<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2183-5462</journal-id>
<journal-title><![CDATA[Media & Jornalismo]]></journal-title>
<abbrev-journal-title><![CDATA[Media & Jornalismo]]></abbrev-journal-title>
<issn>2183-5462</issn>
<publisher>
<publisher-name><![CDATA[Centro de Investigação Media e JornalismoFaculdade de Ciências Sociais e Humanas/Universidade Nova de Lisboa]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2183-54622024000100006</article-id>
<article-id pub-id-type="doi">10.14195/2183-5462_44_9</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Ensimismado en el mercado. El periodismo chileno en la serie de ficción audiovisual &#8220;Bala Loca&#8221; (chilevision, 2016)]]></article-title>
<article-title xml:lang="en"><![CDATA[Engrossed in the market. Chilean journalism in the audiovisual fiction series &#8220;Bala Loca&#8221; (chilevision, 2016)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Faure]]></surname>
<given-names><![CDATA[Antoine]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lira]]></surname>
<given-names><![CDATA[Claudia Lagos]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cruz]]></surname>
<given-names><![CDATA[Eduardo Santa]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Santiago de Chile Escuela de Periodismo Centro de Estudios de la Comunicación Pública]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad de Chile  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidad de Chile Facultad de Comunicación e Imagen ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<volume>24</volume>
<numero>44</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2183-54622024000100006&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2183-54622024000100006&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2183-54622024000100006&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los periodistas, fotógrafos, corresponsales de guerra o dueños de medios de comunicación resultan personajes atractivos para la ficción audiovisual. La televisión y las plataformas de streaming los han representado como héroes o villanos, así como también han construido imaginarios audiovisuales sobre casos iconos (como Watergate o los abusos en la Iglesia Católica en Estados Unidos) o en tanto engranaje de las elites del poder. Sin embargo, tanto la producción como el análisis de este tipo de obras está concentrada en industrias robustas, como la hollywoodense o la de algunos países europeos. Conocemos menos sobre el retrato audiovisual del periodismo en las producciones audiovisuales para televisión o para plataformas realizadas en América Latina. El análisis de la serie chilena para televisión abierta, Bala Loca (Chilevisión, 2016), permite explorar los imaginarios - complementarios y contradictorios, al mismo tiempo sobre el periodismo y los medios en una sociedad postdictatorial y neoliberal. Esta lectura se ancla en los estudios audiovisuales y culturales y en metodologías cualitativas centradas en las condiciones de producción, la narrativa, su estética e intertextualidad. Sobre la base del cruce entre estos distintos ejes analíticos, este artículo describe, analiza y discute los tipos de periodistas y periodismos (re) construidos en la serie chilena Bala Loca a partir de su estrategia de comunicabilidad. Se concluye que el periodismo es heterogéneo en Bala Loca, sin embargo, tiene una fuerte referencialidad histórica, refleja la orientación de la profesión al mercado heredada de la dictadura (1973-1990) y pone en escena un periodismo sin dimensión pública, tanto en un sentido simbólico como material.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Journalists, photographers, war correspondents, or media owners are attractive characters for audiovisual fiction. Television and streaming platforms have portrayed them as heroes or villains, as well as constructed audiovisual imaginaries about iconic cases (such as Watergate or abuses in the Catholic Church in the US) or as a cog in the wheel of power elites. However, both the production and analysis of this type of work focuses on mainstream industries, such as Hollywood or some European countries. We know less about the audiovisual portrayal of journalism in audiovisual productions for television or platforms in Latin America. The analysis of the Chilean series for free-to-air television, Bala Loca, allows us to explore the imaginaries -simultaneously complementary and contradictoryabout journalism and the media in a post-dictatorial and neoliberal society. Then, this article contributes to better understanding this type of audiovisual productions in similar contexts. This reading is anchored in audiovisual and cultural studies and in qualitative methodologies focused on the production (its narratives, representations, characters, and dramatic arcs, as well as its aesthetic features) and the world of reference with which the series dialogues. At these trends&#8217; intersection in problematizing journalism and its fictional and visual representations, this article analyzes the types of journalists and journalisms built up and rearranged within the Chilean series Bala Loca based on its communicability strategy. On one hand, its closeness and/or distance with the world it refers to; that is, Chile during the post-dictatorship from 1990 to now and how it is understood. On the other hand, it refers to the type of narrative and audiovisual resources through which these strategies are constructed. Therefore, journalism appears as heterogeneous in Bala Loca. Nonetheless, it has a strong historical referentiality, incarnates the market orientation of the profession inherited from the dictatorship (1973-1990) and illustrates the lack of public service of contemporary journalism in Chile, both in a symbolic and a material sense.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[series de ficción televisiva]]></kwd>
<kwd lng="es"><![CDATA[periodismo]]></kwd>
<kwd lng="es"><![CDATA[transición chilena]]></kwd>
<kwd lng="es"><![CDATA[espacio público]]></kwd>
<kwd lng="en"><![CDATA[television fiction series]]></kwd>
<kwd lng="en"><![CDATA[journalism]]></kwd>
<kwd lng="en"><![CDATA[chilean transition]]></kwd>
<kwd lng="en"><![CDATA[public space]]></kwd>
</kwd-group>
</article-meta>
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