<?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>S0122-82852018000200310</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2018.21.2.3</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Periles profesionales en la adaptación de series televisivas]]></article-title>
<article-title xml:lang="en"><![CDATA[Professional Profiles in the Adaptation of Television Series]]></article-title>
<article-title xml:lang="pt"><![CDATA[Perfis profissionais na adaptação de séries televisivas]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[García Avis]]></surname>
<given-names><![CDATA[Isadora]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Diego González]]></surname>
<given-names><![CDATA[Patricia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universitat Internacional de Catalunya  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Navarra  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<volume>21</volume>
<numero>2</numero>
<fpage>310</fpage>
<lpage>337</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852018000200310&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852018000200310&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852018000200310&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los remakes transculturales de series de ficción no son un fenómeno nuevo, pero sí constituyen un tipo de adaptación cada vez más frecuente en las pantallas televisivas de todo el mundo. Desde el punto de vista de la producción audiovisual, la investigación académica desarrollada hasta el momento sobre estos procesos es aún escasa. Por ello, resulta imprescindible definir los distintos perfiles profesionales que participan tanto en la compraventa como en la producción de este tipo de adaptaciones. Con dicho objetivo como punto de partida, el presente artículo combina la revisión de la literatura existente sobre los agentes de la producción televisiva con entrevistas a cinco profesionales de la industria. La conjunción metodológica de estas dos dimensiones (la académica y la práctica) permite ofrecer una categorización más completa de estos perfiles televisivos y de sus funciones. Aunque muchas de las figuras que participan en la creación de remakes también están presentes en otros tipos de producciones televisivas, este análisis posibilita la identificación de aquellas cuyos roles cobran especial relevancia en el caso concreto de los remakes transculturales: el consultor o flying producer, las distribuidoras y los agentes o representantes. La sistematización de dichos perfiles y sus objetivos y funciones dentro de las distintas fases que conlleva la adaptación de una serie televisiva contribuyen a un mayor entendimiento de este fenómeno a escala global.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Cross-cultural remakes of fiction series are not a new phenomenon, but they do constitute an increasingly frequent type of TV adaptation around the world. From the point of view of audiovisual production, the academic research conducted about these processes is still scarce. It is therefore essential to define the different professional profiles involved both in the purchase and sale and in the production of this type of adaptations. This paper combines the review of existing literature about the agents of television production and interviews with five professionals in the industry. The methodological conjunction of these two dimensions (academic and practical) allows us to offer a more complete categorization of these television profiles and their functions. Although many of the figures involved in the creation of remakes are also present in other types of television productions, this analysis enables the identification of those whose roles are particularly relevant in the specific case of cross-cultural remakes: the consultant or flying producer, distributors and agents or representatives. The systematization of these profiles and their objectives and functions within the different phases involved in the adaptation of a television series contribute to a greater understanding of this phenomenon on a global scale.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Os remakes transculturais de séries de ficção não são um fenômeno novo, mas sim constituem um tipo de adaptação cada vez mais frequente nas telas da televisão de todo o mundo. Desde o ponto de vista da produção audiovisual, a pesquisa acadêmica desenvolvida até o momento sobre estes processos ainda é escassa. Por isso, é imprescindível definir os diferentes perfis profissionais que participam tanto na compra e venda quanto na produção deste tipo de adaptações. Este artigo combina a revisão da literatura existente sobre os agentes da produção de televisão com entrevistas a cinco profissionais da indústria. A conjunção metodológica dessas duas dimensiones (a acadêmica e a prática) permite oferecer uma categorização mais completa destes perfis da televisão e de suas funções. Ainda que muitas das figuras que participam na criação de remakes também estejam presentes em outros tipos de produções de televisão, esta análise possibilita a identificação daquelas cujos papéis adquirem especial relevância no caso concreto dos remakes transculturais: o consultor ou flying producer, as distribuidoras e os agentes ou representantes. A sistematização destes perfis e seus objetivos e funções dentro das diferentes fases envolvidas na adaptação de uma série de televisão contribuem para um maior entendimento deste fenômeno em escala global.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Televisión]]></kwd>
<kwd lng="es"><![CDATA[series de ficción]]></kwd>
<kwd lng="es"><![CDATA[adaptación]]></kwd>
<kwd lng="es"><![CDATA[formatos]]></kwd>
<kwd lng="es"><![CDATA[producción]]></kwd>
<kwd lng="en"><![CDATA[Television]]></kwd>
<kwd lng="en"><![CDATA[fiction series]]></kwd>
<kwd lng="en"><![CDATA[adaptation]]></kwd>
<kwd lng="en"><![CDATA[formats]]></kwd>
<kwd lng="en"><![CDATA[production]]></kwd>
<kwd lng="pt"><![CDATA[Televisão]]></kwd>
<kwd lng="pt"><![CDATA[séries de ficção]]></kwd>
<kwd lng="pt"><![CDATA[adaptação]]></kwd>
<kwd lng="pt"><![CDATA[formatos]]></kwd>
<kwd lng="pt"><![CDATA[produção]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bielby]]></surname>
<given-names><![CDATA[D. D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Staking claims: Conveying transnational cultural value in a creative industry.]]></article-title>
<source><![CDATA[American Behavioral Scientist]]></source>
<year>2011</year>
<volume>55</volume>
<numero>5</numero>
<issue>5</issue>
<page-range>525-40</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bielby]]></surname>
<given-names><![CDATA[D. D.]]></given-names>
</name>
<name>
<surname><![CDATA[Harrington]]></surname>
<given-names><![CDATA[C. L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Global TV: Exporting television and culture in the world market.]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[NYU Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bustamante]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[La televisión económica: financiación, estrategias y mercados]]></source>
<year>1999</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Gedisa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chalaby]]></surname>
<given-names><![CDATA[J. K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Seventy years in the making: The advent ofthe transnational television format trading system]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Aveyard]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Moran]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Majbritt Jensen]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[New patterns in global television formats]]></source>
<year>2016</year>
<page-range>63-78</page-range><publisher-loc><![CDATA[Bristol ]]></publisher-loc>
<publisher-name><![CDATA[Intellect]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cuevas]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Faerna]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Las relaciones entre el cinema y la televisión en España y otros países de Europa]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[EGEDA]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Diego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La figura del productor de ficción en televisión.]]></article-title>
<source><![CDATA[Communication &amp; Society]]></source>
<year>2005</year>
<volume>18</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>9-30</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fernández-Quijada]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El mercado de la producción independiente en España ante la aparición de Cuatro y La Sexta]]></article-title>
<source><![CDATA[Communication &amp; Society]]></source>
<year>2009</year>
<volume>22</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>59-87</page-range></nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Goldsmith]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Brash U.S. Agent Helped Spark British TV Invasion]]></article-title>
<source><![CDATA[Wall Street Journal, Eastern Edition]]></source>
<year>2001</year>
<volume>237</volume>
<numero>98</numero>
<issue>98</issue>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerrero]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El desarrollo de proyectos audiovisuales: adquisición y creación de formatos de entretenimiento]]></article-title>
<source><![CDATA[Communication &amp; Society]]></source>
<year>2010</year>
<volume>23</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>237-73</page-range></nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerrero]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Guion y producción de programas de entretenimiento]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Pamplona ]]></publisher-loc>
<publisher-name><![CDATA[Eunsa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Havens]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Global television marketplace.]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Herrero]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[García]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Los procesos de producción de series argumentales.]]></source>
<year>1987</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[RTVE]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kuipers]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The cosmopolitan tribe of television buyers: Professional ethos, personal taste and cosmopolitan capital in transnational cultural mediation]]></article-title>
<source><![CDATA[European Journal of Cultural Studies]]></source>
<year>2012</year>
<volume>15</volume>
<numero>5</numero>
<issue>5</issue>
<page-range>581-603</page-range></nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martínez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Fernández]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Manual del productor audiovisual]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[UOC]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Moran]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Malbon]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Understanding the Global TV Format]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Bristol ]]></publisher-loc>
<publisher-name><![CDATA[Intellect]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pardo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Audiovisual management handbook: An in-depth look at the film, television and multimedia industry in Europe.]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Media Business School]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pardo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Fundamentos de producción y gestión de proyectos audiovisuales]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Pamplona ]]></publisher-loc>
<publisher-name><![CDATA[Eunsa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Steemers]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Selling television: British television in the global marketplace.]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[BFI Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Szostak]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Format adaptation and craftsmanship: Interview with Polish television writer Agnieszka Kruk.]]></article-title>
<source><![CDATA[Critical Studies in Television]]></source>
<year>2013</year>
<volume>8</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>76-84</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Szostak]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fiction TV Formats in Poland - Why Bother to Adapt?]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Esser]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Smith]]></surname>
<given-names><![CDATA[I. R.]]></given-names>
</name>
<name>
<surname><![CDATA[Bernal-Merino]]></surname>
<given-names><![CDATA[M. Á.]]></given-names>
</name>
</person-group>
<source><![CDATA[Media across borders: Localising TV, film and video games]]></source>
<year>2016</year>
<page-range>167-82</page-range><publisher-loc><![CDATA[Neueva York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="">
<collab>The Wit</collab>
<source><![CDATA[The Wit Guide to Scripted Formats 2014]]></source>
<year>2014</year>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Uribe-Jongbloed]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Espinosa-Medina]]></surname>
<given-names><![CDATA[H. D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A clearer picture: Towards a new framework for the study of cultural transduction in audiovisual market trades.]]></article-title>
<source><![CDATA[Observatorio]]></source>
<year>2014</year>
<volume>8</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>23-48</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Viljoen]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Art of the deal: The essential guide to business affairs for television, film and new media producers.]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[PACT]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villagrasa]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[La producción de ficción narrativa en la televisión norteamericana]]></source>
<year>1992</year>
<publisher-loc><![CDATA[Barcelona, España ]]></publisher-loc>
<publisher-name><![CDATA[Universidad Autónoma de Barcelona]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="">
<source><![CDATA[Cooper, Duncan. Consultor (International Executive Producer), BBC Worldwide]]></source>
<year>14/0</year>
<month>5/</month>
<day>20</day>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="">
<source><![CDATA[García-Castrillón, María. Ejecutiva de Ventas de Boomerang TV International]]></source>
<year>08/0</year>
<month>2/</month>
<day>20</day>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="">
<source><![CDATA[Madrona, Darío. Guionista, coordinador de guiones y productor ejecutivo (productora DobleFilo)]]></source>
<year>28/1</year>
<month>1/</month>
<day>20</day>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="">
<source><![CDATA[Manubens, Ignacio. Subdirector de Ficción de Atresmedia Televisión]]></source>
<year>12/0</year>
<month>2/</month>
<day>20</day>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="">
<source><![CDATA[Quintana, Gregorio. Antiguo Director General de Ficción de la productora Boomerang TV.]]></source>
<year>16/1</year>
<month>2/</month>
<day>20</day>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
