Análisis del estilo audiovisual en la representación del periodismoel ser y el deber ser en The Wire (Bajo escucha) y The Newsroom

  1. Miguel Ángel Huerta Floriano 1
  2. Ernesto Pérez Morán 2
  1. 1 Universidad Pontificia de Salamanca
    info

    Universidad Pontificia de Salamanca

    Salamanca, España

    ROR https://ror.org/02jj93564

  2. 2 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Revista:
Doxa Comunicación: revista interdisciplinar de estudios de comunicación y ciencias sociales

ISSN: 1696-019X

Año de publicación: 2024

Número: 39

Páginas: 401-419

Tipo: Artículo

DOI: 10.31921/DOXACOM.N39A2120 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Doxa Comunicación: revista interdisciplinar de estudios de comunicación y ciencias sociales

Resumen

The portrayal of journalism in fictional series of the 21st century cannot be fully understood without considering two productions, which are The Wire (HBO, 2002-2008) and The Newsroom (HBO, 2012-2014). However, academic approaches to the two series have focused on aspects related to theme, narrative, and reception, which generally receive more attention in the field of television studies than other equally relevant viewpoints. This paper aims to fill the existing gap with regard to formal approaches by proposing a textual and comparative analysis of the stylistic keys of both series in their approach to journalistic activity. One of the main findings is that although both series are very realistic, The Wire focusses on a formal system built upon the strategies of staging, planning, editing and sound space, with a tendency to descriptively display the facts, while The Newsroom uses an expressiveness that idealises the way the profession is carried out with a sentimental emphasis.

Referencias bibliográficas

  • Abrams, J. (2018). All the Pieces Matter. The Inside Story of The Wire. Crown Archetype.
  • Álvarez, R., & Simon, D. (2013). The Wire: toda la verdad. Principal de los Libros.
  • Bordwell, D., & Thompson, K. (2001). Film Art. An Introduction. McGraw-Hill.
  • Butler, J. (2020) Television Style. McGraw-Hill.
  • Caldwell, J. T. (1995). Televisuality: Style, Crisis and Authority in American Television. Rutgers University Press.
  • Cascajosa Virino, C. (2011). “No es televisión, es HBO”: La búsqueda de la diferencia como indicador de calidad en los dramas del canal HBO. Zer. Revista de Estudios de Comunicación, 21: 23-33.
  • Caramanica, J. (2008). Dissecting threads of decay. Los Ángeles Times. https://bitly.ws/3afiN
  • Ehrlich, M. C. (1997). Journalism in the Movies. Critical Studies in Mass Communication, 14(3): 267-281. https://doi.org/10.1080/15295039709367015
  • Ehrlich, M. C. (2004). Journalism in the Movies. University of Illionois Press.
  • Ellis, J. (1982). Visible Fictions: Cinema: Television: Video. Routledge.
  • Fahy, T. (2005). An Interview with Aaron Sorkin. En T. Fahy (ed.). Considering Aaron Sorkin: Essays on the Politics, Poetics and Sleight of Hand in the Films and Television Series (pp. 11-18). McFarland & Company.
  • Ferrucci, P., & Painter, C. (2012). Men on The Wire: A Textual Analysis of ‘The Most Realistic Depiction of a Newsroom Ever,’. Association for Education in Journalism and Mass Communication, Chicago, IL.
  • Ferrucci, P., & Painter, C. (2013). Pseudo Newsgathering: Analyzing Journalists’ Use of Pseudo-events on 'The Wire'. The Image of the Journalist in Popular Culture Journal, 5, 133-169.
  • Fursich, E. (2009). In defense of textual analysis. Journalism studies, 10(2), 238-252. https://doi.org/10.1080/14616700802374050
  • Greimas, A. J., & Fontanille, J. (1994). Semiótica de las pasiones. De los estados de cosas a los estados de ánimo. Siglo XXI.
  • Hale, M. (2012, 24 de Agosto). Broken hearts and breaking news. The New York Times. https://bitly.ws/3afkt
  • Huerta, M. A., & Pérez, E. (2019). Mad Men and television aesthetics: Final shots as a tool for textual configuration. Arte, Individuo y Sociedad, 31(4), 825-838. https://doi.org/10.5209/aris.62072
  • Jensen, M. B. B. (2017). “From the Mind of David Simon”: A Case for the Showrunner Approach. Series-International Journal of TV Serial Narratives, 3(2), 31-42.
  • Koliska, M., & Eckert, S. (2015). Lost in a house of mirrors: Journalists come to terms with myth and reality in The Newsroom. Journalism, 16(6), 750-767.
  • Larsen, P. (1991). Textual analysis of fictional media content. En K. B. Jensen & N. W. Jankowski (eds.). A Handbook of Qualitative Methodologies for Mass Communication Research (pp. 121-34). Routledge.
  • Marash, D. (2012, 25 de junio). And that’s not the way it is. Columbia Journalism Review. https://bit.ly/3tYG60y
  • Martin, B. (2014). Difficult men: behind the scenes of a creative revolution: from The Sopranos and The Wire to Mad Men and Breaking Bad. Penguin.
  • McNair, B. (2010): Journalists in Films: Heroes and Villains. Edinburgh University Press.
  • McNair, B. (2014). From cinema to TV: Still the same old stories about journalism. Journalism Practice, 8(2), 242-244. https://doi.org/10.1080/17512786.2014.889270
  • Metallinos, N. (1996). Television Aesthetics: Perceptual, Cognitive and Compositional Bases. Routledge.
  • Mittel, J. (2015). Complex TV: The poetics of contemporary television storytelling. NYU Press.
  • Newcomb, H. (1974). TV: The most popular art. Anchor Books.
  • Nussbaum, E. (2012, 18 de junio). Broken News. The artificial intelligence of “The Newsroom”. The New Yorker. https://bitly.ws/3afmb
  • Peters, C. (2015). Evaluating journalism through popular culture: HBO’s The Newsroom and public reflections on the state of the news media. Media, culture & society, 37(4), 602-619. https://doi.org/10.1177/01634437145669
  • Ryan, M. (2008, 13 de enero). ‘Wire’ man wants you to care. Chicago Tribune. https://bitly.ws/3afjS
  • Sabin, R. (2011). The Wire: Dramatising the crisis in journalism. Journalism Studies, 12(2), 139-155. https://doi.org/10.1080/1461670X.2010.493741
  • Saltzman, J. (2005). Analyzing the images of the journalist in popular culture: A unique method of studying the public’s perception of its journalists and the news media. Association for Education in Journalism & Communication.
  • Steiner, L., Guo, J., McCaffrey, R., & Hills, P. (2013). The Wire and repair of the journalistic paradigm. Journalism, 14(6), 703-720. https://doi.org/10.1177/1464884912455901
  • Stern, J. (2012, 30 de mayo). Characters in The Newsroom Not Real People, Says Arron Sorkin. ABC News. https://bitly.ws/3afmx
  • Thorburn, D. (1987). Television as an aesthetic medium. Critical Studies in Media Communication, 4(2), 161-173. https://doi.org/10.1080/15295038709360123
  • Vidal, N. (2018). The directors room: la estética neobarroca y la monstruosidad formal del universo murphyano. En P. Trapero, (Ed.). La ley de (Ryan) Murphy. (pp. 77-122). Síntesis.
  • Vozzella, L. (2008, 6 de enero). Fake newsroom, real anger. Baltimore Sun. https://bitly.ws/3afmU
  • VV.AA. (2010). The Wire: 10 dosis de la mejor serie de la televisión. Errata Naturae.
  • Zurawic, D. (2007, 30 de diciembre). ‘The Wire’ loses spark in newsroom storyline. Baltimore Sun. https://bitly.ws/3afny
Fuente de los datos: Dialnet