<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0188-252X</journal-id>
<journal-title><![CDATA[Comunicación y sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Comun. soc]]></abbrev-journal-title>
<issn>0188-252X</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guadalajara, Departamento de Estudios de la Comunicación Social]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-252X2021000100305</article-id>
<article-id pub-id-type="doi">10.32870/cys.v2021.7979</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Historia de las teen series en España: evolución y características]]></article-title>
<article-title xml:lang="en"><![CDATA[History of teen series in Spain: evolution and characteristics]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lacalle]]></surname>
<given-names><![CDATA[Charo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[Beatriz]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hidalgo]]></surname>
<given-names><![CDATA[Tatiana]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universitat Autònoma de Barcelona  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universitat de Lleida  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidad de Alicante  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<volume>18</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-252X2021000100305&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-252X2021000100305&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-252X2021000100305&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo explora la evolución de las teen series españolas, emitidas por las televisiones generalistas y las plataformas VOD desde su debut en 1997 hasta 2020, mediante el análisis diacrónico de las 24 producciones protagonizadas por adolescentes. El estudio revela la configuración de un subgénero propio del drama televisivo y la preocupación por abordar los temas que interesan a la audiencia juvenil. Se evidencia una progresiva disociación entre el amor romántico y el sexo, así como una menor dependencia del núcleo familiar y un incremento de la conflictividad generacional.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article explores the evolution of Spanish teen series, broadcast by generalist televisions on VOD platforms from its beginning at 1997 to 2020. The sample includes 24 productions starring teenagers. The analysis carried out reveals the configuration of a subgenre of its own and its concern to address issues of interest to young audiences. A progressive dissociation between romantic love and sex is evidenced, as well as less dependence on the family and an increase in generational conflicts.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[ficción española]]></kwd>
<kwd lng="es"><![CDATA[televisión]]></kwd>
<kwd lng="es"><![CDATA[teen series]]></kwd>
<kwd lng="es"><![CDATA[personajes jóvenes]]></kwd>
<kwd lng="en"><![CDATA[Spanish]]></kwd>
<kwd lng="en"><![CDATA[TV fiction]]></kwd>
<kwd lng="en"><![CDATA[television]]></kwd>
<kwd lng="en"><![CDATA[teen series]]></kwd>
<kwd lng="en"><![CDATA[young characters]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Aubrey]]></surname>
<given-names><![CDATA[J. S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Sex and Punishment: An Examination of Sexual Consequences and the Sexual Double Standard in Teen Programming]]></article-title>
<source><![CDATA[Sex Roles]]></source>
<year>2004</year>
<volume>50</volume>
<numero>7/8</numero>
<issue>7/8</issue>
<page-range>505-14</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Aubrun]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Grady]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Aliens in the Living Room: How TV Shapes Our Understanding of &#8216;Teens&#8217;]]></source>
<year>2000</year>
<publisher-name><![CDATA[The Frameworks Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Banks]]></surname>
<given-names><![CDATA[M. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A Boy for All Planets: Roswell, Smallville and the Teen Male Melodrama]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Davis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Dickinson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen TV. Genre, Consumption and Identity]]></source>
<year>2004</year>
<page-range>17-28</page-range><publisher-name><![CDATA[BFI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bardají]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
<name>
<surname><![CDATA[Gómez Amigo]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[La gestión de la creatividad en televisión. El caso de Globo Media]]></source>
<year>2004</year>
<publisher-name><![CDATA[Eunsa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berridge]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Serialised sexual violence in teen television drama series]]></source>
<year>2010</year>
<publisher-name><![CDATA[University of Glasgow]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berridge]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Personal problems and women&#8217;s issues]]></article-title>
<source><![CDATA[Feminist Media Studies]]></source>
<year>2011</year>
<volume>11</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>467-81</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berridge]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Teen heroine TV: narrative complexity and sexual violence in female-fronted teen drama series]]></article-title>
<source><![CDATA[New Review of Film and Television Studies]]></source>
<year>2013</year>
<volume>11</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>477-96</page-range></nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bindig]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Dawson&#8217;s Creek. A Critical Understanding]]></source>
<year>2008</year>
<publisher-name><![CDATA[Lexington Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cascajosa]]></surname>
<given-names><![CDATA[C. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Herrero]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[De &#8220;Compañeros&#8221; a &#8220;No te fallaré&#8221;: Manuel Ríos San Martín y la experiencia en la producción cinematográfica de Globomedia]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Marzal]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[F. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[El productor y la producción en la industria cinematográfica]]></source>
<year>2009</year>
<page-range>495-506</page-range><publisher-name><![CDATA[Universidad Complutense de Madrid]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chapoton]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Werlen]]></surname>
<given-names><![CDATA[A.-L.]]></given-names>
</name>
<name>
<surname><![CDATA[Regnier Denois]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Alcohol in TV series popular with teens: a content analysis of TV series in France 22 years after a restrictive law]]></article-title>
<source><![CDATA[The European Journal of Public Health]]></source>
<year>2019</year>
<volume>30</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>363-8</page-range></nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chicharro-Merayo]]></surname>
<given-names><![CDATA[M. M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Representaciones juveniles en la ficción televisiva. Los jóvenes, los adultos y la escuela en Física o Química]]></article-title>
<source><![CDATA[Doxa Comunicación]]></source>
<year>2012</year>
<volume>14</volume>
<page-range>199-220</page-range></nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Davis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Dickinson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Davis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Dickinson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen TV. Genre, Consumption and Identity]]></source>
<year>2004</year>
<page-range>1-16</page-range><publisher-name><![CDATA[BFI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Davis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Dickinson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen TV. Genre, Consumption and Identity]]></source>
<year>2004</year>
<publisher-name><![CDATA[BFI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dhaenens]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Teenage queerness: Negotiating heteronormativity in the representation of gay teenagers in Glee]]></article-title>
<source><![CDATA[Journal of Youth Studies]]></source>
<year>2013</year>
<volume>16</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>304-17</page-range></nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Driscoll]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen Film: A Critical Introduction]]></source>
<year>2011</year>
<publisher-name><![CDATA[Berg]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fedele]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Masanet]]></surname>
<given-names><![CDATA[M. J.]]></given-names>
</name>
<name>
<surname><![CDATA[Ventura]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Negotiating love and gender stereotypes: Prevalence of &#8220;amor ludens&#8221; and television preferences rooted in hegemonic masculinity]]></article-title>
<source><![CDATA[Masculinities and Social Change]]></source>
<year>2019</year>
<volume>8</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>1-43</page-range></nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gajanan]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[These Are the Most Popular Netflix Shows and Movies- According to Netflix]]></article-title>
<source><![CDATA[TIME]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Manso]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Series de ficción y homosexualidad en España: Un intento por visibilizar la diversidad sexual]]></article-title>
<source><![CDATA[Revista Iberoamericana de Salud y Ciudadanía]]></source>
<year>2013</year>
<volume>2</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>29-55</page-range></nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guarinos]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fenómenos televisivos «teenagers»: prototipias adolescentes en series vistas en España]]></article-title>
<source><![CDATA[Comunicar]]></source>
<year>2009</year>
<volume>17</volume>
<numero>33</numero>
<issue>33</issue>
<page-range>203-11</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Heintz-Knowles]]></surname>
<given-names><![CDATA[K. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Images of Youth: A Content Analysis of Adolescents in Prime-Time Entertainment Programming]]></source>
<year>2000</year>
<publisher-name><![CDATA[The Frameworks Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Herrero]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Diego]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Do Family Television Series Travel Well? A Spanish Case: Médico de Familia]]></article-title>
<source><![CDATA[Journal of Spanish Language Media]]></source>
<year>2009</year>
<volume>2</volume>
<page-range>142-52</page-range></nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jenner]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;I Can&#8217;t Even Imagine What It&#8217;s Gonna Be Like Here without Him&#8221;. Friendship and Queer Theory in American Teen Soap]]></article-title>
<source><![CDATA[In-Spire Journal of Law, Politics and Societies]]></source>
<year>2011</year>
<volume>6</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>30-48</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kjeldgaard]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Nielsen]]></surname>
<given-names><![CDATA[K. S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Glocal gender identities in market places of transition: MARIANISMO and the consumption of the telenovela Rebelde]]></article-title>
<source><![CDATA[Marketing Theory]]></source>
<year>2010</year>
<volume>10</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>29-44</page-range></nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacalle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Jóvenes y ficción televisiva: Construcción de identidad y transmedialidad]]></source>
<year>2013</year>
<publisher-name><![CDATA[Editorial UOC]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacalle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La ficción resiste la crisis]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vasallo]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
<name>
<surname><![CDATA[Orozco]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Anuario Obitel 2013. Memoria social y ficción televisiva en países iberoamericanos]]></source>
<year>2013</year>
<page-range>279-310</page-range><publisher-name><![CDATA[Sulina]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lacalle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Memoria histórica y democracia: la ficción en el período socialista]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Montero]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Una televisión con dos cadenas. La programación en España (1956-1990)]]></source>
<year>2018</year>
<page-range>611-36</page-range><publisher-name><![CDATA[Cátedra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[La Ferle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Li]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
<name>
<surname><![CDATA[Edwards]]></surname>
<given-names><![CDATA[S. M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[An overview of teenagers and television advertising in the United States]]></article-title>
<source><![CDATA[Gazette]]></source>
<year>2001</year>
<volume>63</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>7-24</page-range></nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lewkowicz]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Rebel love: transnational teen TV vs. Mexican telenovela tradition]]></article-title>
<source><![CDATA[Continuum: Journal of Media &amp; Cultural Studies]]></source>
<year>2014</year>
<volume>28</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>265-80</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Magee]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[High School is Hell: The TV Legacy of Beverly Hills, 90210, and Buffy the Vampire Slayer]]></article-title>
<source><![CDATA[The Journal of Popular Culture]]></source>
<year>2014</year>
<volume>47</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>877-94</page-range></nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Masanet]]></surname>
<given-names><![CDATA[M. J.]]></given-names>
</name>
<name>
<surname><![CDATA[Fedele]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El &#8220;chico malote&#8221; y la &#8220;chica responsable&#8221;: modelos aspiracionales y representaciones juveniles en las teen series españolas]]></article-title>
<source><![CDATA[Palabra Clave]]></source>
<year>2019</year>
<volume>22</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>1-27</page-range></nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Masanet]]></surname>
<given-names><![CDATA[M. J.]]></given-names>
</name>
<name>
<surname><![CDATA[Medina Bravo]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Aran-Ramspott]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Survival of the Forbidden Love in Television Fiction: &#8220;Romeo and Juliet&#8221; in Contemporary Spanish Series for Youth]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Hetsroni]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Television and Romance: Studies, Observations and Interpretations]]></source>
<year>2016</year>
<page-range>19-38</page-range><publisher-name><![CDATA[Nova Science Publishers]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Meyer]]></surname>
<given-names><![CDATA[M. D. E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8216;&#8216;I&#8217;m Just Trying to Find my Way Like Most Kids&#8217;&#8217;: Bisexuality, Adolescence and the Drama of One Tree Hill]]></article-title>
<source><![CDATA[Sexuality &amp; Culture]]></source>
<year>2009</year>
<volume>13</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>237-51</page-range></nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Moseley]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Teen Series]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Creeber]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Television Genre Book]]></source>
<year>2001</year>
<page-range>41-3</page-range><publisher-name><![CDATA[BFI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Orozco Gómez]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La telenovela en México: ¿de una expresión cultural a un simple producto para la mercadotecnia?]]></article-title>
<source><![CDATA[Comunicación y Sociedad]]></source>
<year>2006</year>
<volume>6</volume>
<page-range>11-35</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Osgerby]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;So Who&#8217;s Got Time for Adults!&#8221;: Femininity, Consumption and the Development of Teen TV. From Gidget to Buffy]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Davis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Dickinson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen TV. Genre, Consumption and Identity]]></source>
<year>2004</year>
<page-range>71-86</page-range><publisher-name><![CDATA[BFI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Peters]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Bullies and Blackmail: Finding Homophobia in the Closet on Teen TV]]></article-title>
<source><![CDATA[Sexuality &amp; Culture]]></source>
<year>2016</year>
<volume>20</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>486-503</page-range></nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ramos]]></surname>
<given-names><![CDATA[M. M.]]></given-names>
</name>
<name>
<surname><![CDATA[González de Garay]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Arcila Calderón]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Grupos minoritarios en la ficción televisiva española: análisis de contenido y percepciones ciudadanas para la creación de un índice de diversidad]]></article-title>
<source><![CDATA[Cuadernos.Info]]></source>
<year>2020</year>
<volume>46</volume>
<page-range>307-42</page-range></nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ross]]></surname>
<given-names><![CDATA[S. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Stein]]></surname>
<given-names><![CDATA[L. E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: Watching Teen TV]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ross]]></surname>
<given-names><![CDATA[S. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Stein]]></surname>
<given-names><![CDATA[L. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen Television: Essays on Programming and Fandom]]></source>
<year>2008</year>
<page-range>3-26</page-range><publisher-name><![CDATA[McFarland]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ross]]></surname>
<given-names><![CDATA[S. M.]]></given-names>
</name>
<name>
<surname><![CDATA[Stein]]></surname>
<given-names><![CDATA[L. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen Television: Essays on Programming and Fandom]]></source>
<year>2008</year>
<publisher-name><![CDATA[McFarland]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Shary]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Generation Multiplex. The Image of Youth in Contemporary American Cinema]]></source>
<year>2002</year>
<publisher-name><![CDATA[University of Texas Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Van Damme]]></surname>
<given-names><![CDATA[E. V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Gender and sexual scripts in popular US teen series: A study on the gendered discourses in One Tree Hill and Gossip Girl]]></article-title>
<source><![CDATA[Catalan Journal of Communication &amp; Cultural Studies]]></source>
<year>2010</year>
<volume>2</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>77-92</page-range></nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Van Damme]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Van Bauwel]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Sex as Spectacle. An Overview of Gender and Sexual Scripts in Teen Series Popular with Flemish Teenagers]]></article-title>
<source><![CDATA[Journal of Children and Media]]></source>
<year>2013</year>
<volume>7</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>170-85</page-range></nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villareal]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Imágenes de la rebeldía massmediática]]></article-title>
<source><![CDATA[Revista F@ro]]></source>
<year>2008</year>
<volume>7</volume>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wee]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<source><![CDATA[Teen media. Hollywood and the Youth Market in the Digital Age]]></source>
<year>2010</year>
<publisher-name><![CDATA[McFarland]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
