Digital Narratives During the Pandemic: TV Series, Social Media, and Conversations on the Internet

Martínez-Borda, Rut; de-la-Fuente, Julián; Lacasa, Pilar

doi:10.3389/fpsyg.2021.677713

Cited by 2 publications

(2 citation statements)

References 64 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Regarding the quality of the series, some authors suggest that the fourth season of Money Heist benefited from increased consumption on the Netflix platform during the pandemic (Cristófol Rodríguez et al, 2020;Martínez-Borda et al, 2021), a coincidence that may have favoured its international momentum. Moreover, the change in length to adapt the series to international standards when Netflix acquired the rights from Antena 3 (Spain) in 2017, from 15 episodes of 70 minutes to 22 episodes of 45 minutes, may have altered the narrative structure of the series, leading to occasional longer pauses causing a different placement of cliffhangers, and thus plot twists (van der Kint, 2021).…”

Section: Money Heist As a Global Phenomenonmentioning

confidence: 99%

Tourist destinations masked in the symbolic constructs of «Money Heist» (Netflix, 2017-2021)

Sánchez-Castillo,

Nieto-Ferrando,

Gómez-Morales

2024

Communication & Society

View full text Add to dashboard Cite

The popular Spanish fiction series Money Heist has been seen in more than 190 countries and has won the International Emmy Award for Best Drama. In 41 episodes over five seasons, a group of thieves dressed in red overalls and concealing their faces behind Salvador Dalí masks break into the Royal Mint of Spain and the Bank of Spain with the intention of carrying out an ambitious heist at each location. There are almost no product placements of real-life tourist attractions in the narrative structure of the series. This article discusses whether certain symbolic constructs identified in Money Heist could act as tourism inducers in the same way as the placement of real-life locations, a practice explored extensively in recent research. This study finds a considerable increase in tourist numbers to the Royal Mint of Spain that coincided with a massive rise in searches on YouTube for identifying elements of the series and a significant correlation between those elements and Spanish tourist destinations on Instagram. It thus offers evidence of the presence of symbolic constructs that could serve as inducers of both domestic and international tourism to Madrid.

show abstract

Section: Money Heist As a Global Phenomenonmentioning

confidence: 99%

Tourist destinations masked in the symbolic constructs of «Money Heist» (Netflix, 2017-2021)

Sánchez-Castillo,

Nieto-Ferrando,

Gómez-Morales

2024

Communication & Society

View full text Add to dashboard Cite

show abstract

“…From combined big and small data methodology, the meaning of several selected texts was analysed (Martínez-Borda, 2021), to respond to the following research questions:…”

Section: Introductionmentioning

confidence: 99%

Transmedia Narratives and Social Networks: Peaky Blinders' Television Fiction

Martínez-Borda

Lara

Lacasa

2022

IJFMA

View full text Add to dashboard Cite

Digital media expanded the scenarios in which people watch television and the communication contexts where fans comment on their content. This work focuses on the conversations between Spanish speakers that take place on the Internet about the Peaky Blinders TV series. We focus on analysis of the discourse generated from the series’ content in social networks, where spectators converse with one another and on analysis of other, creative practices, which help to develop the transmedia narrative but are generated by the spectators themselves. This is known as fan fiction, cosplay or crossover. We combine big data (Kitchin, 2014), to extract digital texts, and small data to analyze the construction of meanings from the perspective of discourse analysis (Gee, 2014). Big data were collected during the recent premiere of the fifth season in Spain, from 14 March to 15 June 2020 (3 months of which coincided with Covid-19 lockdown).The texts appeared on Twitter, Facebook, and YouTube, as well as in forums, comments, and other digital information. We dynamically defined 268 categories during the data collection stage. This study includes only those that the research team considered were more relevant, facilitating in-depth analysis of the conversations through discourse analysis. The results discuss how participants construct narratives that we interpret from a triple model. First, digital and situated storytelling (Ryan, 2019) through reconstruction of the contents and formats of the series by fans (Lacasa, 2020). Second, digital media and the presence of multi-platforms, which have generated transmedia strategies (Kavoori et al., 2017 (Kavoori, 2017)). The study establishes the relationships between these multiple platforms and how audiences are present there. Third, digital contexts that generate conversations, creating dialogue between cultural industries and TV series followers.

show abstract

Digital Narratives During the Pandemic: TV Series, Social Media, and Conversations on the Internet

Cited by 2 publications

References 64 publications

Tourist destinations masked in the symbolic constructs of «Money Heist» (Netflix, 2017-2021)

Tourist destinations masked in the symbolic constructs of «Money Heist» (Netflix, 2017-2021)

Transmedia Narratives and Social Networks: Peaky Blinders' Television Fiction

Contact Info

Product

Resources

About