Revisión de la representación trans en la ficción televisiva españolaAnálisis de la serie de televisión Todo lo otro (HBO Max, 2021)

  1. Higueras-Ruiz, María-José
Zeitschrift:
Revista Mediterránea de Comunicación: Mediterranean Journal of Communication

ISSN: 1989-872X

Datum der Publikation: 2023

Ausgabe: 14

Nummer: 1

Seiten: 133-146

Art: Artikel

DOI: 10.14198/MEDCOM.23250 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Andere Publikationen in: Revista Mediterránea de Comunicación: Mediterranean Journal of Communication

Ziele für nachhaltige Entwicklung

Zusammenfassung

This article seeks to determine the evolution of trans representation in Spanish television fiction and, specifically, in the TV series All about Dafne (HBO Max, 2021) created by Abril Zamora. To this end, a qualitative methodology was used to conduct a bibliographic review, and the textual analysis of the main character – Dafne - as person, role and actant; together with other categories related to the gender identity. In addition, the audio-visual features of the presentation and sex scenes are examined. The findings show a progressive increase in the quality and inclusion of trans characters in the Spanish audio-visual sector. The narrative in All about Dafne (HBO Max, 2021) is not exclusively characterised by Dafne’s trans status, which is included in the plots in an organic and complementary way with other characteristics that define the protagonist. This TV series is configured as a reference in the representation of the trans collective in fiction, and it contributes to the political and social attention, and the fight against transphobia. Accordingly, this research represents an original contribution from the Television Studies and Queer Theory approach, which prompts future investigation regarding other TV series.

Bibliographische Referenzen

  • Baker, M. J. (2016). Queer: a graphic history. Icon Books.
  • Billard, T. J. (2016). Writing in the Margins: Mainstream News Media Representations of Transgenderism. International Journal of Communication, 10, 4193-4218. https://bit.ly/3akBCYe
  • Booth, E. T. (2015). The provisional acknowledgement of identity claims in televised documentary. In L. G. Spencer, & J. Capuzza (Eds.), Transgender communication: Histories, trends, and trajectories (pp. 111-126). Lexington Books.
  • Calvo, J., y Ambrossi, J. (Director), López Lavigne, E. (Productores). (2016-2019). Paquita Salas. [Serie de Televisión]. Suma Latina.
  • Capuzza, J., & Spencer L. G. (2017). Regressing, Progressing, or Transgressing on the Small Screen? Transgender Characters on U.S. Scripted Television Series. Communication Quarterly, 65(2), 214-230. http://dx.doi.org/10.1080/01463373.2016.1221438
  • Carrillo-Bernal, J., y Cascajosa-Virino, C. (2021). Diversidad cultural en la creación audiovisual en España. Diversidad de autores y de historias (2015-2019). DAMA Cambio de Plano. https://bit.ly/3OM3Uda
  • Casetti, F., y Di Chio, F. (1998). Cómo analizar un film. Paidós.
  • Casetti, F., y Di Chio, F. (1999). Análisis de la televisión. Instrumentos, métodos y prácticas de investigación. Paidós.
  • Chatman, S. (1990). Historia y discurso. La estructura narrativa en la novela y el cine. Taurus.
  • Clark, C. C. (1969). Television and social controls: Some observation of the portrayal of ethnic minorities. Television Quarterly, 8(2), 18-22. https://bit.ly/3Ij8f54
  • Cobo-Durán, S., y Otero-Escudero, S. (2021). Narrativa de los protagonistas trans en la teleserie Veneno. Zer, Revista de Estudios de Comunicación, 26(51), 79-97. https://doi.org/10.1387/zer.23007
  • Cook, C. (2018). A Content Analysis of LGBT Representation on Broadcast and Streaming Television [Doctoral Thesis, University of Tennessee at Chattanooga]. UTC Scholar. https://bit.ly/3ykDAzH
  • Copier, L., & Steinbock, E. (2017). On not really being there: trans* presence/absence in Dallas Buyers Club. Feminist Media Studies, 18(5), 923-941. https://doi.org/10.1080/14680777.2017.1393833
  • Dorian. (2017). Tan lejos de tí [Canción]. En El futuro no es de nadie. PIAS Spain.
  • FELGTB. (2019). Guía de Buenas Prácticas para el Tratamiento de la Diversidad Sexual y de Género en los Medios de Comunicación. Federación de Servicios a la Ciudadanía CCOO, Federación Estatal de Lesbianas, Gais, Transexuales y Bisexuales. https://bit.ly/3RgK7UU
  • Fellner, A. (2017). Trans Television Culture. Queer Politics, Gender Fluidity, and Quality TV. Oceanide, 9. https://bit.ly/3Rbkyo7
  • Gillig, T. K., Rosenthal, E. L., Murphy, S. T., & Folb, K. L. (2018). More than a Media Moment: The Influence of Televised Storylines on Viewers´ Attitudes toward Transgender People and Policies. Sex Roles, 78, 515–527 https://doi.org/10.1007/s11199-017-0816-1
  • GLAAD. (2013). GLAAD Introduces ‘Studio Responsibility Index,’ Report on LGBT Images in Films Released by ‘Big Six’ Studios. GLAAD Media Institute. https://bit.ly/3bV2C0S
  • GLAAD. (2022). Were we are on TV. GLAAD Media Institute. https://bit.ly/3uwKPUh
  • GLAAD. (s.f.). Transgender FAQ. https://bit.ly/3OQ0o1b
  • Goddard, M. N., & Hogg, C. (2018). Trans TV Dossier I: Platform Television, Netflix and Industrial Transformations. Critical Studies in Television. The International Journal of Television Studies, 13(4), 470- 514. https://dx.doi.org/10.1177/1749602018798217
  • Goddard, M. N., & Hogg, C. (2019). Streaming intersectionality: Queer and trans television aesthetics in post-medium transformation. Critical Studies in Television: The International Journal of Television Studies, 14(4), 429-434. https://doi.org/10.1177/1749602019875846
  • Gomillion, S. C., & Giuliano, T. A. (2011). The Influence of Media Role Models on Gay, Lesbian, and Bisexual Identity. Journal of Homosexuality, 58(3), 330-354. https://doi.org/10.1080/00918369.2011.546729
  • Gross, L. (2005). The Past and the Future of Gay, Lesbian, Bisexual, and Transgender Studies. Journal of Communication, 55(3), 508-528. https://doi.org/10.1111/j.1460-2466.2005.tb02683.x
  • Hidalgo-Marí, T., Segarra-Saavedra, J., y Palomares-Sánchez, P. (2022). Hacia un nuevo canon televisivo: La historia reciente de la ficción española creada para el VOD (2016-2020). Revista Latina de Comunicación Social, 80, 119-134. https://doi.org/10.4185/RLCS-2022-1533
  • Higueras-Ruiz, M. J., Gómez-Pérez F. J., & Alberich-Pascual, J. (2021). The showrunner’s skills and responsibilities in the creation and production process of fiction series in the contemporary North American television industry. Communication & Society, 34(4), 185-200. https://doi.org/10.15581/003.34.4.185-200
  • Informe ODA. (2021). Análisis sobre la representación de la diversidad en la ficción española del 2020 en cine y televisión. ODA: Observatorio de la Diversidad en Medios Audiovisuales. https://bit.ly/3S50zI3
  • Informe ODA. (2022). Análisis sobre la representación de la diversidad en la ficción española del 2021 en cine y televisión. ODA: Observatorio de la Diversidad en Medios Audiovisuales. https://bit.ly/3RhyTiU
  • Joyrich, L. (2014). Queer television studies: Currents, flows, and (Main)streams. Cinema Journal, 53(2), 133-139. https://doi.org/10.1353/cj.2014.0015
  • Kruger-Robbins, B. (2022). Golden Gays: Awards Legitimation from Globes to GLAAD. The Velvet Light Trap, 89, 33-44. https://doi.org/10.7560/vlt8904
  • Kylo-Patrick, R. H. (2000). Representing Gay Men on American Television. The Journal of Men’s Studies, 9(1), 59-79. https://doi.org/10.3149/jms.0901.59
  • Lang, J. (2021). HBO Max Teases Four Original Series From Ambitious Spanish Slate in San Sebastian Panel. Variety. https://bit.ly/3Rlxtng
  • Levitt, H. M., & Ippolito, M. R. (2014). Being Transgender: The Experience of Transgender Identity Development. Journal of Homosexuality, 61(12), 1727-1758. https://doi.org/10.1080/00918369.2014.951262
  • Macintosh, P. (2022). Transgressive TV: Euphoria, HBO, and a New Trans Aesthetic. Global Storytelling: Journal of Digital and Moving Images, 2(1), 13-38. https://doi.org/10.3998/gs.1550
  • Marcos-Ramos, M., & González-de-Garay, B. (2021). Gender Representation in Subscription Video-OnDemand Spanish TV Series. International Journal of Communication, 15, 591-604. https://bit.ly/3nIom2x
  • Masanet, M. J., Ventura, R., & Ballesté, E. (2022). Beyond the “Trans Fact”? Trans Representation in the Teen Series Euphoria: Complexity, Recognition, and Comfort. Social Inclusion, 10(2), 143–155. https://doi.org/10.17645/si.v10i2.4926
  • Mateos-Pérez, J. (2021). La investigación sobre series de televisión españolas de ficción. Un estudio de revisión crítica (1998-2020). Revista Mediterránea de Comunicación/Mediterranean Journal of Communication, 12(1), 171-190. https://www.doi.org/10.14198/MEDCOM000016
  • McInroy, L. B., & Craig, S. L. (2015). Transgender Representation in Offline and Online Media: LGBTQ Youth Perspectives. Journal of Human Behavior in the Social Environment, 25(6), 606-617. https://doi.org/10.1080/10911359.2014.995392
  • Miller, Q. (2014). Television. Transgender studies Quarterly, 1(1-2), 216-219. https://doi.org/10.1215/23289252-2400064
  • Ministerio de Igualdad. (2022). 2º Reconocimientos Arcoíris a personas destacadas en la visibilización, apoyo y defensa de los derechos de las personas LGTBI [Comunicado de prensa]. Ministerio de Igualdad del Gobierno de España. https://bit.ly/3Avd09L
  • Namaste, V. (2005). Sex Change, Social Change: Reflections on Identity, Institutions, and Imperialism. Women’s Press.
  • Pérez-Rufí, J. P. (2016). Metodología de análisis del personaje cinematográfico: Una propuesta desde la narrativa fílmica. Razón y Palabra, 20(95), 534-552. https://bit.ly/3ydfPtm
  • Poole, R. J. (2017). Toward a Queer Futurity: New Trans Television. European journal of American studies, 12(2),1-24. https://doi.org/10.4000/ejas.12093
  • Reitz, N. (2017). The Representation of Trans Women in Film and Television. Cinesthesia, 7(1), 1-7. https://bit.ly/3AvB900
  • Ruiz del Olmo, F. J., y Bustos Díaz, J. (2020). Opinión pública y nuevas estrategias comunicativas en la industria audiovisual: el caso de Netflix y la serie Sense8. Opinião Pública, 26(2), 377-400. http://doi.org/10.1590/1807-01912020262377
  • Serano, J. (2016). Whipping Girl. A Transsexual Woman on Sexism and the Scapegoating of Femininity. Seal Press.
  • Shelley, C. (2008). Transpeople: Repudiation, Trauma, Healing. University of Toronto Press.
  • Siebler, K. (2012). Transgender Transitions: Sex/Gender Binaries in the Digital Age. Journal of Gay & Lesbian Mental Health, 16(1), 74-99. http://dx.doi.org/10.1080/19359705.2012.632751
  • Spencer, L. G., & Capuzza, J. C. (2016). Centering Gender Identity and Transgender Lives in Instructional Communication Research. Communication Education, 65(1), 113-117. https://doi.org/10.1080/03634523.2015.1096949
  • Vanity Fair. (2021). 101 preguntas a Abril Zamora: ¿Qué le diría a su yo de niña? “Que ser diferente no es un defecto, es una cualidad maravillosa”. Vanity Fair. https://bit.ly/3usVJKB
  • Wellborn, C. (2015). Reactions of the transgender community regarding media representation [Doctoral Thesis, The University of Texas Arlington]. RC-Library-UTA. https://bit.ly/3cMRgMU
  • Zamora, A. (Directora), Botello, S., y Matthews, S. (Productores). (2021-). Todo lo otro. [Serie de Televisión]. Producciones Mandarina.