<?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>S0122-82852020000402342</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2020.23.4.2</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Serialización de la ficción televisiva: el género policiaco español y la narrativa compleja. Cadenas generalistas (1990-2010)]]></article-title>
<article-title xml:lang="en"><![CDATA[Serialized TV Fiction: The Spanish Crime Genre and Complex Narrative. Generalist Networks (1990-2010)]]></article-title>
<article-title xml:lang="pt"><![CDATA[Serialização da ficção televisiva: o gênero policial espanhol e a narrativa complexa. Canais generalistas (1990-2010)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Tous-Rovirosa]]></surname>
<given-names><![CDATA[Anna]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hidalgo-Marí]]></surname>
<given-names><![CDATA[Tatiana]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Morales-Morante]]></surname>
<given-names><![CDATA[Luís Fernando]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Autónoma de Barcelona  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Alicante  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidad Autónoma de Barcelona  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<volume>23</volume>
<numero>4</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852020000402342&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852020000402342&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852020000402342&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Se estudian las 36 producciones seriales de género policiaco de las cadenas generalistas españolas (1990-2010) mediante un análisis narrativo, a partir de la hipótesis de que los cambios observados están relacionados con las influencias extranjeras y van a resultar determinantes para la narrativa serial de calidad contemporánea. Los objetivos de la investigación son determinar si se produce la evolución del procedimental a la cop-opera melancólica, y cómo se produce y qué interrelación se observa con la modernización del relato televisivo. Entre los resultados, destaca que la estructura del procedimental deja de ser un impedimento para la serialización, que las analepsis como modo de resolución de los casos permiten que el procedimental y el serial se articulen, que el policiaco se mantenga como género en auge en la ficción televisiva contemporánea y proporcione numerosos títulos a las nuevas y viejas plataformas. Se ratifica la hipótesis planteada. La serialización del policiaco, la sofisticación en el uso de recursos narrativos y visuales, así como una clara influencia de las producciones extranjeras determinan la evolución del periodo analizado que se constata en la hibridación genérica y de formato, el subgénero forense y los recursos narrativos. La serialización coincide con el establecimiento del género en España en la segunda década analizada (2000-2010). La fragmentación visual de la trama acentúa una narrativa posmoderna. Se observa una narrativa en el policiaco cada vez más homogénea entre la ficción española y estadounidense, como La casa de papel (Netflix, 2017-). Las alteraciones temporales y la fragmentación del relato producen ficciones parecidas a un mosaico, y las transformaciones narrativas se usan para aumentar la vinculación de un espectador más activo.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This paper studies the 36 TV crime shows of the Spanish generalist channels (1990-2010) through a narrative analysis based on the hypothesis that the observed changes are related to foreign influences and will be decisive for contemporary serial narrative. It intends to determine if and how the procedural format has evolved into melancholic cop-opera and the interrelation with the modernization of TV stories. The results show that the structure of procedural drama no longer hinders serialization, that analepsis as a way of solving cases brings together procedural drama and series, and that cop-opera remains a genre on the rise in contemporary TV fiction, providing numerous titles to new and old platforms. These findings confirm the hypothesis suggested. The serialization of police drama, the sophistication in the use of narrative and visual resources, and the apparent influence of foreign productions determine the evolution of the analyzed period, as corroborated by generic and format hybridization, the forensic subgenre, and narrative resources. Serialization coincides with the establishment of the genre in Spain during the second decade analyzed (2000-2010). The visual fragmentation of the plot accentuates a postmodern narrative. Police drama reflects an increasingly homogeneous narrative between Spanish and American fiction, such as La casa de papel (Netflix, 2017-). Temporary alterations and story fragmentation produce mosaic-like fictions, and narrative transformations increase the engagement of a more active viewer.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Estudam-se as 36 produções seriais de gênero policial dos canais generalistas espanhóis (1990-2010) mediante uma análise narrativa, a partir da hipótese de que as mudanças observadas estão relacionadas com as influências estrangeiras e vão resultar determinantes para a narrativa serial de qualidade contemporânea. Os objetivos da pesquisa são determinar se ocorre a evolução do processual à cop-opera melancólica, e como ocorre e que inter-relação se observa com a modernização do relato televisivo. Entre os resultados, destaca que a estrutura do processual deixa de ser um impedimento para a serialização, que as analepses como modo de resolução dos casos permitem que o processual e o serial se articulem, que o policial se mantenha como gênero em auge na ficção televisiva contemporânea e proporcione numerosos títulos às novas e às velhas plataformas. Ratifica-se a hipótese proposta. A serialização do policial, a sofisticação no uso de recursos narrativos e visuais, bem como uma clara influência das produções estrangeiras determinam a evolução do período analisado que se constata na hibridação genérica e de formato, o subgénero forense e os recursos narrativos. A serialização coincide com o estabelecimento do gênero na Espanha na segunda década analisada (2000-2010). A fragmentação visual da trama acentua uma narrativa pós-moderna. Observa-se uma narrativa no gênero policial cada vez mais homogênea entre a ficção espanhola e estadunidense, como La casa de papel (Netflix, 2017-). As alterações temporárias e a fragmentação do relato produzem ficções parecidas com um mosaico, e as transformações narrativas são usadas para aumentar a vinculação de um espectador mais ativo.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Serialización]]></kwd>
<kwd lng="es"><![CDATA[series televisivas]]></kwd>
<kwd lng="es"><![CDATA[series de televisión]]></kwd>
<kwd lng="es"><![CDATA[programa de televisión]]></kwd>
<kwd lng="es"><![CDATA[ficción española]]></kwd>
<kwd lng="es"><![CDATA[policiaco]]></kwd>
<kwd lng="es"><![CDATA[narrativa compleja]]></kwd>
<kwd lng="es"><![CDATA[España]]></kwd>
<kwd lng="en"><![CDATA[Serialization]]></kwd>
<kwd lng="en"><![CDATA[television programmes]]></kwd>
<kwd lng="en"><![CDATA[television serials]]></kwd>
<kwd lng="en"><![CDATA[Spanish fiction]]></kwd>
<kwd lng="en"><![CDATA[crime fiction]]></kwd>
<kwd lng="en"><![CDATA[police novel]]></kwd>
<kwd lng="en"><![CDATA[complex narrative]]></kwd>
<kwd lng="en"><![CDATA[Spain]]></kwd>
<kwd lng="pt"><![CDATA[Serialização]]></kwd>
<kwd lng="pt"><![CDATA[séries televisivas]]></kwd>
<kwd lng="pt"><![CDATA[séries de televisão]]></kwd>
<kwd lng="pt"><![CDATA[programa de televisão]]></kwd>
<kwd lng="pt"><![CDATA[ficção espanhola]]></kwd>
<kwd lng="pt"><![CDATA[policial]]></kwd>
<kwd lng="pt"><![CDATA[narrativa complexa]]></kwd>
<kwd lng="pt"><![CDATA[Espanha]]></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[Agger]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The development of transnationality in Danish noir-from unit one to the team.]]></article-title>
<source><![CDATA[Northern Lights: Film &amp; Media Studies Yearbook]]></source>
<year>2016</year>
<volume>14</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>83-101</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Allen]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Berg]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Serialization in Popular Culture]]></source>
<year>2014</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Álvarez Berciano]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Series norteamericanas: la fórmula del éxito.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vilches]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Taller de escritura para televisión]]></source>
<year>1999</year>
<page-range>229-61</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bal]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Narratology: Introduction to the theory of narrative]]></source>
<year>2005</year>
<publisher-name><![CDATA[University of Toronto Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Balló]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Pérez]]></surname>
<given-names><![CDATA[X.]]></given-names>
</name>
</person-group>
<source><![CDATA[Jo ja he estat aquí: ficcions de la repetició]]></source>
<year>2005</year>
<publisher-name><![CDATA[Empúries]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bordwell]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[La narración en el cine de ficción]]></source>
<year>1996</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Buonanno]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The European television industry at the turn of the XXI century]]></article-title>
<source><![CDATA[Eurofiction Fifth Report]]></source>
<year>2001</year>
<page-range>1-28</page-range><publisher-name><![CDATA[European Audiovisual Observatory]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Buonanno]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La masa y el relleno: la miniserie en la ficción italiana]]></article-title>
<source><![CDATA[De Signis]]></source>
<year>2005</year>
<numero>7-8</numero>
<issue>7-8</issue>
<page-range>19-30</page-range></nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Buonanno]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Narrative in viaggio]]></source>
<year>2006</year>
<publisher-name><![CDATA[Universitat Pompeu Fabra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Buonanno]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Widening landscapes of TV storytelling in the digital media environment]]></article-title>
<source><![CDATA[Anàlisi: Quaderns de Comunicació i Cultura]]></source>
<year>2018</year>
<numero>58</numero>
<issue>58</issue>
<page-range>1-12</page-range></nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Casetti]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Odin]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[De la paléo-à la néo-télévision]]></article-title>
<source><![CDATA[Communications]]></source>
<year>1990</year>
<volume>51</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>9-26</page-range></nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Casetti]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Di Chio]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cómo analizar un film]]></source>
<year>1991</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cascajosa Virino]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La chica de ayer: memoria y desmemoria televisivas de la Transición en España.]]></article-title>
<source><![CDATA[Journal of Spanish Cultural Studies]]></source>
<year>2012</year>
<volume>13</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>260-75</page-range></nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cascajosa Virino]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Formas y contenidos: las estructuras narrativas de la ficción televisiva en España.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Puebla Martínez]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Navarro Sierra]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Carrillo Pascual]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Ficcionando en el siglo XXI: la ficción televisiva en España]]></source>
<year>2015</year>
<page-range>15-32</page-range><publisher-name><![CDATA[Icono 14]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cascajosa Virino]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Un nuevo sentido del lugar: las narraciones del sur y la geopolítica en el proceso de renovación de la ficción televisiva española de género criminal.]]></article-title>
<source><![CDATA[Arbor]]></source>
<year>2018</year>
<volume>194</volume>
<numero>789</numero>
<issue>789</issue>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cuadrado]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Series de TV y videojuegos: la poética de la serialidad en la forma lúdica.]]></article-title>
<source><![CDATA[Anàlisi: Quaderns de Comunicació i Cultura]]></source>
<year>2016</year>
<numero>55</numero>
<issue>55</issue>
<page-range>17-30</page-range></nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="journal">
<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[Drama without drama: The late rise of scripted TV formats]]></article-title>
<source><![CDATA[Television &amp; New Media]]></source>
<year>2016</year>
<volume>17</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>3-20</page-range></nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cirlot]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<source><![CDATA[Figuras del destino: mitos y símbolos de la Europa medieval]]></source>
<year>2005</year>
<publisher-name><![CDATA[Siruela]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Colmeiro]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[La novela policiaca en España: historia y crítica]]></source>
<year>1994</year>
<publisher-name><![CDATA[Anthropos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Contreras]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8216;Canción triste de Hill Street&#8217; regresa a TVE]]></article-title>
<source><![CDATA[El País]]></source>
<year>1988</year>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cooke]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The police series]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Creeber]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[The television genre book]]></source>
<year>2001</year>
<page-range>19-23</page-range><publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Crisóstomo Gálvez]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Ros Zofío]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Television cosmo-mythologies: The return to mythological naratives in television fiction, from The Prisoner to Lost.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Marinescu]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
<name>
<surname><![CDATA[Branea]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Mitu]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<source><![CDATA[Critical reflections on audience and narrativity: New connections, new perspectives.]]></source>
<year>2014</year>
<page-range>103-17</page-range><publisher-name><![CDATA[Verlag]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Duch]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Mite i cultura]]></source>
<year>1995</year>
<publisher-name><![CDATA[l&#8217;Abadia de Montserrat]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fiske]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Television culture]]></source>
<year>1987</year>
<publisher-name><![CDATA[Metheun]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Galán-Farjardo]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Rueda-Laffond]]></surname>
<given-names><![CDATA[J. C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Narrativizando la historia: un enfoque interdisciplinar aplicado al relato televisivo]]></article-title>
<source><![CDATA[Palabra Clave]]></source>
<year>2011</year>
<volume>14</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>85-99</page-range></nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García]]></surname>
<given-names><![CDATA[A. N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A storytelling machine: The complexity and revolution of narrative television]]></article-title>
<source><![CDATA[Between]]></source>
<year>2016</year>
<volume>6</volume>
<numero>11</numero>
<issue>11</issue>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García-Fanlo]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[El lenguaje de las series de televisión]]></source>
<year>2017</year>
<publisher-name><![CDATA[Eudeba]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Garin Boronat]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Heridas infinitas: estructura narrativa y dinámicas seriales en la ficción televisiva.]]></article-title>
<source><![CDATA[L&#8217;Atalante]]></source>
<year>2017</year>
<numero>24</numero>
<issue>24</issue>
<page-range>27-41</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Genette]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Figures III]]></source>
<year>1972</year>
<publisher-name><![CDATA[Seuil]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[González Requena]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[El discurso televisivo: espectáculo de la posmodernidad.]]></source>
<year>1992</year>
<publisher-name><![CDATA[Cátedra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Greimas]]></surname>
<given-names><![CDATA[A. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[La semiótica del texto: ejercicios prácticos]]></source>
<year>1983</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gubern]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Los personajes serializados]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Benet]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
<name>
<surname><![CDATA[Nos]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cuerpos en serie]]></source>
<year>1999</year>
<page-range>15-20</page-range><publisher-name><![CDATA[Universitat Jaume I]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Innocenti]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
<name>
<surname><![CDATA[Pescatore]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Los modelos narrativos de la serialidad televisiva.]]></article-title>
<source><![CDATA[La balsa de la medusa: Revista cuatrimestral de crítica y humanidades]]></source>
<year>2011</year>
<numero>6</numero>
<issue>6</issue>
<page-range>31-50</page-range></nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hispano]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Una telaraña de destinos cruzados]]></article-title>
<source><![CDATA[La Vanguardia]]></source>
<year>2006</year>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Imbert]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[El zoo visual: de la televisión espectacular a la televisión especular.]]></source>
<year>2003</year>
<publisher-name><![CDATA[Gedisa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Imbert]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[De lo grotesco como contaminación de los géneros en los nuevos formatos televisivos.]]></article-title>
<source><![CDATA[DeSignis]]></source>
<year>2005</year>
<numero>7-8</numero>
<issue>7-8</issue>
<page-range>0159-70</page-range></nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jacobs]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Hospital Drama]]></article-title>
<source><![CDATA[The television genre book]]></source>
<year>2001</year>
<page-range>23-6</page-range><publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jacobs]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Body trauma TV: The new hospital dramas]]></source>
<year>2003</year>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jost]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Lógicas de los formatos de tele-realidad]]></article-title>
<source><![CDATA[DeSignis]]></source>
<year>2005</year>
<numero>7-8</numero>
<issue>7-8</issue>
<page-range>53-65</page-range></nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Klinger]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Gateway bodies: Serial form, genre, and white femininity in imported crime TV.]]></article-title>
<source><![CDATA[Television &amp; New Media]]></source>
<year>2018</year>
<volume>19</volume>
<numero>6</numero>
<issue>6</issue>
<page-range>515-34</page-range></nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacalle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[El discurso televisivo sobre la inmigración]]></source>
<year>2008</year>
<publisher-name><![CDATA[Omega]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[Ley 7/2010, de 31 de marzo, general de la comunicación audiovisual]]></article-title>
<source><![CDATA[BOE]]></source>
<year>2010</year>
<numero>79</numero>
<issue>79</issue>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lindner]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The serial drive]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Allen]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Van den Berg]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Serialization in popular culture]]></source>
<year>2014</year>
<page-range>9-11</page-range><publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Littleton]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Peak TV: Surge from streaming services, cable pushes 2015 scripted series tally to 409.]]></article-title>
<source><![CDATA[Variety]]></source>
<year>2015</year>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lyon]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Posmodernidad]]></source>
<year>1994</year>
<month>/1</month>
<day>99</day>
<publisher-name><![CDATA[Alianza]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lyotard]]></surname>
<given-names><![CDATA[J. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[La condition postmoderne: Rapport sur le savoir.]]></source>
<year>1979</year>
<publisher-name><![CDATA[Les éditions de Minuit]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lyotard]]></surname>
<given-names><![CDATA[J. F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Defining the postmodern]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[During]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[The cultural studies reader]]></source>
<year>1993</year>
<page-range>170-5</page-range><publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Magris]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[L&#8217;anello di Clarisse: grande stile e nichilismo nella letteratura moderna.]]></source>
<year>1984</year>
<publisher-name><![CDATA[Einaudi]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McCarthy]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Studying soap opera]]></article-title>
<source><![CDATA[The television genre book]]></source>
<year>2001</year>
<page-range>47-9</page-range><publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mittell]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Genre and television: From cop shows to cartoons in American culture.]]></source>
<year>2004</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mittell]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Narrative complexity in contemporary American television]]></article-title>
<source><![CDATA[The Velvet Light Trap]]></source>
<year>2006</year>
<volume>58</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>29-40</page-range></nlm-citation>
</ref>
<ref id="B52">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mittell]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[All in the game: The Wire, serial storytelling, and procedural logic.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Harrigan]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Wardrip-Fruin]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Third person: Authoring and exploring vast narratives.]]></source>
<year>2009</year>
<page-range>429-38</page-range><publisher-name><![CDATA[Massachussets Institute of Technology]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B53">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mittell]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Complex TV: The poetics of contemporary television storytelling]]></source>
<year>2015</year>
<publisher-name><![CDATA[New York University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B54">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mueller]]></surname>
<given-names><![CDATA[E. von.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The police procedural in literature and on television]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Nickerson]]></surname>
<given-names><![CDATA[C. R.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Cambridge companion to American crime fiction]]></source>
<year>2014</year>
<page-range>96-109</page-range><publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B55">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nelson]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Flexi-narrative from hill street to holby city]]></article-title>
<source><![CDATA[TV drama in transition: Forms, values and cultural change]]></source>
<year>1997</year>
<page-range>30-49</page-range><publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B56">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Newcomb]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[TV: The most popular art.]]></source>
<year>1974</year>
<publisher-name><![CDATA[Anchor Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B57">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Newman]]></surname>
<given-names><![CDATA[M. Z.]]></given-names>
</name>
<name>
<surname><![CDATA[Levine]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Legitimating television: Media convergence and cultural status]]></source>
<year>2012</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B58">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Paz Gago]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Propuestas para un replanteamiento metodológico en el estudio de las relaciones entre literatura y cine: el método comparativo semiótico-textual.]]></article-title>
<source><![CDATA[Signa: Revista de la Asociación Española de Semiótica]]></source>
<year>2004</year>
<numero>13</numero>
<issue>13</issue>
<page-range>199-232</page-range></nlm-citation>
</ref>
<ref id="B59">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pérez López]]></surname>
<given-names><![CDATA[H. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introducción al presente número &#8220;nueva narrativa: la ficción serial televisiva&#8221;]]></article-title>
<source><![CDATA[La balsa de la Medusa]]></source>
<year>2011</year>
<numero>6</numero>
<issue>6</issue>
<page-range>5-12</page-range></nlm-citation>
</ref>
<ref id="B60">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pérez]]></surname>
<given-names><![CDATA[X.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Las edades de la serialidad]]></article-title>
<source><![CDATA[La balsa de la Medusa]]></source>
<year>2011</year>
<numero>6</numero>
<issue>6</issue>
<page-range>13-30</page-range></nlm-citation>
</ref>
<ref id="B61">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pérez]]></surname>
<given-names><![CDATA[X.]]></given-names>
</name>
<name>
<surname><![CDATA[Garin Boronat]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La narrativa artúrica como modelo para la escritura de series televisivas: perspectivas históricas y formales]]></article-title>
<source><![CDATA[Historia y Comunicación Social]]></source>
<year>2013</year>
<volume>18</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>587-99</page-range></nlm-citation>
</ref>
<ref id="B62">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Piñón]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Flores]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Estados Unidos: el año de las superseries]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vassallo de Lopes]]></surname>
<given-names><![CDATA[M. I.]]></given-names>
</name>
<name>
<surname><![CDATA[Orozco Gómez]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Una década de ficción televisiva en Iberoamérica: análisis de diez años de Obitel (2007-2016).]]></source>
<year>2017</year>
<page-range>257-89</page-range><publisher-name><![CDATA[Globo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B63">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Raya Bravo]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La tendencia hacia la hibridación en el macrogénero extraordinario durante la era hipertelevisiva. Casos de estudio: Galáctica: estrella de combate, Juego de Tronos y American Horror Story.]]></article-title>
<source><![CDATA[Revista de la Asociación Española de Investigación de la Comunicación]]></source>
<year>2016</year>
<volume>3</volume>
<numero>6</numero>
<issue>6</issue>
<page-range>11-8</page-range></nlm-citation>
</ref>
<ref id="B64">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rincón]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Nuevas narrativas televisivas: relajar, entretener, contar, ciudadanizar, experimentar.]]></article-title>
<source><![CDATA[Comunicar: Revista Científica Iberoamericana de Comunicación y Educación]]></source>
<year>2011</year>
<numero>36</numero>
<issue>36</issue>
<page-range>43-50</page-range></nlm-citation>
</ref>
<ref id="B65">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Romero Santos]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Mucha policía, mucha diversión: la ficción criminal en la ficción española.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Puebla Martínez]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Navarro Sierra]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Carrillo Pascual]]></surname>
<given-names><![CDATA[N. y E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Ficcionando en el siglo XXI: la ficción televisiva en España]]></source>
<year>2015</year>
<page-range>261-76</page-range><publisher-name><![CDATA[Icono 14]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B66">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ros]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Las series de ficción en la era de la post-TV]]></source>
<year>2011</year>
<publisher-name><![CDATA[Fundación Taller de Guionistas]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B67">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ryan]]></surname>
<given-names><![CDATA[M. L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Toward a competence theory of genre]]></article-title>
<source><![CDATA[Poetics]]></source>
<year>1979</year>
<volume>8</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>307-37</page-range></nlm-citation>
</ref>
<ref id="B68">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Smith]]></surname>
<given-names><![CDATA[P. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Crime scenes: Police drama on spanish television]]></article-title>
<source><![CDATA[Journal of Spanish Cultural Studies]]></source>
<year>2007</year>
<volume>8</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>55-69</page-range></nlm-citation>
</ref>
<ref id="B69">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Steenberg]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Forensic science in contemporary american culture: Gender, crime, and science.]]></source>
<year>2013</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B70">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tomlinson]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The culture of speed: The coming of immediacy]]></source>
<year>2007</year>
<publisher-name><![CDATA[Sage]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B71">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Torrado Peláez]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[La falacia dramática en la ficción televisiva nacional y su relación con los índices de audiencia: análisis del medio televisivo en términos de mercadotecnia. El caso de Los hombres de Paco]]></source>
<year>2017</year>
<publisher-name><![CDATA[Universidad de Sevilla]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B72">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tous-Rovirosa]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[El text audiovisual: anàlisi des d&#8217;una perspectiva mediològica]]></source>
<year>2008</year>
<publisher-name><![CDATA[Universidad Autónoma de Barcelona]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B73">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vernet]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Incertain zapping]]></article-title>
<source><![CDATA[Communications]]></source>
<year>1990</year>
<volume>51</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>33-44</page-range></nlm-citation>
</ref>
<ref id="B74">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vilches]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Spain: The year of formats and migration]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vassallo de Lopes]]></surname>
<given-names><![CDATA[M. I.]]></given-names>
</name>
<name>
<surname><![CDATA[Vilches]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Global markets, national stories. 2008 Obitel Yearbook.]]></source>
<year>2008</year>
<page-range>260-89</page-range><publisher-name><![CDATA[Globo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B75">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vilches]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Berciano]]></surname>
<given-names><![CDATA[R. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Lacalle Zalduendo]]></surname>
<given-names><![CDATA[M. R.]]></given-names>
</name>
<name>
<surname><![CDATA[Algar León]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Polo Prados]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Informe Eurofiction 1999: Menos familia y más policía.]]></article-title>
<source><![CDATA[Zer: Revista de Estudios de Comunicación]]></source>
<year>2000</year>
<volume>5</volume>
<numero>9</numero>
<issue>9</issue>
<page-range>27-59</page-range></nlm-citation>
</ref>
<ref id="B76">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wallace]]></surname>
<given-names><![CDATA[D. F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Et unibus pluram: televisión y narrativa americana]]></article-title>
<source><![CDATA[Algo supuestamente divertido que nunca volveré a hacer]]></source>
<year>2001</year>
<publisher-name><![CDATA[Grijalbo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B77">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wolf]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Géneros y televisión]]></article-title>
<source><![CDATA[Anàlisi: Quaderns de Comunicació i Cultura]]></source>
<year>1984</year>
<numero>9</numero>
<issue>9</issue>
<page-range>189-98</page-range></nlm-citation>
</ref>
<ref id="B78">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zunzunegui]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Zubillaga]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Tengan mucho cuidado ahí dentro: Hill Street Blues o los variados matices del gris]]></source>
<year>1988</year>
<publisher-name><![CDATA[Fundación Instituto Shakespeare]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
