Publication: El lenguaje social de la ficción televisiva y sus antihéroes: "La quinta Pared en House of cards"
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2019-04-12
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Universidad Complutense de Madrid
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Abstract
La presente investigación tiene como objeto principal el análisis, original e inédito, de la serie de televisión norteamericana House of Cards. La intención primordial es mostrar cómo el personaje principal, Frank Underwood, innova un nuevo lenguaje de la ficción televisiva con su audiencia. Hablamos de lenguaje social porque trasciende el lenguaje tradicional y unidireccional de la televisión masiva, para adquirir entidad y personalidad virtual a través de Twitter, al que el espectador puede reconocer casi como real. Al mismo tiempo, es llamativo que lo consiga siendo un personaje malvado, ignominioso y ambicioso: un antihéroe. En sus dilemas éticos, morales y políticos, Underwood hace cómplice a la audiencia. Lo logra rompiendo la cuarta pared de la pequeña pantalla, hablando al espectador directamente, y compartiendo sus planes para llegar al poder en la política y traspasando la línea entre la ficción y la realidad, con una cuenta de Twitter, @HouseofCards, donde tuitea como si existiera en el mundo real rompiendo también una nueva quinta pared, concepto original de la investigación...
The present doctoral research entitled has as main object the analysis, original and unpublished, of the American television series House of Cards. The primary intention is to show how the main character, Frank Underwood, innovates a new language of television fiction with his audience. We speak of social language because it transcends the traditional and unidirectional language of mass television, to acquire entity and virtual personality through Twitter, which the viewer can recognize almost as real. At the same time, it is amazing that he gets it by being an evil, ignominious and ambitious character: an anti-hero. In his ethical, moral and political dilemmas, Underwood makes the audience an accomplice. He succeeds in breaking the fourth wall of the small screen, speaking directly to the viewer and sharing his plans to reach power in politics and crossing the line between fiction and reality, with a Twitter account, @HouseofCards, where he Tuits as if it existed in the real World, also breaking a new fifth wall, original concept of the investigation...
The present doctoral research entitled has as main object the analysis, original and unpublished, of the American television series House of Cards. The primary intention is to show how the main character, Frank Underwood, innovates a new language of television fiction with his audience. We speak of social language because it transcends the traditional and unidirectional language of mass television, to acquire entity and virtual personality through Twitter, which the viewer can recognize almost as real. At the same time, it is amazing that he gets it by being an evil, ignominious and ambitious character: an anti-hero. In his ethical, moral and political dilemmas, Underwood makes the audience an accomplice. He succeeds in breaking the fourth wall of the small screen, speaking directly to the viewer and sharing his plans to reach power in politics and crossing the line between fiction and reality, with a Twitter account, @HouseofCards, where he Tuits as if it existed in the real World, also breaking a new fifth wall, original concept of the investigation...
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Tesis de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 13/12/2018