<?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>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852017000401008</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2017.20.4.7</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El ministerio transmedia: expansiones narrativas y culturas participativas]]></article-title>
<article-title xml:lang="en"><![CDATA[The Transmedia Ministry: Narrative Expansions and Participatory Cultures]]></article-title>
<article-title xml:lang="pt"><![CDATA[O ministério transmídia: expansões narrativas e culturas participativas]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Scolari]]></surname>
<given-names><![CDATA[Carlos A.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Establés]]></surname>
<given-names><![CDATA[María-José]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af2">
<institution><![CDATA[,Universitat Pompeu Fabra  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universitat Pompeu Fabra  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2017</year>
</pub-date>
<volume>20</volume>
<numero>4</numero>
<fpage>1008</fpage>
<lpage>1041</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852017000401008&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852017000401008&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852017000401008&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo analiza uno de los fenómenos más destacados de la industria cultural española de la segunda década del siglo XXI: El Ministerio del Tiempo. A los pocos días de su estreno, esta serie -nacida como producto &#8220;monomediático&#8221; estrictamente televisivo- se transformó en uno de los ejemplos más interesantes de narrativa transmedia producidos en español. En concreto, el artículo se focaliza en dos aspectos clave para comprender las dinámicas que pueden generar las narrativas transmedia. Por un lado, las tensiones que se han producido por las bajas audiencias televisivas de la serie (que siempre ponen en jaque su continuidad) y la enorme actividad de sus fans en internet, un conflicto que apunta a las formas de medición (y al concepto mismo) de audiencia en el post-broadcasting. Y por otro, el fenómeno emergente en el contexto español a partir de El Ministerio del Tiempo: la profesionalización de los fans, la cual se evidencia, por ejemplo, en la venta de productos -realizados por los usuarios- en la misma web de Radio Televisión Española. El artículo se cierra con algunas reflexiones sobre el carácter disruptivo de la serie y otras cuestiones vinculadas a un mundo narrativo que dejará su marca en la historia de la industria cultural española más allá del corto plazo.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article analyzes one of the most outstanding phenomena of the Spanish cultural industry of the second decade of the 21st century: The Department of Time. A few days after its release, this series-born as a strictly televised &#8220;monomeditic&#8221; product-became one of the most interesting examples of transmedia narrative produced in Spanish. In particular, this article focuses on two key aspects to understand the dynamics that transmedia narratives can generate. On the one hand, the stress caused by the low TV ratings of the series (which always threaten its continuity) and the enormous online activity of their fans, a conflict that points to the forms of measurement (and the concept itself) audience in post-broadcasting. And on the other, the emerging phenomenon in the Spanish context from The Department of Time: the fans&#8217; professionalization, which is evidenced, for example, in the sale of products-by users-on the same website of Radio Televisión Española. The article ends with some reflections on the disruptive nature of the series and other issues linked to a narrative world that will leave its mark on the history of the Spanish cultural industry beyond the short term.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo analisa um dos fenômenos mais destacados da indústria cultural espanhola da segunda década do século XXI: O ministério do Tempo. Aos poucos dias da sua estreia, esta série -nascida como produto &#8220;monomediático&#8221; estritamente televisivo- transformou-se em um dos exemplos mais interessantes de narrativa transmídia produzidos em espanhol. Em concreto, o artigo tem seu foco em dois aspectos chave para compreender as dinâmicas que podem gerar as narrativas transmídia. Por um lado, as tensões produzidas pelas baixas audiências da série na televisão (que sempre põem em jogo a sua continuidade) e a enorme atividade de seus fãs na internet, um conflito que aponta às formas de medição (e o próprio conceito) de audiência no pós-broadcasting. E por outro lado, o fenômeno emergente no contexto espanhol a partir de O ministério do Tempo: a profissionalização dos fãs, fator evidenciado, por exemplo, na venda de produtos -realizados pelos usuários- no próprio site web da Rádio Televisão Espanhola. O artigo é concluído com algumas reflexões sobre o caráter disruptivo da série e outras questões vinculadas a um mundo narrativo que deixará a sua marca na história da indústria cultural espanhola mais além do curto prazo.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Transmedia storytelling]]></kwd>
<kwd lng="es"><![CDATA[televisión pública]]></kwd>
<kwd lng="es"><![CDATA[fandom]]></kwd>
<kwd lng="es"><![CDATA[post-broadcasting]]></kwd>
<kwd lng="es"><![CDATA[fan labor]]></kwd>
<kwd lng="es"><![CDATA[profesionalización de los fans]]></kwd>
<kwd lng="en"><![CDATA[Transmedia storytelling]]></kwd>
<kwd lng="en"><![CDATA[public television]]></kwd>
<kwd lng="en"><![CDATA[fandom]]></kwd>
<kwd lng="en"><![CDATA[post-broadcasting]]></kwd>
<kwd lng="en"><![CDATA[fan labor]]></kwd>
<kwd lng="en"><![CDATA[fan professionalization]]></kwd>
<kwd lng="pt"><![CDATA[Transmedia storytelling]]></kwd>
<kwd lng="pt"><![CDATA[televisión pública]]></kwd>
<kwd lng="pt"><![CDATA[fandom]]></kwd>
<kwd lng="pt"><![CDATA[post-broadcasting]]></kwd>
<kwd lng="pt"><![CDATA[fan labor]]></kwd>
<kwd lng="pt"><![CDATA[profissionalização dos fãs]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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