<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0121-7550</journal-id>
<journal-title><![CDATA[Nómadas]]></journal-title>
<abbrev-journal-title><![CDATA[Nómadas]]></abbrev-journal-title>
<issn>0121-7550</issn>
<publisher>
<publisher-name><![CDATA[Universidad Central]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-75502024000100005</article-id>
<article-id pub-id-type="doi">10.30578/nomadas.n58a2</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Estrategias narrativas de los dramas contemporáneos basados en hechos reales]]></article-title>
<article-title xml:lang="pt"><![CDATA[Estratégias narrativas nos dramas contemporâneos baseados em eventos reais]]></article-title>
<article-title xml:lang="en"><![CDATA[Narrative Strategies in Contemporary Dramas Based on Real Events]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[de Almeida Ferreira]]></surname>
<given-names><![CDATA[Mariana]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Rocha]]></surname>
<given-names><![CDATA[Simone Maria]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Gutiérrez-González]]></surname>
<given-names><![CDATA[Carlos]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Consejo Nacional de Desarrollo Científico y Tecnológico  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Federal de Minas Gerais Departamento de Comunicación Social ]]></institution>
<addr-line><![CDATA[Belo Horizonte ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidad de La Sabana Facultad de Comunicación Departamento de Comunicación Audiovisual]]></institution>
<addr-line><![CDATA[Chía ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<volume>58</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-75502024000100005&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-75502024000100005&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-75502024000100005&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[El artículo busca identificar los recursos narrativos adoptados por creativos de plataformas de streaming que producen dramas basados en hechos reales locales, cuyo público objetivo son las audiencias transnacionales. Para tal fin, los autores hacen un análisis narrativo de las producciones El robo del siglo y Dom, dos de las series dramáticas de Colombia y Brasil con más éxito. El artículo concluye que el drama espejo, la hibridación de géneros narrativos y la ambigüedad moral de los personajes, son los principales recursos narrativos de la premisa pensar global, producir local, que enmarca a este tipo de producciones.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[O artigo procura identificar os recursos narrativos adotados pelos criadores de plataformas de streaming que produzem dramas baseados em eventos locais reais, cujo público-alvo são as audiências transnacionais. Para tanto, os autores realizam uma análise narrativa das produções El robo del siglo e Dom, duas das séries dramáticas de maior sucesso da Colômbia e do Brasil. O artigo conclui que o drama espelhado, a hibridização de gêneros narrativos e a ambiguidade moral dos personagens são os principais recursos narrativos da premissa pensar global, produzir local, que enquadra esse tipo de produção.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[This article seeks to identify the narrative strategies employed by content creators on streaming platforms who produce dramas based on local real-life events, targeting transnational audiences. To this end, the authors conduct a narrative analysis of The Great Heist (El robo del siglo,) and Dom, two of the most successful dramatic series from Colombia and Brazil. The article concludes that mirror drama, narrative genres hybridization, and the moral ambiguity of characters are the primary narrative strategies aligned with the premise think globally, produce locally, which underpins these types of productions.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[servicios de streaming]]></kwd>
<kwd lng="es"><![CDATA[drama espejo]]></kwd>
<kwd lng="es"><![CDATA[hibridación de géneros]]></kwd>
<kwd lng="es"><![CDATA[ambigüedad moral]]></kwd>
<kwd lng="es"><![CDATA[hechos reales]]></kwd>
<kwd lng="es"><![CDATA[dramas contemporáneos]]></kwd>
<kwd lng="pt"><![CDATA[serviços de streaming]]></kwd>
<kwd lng="pt"><![CDATA[drama espelhado]]></kwd>
<kwd lng="pt"><![CDATA[hibridização de gêneros]]></kwd>
<kwd lng="pt"><![CDATA[ambiguidade moral]]></kwd>
<kwd lng="pt"><![CDATA[eventos reais]]></kwd>
<kwd lng="pt"><![CDATA[dramas contemporâneos]]></kwd>
<kwd lng="en"><![CDATA[streaming services]]></kwd>
<kwd lng="en"><![CDATA[mirror drama]]></kwd>
<kwd lng="en"><![CDATA[genre hybridization]]></kwd>
<kwd lng="en"><![CDATA[moral ambiguity]]></kwd>
<kwd lng="en"><![CDATA[real events]]></kwd>
<kwd lng="en"><![CDATA[contemporary dramas]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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