The Evolution of Spanish Television Series (1995-2000): From Traditional Drama to Innovative Formats

Posted on Sep 2, 2024 in Arts and Humanities

The Popular Television Drama: An Introduction

1. Introduction and Background (1995-2000)

During this period, domestically produced fictional television series experienced an unprecedented boom, reflecting a shift in viewers’ preferences. This surge in popularity wasn’t limited to American series; other genres and international productions also saw a significant increase in viewership. The realistic nature of these series was crucial in forging a strong connection with the audience.

Adequacy of the Genre to the Media

Television possesses its own distinct genres, and series have emerged as an ideal format, thriving on serialization and fragmented storytelling. The daily, weekly, or monthly repetition inherent in drama series distinguishes television language. Repetition and seriality are fundamental to television narration, shaping its very nature.

The effectiveness of narrative structures in series lies in techniques like cliffhangers and emotional interruptions, leaving viewers in suspense.

Sociohistorical Background

A significant portion of commercial television programming originates from contemporary U.S. television, particularly the 30- and 40-minute formats, which became synonymous with the broadcasting model. Classical Hollywood cinema, advertising rules, and radio serials (like soap operas) influenced the development of television, particularly the soap opera format.

The literary roots of television drama can be traced back to 19th-century serial novels. This lineage extends to radio dramas, soap operas, theater, and 19th-century naturalistic narratives. In Spain, the first soap operas emerged around 1930, initially drawing inspiration from BBC and U.S. radio dramas. By 1950, adventure dramas paved the way for more comedic and dramatic serial formats, influencing the development of”situation comedies”

The Realist Element

Realism and modernity, inherited from soap operas, are cornerstones of drama and melodrama narratives. Television series, particularly soap operas, offer a dramatized representation of everyday life. They depict intimate dramas within confined spaces, where characters navigate a tumultuous world. Nineteenth-century realist theater challenged the boundaries between fiction and reality, blurring the lines between the two. This contemporaneity is another hallmark of fictional television series.

Serial fiction often adopts a conservative stance on morals and customs, employing judgmental approaches to unconventional or eccentric behavior. Episodes typically conclude by offering a comforting resolution to any conflicts, reinforcing societal norms. Consequently, local contemporary fiction television series act as curators of our social imaginary. Historical fiction, on the other hand, is increasingly shifting away from theater and cinema, finding a new home in television. Television series unfold in the here and now, often focusing on local settings.

2. Evolution of Spanish Television Series

• Decade of the 60s: Emergence of the first series with original scripts.
• 1970s: Transition from dramatic cycles to film.
• 1980s: Establishment and growth of the genre.
• 1990s: Hegemonic stage marked by a surge in popularity and genre renewal.

3. The New Wave of National Fiction Production (1995-2000): Structural Elements and Construction Techniques

3.1 Birth of Independent Production: Artisanal Dimension and Cost Rationalization

The success of series like Farmacia de Guardia and Médico de Familia paved the way for a new era of television fiction in Spain. For the first time, productions were tailored to meet audience demands. The American factory model of television production was adopted, albeit with local adaptations.

The past decade witnessed a dramatic increase in television supply in Spain. This growth underscored the trend of cost reduction and emission maximization. Program production evolved into a thriving industry, shifting the focus from broadcasting to production. While various self-produced programs emerged (magazines and contests dominating daily schedules), drama series became the flagship product due to their economic weight and primetime slots.

The Fiction Industry in Spain: More Outreach, Less Financial Value

Independent producers have been the driving force behind the industry’s recent growth, propelling local fiction to primetime dominance in the late 1990s. Intense competition led to dynamic resource management and a reliance on outsourcing creative services and production.

This trend was further fueled by the declining popularity of U.S. series and the limited influx of European dramas in the Spanish market. New external content producers emerged, introducing fresh perspectives to the burgeoning Spanish television industry. Despite having a high volume of production schedules, the television fiction sector in Spain remains more concentrated than in other industrialized nations. There’s a disconnect between the volume of local fiction produced and its financial value.

Fiction in the Rise of Independent Production

During this period, independent productions gained significant traction in programming schedules. Leading companies in this sector evolved from small, family-run businesses into more ambitious entities, adopting riskier strategies involving multiple seasons and collaborations with various networks. This marked the birth of a fledgling industry.

Initial successes in viewership and international distribution allowed some producers to retain format ownership, enabling them to sell their creations abroad. While Gestmusic held a dominant position until 1998, Globomedia emerged as a major player with higher revenues. Boca TV also established itself as a significant production company. By the 1999-2000 season, Gestmusic, Endemol, and Globomedia were at the forefront, being the only companies to air more than ten programs on television.

3.2 The New Production Framework

These productions ushered in a new era of television fiction, characterized by:

• Hybrid series blending comedy and drama.
• Longer episode durations (60-70 minutes, sometimes extending to 90 minutes).
• Production and broadcast rates of 26-28 episodes per season.

The diversity of formats in Spanish local fiction was driven by the programming needs of private broadcasters, who recognized the potential of alternative programming in capturing specific demographics. Television channels shifted away from counter-programming, opting for complementary or alternative scheduling strategies.

Commercial channels, inspired by the American model, aimed to challenge TVE’s dominance by targeting younger audiences. Globomedia, a pioneer in this regard, adapted the American television drama industry’s organizational structure, implementing a new production process tailored to the local market. This approach, emphasizing efficiency and innovation, was quickly adopted by other production companies.

Key features of this new framework included:

• Creativity: Incorporation of multi-frame narratives, writing teams of up to 8 writers, detailed style guides, genre hybridization, and a focus on realism.
• Staging: Ensemble casts, dynamic camera work (including Steadicam), digital video editing, and a focus on visual storytelling.
• Production Process: Cost-effective production (around 50,000 pesetas per 60-minute episode), collaborative writing, rotating directors, fast-paced schedules, and ensemble casts to manage actor fees.

Production costs were typically split between”above the lin” expenses (creative, set design, music, actors) and”below the lin” expenses (production and post-production). This renewed production process, both in terms of creative vision and implementation, facilitated the growth of a domestic television drama industry during this period, characterized by competitive broadcasting costs.

By the latter half of the decade, it became evident that the formats, subgenres, and durations of productions in many European countries were aligning with international standards. However, the scale and characteristics of these series remained distinct from the American industry.

To facilitate this production model, creative teams comprising writers, directors, and an executive producer were established. The executive producer, a prominent figure in American television, oversaw creative control and the production process, often managing a team of 70 or more technical and artistic personnel. Their responsibilities included:

• Script acquisition and commissioning.
• Director and cast selection.
• Production planning.
• Financial oversight.

This period witnessed a narrative enrichment of series, evident in the increased number of sequences, shooting locations, and recording units. Two primary production models emerged: production order (producer acquires format rights, secures funding, and offers the series to a network) and co-production (producer and network share financing, rights, and marketing). Globomedia, a pioneer in this regard, negotiated seasonal contracts with networks, securing ownership of successful series and participating in profit-sharing.

Three distinct stages characterized this era:

1. Training of professionals in new creative and production techniques.
2. Maturity and a focus on incorporating real value into productions.
3. Postmodernism, characterized by genre-bending series and a departure from established norms in pursuit of a more cinematic language.

3.3 Stage 1: Training of Writers and Filmmakers

The initial season highlighted a clear need for creative training, particularly in scriptwriting and filmmaking. This was evident in series like Médico de Familia and Menudo es mi Padre. The second stage saw a shift in priorities, focusing on technical development, stylistic innovation, and media exploration, as seen in Compañeros and Periodistas.

New Realism Manners

Médico de Familia, with its standardized approach, reflected a more Americanized conception of series development compared to Menudo es mi Padre. The tonal shift towards realism was evident. While Emilio Aragón’s popularity contributed to the appeal of Menudo es mi Padre, it also overshadowed the importance of strong scripts.

These series aimed to portray everyday life, striking a balance between reality and audience expectations. They sought to present a relatable depiction of family dynamics. The emphasis on quality and performance was evident in the rigorous training provided to writers, involving numerous drafts and rewrites.

Through this process, creatives and filmmakers learned to incorporate cliffhangers and plot twists, techniques commonly employed in American series and TV movies. These elements were crucial in engaging viewers and creating anticipation before commercial breaks.

New Creatives for Television: The Introduction of the Multiframe

To compete effectively, productions needed to elevate their narrative complexity. The multiframe structure, a departure from European traditions, was adopted from Anglo-Saxon television. This innovation allowed for multiple storylines, enabling series to explore various genres simultaneously. The new structure embraced multi-genre storytelling, blending comedy, drama, and even suspense.

This approach necessitated a shift in creative organization and coordination, leading to the emergence of the script coordinator role. Teamwork became essential, with multiple writers collaborating on drafts until a final version was reached. While this extended the writing process, it also resulted in richer narratives.

Writing the”Bibl”

Before production began, writers created a detailed style guide known as the”bible” This document outlined the series’ key elements, including character descriptions, settings, dramatic structure, themes, and dialogue style. The”bibl” served several purposes:

• Establishing ownership and defining the project’s concept and identity.
• Managing the complexity of storylines and character arcs.
• Creating a commercial pitch for networks.
• Providing a style guide for writers and actors.

From Multigenre to Genre Blending

The multiframe structure facilitated genre hybridization. Sixty-minute episodes seamlessly blended comedic, dramatic, and suspenseful elements. This approach gained traction in subsequent Spanish fiction productions. However, this hybridization differed from traditional sitcoms, which typically relied on fixed settings.

Producers aimed to connect with audiences on two levels: by addressing current social issues and by utilizing comedy as a means of accessibility. To achieve this, protagonists were often placed in professional settings, allowing for the exploration of both personal and societal conflicts.

By adapting the Anglo-Saxon production model and incorporating local narratives, Spanish television series began to compete directly with American productions, securing their place in primetime slots.

Knowledge of Audience Studies

Emilio Aragón’s series marked a turning point in Spanish television, as it was designed based on audience research and insights. Subsequent productions incorporated relatable characters and conflicts, aiming to resonate with viewers on a personal level. The goal was to create content that appealed to a broad audience without alienating specific demographics.

The Introduction of the Multi-Camera Setup

The multi-camera setup revolutionized studio productions, allowing for greater flexibility in set design, camera placement, and lighting. This technique opened up new possibilities for visual storytelling, enhancing the overall production value. Previously, television fiction had been limited by traditional single-camera setups.

3.4 Stage 2: Maturity and Technical Improvement

This stage was marked by significant advancements in both thematic complexity and technical innovation. The growing economy and increased investment from networks allowed for more ambitious productions. Series began to incorporate outdoor shoots, action sequences, and larger budgets.

Periodistas and Compañeros exemplified this shift. These series moved beyond domestic settings, exploring conflicts within professional environments. This marked a departure from the classic sitcom format, both in terms of subject matter and visual style.

The Revolution Staged

The incorporation of new values extended beyond scripts to the casting process. Ensemble casts became increasingly common, challenging the traditional reliance on star power. This approach, exemplified by Periodistas, prioritized quality writing, direction, and production value over the star system.

Acting styles also underwent a transformation. Naturalism was encouraged, with actors engaging in everyday activities like eating, drinking, and walking. Camera work became more dynamic, incorporating Steadicam shots within studio settings. This revolution in staging was evident in Compañeros, which broke away from the static camerawork of previous eras. The use of natural lighting and handheld cameras allowed for greater realism and intimacy.

Production Model to the American: Executive Producer

The role of the executive producer, responsible for both creative and financial oversight, became increasingly important. Series profitability relied on renewal, not just initial success. Short-lived series often struggled to secure distribution deals.

3.5 Stage 3: Approaching Cinematic Language

In January 2000, A3 launched Policías, en el corazón de la calle, a police procedural that broke new ground in terms of visual storytelling and narrative structure. This series marked a departure from previous conventions, introducing a more cinematic approach.

Policías was a pure genre piece, focusing on Spanish police work and societal issues. While it occasionally incorporated comedic elements, it avoided self-referential humor. The series pushed boundaries in terms of realism and dramatic storytelling.

For the first time, a fixed number of storylines and sequences were established, providing greater creative freedom. Scripts were expanded to accommodate 30-40 sequences, while the editing process further fragmented the narrative, resulting in over 50 sequences per episode and a faster pace. The use of handheld cameras and unconventional shot compositions added to the series’ distinctive visual style.

Imitate the Cinematic Image

The production system evolved to meet the demands of a rapidly changing television landscape. Producers sought to emulate the innovative storytelling techniques employed in the U.S. market. The challenge lay in replicating the emotional depth, action, and production value of feature films within the constraints of a weekly television schedule.

Policías employed simultaneous episode recordings, utilizing multiple units to capture both studio and exterior sequences. This ambitious approach required extensive planning and coordination. The producers of Periodistas had previously experimented with achieving a cinematic aesthetic, adopting film-style video editing techniques.

The use of multi-layer digital video editing (Avid) allowed for a more sophisticated post-production process, enhancing the visual texture and realism of the series. This approach, inspired by American television dramas, brought Spanish productions closer to a cinematic aesthetic. Multi-layer editing became an indispensable tool in achieving this goal.