La adaptación de formatos en televisión: los remakes transculturales de series de ficción. Los casos de Life on Mars y The Office
- Autores: Isadora Garcia Avis
- Directores de la Tesis: Ruth Gutiérrez Delgado (dir. tes.), Patricia Diego González (codir. tes.)
- Lectura: En la Universidad de Navarra ( España ) en 2016
- Idioma: español
- Tribunal Calificador de la Tesis: Mario García de Castro (presid.), Marta Frago Pérez (secret.), Enrique Guerrero Pérez (voc.), Concepción Cascajosa Virino (voc.), Carmen Sofía Brenes (voc.)
- Materias:
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- Resumen
Transcultural remakes of scripted television formats constitute a very specific form of adaptation, which is defined by the act of retelling the same story within the same medium. Combining adaptation studies, format studies, production studies and screenwriting poetics, this dissertation offers a multidisciplinary approach to such phenomenon, which is becoming increasingly more common on television screens all over the world. The adaptation of scripted formats can be considered as a hermeneutical process, not only from the points of view of reception and critical analysis, but also from the perspective of the professionals within the television industry. This is due to the fact that, in order to adapt a television series, the executive producers and screenwriters involved in the project must reinterpret the story according to its new context, so as to adjust it to its new audience.
To better comprehend the poetics and the industrial practices of transcultural remakes, this thesis examines two case studies: a) the British series "Life on Mars" (BBC1, 2006-2007) and its Spanish remake, "La Chica de Ayer" (Antena 3, 2009); and b) the British series "The Office" (BBC2, 2001-2003) and its American remake, "The Office" (NBC, 2005-2013). The study of these series includes in-depth interviews with some of the professionals that took part in their production, as well as the analysis of their original scripts and production documents. The most innovative and substantial contribution of this thesis can be found in its methodological model, designed to assess the dialogic interaction between text and context (and between the global and the local) in the development of transcultural remakes. Through a code integrated by both textual and contextual factors, it is possible to infer the impact that the new context can exert on the narrative of a television series. Furthermore, the Aristotelian notion of myth (mythos), understood as "diegetic cohesion", enables the comprehension of the internal coherence of the story in a televisual remake. The analysis of the aforementioned case studies reveals that it is essential to find a balance between the indispensable changes required to adjust a television format to its new local context, and the need to develop a story that has diegetic cohesion, in and of itself.
