musical band, the Chilean group Los Prisioneros. Through a narratological analysis (Aumont and Marie, 2009) of the series Sudamerican Rockers (2014) and Los Prisioneros (2020), we identify the differences in the way in which the story of the same musical group is constructed and the impact that the production conditions have on the emphasis of the same “story” and its historical context.https://journals.openedition.org/alhim/13263Historical TV Series; TV Biopics; Televisuality; SVOD; Los Prisioneros |
| spellingShingle | Consuelo Ábalos Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) Les Cahiers ALHIM Historical TV Series; TV Biopics; Televisuality; SVOD; Los Prisioneros |
| title | Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) |
| title_full | Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) |
| title_fullStr | Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) |
| title_full_unstemmed | Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) |
| title_short | Representación histórica, televisualidad y formación ciudadana: contrastes de los biopics televisivos Sudamerican Rockers (2014) y Los Prisioneros (2020) |
| title_sort | representacion historica televisualidad y formacion ciudadana contrastes de los biopics televisivos sudamerican rockers 2014 y los prisioneros 2020 |
| topic | Historical TV Series; TV Biopics; Televisuality; SVOD; Los Prisioneros |
| url | https://journals.openedition.org/alhim/13263 |
| work_keys_str_mv | AT consueloabalos representacionhistoricatelevisualidadyformacionciudadanacontrastesdelosbiopicstelevisivossudamericanrockers2014ylosprisioneros2020 |