The satirical cinema of journalists. Mass media characters and stories
by the Hollywood industry (1970-2020)
El cine satírico de periodistas. Personajes y relato de los mass media por la
industria de Hollywood (1970-2020)
doxa.comunicación |
nº 39, pp. 353-381
| 353
July-December of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Gascón-Vera, P. and Bonaut-Iriarte, J. (2024). e satirical cinema of journalists. Mass media characters and stories by the Hollywood industry
(1970-2020).
Doxa Comunicación
, 39, pp. 353-381.
https://doi.org/10.31921/doxacom.n39a2066
Patricia Gascón-Vera.
Doctor in Journalism with
cum laude
mention and Extraordinary Doctorate Award (2022) from
the University of Zaragoza. Margarita Salas postdoctoral researcher at the University of Zaragoza with destination in
the group History and Structure of Communication and Entertainment at the Complutense University of Madrid. She
belongs to the Digital Communication and Information Research Group (GICID), the University Institute of Heritage
and Humanities (IPH) of the University of Zaragoza and participates in the projects Participatory digital tools to support
heritage cybercommunities TED2021-131174B-I00 and CARDIOCOM PID2019-105613GB-C31. Her areas of research
are in the eld of lm and TV, in humorous television formats and in lm comedy. She has the degrees Journalism,
Audiovisual Communication and Advertising.
University of Zaragoza, Spain
[email protected]
ORCID:
0000-0002-8516-3225
Joseba Bonaut-Iriarte.
Doctor in Communication from the University of Navarra (2006) and Doctor in Humanities and
Social Sciences (specialization in Philosophy and Aesthetics) from the Pontical University of Salamanca (2022). Part of
his rst doctoral thesis was selected and awarded in 2008 with the First Prize for Research in Audiovisual Communication
by the Consell de l'Audiovisual de Catalunya. His main areas of work have been: Communication and sports, history of
lm and TV media: history of television and cinema and cinematography aesthetics. He has taught undergraduate and
postgraduate university courses at the University of Navarra (2004-06), San Jorge University (2007-2019), UNIR (2012-
2016) and University of Zaragoza (2020-).
University of Zaragoza, Spain
[email protected]
ORCID:
0000-0001-7373-074X
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 15/09/2023 - Accepted: 10/11/2023 - Early access: 16/01/2024 - Published: 01/07/2024
Recibido: 15/09/2023 - Aceptado: 10/11/2023 - En edición: 16/01/2024 - Publicado: 01/07/2024
Abstract:
Journalism is a historic profession. A target of criticism and the
result of technological adaptations, it is used by the lm industry to
create characters who use journalistic skills, verify sources or create
exclusives, to therefore promote a democratic society with truth
Resumen:
El periodismo es una profesión histórica. Diana de críticas y resulta
-
do de adaptaciones tecnológicas, sirve a la industria cinematográca
para crear personajes que, tras las destrezas periodísticas, contraste de
fuentes o creación de exclusivas, promueven una sociedad democrática
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
354 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
Cinema is an art that amuses, seeks to entertain the viewer, and, to do so, captures reality, whether ctional, documented,
or even satirized, through a large volume of narrative and aesthetic resources. Among them, satire is characterized by its
intention to censor or ridicule someone or something. A literary resource that has been projected as a counterweight going
back to Greece, when the playwright Aristophanes (444 B.C.-385 B.C.) ridiculed his leaders, or as the heritage of social elites,
in Rome, where the satirical poet Horace (65 B.C. - 8 B.C.) snubbed the way of life of his time by showing indignation with a
desire to denounce and change (Hutcheon, 1985).
For Bergson (2016), irony and humor are forms of satire, an eect that has been reected in news satire and in mass media
humor from an alternative journalism that uses it to interrogate power (Baym, 2005) comprehensively (Baym and Jones, 2013)
and with creativity (Valhondo-Crego, 2011). A humorous technique that is reected in comedy (Sareil, 1984; Mauron, 1964),
which diers from insult and is characterized by the emphasis (Llanos, 2002) to seek laughter as a goal. Satire has been studied
dierently in diverse territories. In France, as its origin, Jean-Paul Simon (1979) indicates that the comic lm is essentially
transgressive and, by virtue of social satire, Lanzoni (2014: 70) asserts that it is one of the most demanding genres in promoting
signicant reection of the content of the text and the technique, as well as the reception and intention of the author (Van
de Gejuchte, 1999) that uctuates with “various entanglements and conicts, unique characters, ingenious dialogues and
complacent endings” (Sánchez-Noriega, 2022: 694) that satire exaggerates, which makes them recognizable in reality (Grin,
1994).
and independence, as part of their plots. To do this, a quantitative
and qualitative content analysis is carried out on six representative
American comedies in the last half century –Network (Sidney Lumet,
1976), Broadcast News (James L. Brooks, 1987), e Paper (Ron
Howard, 1994), Chicago (Rob Marshall, 2002), Morning Glory (Roger
Michell, 2010), and Don't Look Up (Adam McKay, 2021)– based
on humor theories and agenda setting theory. By using humorous
resources and journalistic praxis, an overview is made of how
journalism is portrayed on the big screen through satire, which results
in an image rooted in frivolous stereotypes, jokes and sharp responses
denouncing sensationalism and infotainment. It is a debate that
makes viewers aware of the importance of journalism and that, though
laughter, a critical vision uctuates by satirizing their skills under the
deconstructive capacity of humor that reects American society.
Keywords:
Cinema; journalists; satire; lm studies; mass media.
desde la verdad y la independencia, en virtud de sus tramas. Para ello,
se efectúa un análisis de contenido, cuantitativo y cualitativo, de seis
comedias estadounidenses representativas en el último medio siglo –Ne
-
twork (Sidney Lumet, 1976), Broadcast News (James L. Brooks, 1987),
e Paper (Ron Howard, 1994), Chicago (Rob Marshall, 2002), Morning
Glory (Roger Michell, 2010) y Don't Look Up (Adam McKay, 2021)–, ba
-
sado en las teorías del humor y la teoría de la agenda setting. Al aten
-
der a los recursos humorísticos y las praxis periodísticas, se desarrolla
una panorámica de cómo se retrata el periodismo en la gran pantalla
a través de la sátira, de la que resulta una imagen arraigada en estereo
-
tipos frívolos, chistes y réplicas agudas de denuncia del amarillismo y
la espectacularización del entretenimiento. Un debate que conciencia a
los espectadores de la importancia del periodismo y que, desde la risa,
uctúa una visión crítica al satirizar sus habilidades bajo la capacidad
deconstructiva del humor que reeja la sociedad americana.
Palabras clave:
Cine; periodistas; sátira; estudios cinematográcos; medios de comuni
-
cación.
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 355
Before comedy, there was satire and before cinema, there was journalism. With reference to the United States, journalism is
rooted in the rst colonial settlements whose activity ourished in the 18th century with gures such as Benjamin Franklin,
responsible for humorous writings that satirized political problems in
e Pennsylvania Gazette
(Smith, 2012). Journalism
is rooted in these origins and has played a crucial role in society and politics (Casero-Ripollés, 2012), not in vain, the First
Amendment of the United States Constitution guarantees freedom of speech and independent journalism, exercised by a
wide range of media with new uses and professional practices (Jódar-Marín, 2010), about which only 26% of Americans have
a favorable opinion (Gallup/Knight Foundation, 2023).
erefore, this article carries out a temporal review of how satirical cinema has portrayed the journalistic profession, starting
from the role of the media, when deciding which issues are of public importance. According to McCombs & Shaw’s (1972)
agenda setting theory, the media express what people experience as real (Lippmann, 1922). erefore, satire needs reality to
be understood and created, as a result of a media agenda and humorous creativity that is supported by the three fundamental
theories of philosophy on the phenomenon of humor: superiority, incongruity and liberation (Attardo, 1994). erefore, to
resolve the stereotypes that dene the journalist in satirical lms, more than forty variables are analyzed, in six comedies
representative of journalism in order to distinguish the evolutionary features of a profession linked to reality.
2. eoretical framework. First cinematographic satires and their reection of Journalism
Since the beginning cinema has used humor as a central axis for media and genres (Zillmann and Bryant, 1994); e rst
short lms already used the “gag” profusely to connect with the audience (Carroll, 1991: 25), while the arrival of feature lms
consolidated an “unusual interest” in comedians, and not only among the popular masses, but also among intellectuals
(Arconada, 2007: 25). A reference for this is Max Linder, a French comedian who made a recurring satire of the social condition.
Firstly as a resource or later as a structure in itself, satires departed from the rst classications as slapstick comedy, which is
characterized by chases, falls and blows. It is a physical humor determined by “a role of excess” (Peacock, 2014: 17) where a
rst example of American journalistic satire is found in the productions led by producer Mack Sennett and starring the Tramp
character, for his Keystone Studios. Specically, from the character of a reporter who stole the authorship in
Making a Living
(Henry Lehrman, 1914) and his later
e Great Dictator
(1940), where Chaplin reects the media power against war (Villegas-
López, 2003) from a “narrative sophistication and its visual codes” (Paulus & King, 2010: 57).
As a satirical example of the journalistic world, the play
e Front Page
, written by Ben Hecht and Charles MacArthur and its
rst lmed version (Lewis Milestone, 1931), showed an egocentric sensationalist journalist from the 1920s. Humorous sound
resources were rened in this period thanks to lmmakers such as Buster Keaton or the Marx brothers, with quick dialogues
and word games (Duck Soup, Leo McCarey, 1933). American cinema varied from burlesque comedy to traditional comedy
with two subgenres (Huerta-Floriano, 2005: 57). Screwball, in the early 1930s, crazy, complex (Marshall, 2009), with love as
the central focus (Brunovska & Jenkins, 1994) and a strong female main character (Shumway, 2012). And, on the other hand,
a more sophisticated one, which maintained the pantomime with intricate dialogues and ridiculous situations in which Ernst
Lubitsch also excelled by creating social satire from irony with
To Be or Not to Be
(1943).
356 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Journalistic gures uctuate through these cinematic currents. us, after the Second World War, Frank Capra, in 1946, in
It’s
a Wonderful Life
, creates a character of a disillusioned journalist who joins other reporters and columnists reected by his
“interest in addressing the world of Journalism” (Durán, 2020: 164), in
It Happened One Night
(1934) or
Meet John Doe
(1941) he
satirizes society. In the same way, Billy Wilder transferred the traits of this profession to his lm journalists (Peña-Fernández,
2014). In particular,
Ace in the Hole
(1951) reected the manipulation to obtain an exclusive, a sensationalist exponent that was
recovered in the comedy
e Front Page
(1974), a theatrical adaptation referred to above, and in which there was a moral code
that showed a corrupt world. (Ehrlich, 2004). In order to address authority satirical cinema stopped at the fourth estate, given
that the media became champions of social freedoms (Galán-Gamero, 2014).
erefore, cinema has satirized the journalistic profession with the mockery of media manipulation in
Network
(1976, Sidney
Lumet), a direction also taken by
Zelig
(1983) directed by Woody Allen. In the current century there are multiple productions
as in director Adam McKay’s
Anchorman
:
e Legend of Ron Burgundy
(2004), which poked fun at 1970s journalism with an
arrogant, self-absorbed TV host. ese examples visualize two contrasting ways of representing journalism: “the sensational
and brutal, and the one that goes after the truth and public service” (Castro-Carpintero, 1995: 109).
e journalistic profession and its media outlets’ integration in cinema has been widely analyzed (Barris, 1976; Ghiglione,
1990; Langman, 1996; Ness, 1997) to the degree that “cinema and journalism have always gone hand in hand” (Tosantos, 2004:
12). It is considered a lm plot, a subgenre (De Felipe and Sánchez-Navarro, 2000) that, like the rest of the options, conditions
the perception of public opinion (Requeijo, 2013) by reecting the changes and identities of the society in which it is elaborated
(Sorlin, 1991). It facilitates a counteranalysis (Ferro, 1988) and serves as an echo of the collective imagination (Imbert, 2010),
under diverse and varied contributions (Lagny, 1997) that are compiled in databases and classications (Sierra-Sánchez, 2012;
Mínguez-Santos, 2012). us, they represent didactic solutions for journalism students, such as that of Santillán (2018), for
whom it is not possible to “show in detail what daily work is and means” due to the many realities of this profession (Narvaiza,
2022) that, when simplied, remains buried under stereotypes or idealism.
In this way, American journalism is represented in “honest citizens”, heroes at the service of truth and democracy (Ehrlich,
2004), and by a portrait of the “bad journalist”, who acts as a control mechanism over those who deviate from of the function
that society entrusts to them (Ehrlich, 2006). ese are disruptive myths in American lms that Quirós-Fernández (2015) shows
how the journalist and the media outlet are portrayed as villains (Picos, 2002; Ortega and Humanes, 2000; Ortega, 2006) and
not as social heroes that are praised (Bezunartea et al., 2007a; Mera, 2008). is continued antithesis (Ghiglione and Saltzman,
2002; McNair, 2010) has helped to portray a combative image (Steinle, 2000), but a defender of citizens’ rights as well (San José
de la Rosa et al, 2021).
Despite the essential actions that journalism undertakes to keep society informed, a negative representation is portrayed,
which resorts to excessive consumption of alcohol and cigarettes by rude journalists (Gersh, 2011) and gambling addicts. Peña-
Fernández (2011) analyzes Billy Wilder’s characters and adds aggressiveness, precariousness and choice between personal
promotion or the audience, due to their social function. e contempt for university education and renouncing family life
over professional life is also referred to (Saltzman, 2003) as topics that establish an obsession with work, which undermines
non-existent or stormy personal relationships (Vega-Álvarez, 2003: 36). erefore, the inability to have a family life is reected
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 357
in “out of the ordinary” stories in which “features are magnied” (Bezunartea et al., 2010: 149) that are analyzed from satire
due to ethical dilemmas (Bezunartea et al., 2007b) and by the challenges of a profession in which a pessimistic vision prevails
(Fahy, 2022), which Osorio (2009: 430) links to “lighter” lm genres such as comedy, her favorite genre. In this regard, she
emphasizes that the mass media have become consolidated as an “inseparable part of people’s lives,” which is why journalists
appear “everywhere” (Osorio, 2014: 792) in the lms of the last decade of the 20th century.
Consequently, this professional facet is represented in the literary world and in its own media environment, which suers from
works dealing with journalistic specialization, which is why the novelty of the satirical vision of Hollywood, an industry that
acts as “a gigantic projector that expands throughout the world” (Arconada, 2007: 67) is integrated.
3. Objectives, hypotheses and methodology
An analysis is developed on how the journalistic profession has been satirized in lms that are icons of popular culture, objects
of entertainment and study (De la Vega, 2019) from lm theory, with a narratological aspect and lm aesthetics, in particular.
us, the importance is established of the cinematographic representation of journalists and the world in which they develop
their profession. us, the research objectives are laid out to resolve this premise:
To verify what the main central narratives of satirical cinema about journalists are and how the economic, political and social
reality of their time are included.
To identify the main stereotypes (representation of the journalistic gure, qualities, professional practices and defects) that
dene the journalist in lms that use satire as the main storyline.
To specify the satirical features that allow for dening the aforementioned stereotypes, and classify them according to the
object of the lm: representing the sensationalist and brute journalist or the one who pursues truth and public service.
To determine if there is an evolution over time of the aforementioned themes, stereotypes and satirical features.
e choice of the sample was made chronologically, choosing one lm per decade, not to generalize, but as a specic
evolutionary sample. American cinema was chosen for being the pioneer in representing this profession through the potential
production and distribution of the Hollywood industry. e US is a country that has implemented its democracy through
freedom of the press and whose values are reected in its lm creations, which not only reect its clichés and stereotypes
but also those of other cultures. is global reach is expressed in reviews and awards achieved from “the physical and social
characterization of the settings and characters” (Mandujano-Salazar and Ramírez-Sánchez, 2020: 125) of the six selected titles.
Network
(Sidney Lumet, 1976) presents veteran television host Howard Beale faced with his potential dismissal due to low
ratings. In an unexpected reaction, Beale announces live on air that he will commit suicide in seven days so that the network
can prepare “in a big way” for his farewell. e shows of support from viewers turn the television program into a success and
Beale into a role model who will have to deal with the ambitious journalist Diana Christensen or the chairman of the company
that owns the television, Arthur Jensen. It is the portrait of television controlled by nancial powers and journalists relegated
to entertaining the audience and not making them think.
358 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Broadcast News
(James L. Brooks, 1987) is a comedy that presents the daily lives of television news journalists at an American
network. e portrait shows us classic journalistic stereotypes: Tom, as the friendly, modern and supercial anchor, Jane as the
brilliant producer who is in the shadows and who truly creates the program or Aaron as the veteran and charismatic journalist
who is somewhat behind in modern television. All his virtues and defects are reected from a satirical vision of information
on television.
e Paper
(Ron Howard, 1994) immerses us in the world of the American tabloid, New York Sun, for 24 hours. ere we see,
again, the classic stereotypical journalists of the tabloid press: Henry, as the classic workaholic with a low salary; Bernie, as
the gloomy boss, who chose the newspaper over his family; Graham, as a newspaper owner with nancial problems; Alicia,
as the ruthless managing editor who is forced to layo sta in order to achieve maximum prots; and Martha, Henry’s wife, a
journalist from the newspaper, who is on leave due to pregnancy, which makes her question her profession and her marriage.
A murder in the city will serve as a backdrop to show all the conicts, desires and obsessions of all of these journalists.
Chicago
(Rob Marshall, 2002) is a musical comedy centered on Velma Kelly and Roxie Hart, two criminals arrested for a crime
of passion in the 1920s in Chicago and who are awaiting their sentence. e journalistic coverage of this case, thanks to the
action of lawyer Billy Flynn and reporter Mary Sunshine, creates a climate of commotion in the city, where corruption, crime
and fame come together while public opinion is inuenced by the message of the press and, especially, the radio.
Morning Glory
(Roger Michell, 2010) introduces us to Becky Fuller, a hard-working, ecient and responsible television
producer, who, after being red, receives the opportunity to produce a program in New York at the worst news program in the
city. She will have to deal with some eccentric presenters, Mike Pomeroy and Colleen Park, and other histrionic journalists,
who will make her life miserable. However, Becky will try to succeed and establish journalistic values in an attempt to make
the program successful.
Don’t Look Up
(Adam McKay, 2021) tells the story of Kate Dibiasky, a doctor in astronomy who discovers, with the help of her
professor, Dr. Randall Mindy, that a comet will hit Earth in six months. Alarmed, they will present their discovery to NASA and
the main political establishments, who don’t pay attention to their warning. erefore, they go to the media where the news
will become a phenomenon thanks to television focused on sensationalism, with presenters like Brie Evantee or Jack Bremmer,
and journalists like Adul Grelio, who will echo the news and try to nd out the reality of discovery. e entire plot is a satirical
perspective in what seems like something so surreal that it will end up seeming real.
With this content, approach and objectives, the aim is to answer the research questions: ¿What are the issues that the lm
industry considers crucial to report journalism from satire? What criticism is articulated about journalists and/or the power of
the media and how are they represented in the characters? And what humorous resources does satirical cinema use to show
journalistic work? Likewise, based on these concerns and in order to oer a critical analysis and understanding of how the
world of journalism is portrayed and reected on on the big screen, the following hypotheses are formulated:
H1. e plots of satirical lms about journalists include the economic, political and social news story of the moment.
H2. e media and the daily life of the profession are exaggerated and ridiculed.
H3. e journalist characters oscillate around antagonistic stereotypes.
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 359
H4. Satirical humor in comedies about journalists is achieved through parody and irony, as opposed to jokes and physical
humor.
Methodologically, these objectives are obtained through quantitative and qualitative content analysis (Casetti & Di Chio, 1994)
of a descriptive-comparative nature that uses four categories, through 45 variables, which have been analyzed by descriptive
statistics with the SPSS program. For its elaboration, studies of comic ctions have been compiled (Gascón-Vera, 2022; Bonaut
and Grandío, 2009) with special relevance to the analysis of the main characters, understanding that they are the ones who
exert inuence on the story with their physical, social and psychological dimension, together with the categories of Lacalle
(2014) and the “adaptable” model of Galán (2006: 77) on the plot, conicts and environment (Pérez-Rufí, 2005; Seger, 2000).
is study is complemented by the journalistic professional subdivision of Laviana (1996) and with the stereotypes of the
journalist from ction and cinema compiled by Narvaiza (2022) on Osorio (2009) and Peña-Fernández (2011). Serrano Martín’s
(2022) considerations are also taken into account regarding the time used by the main characters of the dierent footage to
nish the news product, the use of information sources, their development and their section (Bezunartea et al., 2010) that are
complemented with the values and ethical counter values of Quirós-Fernández (2015).
Subsequently, the news values of Schulz (1982) and Harcup and O’Neill (2001) are used, which join the glossary of humorous
techniques of Berger (1993/2017), while, nally, the scenes (Gascón- Vera and Marta-Lazo, 2020) and the visual story are
analyzed: movements, shots, light and color (Cortés-Selva, 2016; Casetti, and Di Chio, 1994).
Table 1: Categories to analyze each satirical lm
1. THEME AND NARRATIV
E
Main subject
:
Current news story line
:
MEDIA OUTLET ANALYSIS
→
agenda setting
Current news, number and
detail
X
Elements of production and distribution
:
N
umber of media outlets
mentioned
X
Journalistic tendencies
:
Qualifying adjectives of media outlets:Skill development
:
AN
ALYSIS OF JOURNALISTIC VALUES
Impact:
Relevance, consequences, vital implication, global power, international inuence
Coverage: Identication, geographical or cultural proximity and media agenda
Curiosity:
Dynamism, uncertainty, emotion, drama, surprise, sex, scandal, crime and tragedies. Novelty and surprise,
unforeseen newsworthy events
360 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Entertainment: Kind, humorous or funny stories, human interest, controversy
Main characters: Power elite and/or relevant celebrities subject to journalistic coverage
Ethics:
Ethical transgression, punishable conduct, controversy or conict
ETHICAL VALUES:ETHICAL COUNTER VALUES:
Professional integrity, defense of freedom of
expression, social and professional responsibility
Disloyalty, lack of professional and personal dignity, lying/manipulation and
sensationalism
2. CHARACTERS AND STEREOTYPES
N
umber of main and
secondary characters
X
Number of journalist characters
X
AN
ALYSIS OF JOURNALIST CHARACTERS
Physical size
Age
1)
Young
, 2) adult 3)
elderly
Physical appearance
:
Hair, clothes, wardrobe, makeup, hight, complexion, race
Characterization:
Voice/tone, props, gestures
Social class1)
Low
2) med
ium
3)
high
Sex
1)
Man
2)
woman
3) ot
her
Feelings
1) S
ingle
2)
couple
3)
married
4) o
ther
Sexuality
1) Heterosexual 2) homosexual 3) bisexual 4)
unknown
Psychological
dimension
Temperament
1) Sensitiv
e
2) cerebral 3) sentimental 4) intuitiv
e
Motivation
1)
Overcoming
2) su
rvival
3)
learning
4)
teaching
5)
care-giver
6)
fun-loving
Social
dimension
Family role1) Mother or father 2) brother/sister 3) son/daughter 4) miscellaneous 5) without family
Main framework 1) Work 2) housing 3) entertainment 4) all 5) other
Role
1) Narrator 2) actant 3) observer 4) opponent 5) vain 6) hero 7) villain 8) assistant 9)
professional 10) comedian
Social
dimension
Stereotype
1) Ambitious y frivolous 2) freak 3) tyrant boss 4) implicated boss 5) evil tycoon 6)
disgraceful journalist 7) workaholic 8) unethical cynic 9) arrogant 10) cool journalist 11)
police beat journalist 12) sob sister 13) fool 14) rookie 15) veteran loser 16) other
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 361
Action
dimension
1)Generates- creates
2) Suers-receives 3)
both 4) no
Friendship, love, abuse of power, family or work confrontation, illness or addictions,
danger, change of ideals, culture shock, freedom
Journalistic
dimension
Professional
dedication
1) Tycoon 2) director 3) chief editor 4) political journalist 5) special correspondent 6)
tabloid reporter 7) implicated journalist 8) critic and columnist 9) hard news reporter 10)
society journalist 11) sportswriter 12) photographer and other
Section
1) Politics 2) economy 3) sports 4) international 5) local 6) research 7) culture/society 8)
miscellaneous 9) other
Praxis
Source checking
1) Nothing 2) little 3) enough 4) a lot 5) noPreparation time
Education
3. HUMORISTIC RESOURCES →
superioridad, incongruencia y liberación
Language
1) Allusion 2) ranting 3) denition 4) exaggeration 5) joke 6) insults 7) childishness 8) irony 9) voice
imitation 10) literality 11) puns 12) sharp retorts 13) ridicule 14) sarcasm 15) satire
1)
Yes
2) No
Logic
1) Absurd 2)
accident
3) analog
y
4) compar
ison
5) ca
talog-numbering
6) coincidenc
e
7) decep
tion
8)
ignorance
10) errors 11) inve
stment
12) repeti
tion
13)
inexibility
14) subject - variation
Identity
1) Before and after 2) burlesque 3) caricature 4) eccentricity 5) shame 6) exhibition - allegation 7)
grotesque 8) imitation 9) interpretation 10) mimicry 11) parody 12) scale 13) stereotype 14) unmasking
Action
1) Chase 2) antics 3) speed 4) time
4. VISUAL ANALYSIS
Set design
Scenes
Description:
1) More than 10 2)
between
20
and
50 3) more than 50
1)
Outside
2) i
nside
1) Re
petitive
2) innovative
Camera
Shots and/or details
:
Light design1)
High
2) medi
um
3)
low
ColorimetryTone
1)
warm
2)
coldSaturation
1)
yes
2) no
Visual Graphics and post-production:
Sound
Music and eects:
Source: prepared by the authors. Note* qualitative variables: quantitative X
362 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
4. Results
e analysis conducted on Hollywood lm satires focuses on the media and political manipulation of the great communication
empires, as well as the damage of pretentious news that prosecutes cases of corruption, sexual matters, political changes and
economic aspects. Media representation is constant. It shows the work frenzy of newsrooms that go from typing and printing
on rotary presses to digital media that operate based on “clickbait.” ey focus their attention on the newsrooms, the place
where the action occurs 57% of the time, followed by the parameter of all, which links it to housing and entertainment. “Old-
fashioned facilities, lack of resources and a disgusting salary,” sums up the chief producer of
Morning Glory,
while at the same
time exposing, among others, the complications of local stations, correspondents and the need to measure social success. in
millions of followers and/or hashtags: #DONTLOOKUP.
Another relevant issue is the contrast between the media and its reliability: “Newspapers are in business to make money – why
not us? ey criticize us for supposedly pandering while they run WINGO Games” (
Broadcast News
) erefore, an exacerbated
story of entertainment television and its lack of credibility is intertwined with the relevance of social networks, believing what
is important when it really isn’t and turning the main characters, even television celebrities, into memes. Journalists are
essential here. A total of 87 characters appear in the analyzed satirical lms with 51 journalists, 40% are main characters, with
an uneven distribution (Graphic 1).
Graphic 1. Distribution of characters and number of journalists
Source: prepared by the authors
Likewise, the audience and sensationalism mark the news of these lms that have a high satirical component in their
representation (Table 2).
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 363
Table 2. News and news outlets represented in the journalist satire
Film
Nº
Specic newsMedia outlets referred to
Network
9
Deportation, opinion, shooting, attack, gun control,
murder, attack against the president, Marxism and
communism politics, robberies
CBS, ABC, NBC, UVS, e New York Times
Broadcast
News
7
Armed situation in Latin America, gay presence in
institutions, rape, sexual scandal, ghter jet accident in
Syria, bombing, dead bodies, rescue on ice in Alaska
Newspaper boxes and television competition
e Paper
12
Murders, subway accident, bank robbery, interview with a
teenage murderer, who sleeps with whom in Hollywood,
penis implants, international news, Stock Market
Radio WINS, Daily News, News Days, e New
York Sun, e New York Sentinel
Chicago
3
Murders committed by dierent women
Reed Book, Chicago Evening Star, Chicago
Courier, Chicago Observer, Revista News
Morning
Glory
24
Floods in Iowa, miniskirts, pumpkin and juice diet,
psychic animals, interview with Eva Longoria, Asian baby
of lesbian mothers, transvestite, diarrhea, pap smear,
armed conict in Bosnia, exclusive on the arrest of the
Governor
Today Show-NBC, Good Morning America-
CBS, Day Break-IBS
Don’t Look
Up
3
Riley Bina and DJ Chello breakup, sheri’s sex scandal
and sexual images sent by the US president, destructive
comet
e New York Herald, e Daily Rip - NBS,
CNV, Autopsy, Patriot News, World, CVN
Business, MeTube, PBN Kids, Science News
Source: prepared by the authors
e aforementioned competition is a fundamental part of the story and is used to justify sensationalism, the central theme
of most of the sample. Phrases like “
Good Morning America
has the arsonist’s mother, we have to get his wife” legitimize
the competition to achieve a successful program, an editorial comment or better interviewees make the dierence: “that’s
bullshit, I’m not going to lower myself to that” or underestimating themselves “they beat us again.” Furthermore, they invoke
disqualifying adjectives towards journalism such as “garbage” or “little circus,” they ironically say “nice program” or admire
the “sacred”
New York Times
.
Accordingly, the importance of likes, clicks and audience curves thanks to “happy news programs” is made explicit. “Don’t we
have anything fun today?” asks the editor-in-chief of
e Sun
(
e Paper
) at the sta meeting, where someone says they have
“nice spaghetti (bloody) shots.” is media outlet also shows other forms of sensationalism that limit the ethical code, such as
putting photos of massacres on the front page because it helps sales and blaming today and exonerating tomorrow, although,
nally, after materializing in a physical conict, the truth ends up imposing itself when they stop the printing press. Likewise,
the way of writing headlines is one of the distinctive characteristics of serious press like
e Washington Post
, while the tabloid
press abuse question marks in “stupid” headlines, they say.
364 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
“People are smart. ey want information. Not junk, which is all you are willing to give them. Junk, sugar, sugar, sugar.” ese
are the complaints of the veteran
Morning Glor
y journalist about the morning news and their “news nonsense” in which, for
example, they put their weatherman on a roller coaster or make the co-anchor kiss a frog or play some bagpipes. “Jack and Brie
love doing science segments. Just remember keep it light, fun. Jack and Brie love to have a good time.” ese are the instructions
they give the scientists of
Don’t Look Up
before explaining the end of the world, a “terrifying” fact “that isn’t supposed to be
fun,” but that, as the journalist says: “It’s something we do around here to keep the bad news light.” e other news anchor adds
that it “Helps the medicine go down.” erefore, the essence of journalism as a sweetener is visible in these satires, which we
formulate as a paradox: people do not want to consume horror, for example, the end of the world has a similar impact to basic
weather and trac news; nevertheless, the news is based on that pain.
e reaction is the key that sensationalism seeks, taken to the extreme by
Network
, where the protagonist announces his
suicide to promote the show: “It will be exciting and fun,” without knowing that he will be murdered live for this very purpose.
A consequence of the impact on the audience through exaggeration: “An editorial denouncing me in “Redbook” magazine.
‘Not in memory do we recall a more satanic double homicide,’” Velma Kelly says in
Chicago
. Likewise, the media seeks to
exaggerate the news, so much so as to announce a message on a battleship with reworks.
On the other hand, the broad impact of the journalistic message is key and its absence, a problem. e
Network
format reaches
50 million Americans, while the city of Chicago is united by the voice of the journalist who says what is happening on the radio,
which is related to a recurring vital implication. “Can you believe it? I just risked my life for a network that tests my face with
focus groups,” says a
Broadcast News
character. It is also the characters themselves who make fun of their small audience:
“Half the people that watch your show have lost their remote. e other half are waiting for their nurse to turn them over,” they
say in
Morning Glory
. To achieve this, half a century ago, the protagonists of
Network
thought trends were strong programs,
counterculture, dramatic shows and “political terrorism news.” us, as an example of its acid satire, the rundown of the
successful news program includes the sections of a fortune teller, the department of truth, dirty laundry and interviews with
the general public, after the editorial cry of the “angry prophet of the antennas.”
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 365
Figure 1. Examples of sensationalism in the satirical lms that were studied
Sources: frames from
Morning Glory
,
Network
,
Chicago
and
Don´t Look Up
“Our profession is at risk,” is the threat that is exposed at the beginning of
Broadcast News
, a conference where entertainment
lms generate more interest than news, which its production company dierentiates from news as a business, as in
e Paper
where the competition wants to sign the main character to reinforce proximity, not quality. In that debate,
Morning Glory
’s
review denes it as “an incongruous but somehow perfect mix that defends the versatility of the treatment of serious news and
entertainment.” Big and small stories are produced with traits of big surprise, since the audience is governed by emotional
and morbid peaks like sentimental news ridiculed in
Don’t Look Up
. ese situations are similar to the eect that the lawyer
in
Chicago
looks for, when fabricating a story so that the press shows and portrays a fragile character in each of its headlines.
e commercialization of life leads to the extreme of lies and manipulation. “Who knows what shit will be peddled for truth
on this tube,” “television is not the truth (…) We’re in the boredom-killing business,” and “we are not a respectable network,
we are a whorehouse network.” With these exemplary phrases, they use satire to demand journalistic ethics and proclaim the
right to freedom of speech. In
Network
the rst amendment is mentioned,
e Paper
avoids publishing something wrong and
changes the headline “Gotcha” to “ey didn’t do it,” although they say in the newsroom: “You’re accurate and ethical. I want
you out of this building.”
Likewise, the
Don’t Look Up
scientists face a crime against national security for telling the truth. In
Network
they say
“the only truth you know is what you get over this tube,” which is why it is so important to listen to the ethical position in
professional representations as exemplied by
Broadcast News
, which unmasks a journalist who manipulates images to
achieve an emotional shot. It is an unethical oense that could get him red, to which the person involved responds that he
was promoted for it. erefore, the characters are the result of this complex ecosystem of competitiveness, sensationalism
and commercialization, an aspect that is reected in their temperament. In the analyzed sample, seven are cerebral, ve are
366 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
sensitive, the same number as intuitive, and four are sentimental. According to the lms,
Network
and
e Paper
have the same
distribution with a character of each of these four temperaments, however, in
Morning Glory
and
Don’t Look Up
the cerebral
ones predominate (Graphic 2).
Graphic 2. Distribution of the main journalists’ temperaments according to their sex
Source: prepared by the authors with SPSS
In this calculation, the majority roles are those of observer, opponent, vain and professional, with three cases of each of them,
and only hero and professional coincide in both sexes, while villains are concentrated in two journalists, young and adult in
Don’t Look Up
, by promoting a bad outcome for the news and its protagonists. Likewise, the vain character corresponds to
young characters who want to climb positions of responsibility, while the helper and professional proles are related to older
ones. e age of the protagonists is adult in six out of ten cases analyzed, the rest are half young and half old, so 20% of the
characters suer a cultural clash with what is established, largely due to the generational contrasts of the profession and the
way they understand the world (Graphic 3).
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 367
Graphic 3. Roles of the main journalists according to their age
Source: prepared by the authors with SPSS
368 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Graphic 4. Distribution of stereotypes in the main journalist characters
Source: prepared by the authors with SPSS
e main stereotype (Graphic 4), with 24%, is ambitious and then there is a large distribution of the rest of the options, showing
a wide variety of acting roles among the twenty characters that portray the satire of journalism. Likewise, their distribution by
lm is very uneven, drawing a wide spectrum of stereotypes, generally negative, where the bosses involved are in the rst lms,
as well as the workaholics who give way to sentimentalists and cynics (Graphic 5).
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 369
Graphic 5. Visibility of journalistic stereotypes according to each of the satirical lms
Source: prepared by the authors with SPSS
In the qualitative category, a prole of attractive journalists who dress formally with a suit, elegant clothing and even sexy, in
the case of females, is considered. All of the journalistic proles that are part of the action demonstrate great gestures, power of
conviction and striking tone of voice with which to express their information, while the most observant reproduce temperance
and abuses of authority. Likewise, except for the most novice proles who expose their mediocre salaries, journalists present
themselves as powerful proles with a high economic position, contradicting the usual nature of a profession in which
instability is observed in layos and resignations.
Morning Glory
’s producer is red by a more educated producer, and she res the host for unethical behavior. Also in
Broadcast
News
they readjust their sta with a contrast, the reporter resigns due to a decrease in the quality of the work, while the rich
news anchor refuses to give up $1 million of his salary to save the network. Likewise, resignations due to ethical principles are
represented in
Network
.
In the analyzed lms there is no parity, there are 13 men compared to 8 women. e majority are single, so the family
environment is poorly represented; although there is a couple and two married couples, a widower and several romances. In
them, sexuality is limited to heterosexuality, although sex has been captured in these satirical lms both explicitly (
Network,
370 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Broadcast News, Chicago, Don’t Look Up
) and implicitly (
e Paper, Morning Glory
). At the same time, there have been
examples of sexual scandals such as in
Don’t Look Up
when the president of the United States sends intimate photos, a plot
that, together with
Network
and
e Paper
, shows disloyalty. In the rst two, their protagonists break up their marriage for an
unscrupulous female journalist, although they are later forgiven by their wives, and the last exposes professional disloyalty by
stealing news in a new job interview: “I couldn’t resist. ey are so smug over there”.
e results demonstrate the volatility of emotional relationships and that indelities and disrespectful behavior are shown
in the satirical lms, where the vision of murders (
Network, e Paper
and
Chicago
) and shootings is also urgent. Abuses of
power are one of the most repeated dimensions of action along with confrontations, which gives an idea of the high operability
of conicts to guide journalistic plots with satire. Love is evident in 70% of the protagonists and friendship drops to 57%.
Furthermore,
Broadcast News
is the lm with the most changes in the story arcs of the three protagonists, changing their
responsibility, work and romantic situation.
e Paper
journalist is the only pregnant one and goes so far as to say that “once
you have kids, a man’s best work can still be ahead of him. But a woman’s is very denitely in the past,” attributing the diculty
of being a mother and combining this profession. e rest of the female faces are presented as empowered gures without
family, since being a journalist requires their full occupation.
us, the idea of “slavery” of journalism is perpetuated with scenes where the cell phone does not stop ringing or they arrive
home at three o’clock in the morning. erefore, his profession is above his family and his romantic relationships due to two
visions: to be the best producer, the best journalist or to continue being a renowned veteran journalist. e latter carry together
the double stereotype of addictions to alcohol and tobacco, which is combined in
e Paper
with that of Coca-Cola. In such
a way, seven characters suer from health or addiction problems and three create this type of problem, while only six have
no relationship with the danger. erefore, family, friendship and emotional relationships are ignored by the demands of
journalism with health consequences that reect male fragility, with prostate problems in two veterans, while this is switched
with the recurrent crying of female proles. Likewise, continuing with the depiction of traits, 48% of these journalist characters
have the motivation of self-improvement, followed by survival and fun (Graphic 6).
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 371
Graphic 6. Distribution of journalists’ motivation in the satirical lms
Source: prepared by the authors with SPSS
Which leads to the variable that nine characters have generated a change in ideals, six of them undergoing modications; and
generating freedom in seven. To do this, as in the stereotypes, a wide range of dedications and sections are shown, the most
frequent being the director and editor-in-chief model, followed by the tabloid reporter and the society columnist. erefore,
regarding variety, the boss who wants his reporters to cover sensationalist topics prevails. However, there is a wide contrast
of sources and a better elaboration time: eight characters have a lot of time and four have none at all. It is also veried that
training is not an essential element, although it is true that, from the satire, eight characters are identied as having extensive
journalistic training.
e thematic and protagonist analysis uctuates over a multitude of humor techniques where sharp replies to insults are
related to conicts and pomposity with the ambitious or frivolous stereotype. (Figure 2).
372 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Figure 2. Appearance of humorous resources in the analyzed sample
stereotypes, a wide range of dedications and sections are shown, the most frequent being
the director and editor
-in-
chief model, followed by the tabloid reporter and the society
columnist. Therefore, regarding variety, the boss who wants his reporters to cover
sensationalist topics prevails. However, there is a wide contrast of sources and a better
elaboration time: eight characters have a lot of time and four have none at all. It is also
verified that training is not an essential element, although it is true that, from the satire,
eight characters are identified as having extensive journalistic training.
The thematic and protagonist analysis fluctuates over a multitude of humor techniques
where sharp replies to insults are related to conflicts and pomposity with the ambitious or
frivolous stereotype.
(F
igure 2
).
Figur
e
2
. Appearance of humorous resources in the analyzed
sample
Source: prepared by the authors
Figure
3
. Examples of humorous devices: error in
Morning Glory
and parody in
Chicago
6/6
-
Pompousness, joke, sharp retorts, analogy, denunciation,
stereotype
5/6
-
Allusion, definition, exaggeration, literalness,
ridiculousness, sarcasm, disappointment, unmasking, speed,
time
4/6
-
Repetition, burlesque, eccentricity, shame
3/6
-
Childishness, play on words, satire,
ignorance, mistakes, before and after,
grotesque, interpretation
2/6
-
Irony
, voice imitation,
absurdity, accident, inversion,
rigidity, caricature, mimicry, parody
1/6
-
Enumeration,
coincidence, scale,
chase, clown.
0/6
-
Theme-
variation, imitation
Source: prepared by the authors
Figure 3. Examples of humorous devices: error in
Morning Glory
and parody in
Chicago
Source: Frames from the analyzed lms
In the
Chicago
parody, the journalists are treated like puppets by the lawyer, who manipulates the main character by
performing as a ventriloquist. ey present journalists as manipulable puppets exploited by power who are played as pawns
to help convince people to buy dolls from a murderer. e circus analogy is used in
Network
and in
Morning Glory
exaggerated
by embarrassment and mistakes made with a sexual oender banner labeling a former president. Consequently, other forms
of expression are ridicule or caricature (Figure 3). Another parody, in this case cinematographic, and included in
Don’t Look
Up,
is the lm
Total Devastation
, which will be released the day the comet hits. Coupled with sarcasm, in the presentation, the
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 373
reporter responds: “at is so refreshing. I think we are all tired of politics.” On the other hand, a banner is used to rearm the
existence of an organization (Figure 4), while this resource appears in
Broadcast News
to present the protagonists as a sign of
childishness and their aspiration in the world of television, thus presenting an idea of a vocational profession, also evident in
Morning Glory
.
Figure 4. Images of banners with the humorous resource of literality
Source: Frames from
Don´t Look Up
Dramatic and emotional music is used as a satirical resource to add false sentimentality to an epic story (
Don’t Look Up
)
also captured in a romantic way (
Morning Glory
). Examples of the rst aspect are the rain and storm eect when people go
out to their windows to shout the slogan on
Network
and the second is the jingle in
Broadcast News
. All with the exception
of the musical comedy
Chicago
, with highly intense dance scenes under lighting eects, mirrors and shadows that are only
comparable to the high post-production of
Don’t Look Up
, which uses a documentary tone. e wide and medium-long shots
are the most recurrent, along with the reverse shot and close-up from dierent perspectives, where the camera uses viewers or
logos to place emphasis on journalistic activities (Figure 5).
Figure 5. Frames with media outlets, optics and logos
Source: Frames from
Network, Broadcast News, Morning Glory
and
Don’t Look Up
374 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Extreme close-up shots are common to show the protagonists’ misconduct, as well as the details of the printing plates or
production control room. Likewise, from a cinematographic analysis, the vast majority of lms make unforgettable shots
using a pattern of vanishing points relating to what is happening in the television news, which is complemented by showing
headlines in
Chicago
or in
e Paper
. Resources are used to gather emotions, dramatize and create humor, while continuing to
narrate through the aesthetic beauty of cinema (Figure 6).
Figure 6. Eye-catching shots with vanishing points
Source: Frames from
Chicago, Morning Glory, Network
and
e Paper
Finally, the mise-en-scène of the analyzed lms aects the repetition of the staging, from dierent points of view, with a
satirical interest. Interiors prevail, as in
Network
and
e Paper
, the use of recognizable spaces such as the White House, as well
as the use of means of transportation such as planes, cars and even boats. Nevertheless, oces and workplaces are the main
settings in these lms characterized by medium and low lighting
(Network, Don’t Look Up
), saturated, as in
Chicago
, and with
a cold tone in the most satirical narratives. erefore, the visual proposal is conditioned by the subgenres of the stories and the
critical range of their journalistic purpose.
5. Discussion
Following the discussed results, it can be stated that Hollywood cinema satirizes the behavior of journalists, contributing to
the social image of the media and shaping future citizen beliefs. e profession accounts for citizen reality through the lter
of allegations and mockery of agenda setting, led by frivolous and morbid topics such as sex and violence, satirized with
comic eects of surprise -getting the best retired presenter-, incongruity -murder as an image of tenderness- and superiority
-position of power-. us, from the theories of humor (Attardo, 1994), journalism oers a counterpoint that confronts abuses
of authority and danger, with multiple points of local, international and global news that are simplied due to their great
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 375
complexity (Narvaiza, 2022) which are told with American commercial satire and a broad staging of roles, motivations, traits,
professional performances, sections and levels of professionalism.
Broadcasting News
and
e Paper
leave the viewer with an image of journalistic commitment to the truth, by momentarily
refusing sensationalism and lies. Two satires that, according to Serrano Martín (2022), present to the public a combative vision
(Steinle, 2000) for the truth as a citizen’s right (San José de la Rosa et al., 2020), which is evident in the media critique in
Network
,
the sentimental and professional entanglements of
Morning Glory
or the mockery of
Don’t Look Up
, which also reects the
excesses and permissiveness of the profession, just like
Chicago
. A contrast to the professional work of journalists, which
jumps from the plot to the characters whose cinematographic stereotype continues to uctuate between villains and heroes,
presented as “rogues” and “guard dogs” (San José de la Rosa, 2021). A distinction between “good guys and bad guys” (McNair,
2010) that synthesizes (Mollejo-Pérez, 2016), but motivates diverse conicts and singular characters (Sánchez-Noriega, 2022)
that satire exaggerates with multiple temperaments.
e journalist protagonists are rich in nuances, while sharing with other genres: selsh motives, power struggle, disloyal feelings
or aggressiveness (Peña-Fernández, 2011). Likewise, there is a division of proles according to their age. e precariousness
of young proles materializes from a need for improvement only achieved by obsessive dedication (Bezunartea et al., 2010)
that contrasts with the lack of importance of training. In these decades, it has not been possible to break the stigma that
journalism is a profession that can be accessed without specic training (Ortega and Humanes, 2000) and in which continuous
improvement and spurning the family are necessary (Saltzman, 2003), as well as the appearance of stormy relationships (Vega-
Álvarez, 2003) with colleagues (Laviana, 1996). Another script resource is used to establish proles with shared addictions
(Gersh, 2011; Bezunartea et al., 2010) from two points of view: rude people who abuse power or those who are committed and
helpful.
In the rst decades of the analysis, the journalistic routines of analog media (
Broadcast News
) were maintained until the
nineties. is is the moment when Osorio’s considerations (2014) are shared in satirical cinema (
e Paper
) with a vision of a
“disorganized, compact and noisy group that runs madly” towards its source of information as in subsequent decades, where
it seeks to persuade their audience that journalists are reprehensible (
Chicago
) and their media system ridiculous (
Morning
Glory
). ose who go so far as to ignore relevant issues such as climate change and ideas of climate catastrophe on the public
agenda (
Don’t Look Up
) (Fahy, 2022), thus refuting the democratic obligation to inform citizens truthfully about the events
that aect their lives (
Network
).
erefore, satirical stories (Grin, 1994) assume, like the ideas of Santillán (2018), the responsibility of disseminating the
relationship between society and power and reject the errors and miseries of sensationalism to achieve justice, because the
role of the journalist in society is indispensable. A devastating story a priori, in which ethics and improvement triumph, thanks
to the dierential position of satire by provoking laughter about practices that it dismantles before viewers, making clear the
need to promulgate journalistic deontology with comic stories.
376 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
6. Conclusions
is analysis shows how the satirical representation of the journalistic profession magnies the profession’s need to obtain
exclusive news in order to beat strong competition. To achieve this, despite the radiating sensationalism as a formula and
trend, journalists narrated from cinematographic satire advocate the need for the economic, political and social informative
story of the moment (H1). Which is translated into local, national and international news that reveals scandals and is used to
put on the pulpit of social judgment what is unknown to the public, whether it be the business ploys of communication groups
or the imminent destruction of the world.
erefore, the relevance of journalism depends on breaking news that is rened as the necessary advantage for global media
survival. Despite the satire, vital news is not the most viewed. Humor is used to make the position of fun versus information
frivolous through everyday journalistic events such as the need to obtain sources in tough times, which is materialized in
races, countdowns and deadlines. ese stories are told from a production control room, a television and radio broadcast,
production or editorial meetings that show each of the time periods, since, from this progression, a profound technological
progress is seen linked to journalism, but not its training. e mass media have varied over these decades from being unknown
elements to being loyalty brands to, now, being subject to the demands of online users.
e profession is exposed in an exaggerated and mocking way (H2) to denounce the deciencies of journalistic praxis, but
its contrast with ethical professional traits is noted to show what good journalism is. To do this, journalistic characters use
a series of stereotypes and antagonistic traits (H3) that represent ferocity or professional ethics, in the vicissitudes of which
everything goes for the audience. Likewise, male models of the committed journalist, bad life, arrogant and workaholic are
perpetuated; while the strength of female journalists is reected, from success after an arduous path of improvement, as
frivolous unscrupulous people or future mothers in conict.
Furthermore, the stereotype is patterned together with exaggeration, jokes, sharp retorts, analogies and critique as a formula
for satirical humor, which is dierent from what was expected, by delimiting the humorous resources with more exaggeration
and conict than parody or irony (H4). Comedies, according to their genre, are nally characterized by a visual treatment
with ashback shots and the creative use of the journalistic units themselves such as televisions, headlines or groups of
journalists. A self-referentiality that has a dierent set of lighting, due to its subgenre, while the music and the eects increase
the sensationalism.
In short, the portrait provided by American commercial cinema in the last 50 years is more realistic with the journalistic
profession than the starting point, but without ceasing to be critical of the media power over media outlets from satire that is
sharpened to demonstrate the vanities of sensationalism. us, it returns the power of decision to the public, from the remote
control to laughter, opposed to gloominess. us, the lack of professional ethics is penalized because only the truth ts in the
deontological code and humor, as a counterpoint, is used to elevate it. Hollywood satirical cinema dismantles journalistic
failures and supports valid ethical practices with few heroes and villains, but with a wide range of stereotypes of satirical
critique.
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 377
7. Acknowledgements
is article was translated by Joseph McMahon, whose work is greatly appreciated.
e rst author is a beneciary of a grant for the requalication of the Spanish university system for 2021-2023 Modality
Margarita Salas from the University of Zaragoza co-nanced by the Ministry of Universities and the European Union
“NextGeneration EU/PRTR”.
is article was carried out in the Digital Communication and Information Research Group (GICID) of the University of
Zaragoza and the Institute of Heritage and Humanities (IPH) of the University of Zaragoza.
8. Specic contributions of each author
Name and surname
Conception and design of the workPatricia Gascón-Vera and Joseba Bonaut-Iriarte
Methodology
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
Data collection and analysisPatricia Gascón-Vera
Discussion and conclusionsPatricia Gascón-Vera
Drafting, formatting, version review and approvalJoseba Bonaut-Iriarte
9. Conict of interest
e authors declare that there is no conict of interest contained in this article.
10. Bibliographic references
Arconada, M. (2007).
Tres cómicos del cine
. Renacimiento.
Attardo, S. (1994).
Teorías lingüísticas del humor
. Mouton de Gruyter
Barris, A. (1976).
Stop the Presses! e Newspaperman in American Films
. Gazelle Book
Baym, G. (2005) e Daily Show: Discursive Integration and the Reinvention of
Political Journalism. Political Communication, 22(3), 259-276.
https://doi.org/10.1080/10584600591006492
Baym, G., & Jones, J. P. (2013).
News parody and political satire across the globe
. Routledge.
Berger, A. A. (2017).
An anatomy of humor
. Routledge. (Trabajo publicado en 1993).
<p>[Enlace de URL / hc (has AS)]</p>
378 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Bergson, H. (2016).
La risa, ensayo sobre el signicado de la comicidad
(Trad. G. Graíño Ferrer). Alianza editorial. (Trabajo
original
Le Rire
publicado en 1990).
Bezunartea, O., Cantalapiedra, M. J., Coca-García, C., Genaut, A., Peña-Fernández, S., & Pérez-Dasilva, J. Á. (2007a). Si hay
sangre, hay noticia: recetas cinematográcas para el éxito periodístico.
Palabra Clave
,
10
(2). 61-74.
https://cutt.ly/9wlLSAXP
Bezunartea, O., Cantalapiedra, M. J., Coca-García, C., Genaut, A., Peña-Fernández, S., & Pérez-Dasilva, J. Á. (2007b). Periodistas
de cine y de ética.
Ámbitos Revista internacional de comunicación
, (16), 329-393.
https://cutt.ly/jwlLFqby
Bezunartea, O., Coca-García, C., Cantalapiedra, M. J., Genaut, A., Peña-Fernández, S., & Pérez-Dasilva, J. Á. (2010). El perl
de los periodistas en el cine: tópicos agigantados.
Intercom. Revista Brasileira de Ciencias da Comunicacao, 33
(1), 145-167.
https://cutt.ly/vwlLHSSP
Bonaut Iriarte, J., & Grandío Pérez, M. D. M. (2009). Los nuevos horizontes de la comedia televisiva en el siglo XXI.
Revista
Latina de Comunicación Social
, 64, 753 -765.
https://doi.org/10.4185/10.4185/RLCS-64-2009-859-753-765
Brunovska, K., & Jenkins, H. (1994).
Classical Hollywood Comedy
. Routledge
Carroll, N. (1991). Notes on the sight gag. En A. Horton, (ed.),
Comedy/cinema/theory
. (pp. 25-42). University of California
Press.
Casero-Ripollés, A. (2012). El periodismo político en España: algunas características denitorias. En A. Casero-Ripollés (ed.),
Periodismo político en España: concepciones, tensiones y elecciones
(pp. 19-46).
Sociedad Latina de Comunicación Social
,
https://cutt.ly/iwlXl3lC
Casetti, F., y Di Chio, F. (1994).
Cómo analizar un lm
. Editorial Paidós.
Castro Carpintero, M. Á. (1995).
El periodismo visto por el cine norteamericano (1925-1955).
[Proyecto n de carrera,
Universidad Ponticia de Salamanca].
Cortés-Selva, L. (2016). Fotografía y series de televisión. Metodología para el análisis del estilo visual televisivo.
Index.
comunicación
,
6
(2), 135-150.
https://cutt.ly/9wlXzeg7
De Felipe, F., & Sánchez-Navarro, F. D. (2000). El periodismo como (sub)género cinematográco: apuntes para la clasicación
lmográca.
Trípodos
, 10, 121-133.
De la Vega, P. (2019). La dimensión satírica de La Naranja Mecánica: un análisis ético a través de la teoría de la sátira de
Friedrich Schiller.
Logos
,
29
(1), 122-135.
https://doi.org/10.15443/RL2909
Durán, V. (2020). Propaganda en el cine del New Deal: los personajes de Juan Nadie.
Quintana: revista do Departamento de
Historia da Arte
, (19), 163-178.
https://doi.org/10.15304/qui.19.6238
Ehrlich, M. C. (2004).
Journalism in the movies
. University of Illinois Press.
Ehrlich, M. C. (2006). Facts, Truth and Bad Journalists in the Movies.
Journalism
,
7
(4), 501-519.
https://doi.org/10.1177/1464884906068364
Fahy, D. (2022). Caricatures and omissions: representations of the news media in ‘Don’t look up’.
JCOM
,
21
(05), 1-7.
https://doi.org/10.22323/2.21050307
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 379
Ferro, M. (1988).
Cinema and History
. (Trad. N. Greene). University Press. (Obra original
Cinéma e historie
publicada en 1977).
Galán, E. (2006). Personajes, estereotipos y representaciones sociales. Una propuesta de estudio y análisis de la cción
televisiva.
ECO-PÓS
,
9
(1), 58-81.
https://cutt.ly/kwlXzaK1
Galán-Gamero, J. (2014). Cuando el ‘cuarto poder’ se constituye en cuarto poder: propuestas.
Palabra Clave
, 17(1), 152-187.
https://cutt.ly/nwlZrmtr
Gallup/Knight Foundation. (2023, enero).
Trust, Media and Democracy
.
https://cutt.ly/RwlTyGL2
Gascón-Vera P. (2022). De la comedia al terror. Personajes, tramas y estereotipos en las adaptaciones de la cción juvenil
Sabrina: de serie en abierto al streaming de Netix.
Área Abierta
, 22(2), 271-290.
https://doi.org/10.5209/arab.79765
Gascón-Vera, P., & Marta-Lazo, C. (2020). Estructura y escenografía de los formatos periodísticos de humor del access prime
time 2018-2019. Estudio comparativo entre Lo Siguiente, Ese programa del que usted me habla, El Hormiguero y El Intermedio.
Textual & Visual Media
,
1
(12), 1-20.
https://cutt.ly/qwlTugHQ
Gersh, D. (1991).
Stereotyping journalists
. Editor&Publisher,
124
(18–19), 37.
Ghiglione, L. (1990).
e American Journalist: Paradox of the Press
. Library of Congress.
Ghiglione, L., & Saltzman, J. (2002). Fact or Fiction: Hollywood Looks at the News.
Image of Journalist in Popular Culture
, 1-26.
https://cutt.ly/IwlZibYc
Grin, D. (1994).
Satire: A Critical Reintroduction
. University Press of Kentucky.
Harcup, T., & O’neill, D. (2001). What Is News? Galtung and Ruge revisited,
Journalism Studies,
2(2), 261-280.
https://doi.org/10.1080/14616700118449
Huerta-Floriano, M. Á. (2005).
Los géneros cinematográcos. Usos en el cine español.
Universidad Ponticia de Salamanca.
Hutcheon, L. (1985).
A theory of parody: the teachings of Twentieth-Century Art Formas
. Methuen.
Imbert, G. (2010).
Cine e imaginarios sociales. El cine posmoderno como experiencia de los límites (1990-2010)
. Cátedra.
Jódar-Marín, J. Á. (2010). La era digital: nuevos medios, nuevos usuarios y nuevos profesionales.
Razón y palabra
, (71).
https://cutt.ly/fwlZigBB
Lacalle, C. (2014).
Jóvenes y cción televisiva: Construcción de identidad y transmedialidad
. UOC.
Lagny, M. (1997). Cine e historia. Problemas y métodos en la investigación cinematográca. (Trad. J. L Fecé). Bosh. (Trabajo
original publicado en 1995).
Langman, L. (1996).
e Media in the Movies. A Catalog of American Journalism Films
. McFarland & Co.
Lanzoni, R. (2014).
French Comedy on Screen: A Cinematic History
. Springer.
Laviana, J. C. (1996).
Los chicos de la prensa
. Nikel Odeon.
Lippmann, W. (1922).
Public Opinion
. Brace and Company Inc.
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
380 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Llanos, R. L. (2002). Humor inofensivo/humor tendencioso: los géneros de la (son) risa. En
Memoria de la palabra
actas del
VI Congreso de la Asociación Internacional Siglo de Oro. Burgos-La Rioja 15-19 de julio (pp. 1165-1176). Iberoamericana
Vervuert.
Mandujano-Salazar, Y. Y., & Ramírez-Sánchez, A. (2020). La cción de la inclusión cultural en el cine Hollywoodense: Babel
y la reproducción de estereotipos culturales.
Nóesis.
Revista de ciencias sociales
,
29
(58-1), 121-137.
https://doi.org/10.20983/
noesis.2020.3.6
Marshall, K. (2009). Something’s Gotta Give and the classical screwball comedy.
Journal of Popular Film and Television
,
37
(1),
9-15.
https://doi.org/10.3200/JPFT.37.1.9-15
Mauron, C. (1964).
La psychocritique du genre comique
. Librairie José Corti
McCombs, M., & Shaw, D. (1972). e agenda-Setting Function of the Mass Media.
Public Opinion Quarterly
,
36
, 176-187.
https://cutt.ly/rwlZpVT8
Mcnair, B. (2010).
Journalists in lm. Heroes and Villains
. Edimburght University Press
Mera, M. (2008). Periodistas de película. La imagen de la profesión periodística a través
del cine.
Estudios sobre el Mensaje Periodístico
,
14
, 505-525.
https://cutt.ly/HwlZalym
Mínguez-Santos, L. (2012).
Periodistas de cine. El cuarto poder en el séptimo arte
. T&B.
Mollejo-Pérez, V. (2016).
Figura del periodista en la cción televisiva: un análisis mixto de los rasgos distintivos profesionales
.
[Trabajo nal de grado, Universidad Católica de Murcia].
Narvaiza, S. (2022).
La construcción del periodismo en la cción televisiva española
. [Tesis doctoral, Universitat Autònoma de
Barcelona].
Ness, R. (1997).
From Headline Hunter to Superman. A journalist lmography
. Sarecrow Press.
Ortega, F. (2006).
Periodismo sin información.
Tecnos.
Ortega, F., & Humanes, M. (2000).
Algo más que periodistas. Sociología de una profesión.
Ariel.
Osorio, O. (2009).
La imagen de la periodista profesional en el cine de cción de 1990
a 1999.
[Tesis doctoral, Universidade da Coruña].
Osorio, O. (2014). Despersonalización de los medios, poder y guerras de audiencia en el retrato del periodismo en el cine de
los años 90.
Estudios sobre el Mensaje Periodístico
,
20
(2). 789-804.
https://doi.org/10.5209/rev_esmp.2014.v20.n2.47034
Paulus, T., & King, R. (2010).
Slapstick comedy
. Routledge.
Peacock, L. (2014).
Slapstick and comic performance: Comedy and pain
. Springer.
Peña-Fernández, S. (2011).
Caballeros de la prensa. El periodismo en el cine de Billy Wilder
. [Tesis doctoral, Universidad del
País Vasco].
Peña-Fernández, S. (2014). ¡Muy signicativo! La sátira de los psicoanalistas en el cine de Billy Wilder.
Revista de letras y cción
audiovisual
, (4), 122-144.
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
doxa.comunicación |
nº 39, pp. 353-381
July-December of 2024
Patricia Gascón-Vera and Joseba Bonaut-Iriarte
ISSN: 1696-019X / e-ISSN: 2386-3978
| 381
Pérez-Rufí, J. P. (2016). Metodología de análisis del personaje cinematográco: Una propuesta desde la narrativa fílmica.
Razón y Palabra
, 20(95), 534-552.
https://cutt.ly/VwlZcXSb
Picos, J. J. (2002).
Imagen ideal e imagen efectiva del periodista español.
[Tesis doctoral. Universidad Complutense de Madrid].
Quirós-Fernández, F. Q. (2015). Valores y contravalores del periodismo: la imagen negativa de la profesión en diez películas
americanas y su percepción por los medios de comunicación en Estados Unidos y en España.
Ámbitos. Revista internacional
de comunicación
, 30, 1-15.
Requeijo Rey, P. (2013). El profesional de los medios en el cine de los últimos años.
Vivat Academia,
(122), 54–79.
https://doi.org/10.15178/va.2013.122.54-79
Saltzman, J. (2003).
Sob sisters: e image of the female journalist in popular culture.
e Image of the Journalist in Popular
Culture (IJPC).
https://cutt.ly/owlZRGNi
San José de la Rosa, C. (2021). Estructuralismo de Propp en los periodistas héroes y villanos del cine español.
Vivat Academia
,
154, 245-262.
http://doi.org/10.15178/va.2021.154.e1350
San José de la Rosa, C., Miguel Borrás, M., & Gil-Torres, A. (2020). Periodistas en el cine español: héroes comprometidos con la
verdad.
Estudios sobre el Mensaje Periodístico
,
26
(1), 317-326.
http://doi.org/10.5209/esmp.67310
Sánchez-Noriega, J. L. (2002).
Historia del cine: teoría y géneros cinematográcos, fotografía y televisión
. Alianza Editorial
Santillán, J. (2018). La proyección del periodismo en el cine: treinta películas indispensables.
Cultura
, 32, 77-97.
https://doi.org/10.24265/cultura.2018.v32.04
Sareil, J. (1984).
L’écriture comique
. Presses universitaires de France.
Schulz, W. (1982). News structure and people awareness of political events.
Gazzete
, 30, 139-153.
Seger, L. (2000).
Cómo crear personajes inolvidables: guía práctica para el desarrollo de personajes en cine, televisión, publicidad,
novelas y narraciones cortas
. Paidós.
Serrano Martín, C. (2022). Las velocidades del periodismo en el cine: ocho lmes sobre Slow Journalism.
Revista de
Comunicación SEECI
, 55, 101-120.
http://doi.org/10.15198/seeci.2022.55.e745
Shumway, D. R. (2012). Screwball comedies: Constructing romance, mystifying marriage. En B., Keith Grant (ed.),
Film Genre
Reader IV
, (pp. 463-483). University of Texas Press.
https://doi-org.cuarzo.unizar.es:9443/10.7560/742055
Sierra Sánchez, J. (2012).
El periodista observado: Cine sobre informadores
. Visión Libros.
Simon, J. P. (1979).
Le lmique et le comique: essai sur le lm comique
. Éditions Albatros.
Smith, L. (2012).
e First Great Awakening in Colonial American Newspapers. A Shifting Story
. Lexington Books.
Sorlin, P. (1991). Historia del cine e historia de las sociedades.
Filmhistoria 1
(2), 73-87.
Steinle, P. (2000, abril).
Print (and Video) to Screen: Journalism in motion pictures of the 1990s
. In Popular Culture/American
Culture Conference,
New Orleans.
https://cutt.ly/bwlXzCsN
Tosantos, C. (2004).
Cine y periodismo: los complementos.
Ediciones Serbal.
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
382 |
nº 39, pp. 353-381
|
July-December of 2024
The satirical cinema of journalists. Mass media characters and stories by the Hollywood industry (1970-2020)
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Valhondo-Crego, J. L. (2011).
Sátira televisiva y democracia en España: la popularización de la información política a través
de la sátira
. UOC.
Van de Gejuchte, I. (1999). Le pouvoir de la satire à Travers un sketch de Lenny Bruce. En J. M., Defays y L., Rosier,
Approches
du discours comique
, (pp. 121-132). Mardaga.
Vega Álvarez, D. (2003). El reejo del periodista en el cine. [Proyecto n de carrera, Universidad Ponticia de Salamanca].
Villegas-López, M. (2003).
Charles Chaplin. El genio del cine
. Edición ABC.
Zillmann, D., & Bryant, J. (1994). Entertainment as media eect. In J. Bryant & D. Zillmann (eds.),
Media eects: Advances in
theory and research
(pp. 437-461). Lawrence.