Diachronic analysis of adolescence in Spanish television ction set in
classrooms (1998-2018)
Análisis diacrónico de la adolescencia en las cciones televisivas españolas
ambientadas en las aulas (1998-2018)
doxa.comunicación |
nº 37, pp. 291-312
| 291
July-December of 2023
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Hernández-Carrillo, C. (2023). Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018).
Doxa
Comunicación
, 37, pp. 291-312.
https://doi.org/10.31921/doxacom.n37a1882
Cristina Hernández-Carrillo.
A graduate in Audio-visual Communication (2015), she is currently a Researcher in
Training and an assistant teacher in the Department of Audio-visual Communication and Advertising at the University of
Malaga. She is also a PhD student in the Education and Social Communication program focused on Innovation in Social
Communication: Journalism, Audio-visual Communication, and Advertising & Public Relations. She researches audio-
visual narratives in ction (cinema and series) and on stereotypes (gender and LGTBIQ+). Her area of specialization is
ctions aimed at adolescents and young people
.
University of Malaga, Spain
[email protected]
ORCID: 0000-0001-5097-4661
Abstract:
is research analyses the representation of adolescence in Spanish
television ction set in classrooms over the period 1998 to 2018, by
means of a case study of the series Compañeros (Classmates) (Antena
3, 1998-2002), Física o Química (Physics or Chemistry) (Antena 3,
2008-2011) and Merlí (TV3, 2015-2018). A mixed quantitative and
qualitative methodology has been employed, based on analysis
of audio-visual content to determine whether there has been
development in the handling of social values. is analysis helps to
understand how teenagers have been represented over the last twenty
years and to assess whether the values they receive today tend to be
increasingly inclusive and educational. e results demonstrate that
not all subjects are changing, nding only an increased representation
of sexual orientation and the adolescent’s family environment; a
consistent representation over time of masculinity, sexuality, alcohol
and drugs; and a lesser representation of the current role of women.
Keywords:
Tv series; adolescence; gender; masculinity; sexuality.
Resumen:
Esta investigación analiza la representación de la adolescencia en las
cciones televisivas españolas ambientadas en las aulas durante el
periodo de tiempo comprendido entre 1998 y 2018, a través del estudio de
caso de las series Compañeros (Antena 3, 1998-2002), Física o Química
(Antena 3, 2008-2011) y Merlí (TV3, 2015-2018). Para ello se hace uso de
una metodología mixta, cuantitativa y cualitativa, a partir del análisis
de contenido audiovisual para determinar si existe una evolución en el
tratamiento de los valores sociales. Este análisis ayuda a comprender la
representación que se ha hecho de los y las adolescentes en los últimos
veinte años y a evaluar si los valores que reciben hoy día están tendiendo
a ser cada vez más inclusivos y educativos. Los resultados evidencian
que no todas las temáticas evolucionan, encontrando así únicamente
una representación al alza de la orientación sexual y el entorno familiar;
una representación constante a través de los años de la masculinidad,
la sexualidad, el alcohol y las drogas; y una menor representación en la
actualidad del papel de la mujer.
Palabras clave:
Ficción televisiva; adolescencia; género; masculinidad; sexualidad.
Received: 14/12/2022 - Accepted: 24/03/2023 - Early access: 15/04/2023 - Published: 01/07/2023
Recibido: 14/12/2022 - Aceptado: 24/03/2023 - En edición: 15/04/2023 - Publicado: 01/07/2023
is content is published under Creative Commons Attribution Non-Commercial License. International License
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Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
It is a fact that television ction arouses increasing interest both in society and in the academic world, and that such programmes
are booming and enjoying greater audience share. eir social importance makes it necessary to reect on the representations
being transmitted, even more so as their target audience are adolescents, individuals whose personality is being formed and
who are in search of references and the acquisition of values (Arnett, 1995; Bandura, 2001; Cohen, 2001; Gil-Quintana & Gil-
Tevar, 2020; Honer & Buchanan, 2005 ; Menéndez Menéndez et al., 2017; Russel et al., 2004).
us, analysis of series has generated a major theoretical current to help understand what the media transmits, with a gradual
increase in the tendency to deal with the issue of teenagers and the ction products created for them (De-Caso- Bausela et al.,
2020; Forteza Martínez et al., 2021; García-Muñoz & Fedele, 2011; Guarinos, 2009; Mateos-Pérez, 2021; Montero Rivero, 2006).
However, dening the term teen
or adolescent series is still the subject of debate. is is due to the absence of a scientic
framework, since research has tended to focus on analysis of specic cases and not on establishing general characteristics.
Despite this, since Moseley (2001) provided the rst denition, some common elements have been identied: they are aimed
mainly at teenagers and feature adolescent characters, are set in the educational environment or at home (Meyer, 2009) and
their plots revolve around problems corresponding to that age group (Davis & Dickinson, 2004; Wee, 2010). ese criteria were
of use when selecting the sample for this study.
e subject of adolescent television ction has been approached in recent years from content analysis, either by analysing
series globally (Ferrera, 2020; González-de-Garay et al., 2020; Masanet & Fedele, 2019; Raya Bravo et al., 2018) or from various
specic approaches, such as gender or sexuality. From the point of view of gender there is reection on the specicities of
the feminine (Guarinos, 2011; Hernández-Carrillo, 2022), on inuences on masculinity (Aran-Ramspott et al., 2014; Serrano
Machuca & Machuca Lozano, 2020), or making a comparison between the two (Fedele & Masanet, 2021). Academia has
also been interested in sexuality in this type of series and its expression (Kelly, 2010; Masanet Jordá et al., 2012; Pérez Lence,
2019; Van Damme, 2010; Van Damme & Van Bauwel, 2013); focusing in some cases on the representation of sexual violence
(Berridge, 2013; Masanet & Dhaenens, 2019; Ryalls, 2021).
ere is also a theoretical framework regarding sexual orientation, specically on homosexuality (Ballesteros Aguayo et al.
2021; Cuenca Orellana & Martínez Pérez, 2022; Ramírez Alvarado & Cobo Durán, 2013) including other identities in some
cases (Marcos Ramos, et al. 2020). More and more new research topics are emerging, such as functional diversity (Palenzuela
et al., 2021); substance use (Alarcón & Segovia, 2021; Chapoton et al., 2019; Donstrup, 2022; Palomares-Sánchez, 2022) or
racism (Ellithorpe & Bleakley, 2016).
us, after reviewing the state of the question on adolescent series, it can be seen that there are no studies that seek to detect all
the subjects that are repeated recurrently in teen series
and analyse them comparatively and diachronically. Although Lacalle
et al. (2021) have carried out a historical review of the series starring adolescents in Spain from their appearance in 1997 to
2020 and map out their development, they do not focus on representations. How this is represented is of importance for the
academic community, as it is essential to know what values are being transmitted to society and to future generations and how
they are changing. us, being aware of this deciency, the main objective of this study is the following:
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Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
–
Analyse the representation of adolescence and the issues that surround it in Spanish television ction set in classrooms and
produced over a twenty-year period.
Secondary objectives are to:
–
Identify the most representative Spanish series on adolescence in classrooms whose broadcast began and ended between
1998 and 2018.
–
Detect the most frequently repeated subjects in Spanish adolescent series.
–
Check if there was any change in how these issues were dealt with over this period of time.
–
In response to this, the following hypotheses was taken as a starting point:
–
e most representative Spanish adolescent series over the years focus their plots on specic recurring issues.
–
ese themes have moved increasingly to address social values.
2. Method
is study is based on content analysis, suited as it is to describe, inventory and categorise the variables that build stereotypes
about teens and all that surrounds them in ction of this type (Casetti & Di Chio, 1999). A mixed method has been utilised
which combines quantitative and qualitative analysis; combining a set of interpretive procedures, as well as hypothesis testing
and verication techniques, applied to communication products (in this case a television series) that have been recorded to
extract and process relevant data concerning the prevailing conditions (Piñuel & Gaitán, 1999: 511). However, of particular
importance for the research is its qualitative and exploratory perspective, since the nal sample is made up of three series and
demonstrates the changing aspects of the analysis.
Design of the study is divided into the following phases: research into Spanish series for adolescents; sample selection; rst
viewing; identication and preparation of the categories of analysis and their variables; second viewing and quantication
of the series; qualitative analysis; weighting of data in percentages for quantitative analysis; and, nally, comparative mixed
analysis of the series. With regard to the sample, it was necessary to select the most representative classroom-based Spanish
series that both began and ended their broadcast between 1998 and 2018, which gives a sample from twenty years ago at the
time the research started. To this end, it has suced to establish some basic criteria discussed below and based on the dening
characteristics of this product in the Spanish television market as described by several theorists (García de Castro, 2002; Diego
& Pardo, 2008).
ey must be domestic productions from the period which have nished, which allows evaluation of their impact, of the
closure of plotlines and of their character development, meaning the exclusion of
Elite
(Netix, 2018-). ey must also belong
to the “dramedy” or dramatic comedy genre, the genre par excellence in Spain, which rules out some that tend towards science
ction, such as
El Internado
(Antena 3, 2007-2010). ey must also have a minimum duration of around 45 minutes, which
eliminates
Skam España
(Movistar, 2018-), with 20 minutes per episode; and must have been broadcast weekly and not daily,
such as
Al salir de clase
(Tele 5, 1997-2002) or
La Pecera de Eva
(Tele 5, 2010-2011). Lastly, they have to be set in the classrooms
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Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
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of a high school, so some series aimed at adolescents cannot be used, falling outside the study’s scope, as is the case of
Un
paso adelante
(Antena 3, 2002-2005
)
.
us, having watched and researched all the series from this period, the choice of the chosen sample is explained:
Merlí
(TV3,
2015-2018);
Física o Química (
Physics or Chemistry
)
(Antena 3, 2008-2011); and
Compañeros (
Classmates
)
(Antena 3, 1998-
2002). ese, in addition to satisfying the above criteria, are endorsed as being representative of each era by virtue of broadcast
data and their popularity among young people.
Compañeros
reached 36.9% audience share in its third season (Radiotv, 1999);
Física o Química,
20.9% for its rst episode (20minutos, 2008); and
Merlí
22.2% for its nal episode, the highest gure in
the history of TV3 (Redacción AV451, 2018). Television awards also support the selection,
Compañeros
and
Física o Química
receiving the Ondas Award for the best Spanish series in 1999 and 2008 respectively; and
Merlí
won in the television category
at the
Premis Nacionals de Comunicació
in 2019. Furthermore, there are the subsequent repercussions caused by the fan
phenomenon.
Compañeros
gave rise to a lm:
No te falaré
(I won’t let you down
)
(Antena 3, 2001);
Física o Química
generated
a sequel:
El reencuentro (e reunion)
(Atresplayer Premium, 2021) with two episodes; and the story of Pol Rubio from
Merlí
continued through its two-season spin-o
: Merlí: Sapere aude
(Movistar, 2019-2021).
As regards the unit of analysis, it is limited to all the episodes of the rst three seasons of each series, since that is considered to be
when the characters were presented and where the initial characters and their plots are still preserved before the introduction
of new generations. Moreover, it is a way of giving the sample a more uniform volume, since
Merlí
ran for only three seasons.
us, the following were analysed: 40 episodes of
Merlí
; 33 episodes of
Física o Química
; and 40 episodes of
Compañeros
. at
gives a total viewing for analysis of 113 episodes, with an estimated running time of 7075 minutes. Regarding the sample units
for the quantitative analysis, it was thought necessary to express the data in percentages to be able to compare the number
of times that each variable appears in the three series, given that they have dierent numbers of episodes. erefore, these
percentages result from the measurement of the items that appear in each episode, which are then divided by the total.
e instrument employed for the application of this methodology is an analysis sheet drawn up following the reading and
consultation of several theorists, all of them dedicated to the analysis of dramatic, script, or character structures (Greimas,
1987; Pérez-Ru, 2016; Propp, 2001); allowing for the creation of a database. at includes a section that establishes, both as a
description and to catalogue the names of the series, the season and the episode under analysis, as well as a brief synopsis. A
series of items gure below that include all the variables observed after the rst viewing, for their subsequent quantication
by episode and a more detailed description for their qualitative analysis. us, the content is rstly focused on an analysis of
gender and LGTB issues, made up of several sections related to those topics; to later focus on other factors that are considered
to aect teenagers. erefore, the codebook for the variables and categories analysed is as follows:
–
e role of female teenagers: gender specicities in relation to female sexuality; demand for normativity of female bodies; ri
-
valry between women; sorority among women; adolescent motherhood; gender violence (psychological, emotional, physical,
sexual, or institutional).
–
e masculinity of teenage males: the repression of feelings and the absence of displays of weakness; friendship between
males represented from the absence of ties; jealousy and feelings of possession exercised by men; violent attitudes on the part
of men to be “more masculine”; deconstruction of traditional masculinity.
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e sexuality of adolescents: the use of condoms in sexual relations; the non-utilisation of condoms in sexual relations; social
pressure on adolescents to “lose their virginity”; sexual practices approached from empathy and respect; sexual practices
where discomfort or abuse of power is displayed; female masturbation; male masturbation; sexually transmitted diseases;
unwanted pregnancies.
–
Teenage sexual orientation: female homosexuality; male homosexuality; female bisexuality; male bisexuality; homophobic
behaviour; biphobic behaviour.
–
e relationship of adolescents with alcohol and drugs: alcohol consumption; consumption of drugs; overdosing or alco
-
hol-induced coma; rehabilitation after alcohol or drug use; violence associated with the consumption of alcohol or drugs;
drug dealing.
–
e inuence of the family environment on teens: unconventional family models; the process of breaking the family nucleus;
family abandonment; disease in the family nucleus; death in the family nucleus; overprotective and strict families; dysfunc
-
tional families; families with nancial problems.
3. Results
As a result of the viewing and analysis of the series selected as a sample, that is,
Merlí
,
Física o Química
and
Compañeros
,
six recurring themes are identied in all three series, which demonstrate the concern which the study subject, male and
female adolescents, feel for them. ese are: the role of adolescent females; the masculinity of adolescent males; adolescent
sexuality; adolescent sexual orientation; adolescents’ relationships with alcohol and drugs; and lastly, the inuence of the
family environment on adolescents.
e rst comparative result consists of seeing how often each subject is addressed, in percentual terms. As Graph 1 illustrates,
the inuence of the family environment on adolescents is the most commonly represented variable in each of the three
series. Furthermore, the qualitative analysis shows that the young protagonists of these series are strongly inuenced by their
relatives, who appear to be the cause of a large part of their problems. Regarding the other variables, it can be observed that
Física o Química
is the series that presents them most frequently, which does not imply that information is better dealt with in
the series, but rather demonstrates greater exposure and debate of the dierent subjects in the series. When comparing
Merlí
and
Compañeros
, one or the other stands out in dierent elds. e most recent,
Merlí
, demonstrates greater representation
of sexuality, sexual orientation and relationships with alcohol and drugs, while in
Compañeros
women, masculinity, or family
stand out.
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Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Graph 1. Subjects dealt with in the series analysed
stands out in different fields. The most recent,
Merlí
, demonstrates greater representation
of sexuality, sexual orientation and relationships with alcohol and drugs, while in
Compañeros
women, masculinity, or family stand out.
Graph 1. Subjects dealt with in the series analysed
Source: created by the author
3.1. The role of the adolescent female
Each variable has been divided into different items, in order to perform a detailed
analysis. These represent the different sub
-
themes observed in the first viewing. Thus,
within the role that adolescent women play in the series, the specificities that occur to
women compared to adolescent men in the context in which they operate are highlighted.
As can be seen in Graph 2, the item is represented equally among the three series.
Women’s attitudes in relation to sexuality are portrayed in the aspects where, by virtue
of being female, they are
judged
differently from men. In general, the differences
perceived
are based on the limitation of female sexual freedom and on how society judges
them with a different scale.
Numerous plotlines in the sample coincide in this, despite their being set
at
differe
nt
times. In
Merlí
, Berta is
a
sexually liberated girl who, despite having fewer sexual
encounters than her male classmates, finds herself punished by the recurring harassment
of a female teacher. The teacher encourages her to dress more discretely and behave
modestly with men, under the pretext that otherwise they will lose interest in her, and she
will end up alone. In
Física o Química
we find Yoli, who is called a "cheap slut" by her
own classmates, and who throughout the series suffers innumerable insults and
harassment because of her sexual freedom. In
Compañeros
there is a plot revolving
around Valle, the boys making a list and describing her as "the biggest whore in the class".
The result is the same in each instance, the teenage girl changes her behaviour and her
way of dressing. However, while in
Física o Química
and
Compañeros
this leads to a call
to be oneself and in defence of women's rights, with the characters returning to their
original point of departure, in
Merlí
the characters penalized for their behaviour, such as
Berta or Oksana, are changed forever.
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The role of teenage females
The masculinity of teenage males
Adolescent sexuality
Adolescent sexual orientation
Adolescents' relationship with alcohol & drugs
Influence of the family environment on the
adolescent
Merlí
Física o Química
Compañeros
Source: created by the author
3.1. e role of the adolescent female
Each variable has been divided into dierent items, in order to perform a detailed analysis. ese represent the dierent
sub-themes observed in the rst viewing. us, within the role that adolescent women play in the series, the specicities that
occur to women compared to adolescent men in the context in which they operate are highlighted. As can be seen in Graph 2,
the item is represented equally among the three series. Women’s attitudes in relation to sexuality are portrayed in the aspects
where, by virtue of being female, they are judged dierently from men. In general, the dierences perceived are based on the
limitation of female sexual freedom and on how society judges them with a dierent scale.
Numerous plotlines in the sample coincide in this, despite their being set at dierent times. In
Merlí
, Berta is a sexually
liberated girl who, despite having fewer sexual encounters than her male classmates, nds herself punished by the recurring
harassment of a female teacher. e teacher encourages her to dress more discretely and behave modestly with men, under the
pretext that otherwise they will lose interest in her, and she will end up alone. In
Física o Química
we nd Yoli, who is called a
“cheap slut” by her own classmates, and who throughout the series suers innumerable insults and harassment because of her
sexual freedom. In
Compañeros
there is a plot revolving around Valle, the boys making a list and describing her as “the biggest
whore in the class”. e result is the same in each instance, the teenage girl changes her behaviour and her way of dressing.
However, while in
Física o Química
and
Compañeros
this leads to a call to be oneself and in defence of women’s rights, with the
characters returning to their original point of departure, in
Merlí
the characters penalized for their behaviour, such as Berta or
Oksana, are changed forever.
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Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
Graph 2. Representation of the role of adolescent females in the series analysed
Graph 2. Representation of the role of adolescent females in the series analysed
Source: created by the author
The requirement for normativity of female bodies alludes to society's attitude towards
women,
and opinions and assessment of their bodies, from the point of view of the
disparate requirements and criticism compared to men. This is not a major topic in
Compañeros
, where males suffering from eating disorders is also addressed. In
Física o
Química
, and to a lesser extent in
Merlí
, there are examples of body shaming towards
women. This happens even when they have a normative body, as is the case of Ruth
(
Física o Química
) and comes from their partners: men are not subject to this pressure
(Gorka). Furthermore, when a body is outside the norm for women, there are plotlines
that revolve around the issue: this is observed in the case of Tània (
Merlí)
and Violeta
(
Física o Química)
, both mutually in love with a popular boy, who is unable to recognise
his feelings due to her physique.
The representation of friendship between adolescent women in the series is indicative of
how they relate to each other. Thus, this analysis is divided between sorority, which arises
when women help and support each other; and feelings of competitiveness, envy and
rivalry.
Merlí
is numerically different from the rest of the series, since it does not go
deeply into the relationships that take place between the female characters, its plotlines
in this aspect focusing on the men. Throughout the analysis, the two sides of the coin are
shown, alternating scenes of rivalry and betrayal, in most cases by a man (Berta and Tània
in
Merlí
are betrayed by Marc; Ruth and Alma by Gorka in
Física o Química
; and in
Compañeros
, Isa and Valle by Quimi); with
others
of protecting friends in bad times
(Tània with Mónica in
Merlí
; Yoli with Ruth in
Física o Química
and Arancha with Valle
in
Compañeros
). A special camaraderie between women figures clearly in
Compañeros
,
furthermore, rivalries are not always caused by a man but by women’s ambition
,
be they
for grades at school or wanting to be the star in a play.
Merlí
is the only series in the analysed sample that raises the issue of adolescent
motherhood. The different problems inherent to the situation are portrayed through the
character of Oksana, who gives birth to a son at the age of sixteen. The series offers social
criticism about the lack of conciliation, the need for considerable economic resources to
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Gender specifics regarding female sexuality
Pressure for normativity in female bodies
Rivalry between females
Sisterhood
Adolescent maternity
Gender-based violence (psychological,
emotional, physical, sexual or institutional)
Merlí
Física o Química
Compañeros
Source: created by the author
e requirement for normativity of female bodies alludes to society’s attitude towards women, and opinions and assessment
of their bodies, from the point of view of the disparate requirements and criticism compared to men. is is not a major topic
in
Compañeros
, where males suering from eating disorders is also addressed. In
Física o Química
, and to a lesser extent in
Merlí
, there are examples of body shaming towards women. is happens even when they have a normative body, as is the case
of Ruth (
Física o Química
) and comes from their partners: men are not subject to this pressure (Gorka). Furthermore, when
a body is outside the norm for women, there are plotlines that revolve around the issue: this is observed in the case of Tània
(
Merlí)
and Violeta (
Física o Química)
, both mutually in love with a popular boy, who is unable to recognise his feelings due
to her physique.
e representation of friendship between adolescent women in the series is indicative of how they relate to each other. us, this
analysis is divided between sorority, which arises when women help and support each other; and feelings of competitiveness,
envy and rivalry.
Merlí
is numerically dierent from the rest of the series, since it does not go deeply into the relationships
that take place between the female characters, its plotlines in this aspect focusing on the men. roughout the analysis, the
two sides of the coin are shown, alternating scenes of rivalry and betrayal, in most cases by a man (Berta and Tània in
Merlí
are betrayed by Marc; Ruth and Alma by Gorka in
Física o Química
; and in
Compañeros
, Isa and Valle by Quimi); with others
of protecting friends in bad times (Tània with Mónica in
Merlí
; Yoli with Ruth in
Física o Química
and Arancha with Valle in
Compañeros
). A special camaraderie between women gures clearly in
Compañeros
, furthermore, rivalries are not always
caused by a man but by women’s ambition, be they for grades at school or wanting to be the star in a play.
298 |
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Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Merlí
is the only series in the analysed sample that raises the issue of adolescent motherhood. e dierent problems inherent
to the situation are portrayed through the character of Oksana, who gives birth to a son at the age of sixteen. e series oers
social criticism about the lack of conciliation, the need for considerable economic resources to raise a child, the social stigma
of being a young, single mother, as well as the diculties deriving from everyday situations.
It is necessary to consider the representation of dierent aspects of gender-based violence in the series. is refers to acts
directed against women because of their gender and includes physical, sexual, psychological, emotional, and institutional
acts. e largest number are found in
Física o Química
, with several types of violence in various contexts, as when Ruth suers
psychological violence at the hands of her boyfriend Gorka (even causing her to suer from an eating disorder) or when Yoli
is raped by Oliver, a boy from her class. e thoroughness and complexity of the series in approaching the issue should be
mentioned, as it asks the viewer if it is indeed rape, despite the fact that Yoli consented to kiss Oliver. e series shows the
dicult process of reporting the crime and the blame society projects toward her, something which ends up aecting her.
e same thing occurs in
Compañeros
, although it is dealt with more swiftly, since Arancha gets into the car of a boy from her
class, and although she does not want to have relations with him, he forces her until she manages to escape. Finally, Arancha
has to report her attacker and face him daily at school. ere is no sexual abuse in
Merlí
; however, Monica’s ex-boyfriend
widely distributes a sex video without her consent, and it is then that she says he had been harassing her and that was the
reason for her changing schools. Unlike the other series, there is continuous verbal and physical violence in the classrooms in
Compañeros,
in the form of comments and unwanted touching.
3.2. Representation of the masculinity of adolescent males
Graph 3 analyses the dierent items included within the variable of the masculinity of teenage males in order to study their
behaviour. Firstly, the repression of feelings and the absence of displays of weakness are analysed. is refers to attitudes
whereby men do not show emotions or fragility because such characteristics are not socially associated with masculinity,
obliging them to appear strong in all aspects of their daily lives. e three series have similar percentages of representation
of this issue, and indeed similar stories. ey show characters who do not express their feelings in dierent situations: faced
with death (Julio with the suicide of his brother in
Física o Química
) or love (Pol in
Merlí,
or Gorka in
Física o Química)
, this
repression usually leading to outbursts of violence (Quimi in
Compañeros,
frightened by the terrorist attack, kicks the drinks
machine).
doxa.comunicación |
nº 37, pp. 291-312
| 299
July-December of 2023
Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
Graph 3. e representation of adolescent male masculinity in the series analysed
Graph 3. The representation of adolescent male masculinity in the series analysed
Source: created by the author
Some cases of friendship between males are presented, but always from the perspective
of an absence of ties It is the characters themselves who express the problems that this
stereotype causes them. Both points of view are to be seen in
Merlí
, as is certain character
development, as Marc asks his childhood friend Gerard for more affection. Marc also tells
Tània how not being able to talk to Gerard about certain topics pains him, since men do
not share such feelings. The same
thing
happens with Cabano in
Físic
a o Química,
who
is saddened by his inability to tell his friend Gorka about a family problem, saying that
he already has his girlfriend to talk about boring things. However,
Compañeros
dismisses
this representation and shows deep, affective relationships of male friendship (Luismi and
César).
All three series feature jealousy, as well as a feeling of possession exercised by a man.
However, it is in
Física o Química
where extreme situations are shown through Gorka
and Ruth's relationship, as
,
even after breaking off the relationship, he is violent towards
those who speak to her. The phrase that he uses on several occasions is paradigmatic: “the
blonde is mine, private property”.
Merlí
also deals with the topic through the relationship
between Joan and Mónica, since he spies on her mobile phone and forbids her to speak
to
her friend Gerard.
Compañeros
does n
ot
show any
relationships
of this type, however,
there are numerous comments
treating
jealousy as a positive quality.
The three series frequently portray violent attitudes on the part of men trying to be "more
masculine", such behaviour being present in 63% of the episodes of
Física o Química
and
in 47% of
Compañeros
.
Merlí
is more nuanced, as it approaches masculinity from a non
-
traditional standpoint.
Thi
s point refers to situations in which males employ force or
aggression
in order to extol their virility, qualitative analysis reveals different types of
such
conduct. The first are those directed towards women,
Compañeros
having most
examples of this. There are numerous examples of insults, harassment, unwanted
touching
and
com
ments; many of them during school hours and under the gaze of the
teachers, who, far from reprimanding such behaviour, normalise it (an example of this is
Quimi with Valle, and Luismi with Sara). The same misogyny can be seen in
Física o
Química
, although not as frequently, and the series itself portrays it as something
negative, through Gorka and Cabano. There are few examples in
Merlí,
although there
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Repression of feelings & an absence of displays
of weakness
Friendship between males represented with a
lack of ties
Jealousy & feelings of possession on the part of
males
Violent attitudes on the part of males to be
“more masculine"
Deconstruction of traditional masculinity
Merlí
Física o Química
Compañeros
Source: created by the author
Some cases of friendship between males are presented, but always from the perspective of an absence of ties It is the characters
themselves who express the problems that this stereotype causes them. Both points of view are to be seen in
Merlí
, as is certain
character development, as Marc asks his childhood friend Gerard for more aection. Marc also tells Tània how not being able
to talk to Gerard about certain topics pains him, since men do not share such feelings. e same thing happens with Cabano
in
Física o Química,
who is saddened by his inability to tell his friend Gorka about a family problem, saying that he already
has his girlfriend to talk about boring things. However,
Compañeros
dismisses this representation and shows deep, aective
relationships of male friendship (Luismi and César).
All three series feature jealousy, as well as a feeling of possession exercised by a man. However, it is in
Física o Química
where
extreme situations are shown through Gorka and Ruth’s relationship, as, even after breaking o the relationship, he is violent
towards those who speak to her. e phrase that he uses on several occasions is paradigmatic: “the blonde is mine, private
property”.
Merlí
also deals with the topic through the relationship between Joan and Mónica, since he spies on her mobile
phone and forbids her to speak to her friend Gerard.
Compañeros
does not show any relationships of this type, however, there
are numerous comments treating jealousy as a positive quality.
e three series frequently portray violent attitudes on the part of men trying to be “more masculine”, such behaviour being
present in 63% of the episodes of
Física o Química
and in 47% of
Compañeros
.
Merlí
is more nuanced, as it approaches
masculinity from a non-traditional standpoint. is point refers to situations in which males employ force or aggression in
order to extol their virility, qualitative analysis reveals dierent types of such conduct. e rst are those directed towards
women,
Compañeros
having most examples of this. ere are numerous examples of insults, harassment, unwanted touching
300 |
nº 37, pp. 291-312 |
July-December of 2023
Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
and comments; many of them during school hours and under the gaze of the teachers, who, far from reprimanding such
behaviour, normalise it (an example of this is Quimi with Valle, and Luismi with Sara). e same misogyny can be seen in
Física
o Química
, although not as frequently, and the series itself portrays it as something negative, through Gorka and Cabano. ere
are few examples in
Merlí,
although there they speak disrespectfully about women. Another type of violence is shown towards
the concept of otherness, as a means of dierentiation, resulting in homophobic or racist attitudes, most commonly in
Física o
Química
(toward Fer or Jan). ere are also violent acts that put the character’s physical integrity at risk to aunt their virility.
is is associated with men in the series and is exemplied in storylines such as the motorcycle and car races in
Companions
or Gorka’s parkour
exhibition in
Física o Química
.
All the series oer a deconstruction of traditional masculinity and show attitudes far removed from what was described above,
representing a new model of manhood. Even the most violent characters undergo development towards sensitivity and values
such as inclusion and empathy; such is the case with Pol in
Merlí
, Gorka in
Física o Química
and Quimi in
Compañeros.
ey display vulnerability in terms of self-esteem and give voice to insecurities about their physique (Iván in
Merlí
and Jan in
Física o Química).
Both
Merlí
and
Física o Química
have heterosexual male characters who do not feel threatened by a close
friendship with a homosexual man, and who maintain their relationship after moments of confused feelings, as is the case
with Julio or Iván.
3.3. Representations of adolescent sexuality
Sexuality is an important aspect of adolescence and for that reason it is analysed in Graph 4. How this is dealt with regarding
condoms is studied in the rst two points.
Compañeros
oers a considerable and didactic representation of this, as they are
frequently used among the characters, and they even make a short lm about condoms for a class project.
Física o Química
shows what happens when they are not used, talking about this problem and involving teachers, who try to raise awareness
about the subject. Some reasons for not using them are shown in certain scenes, such as their price or the loss of sensation,
and the teenage girls state that their male partners refuse to use them. e issue of condoms is not addressed directly in
Merlí
,
although on one occasion they are shown prior to a sexual encounter.
doxa.comunicación |
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| 301
July-December of 2023
Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
Graph 4. Representation of adolescent sexuality in the series analysed
Graph 4. Representation of adolescent sexuality in the series analysed
Source: created by the author
The social pressure on adolescents around "losing their virginity" is reflected in the three
series and alludes to those situations in which they feel under pressure, directly or
indirectly, to have their first sexual relationship. The qualitative analysis reveals a greater
tendency to represent this plot through the female
character
s, it happens to Tània in
Merlí
and to Arancha in
Compañeros
; in
Física o Química
it happens to Paula, Julio and Quino.
It is worse for the males, as they become the object of ridicule from their peers.
Throughout the sample there are similar numbers of women who are sexually active and
others who are afraid of having sex for the first time, offering a double
perspective
. Both
in
Compañero
s
and in
Física o Química
the characters talk to de
bunk
the idealisation that
one may have regarding the first time, explicitly saying that it is not perfect, and that
incidents may arise. In
Merlí
, on the contrary, this romanticisation is perpetuated.
Concerning the attitude taken to sexual practices,
Merlí
only represents them from a
posture of empathy and respect, while
Companions
shows both
positive and negative
parts in equal measu
re.
Física o Química
includes a high percentage of both, the series
portrays both gratifying sexual encounters and situations the adolescents find traumatic,
and which lead to sexual violence. The latter happens only to female characters in the
series, thus showing a gender bias
with
men always being the aggressors. Masturbation
is absent from
Compañeros,
and though it is seldom shown in the other two series, both
genders are equally represented in the practice.
These series teach the consequences that sexual acts can have. Sexually transmitted
diseases are an example: they are only named in
Merlí
; some students suffer from them
in
Física o Química
and explain to the viewer in a didactic way that they are not only
contracted through penetration; in
Compañe
ros
only human immunodeficiency virus
(HIV) is discussed. Unwanted pregnancies are not portrayed in
Compañeros.
It is the
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The use of preservatives during sexual relations
The non-use of preservatives during sexual relations
Social pressure on teens to “lose their virginity”
Sexual practices covered showing empathy &
respect
Sexual practices portraying discomfort or an abuse
of power
Female masturbation
Male masturbation
Sexually transmitted diseases
Unwanted pregnancy
Merlí
Física o Química
Compañeros
Source: created by the author
e social pressure on adolescents around “losing their virginity” is reected in the three series and alludes to those situations
in which they feel under pressure, directly or indirectly, to have their rst sexual relationship. e qualitative analysis reveals
a greater tendency to represent this plot through the female characters, it happens to Tània in
Merlí
and to Arancha in
Compañeros
; in
Física o Química
it happens to Paula, Julio and Quino. It is worse for the males, as they become the object
of ridicule from their peers. roughout the sample there are similar numbers of women who are sexually active and others
who are afraid of having sex for the rst time, oering a double perspective. Both in
Compa
ñero
s
and in
Física o Química
the
characters talk to debunk the idealisation that one may have regarding the rst time, explicitly saying that it is not perfect, and
that incidents may arise. In
Merlí
, on the contrary, this romanticisation is perpetuated.
Concerning the attitude taken to sexual practices,
Merlí
only represents them from a posture of empathy and respect, while
Companions
shows both
positive and negative parts in equal measure.
Física o Química
includes a high percentage of both,
the series portrays both gratifying sexual encounters and situations the adolescents nd traumatic, and which lead to sexual
violence. e latter happens only to female characters in the series, thus showing a gender bias with men always being the
aggressors. Masturbation is absent from
Compañeros,
and though it is seldom shown in the other two series, both genders are
equally represented in the practice.
302 |
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July-December of 2023
Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
ese series teach the consequences that sexual acts can have. Sexually transmitted diseases are an example: they are only
named in
Merlí
; some students suer from them in
Física o Química
and explain to the viewer in a didactic way that they are
not only contracted through penetration; in
Compañeros
only human immunodeciency virus (HIV) is discussed. Unwanted
pregnancies are not portrayed in
Compañeros.
It is the character of Cova in
Compañeros who,
after having sex without a
condom with her boyfriend, thinks she is pregnant. at story is the only one that discusses the termination of pregnancy and
whether or not the father should be part of the decision. Teenaged Oksana in
Merlí,
who became pregnant at the age of 16
claims that this fact does not make her irresponsible or a worse person than the other girls. She declares that when she found
out about her pregnancy, she knew it was her son and that she was going to have him.
3.4. Representation of adolescents’ sexual orientation
Graph 5 describes the dierent items corresponding to the variable on sexual orientation in the sample. e issue does not
appear in
Compañeros
, it is mentioned obliquely in a couple of episodes, but there is no LGBT representation among the
teenagers.
Física o Química
includes the character of Fer, a homosexual, from the beginning; Alma is later introduced who,
although she does not consider herself bisexual, is attracted to both men and women. e most recent series,
Merlí
, features
two homosexual characters in the gang: Bruno and Oliver; and one bisexual, Pol. ere is a lack of representation of female
homosexuality throughout the sample, though it is mentioned on occasion it is not attributed to any character.
Graph 5. Representation of adolescents’ sexual orientation in the series analysed
character of Cova in
Compañeros who,
after having sex without a condom with her
boyfriend, thinks she is pregnant. Th
at
story is the only one that discusses the termination
of pregnancy and whether or not the father should be part of the decision.
Teenage
d
Oksana
in
Merlí,
who became pregnant at the age of 16 claims that this fact does not
make her irresponsible or a worse person than the other girls.
She
declares that when she
found out about her pregnancy, she knew it was her son and that she was going to have
him.
3.4. Representation of adolescents’ sexual orientation
Graph 5 describes the different items corresponding to the variable on sexual orientation
in the sample. The issue does not appear in
Compañeros
, it is mentioned obliquely in a
couple of episodes, but there is no LGBT representation among the teenagers.
Física o
Química
includes the character of Fer, a homosexual, from the beginning; Alma is later
introduced who, although she does not consider herself bisexual, is attracted to both men
and women. The most recent series,
Merlí
, features two homosexual characters in the
gang: Bruno and Oliver; and one bisexual, Pol. There is a lack of representation of female
homosexuality throughout the sample, though it is mentioned on occasion it is not
attributed to any character.
Graph 5. Representation of adolescents’ sexual orientation in the series
analysed
Source: created by the author
There are numerous scenes showing male homosexuality in
Física o Química,
the issue
appearing in 63% of episodes; and in
Merlí,
in 35%. These plots revolve around the sexual
awakening of Fer and Bruno respectively and coincide in showing situations associated
with their awareness of their orientation: suffering, denial, the need to pretend that they
like women and support from family and friends to come to terms with themselves. It is
worth noting
how
Merlí
makes clear
that it is not necessary to comply with the stereotype
of "coming out of the closet", Oliver advising Bruno to simply act as he is at all times.
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Female homosexuality
Male homosexuality
Female bisexuality
Male bisexuality
Homophobic behaviour
Biphobic behaviour
Merlí
Física o Química
Compañeros
Source: created by the author
doxa.comunicación |
nº 37, pp. 291-312
| 303
July-December of 2023
Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
ere are numerous scenes showing male homosexuality in
Física o Química,
the issue appearing in 63% of episodes; and
in
Merlí,
in 35%. ese plots revolve around the sexual awakening of Fer and Bruno respectively and coincide in showing
situations associated with their awareness of their orientation: suering, denial, the need to pretend that they like women
and support from family and friends to come to terms with themselves. It is worth noting how
Merlí
makes clear
that it is not
necessary to comply with the stereotype of “coming out of the closet”, Oliver advising Bruno to simply act as he is at all times.
e acts that come about due to the opposing point of view should also be analysed. is is the case of homophobic behaviour,
which is triggered mostly when Fer and Bruno make their orientation known. While characters in
Merlí
react with light-hearted,
though equally homophobic, comments; there are students in
Física o Química
like Gorka, who even become physically violent
against Fer. Both series show scenes in which it is their own sexual partners who carry out acts against them; such is the case
of David and Pol, who denigrate their partners to keep the other characters from knowing of their desire for men. Biphobia is
dealt with mostly in
Merlí
, through the character of Pol, who is bisexual. Pol claims that he does not belong to the collective
and that, despite the fact that he likes men and women, he does not agree with the use of labels. Biphobia is also present in
the invisibility that occurs with the character of Alma in
Física o Química
. She claims to have an ex-girlfriend and her object of
desire is Paula, but the rest of the characters do not classify her as bisexual (or homosexual), and simply attribute this to a stage
she is going through. Something similar happens in
Merlí
, Oksana kisses Berta at a pyjama party and claims that it is something
that girls do just to see what it is like, without feeling any attraction towards other women.
3.5. Representation of adolescents’ relationships with alcohol & drugs
Graph 6 explains the dierent points that refer to alcohol and drugs. A distinction is made between the two, despite the fact
that alcohol is also a drug and causes addiction, due to society’s dierent perception of the two, a fact reected in the universe
of the series analysed. Consumption of alcohol by the adolescent characters occurs in all three series and it is common to
see scenes in which they meet during the week or on weekends to drink beer or spirits. ere is a dierence in
Compañeros
,
here alcohol is consumed under the watchful eye and approval of some adults. It is also the only series in which the issue is
considered and talked about as an addiction. Drug use is a topic that is studied in depth in the entire sample. Regarding the
types of drugs
,
marijuana and hashish are consumed regularly (at the school entrance or in the bathrooms) in
Merlí
and in
Física o Química
.
Less frequently, but also in a high percentage of episodes, synthetic drugs are taken in
Física o Química
, both
at parties and before going to school. In
Merlí,
only one pill is consumed at a party, where a classmate is drugged for a laugh
to see how he reacts. e only drug shown in
Compañeros
is heroin; however, it is not consumed by teens, but by relatives and
addicts who live on the street.
304 |
nº 37, pp. 291-312 |
July-December of 2023
Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Graph 6. Representation of adolescents’ relationships with alcohol & drugs in the series analysed
Graph 6. Representation of adolescents’ relationships with alcohol &
drugs in
the series
analysed
Source: created by the author
The consequences of alcohol and drug consumption are also shown. Thus, in
Merlí
,
excessive marijuana consumption leads Gerard to suffer a psychotic episode, which sees
him being admitted to hospital, being medicated and requiring psychological therapy.
Similarly, there is a case of alcohol
-
induced coma in
Física o Química
that leads to death
and Ruth is hospitalised following an overdose of ketamine
. Compañeros
portrays
Quimi's brother as a heroin addict, who finally has to enter a rehabilitation centr
e
, the
consequent suffering of his family being
shown
. The same series speaks about alcohol
consumption as we observe Luismi’s drowning,
he
drinks until he passes out in the sea
on an end
-of-
year trip; as well as Quimi's alcoholism. Moreover, there is a representation
of violent behaviour caused by the consumption of alcohol or drugs, placing the lives of
some characters in danger. Quimi gets into a car in the junkyard when he is drunk, Rubén
abuses a woman when high, and Gerard becomes violent when he suffers a psychotic
outburst
caused by marijuana. The qualitative analysis shows that a character from each
series has addiction problems, this is the case of Gorka with pills, Joan with marijuana
and Quimi with alcohol. All of them coincide in repressing their feelings after a romantic
disappointment and begin to consume these substances. This variable is shown
exclusively in males.
The question of drug dealing becomes important in the plot in
Merlí
. Pol decides to
become a dealer due to financial problems at home. The series
show
s the danger of ending
up in jail and without a future. Compañeros also warns of risks, since Quimi has to look
after his brother's drug
stash
and accompany him to sell
it
, which
plac
es them in the
middle of a dangerous shootout
.
It is not represented in that way in
Física o Química
,
where drugs are sold without consequences.
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Alcohol consumption
Drug consumption
Overdose or alcohol-induced coma
Rehabilitation following consumption of alcohol
or drugs
Violence associated with consumption of
alcohol or drugs
Drug dealing
Merlí
Física o Química
Compañeros
Source: created by the author
e consequences of alcohol and drug consumption are also shown. us, in
Merlí
, excessive marijuana consumption leads
Gerard to suer a psychotic episode, which sees him being admitted to hospital, being medicated and requiring psychological
therapy. Similarly, there is a case of alcohol-induced coma in
Física o Química
that leads to death and Ruth is hospitalised
following an overdose of ketamine
. Compañeros
portrays Quimi’s brother as a heroin addict, who nally has to enter a
rehabilitation centre, the consequent suering of his family being shown. e same series speaks about alcohol consumption
as we observe Luismi’s drowning, he drinks until he passes out in the sea on an end-of-year trip; as well as Quimi’s alcoholism.
Moreover, there is a representation of violent behaviour caused by the consumption of alcohol or drugs, placing the lives
of some characters in danger. Quimi gets into a car in the junkyard when he is drunk, Rubén abuses a woman when high,
and Gerard becomes violent when he suers a psychotic outburst caused by marijuana. e qualitative analysis shows that
a character from each series has addiction problems, this is the case of Gorka with pills, Joan with marijuana and Quimi
with alcohol. All of them coincide in repressing their feelings after a romantic disappointment and begin to consume these
substances. is variable is shown exclusively in males.
e question of drug dealing becomes important in the plot in
Merlí
. Pol decides to become a dealer due to nancial problems
at home. e series shows the danger of ending up in jail and without a future. Compañeros also warns of risks, since Quimi has
to look after his brother’s drug stash and accompany him to sell it, which places them in the middle of a dangerous shootout
.
It is not represented in that way in
Física o Química
, where drugs are sold without consequences.
doxa.comunicación |
nº 37, pp. 291-312
| 305
July-December of 2023
Cristina Hernández-Carrillo
ISSN: 1696-019X / e-ISSN: 2386-3978
3.6. Representation of adolescents’ relationships with their families
e adolescents’ family environments are portrayed in numerous episodes. Graph 7 shows the major dierences in the
representation of non-conventional family models and the process of breaking the family nucleus in the dierent series.
Unconventional families gure in
Merlí,
where it is common to nd divorced (Bruno, Marc and Mónica) or separated couples
(Gerard), as well as single mothers (Iván), without the plot explicitly revolving around that. Separation or divorce processes
are shown in
Física o Química
and
Compañeros,
it is depicted as a traumatic event that aects adolescents at every level. Paula
and her brother Isaac are saddened, their academic performance being adversely aected; Mercedes, fed up with her parents
using her in their ghts, decides to leave home and sleep rough.
Graph 7. Representation of the adolescent family environment in the series analysed
3.6. Representation of adolescents’ relationships with their families
The adolescents’ family environments are portrayed in numerous episodes. Graph 7
shows the major differences in the representation of non
-
conventional family models and
the process of breaking the family nucleus in the different series. Unconventional families
figure in
Merlí,
where it is common to find divorced (Bruno, Marc and Mónica) or
separated couples (Gerard), as well as single mothers (Iván), without the plot explicitly
revolving around that.
S
eparation or divorce processes are shown in
Física o Química
and
Compañeros,
it is depicted as a traumatic event that affects adolescents at every level.
Paula and her brother Isaac are saddened, their academic performance being adversely
affected; Mercedes, fed up with her parents using her in their fights, decides to leave
home and sleep rough.
Graph 7. Representation of the adolescent family environment in the series
analysed
Source: created by the author
Family abandonment is a recurring event in all three series. There are two types of
abandonment, one that takes place in the strict sense, that is, the relatives move out and
leave the adolescents to their
own
devices; and one in which they evade their
responsibilities, that is, the relatives are physically
present
but do not perform their role
of caring for the teenager. There are several examples of the first type, Oksana in
Merlí
narrates tearfully that she is from Ukraine, but her mother abandoned her, and she was
adopted in Spain; Iván sadly recounts how his father left when he found
out about Ivan’s
mother's pregnancy.
Física o Química
shows the story of Ruth, her uncle and the rest of
her family do not want to become her legal guardian and take care of her when she
becomes an orphan. Compañeros tells the story of Isa and her two younger brothers,
whose
mother
leaves due to a lack of financial resources, causing her to be admitted to a
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Unconventional family models
Break-up of the family nucleus
Family abandonment
Illness in the family nucleus
Death in the family nucleus
Strict & overprotective families
Dysfuntional families
Families with economic difficulties
Merlí
Física o Química
Compañeros
Source: created by the author
Family abandonment is a recurring event in all three series. ere are two types of abandonment, one that takes place in the
strict sense, that is, the relatives move out and leave the adolescents to their own devices; and one in which they evade their
responsibilities, that is, the relatives are physically present but do not perform their role of caring for the teenager. ere are
several examples of the rst type, Oksana in
Merlí
narrates tearfully that she is from Ukraine, but her mother abandoned her,
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doxa.comunicación
and she was adopted in Spain; Iván sadly recounts how his father left when he found out about Ivan’s mother’s pregnancy.
Física o Química
shows the story of Ruth, her uncle and the rest of her family do not want to become her legal guardian and
take care of her when she becomes an orphan. Compañeros tells the story of Isa and her two younger brothers, whose mother
leaves due to a lack of nancial resources, causing her to be admitted to a shelter. It can be seen in the qualitative analysis that
this item aects the characters’ self-esteem, they feel themselves to be of less worth than other people. e second typology
is represented through the lack of care received by Marc and Pol in
Merlí
and Quimi in
Compañeros
; however, there is certain
character development, and the plot revolves around their reconciliation with their relatives.
ere is less representation of illness and death in
Compañeros
and it is dierent from the other series in that it alludes to
unconventional situations: the terrorist attack against Sara’s father, who is wounded, and the death of Tanja’s sister in the war
in her native Bosnia. Both
Merlí
and
Física o Química
portray illness and death in the characters’ daily lives, although it is true
that the former gives them more exhaustive and complex treatment through Joan’s father’s cancer and subsequent death. Both
series relate the death of siblings (Oliver’s in
Merlí
and Julio and Paula’s in
Física o Química
), of parents (Pol’s and Joan’s in
Merlí
and Ruth’s in
Física o Química)
and the passing away of other relatives (Pol’s grandmother). is aects them to a greater
or lesser degree in their later development: Ruth gets into a vicious circle, which leads to an abusive relationship with Gorka,
then bulimia and suicide attempts; Julio represses his emotions and becomes violent, joining a neo-Nazi group; Pol is unable
to express his feelings for fear of greater loss; and Joan consumes marijuana.
Strict and overprotective families coincide in involving themselves in their children’s decisions about their futures. Each series
has a story of that type: Joan’s father in
Merlí
wants her to study law and not literature;
Jan’s father in
Física o Química
doesn’t
understand why he wants to dedicate himself to drawing and in
Compañeros
, Carolo’s father forces him to study business and
not biology. All of them coincide in involving only male characters and that it negatively aects their relationship.
It is also common to nd dysfunctional families, ones which, for dierent reasons, do not conform to pre-established models of
behaviour. One cause is domestic violence, which is portrayed from its least pronounced manifestation (fathers and mothers
who go to the school to yell at teachers, like Joan’s in
Merlí
) to situations of physical abuse towards
the
children (such as
Cabano in
Física o Química
or Quimi in
Compañeros
). ere are also family members who have problems with the law, such as
Marc’s father in
Merlí
who is involved in business with the maa; or Yoli’s brother, who made enemies in jail who come looking
for payment. Finally, addiction problems: this is the case of Quimi’s father with alcohol and his brother with heroin; and in
Compañeros,
Valle’s father is a compulsive gambler.
e last point analysed concerning the family refers to economic diculties, which receives considerable representation. All
three series have stories in which the teenagers have to work due to the family’s precarious nancial situation.
Merlí
has Pol
living in a house with no income whatsoever, where the electricity is cut o due to the accumulation of bills; faced with that
situation, he feels obliged to work, rst in a bar, and later asking for a microcredit to pay the rent, which he manages to pay by
dealing in drugs. Cabano in
Física o Química
is also in a precarious situation, because after denouncing his father for domestic
abuse and seeing him go to jail, his mother suers from depression and is unable to work. He tries to nd a job, however,
having no experience, he ends up recording sexual content on a website. Valle in
Compañeros
works in a catering business
when her father is red for gambling away his taxi’s takings and her mother, a school porter, also loses her job. ese characters
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all coincide in seeing their school performance suer due to their new timetable, which takes time from their studies. ere is
also a relationship between money and immigration: this happens to Jan, who helps out his parents in a grocery store; and to
Tanja, who lives in a precarious and risky situation as her documentation is not in order.
4. Discussion and conclusions
e principal objective of this work, to analyse the representation of adolescence and the issues that surround it on Spanish
television ction set in classrooms over a period of twenty years, is considered to have been achieved. Having carried out a rst
viewing of the series in the sample in search of the variables and items that make up the analysis tables, the most frequently
repeated issues in this type of series have been identied, thus also fullling the second objective. e issues are: the role of
teenage females; the masculinity of teenage males; adolescent sexuality; adolescent sexual orientation; the relationship of teens
with alcohol and drugs; and, nally, the inuence of the family environment on adolescents. e rst hypothesis is therefore
refuted: the most representative Spanish adolescent series over the years focus their plots on specic recurring themes.
A priori, popular stereotypes presuppose that series of this kind focus their stories on unwholesome and supercial matters
such as sex, alcohol and drugs. However, the results show that in numerical terms the chief concern is the family, which greatly
aects and inuences adolescents. Furthermore, issues that specically concern females are dealt with, as well as the many
facets of masculinity. An eort can be perceived on the part of all the series to raise awareness of the issues, even when they are
not given a high percentage of screentime, as is the case with the variables of sexuality, alcohol and drugs.
Regarding the secondary objectives, the rst of these was to identify the most representative Spanish series on adolescence
in the classroom whose broadcast began and ended between 1998 and 2018; this can be taken as done with the selection of
the sample. at was the result of meticulous research and viewing of all the other teen series
from the period on the Spanish
audio-visual market and of the eort to adapt the research to the theoretical criteria explained in the methodology section of
this paper; the most representative of each era being the following:
Compa
ñero
s
,
Física o Química
and
Merlí
.
Finding an answer to our main objective whilst also responding to the secondary objective concerning the types of representation
and whether these have changed requires a consideration of each variable. e rst aspect to look at is the role of women, which
is slightly reduced in terms of subjects represented in
Merlí
, as there are no cases of sexual abuse or of unity among women.
Although the series does propose new topics, such as motherhood, it chooses to show only that option, leaving abortion out
of the debate, though that does feature in
Física o Química.
ere is some minimal improvement towards casting females
with
greater variety of body types, without yet reaching a representation of reality. Despite the fact that the sample covers a twenty-year
period, female bodies are still judged, and their sexual freedom remains penalised. Taking all the above into consideration, there
cannot be said to be a clear development towards new social values in this variable, and in the latest series certain important
issues have been abandoned, considering them as struggles of the past, although daily life would suggest otherwise.
Regarding the issue of masculinity, although the stereotype of toxic masculinity is reinforced through some characters, all
three series also include examples far from the traditional hegemonic: complex, sensitive men who seek to reach out to others.
ere is a change in specic aspects, such as male attitudes of violence, turning towards less normalisation; an example of this
is the decrease in catcalling, unwanted physical contact and harassment of women. e opposite can be observed concerning
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Diachronic analysis of adolescence in Spanish television ction set in classrooms (1998-2018)
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jealousy, an upward trend being seen, the males being increasingly possessive in relationships, controlling their partner’s
lifestyle and ways of socialising.
Teenagers are equally represented as sexual beings in all the series, no favourable development being observed. Although
Compañeros
did not go as far as to normalise practices such as masturbation, it was a pioneer with respect to the proper use of
condoms and awareness of sexually transmitted diseases; something ignored in the more recent
Merlí
.
Física o Química
was
the rst to look at issues such as men trying to dissuade women from using condoms, and the dynamics of power and gender
that intervene transversally in sex. None of the series adopts a moralistic tone about waiting for Mr/Mrs Right before having
sex, but they do speak of the need to have sex only when the teenager feels comfortable and ready. ey also coincide in not
having every character blinded by sex, but reective about the subject and under pressure from a hypersexualised world.
Portrayals of male homosexuality have undergone considerable change, as can be seen in some of the values presented, going
from an anecdotal presence in
Compañeros
, to being defended in
Física o Química
, and then relatively normalised in
Merlí
.
However, the rest of the LGBT community continues to be invisible: lesbians and dissident gender identities are issues that still do
not register, and bisexuality is made invisible under the aegis of avoiding labels. Progress is also observed regarding homophobia,
as such attitudes have gone from being physical, habitual and very pronounced to becoming merely verbal and sporadic.
roughout the sample, adolescents are represented to a greater or lesser degree as habitual consumers of alcohol; drug
consumption, however, is less frequent. Although it is reasonable to say that the representation of this may be somewhat
exaggerated, it is not treated from the point of view of apology, but all kinds of consequences are shown: alcohol-induced
comas, overdoses, and subsequent rehabilitation. erefore, no development in the representation of alcohol consumption
can be appreciated in the sample; although with regard to drugs, it does go from being something consumed by others (heroin
addicts) to being an increasingly widespread activity among the teenage characters.
e family is represented in all the series as something of great importance for adolescents. Although they do not verbalise
it, when analysing the plots it is observed that family inuences them on several levels: academic performance, mood, self-
esteem and their development as people. Representation of the separation and divorce of relatives has changed over the years,
storylines in the earlier seasons treating it as a serious problem. But more recent seasons display a tendency to normalise it and
unconventional family models are increasingly integrated into society. It is thus common to see single fathers and mothers,
widowers and divorced families in
Merlí
; although families made up of people of the same sex are not yet represented. ere
has also been a shift toward greater representation of the death and illness of family members. It should also be noted that
economic situation and social class is a constant throughout the sample, and that it is represented transversely, indicating its
importance for family well-being.
us, having considered the results, the second hypothesis, that all subjects tend towards a greater and more exhaustive
treatment of social values, is rejected. It can be concluded that the general trend is not upward, and that there was previously
a more sensitive representation in the variables concerning the role of women; and a similar one, broadly speaking, in terms
of the values transmitted on masculinity, sexuality, alcohol and drugs. ere has, however, been considerable development
regarding adolescent sexual orientation and teenagers’ family environment. erefore, the results of the study undeniably
show some general tendencies, despite the fact that each series shows a certain authorial point of view and adopts a dierent
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Cristina Hernández-Carrillo
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tone. e issues are addressed in a more didactic way in
Compañeros
, more innocently in
Merlí
or crudely showing reality so
that the viewer can draw their own conclusions in
Física o Química
.
e importance of these results is evident, as they help to understand the representation of teenagers over the twenty
years covered in the sample and to evaluate whether the social values they receive today are becoming more inclusive and
educational. e same can be said regarding the implications for the future, as they could serve for comparisons with other
audio-visual products. e limitation of this study lies in the size of the sample chosen; and could provide a future line of
research, as the variables analysed can be observed in other teen television series, both domestic and international.
5. Acknowledgements
e author is grateful to Brian O’Halloran for the translation of this paper from the original Spanish.
is paper has been written during the pre-doctoral period of the University of Malaga’s Research, Transfer and Scientic
Dissemination plan.
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