This document discusses the international co-production of the television fiction series "Vientos de Agua" between Argentina and Spain. It was produced through a partnership between production companies in both countries, with the goal of reducing costs through international cooperation. However, representing two different national identities posed challenges in gaining audience identification and loyalty in both countries. Specifically, the series focused more on representing Argentine rather than broadly Spanish culture and identities, limiting its success in attracting Spanish viewers.

1. Global and National
Space in Television
Fiction: International
Co-productions
Belén Moreno Garrido
Belén Moreno Garrido
Universidad Complutense de Madrid

2. Mass Media as identity builder
Television has a key
role in the construction
of identity.
It acts as the driver
thread of collective
imaginary.
Fiction can be estimated
as a repository of
representations and a
reflection of the social
unconscious.

3. International co-production
With increased
competition on television
and to reduce production
cost, program
developers prefer
international co-
production formulas.
When contacting two or more nationalities, stresses occur
when we represent the differetn identity atributes.

4. Spanish and Argentinean

5. Vientos de Agua
Juan José Campanella
2006
VIENTOS
DE AGUA 100 Bares Icónica
Pol-ka Telecinco
Argentina Spain
10.000
8 million € 280 actors 140 location
extras

6. Plot and Characters
PAST PRESENT
1934-1958 2001-2005
2005
José-Andrés Olaya Ernesto Olaya
Argentina Spain
José-Andrés Olaya
Asturias

7. Other characters: Past
Familiar Política
Juliusz y Gemma Vidal y Felisa
Pablo Rago y Giulia Rubén Ochandiano y
Michelini Bárbara Goenaga
Andres’ women
Henar Laia Sophie Lucía
Silvia Abascal Pilar Punzano Caterina Murino Valeria Bertucelli

8. Other characters: Present
Argentina
Cecilia Tomás Alicia
Mariano
Claudia Fontán Manuela Pal
Bertolini
Spain
Ana Mara Illie
Marta Etura Angie Cepeda Carlos Kaspar

9. Co-production
Argentina Spain
100 Bares Icónica
Producers
Pol-Ka Telecinco
J. J Aurea
Writers
Campanella Martínez
Aída Bortnik
Alejo Flah
Does this affect the representation
J. Pablo of the two identities?
Domenech

10. Loyalty and identification
One of the functions of the drama series are to
get the viewer’s loyalty. The most commun way
to gain it is use the identification.
We want viewers to be reflected in the plots and
characters.
In Vientos de Agua is used: the atmosphere of a
particular time, the absensce of the name of the
village, the historical fact, inmigration or
stereotypical images.

11. Argentinian and Spanish
Two identities – Two target audiences.
In Argentina Vientos de Agua was broadcasted in
tis entirety in the general channel: Canal 13. In
Spain it was only broadcasted complete in FDF
ans the regional channel of Asturias.
Why?

12. The other representation
Asturian representation, not Spanish:
The use of Bable
Cider
Landscape
The legends of goblins and elves
Mining tradition
Accent
Spanish representation: Ana y Javier.
Didn’t achieve the identification of Spanish
public.

13. The other representation
Argentinean representation:
City of Buenos Aires: people, streets, life…
Chapter 6: Andres’ family death Argentinean
precedence.
Present plot: foreign nature of the characters
and not on their nationalities.