OBITEL 2012 reflected on the three spheres where the transnational element makes an impact or is reflected: the industry, the contents and the flows and audiences.Īt the beginning of a scientific chapter addressing the new artisticdramatic trends of the twenty-first century, in particular the comparison of the television fiction phenomenon in the United States and Spain, we open the portico of this reflection with the analysis of an international situation of a crosscultural nature, the hybridization of cultures, from a legal and constitutional perspective linked to the development of human rights in the world and especially between the American and Spanish tv serial post-drama.

The Obitel countries decided to make the theme of ' transnationalization in the fiction television ' the topic of the year for this 2012 Yearbook, with the objective of mapping the characteristics of the transnational flows among and outside the countries participating in this project. Its cultural, symbolic tradition is a place of agreement and disagreement that is now the setting not only of the main characters' loves and intimate secrets in the telenovelas and series, but also that of public life, politics, the citizenship, since ever more fiction anchors its narrative on the multiple problems that affect us as a region and at the same time separate us as countries. Fiction, as industry and format, is one of the most representative cultural and media products of television in Ibero-America. In addition, every OBITEL yearbook has a comparative chapter that provides a general panorama of the member countries. The results of this monitoring are presented through the singularities and tendencies of fiction in each country. OBITEL is made up of eleven national research groups that throughout a year systematically monitor fiction shows that are broadcast through open television channels in their respective countries. The present OBITEL Yearbook is the sixth of a series started in the year 2007, and it reflects the maturity of a methodological model that combines quantitative study with the contextual analysis of television fiction, its transmediation into other screens and the sociocultural dynamics that are circumscribed to each of the different member countries.

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