The Film Academy explores the role of the new television series Profesionales del cine y las series debaten en la instituci n sobre los formatos y el nuevo contexto audiovisual.
La Academia de Cine no quiere permanecer ajena al debate que est convulsionando la producci n audiovisual. Nuestros acad micos tambi n se orientan a las series. Tenemos que buscar respuestas. Nos preguntamos c mo nos situamos como cineastas, como colectivo y como Academia . As comenz Mariano Barroso, presidente de la instituci n, la mesa redonda que abord el mi rcoles los cambios que ha vivido el celuloide en los ltimos a os y el surgimiento de nuevos formatos y plataformas digitales. En este encuentro, se escenific un momento en el que cine y series se miran de t a t , y comparten espacio en los principales festivales internacionales y profesionales que trasvasan entre ambos medios.
Moderada por la guionista Isabel V zquez, en el foro participaron los productores ejecutivos Teresa Fern ndez-Vald s (Bamb ) y Fernando Bovaira; la especialista en televisi n Conchi Cascajosa; los guionistas ngela Armero y Alejandro Hern ndez; el cr tico cinematogr fico y periodista Fernando Lara; y el realizador Ram n Salazar.
Analizar y desmontar el t tulo del encuentro Nuevas series: cine o televisi n? fue la primera tarea de los ponentes. Llevamos veinte a os viendo grandes series, como The Wire. La televisi n tiene su propio lenguaje. Lo que marc la diferencia fue la incorporaci n de voces autorales , asegur Armero, mientras que Fern ndez Vald s se al que hoy producimos con un dinero que no hemos tenido nunca. Para m lo nuevo se traduce en presupuesto .
La innovaci n radica en la cantidad, en la burbuja de producci n , seg n Bovaira, y en la b squeda de nuevos p blicos y el riesgo , para Hern ndez; mientras que Cascajosa habl de reencuentro con la firma de realizadores como Alberto Rodr guez, Enrique Urbizu, Mar Coll, Juan Cavestany, lvaro Fern ndez Armero y Paco Le n en series. Ya hemos estado aqu . En el pasado ten amos a Antonio Mercero, Pilar Mir , Mario Camus Esta relaci n est desde el principio y tambi n desde la educaci n en las escuelas de cine , afirm .
Defensa del cine en salas Partidarios de la hipot tica inclusi n futura de las series entre los premios que concede anualmente la Academia, los ponentes escenificaron la dificultad de categorizar y valorar historias, que van desde la miniserie hasta las ficciones diarias y que est presente en televisi n en abierto, en cable y en plataformas. Y es que el debate no se pod a deslindar de la forma en la que hoy en d a consumimos el contenido audiovisual, espacio que aprovech Fernando Lara para defender la exhibici n del cine en salas.
Cascajosa y Fern ndez Vald s agradecieron a la Academia esta iniciativa y su sensibilidad hacia lo que ocurre m s all del cine. Este momento en el que nos podemos mirar de t a t sirve para reconocer que durante mucho tiempo no ha sido as , apunt la cofundadora de Bamb .
El cambio en la producci n En el encuentro tambi n se pusieron sobre la mesa las sombras de este nuevo contexto audiovisual. La cuesti n de la inmediatez afecta a la autor a. La televisi n tiene equipos m s grandes y tiene que ver con lo que quiere la productora, m s que contigo , apunt la realizadora In s Paris. Por su parte, Bovaira y Salazar alertaron de c mo los mecanismos de producci n tradicionales cambian cuando un producto est concebido para su visualizaci n en plataformas.
Me preocupa que vayan a desaparecer los planos generales y que ciertos g neros, como el drama, de las salas se trasladen a las plataformas , explic Bovaira, mientras que el responsable de varios cap tulos de lite y de la cinta La enfermedad del domingo desgran su experiencia. Para la pel cula no tuve restricciones, para la serie s . Ten a claro que estaba planeada para verse en un d a y medio , asegur Salazar.
La ausencia de datos de audiencia por parte de las plataformas, que impide saber el verdadero impacto de una serie m s all del marketing, la protecci n de la exhibici n cinematogr fica en salas, y el control de los derechos de autor y de imagen de guionistas y actores en un mercado global fueron otras de las preocupaciones expuestas.
En un debate abierto a todas las facetas de la industria audiovisual, tambi n se pronunciaron la guionista y escritora Virginia Yag e y los periodistas especializados en televisi n David Jabonero, Alberto Rey y Fernando de Luis-Oureta. Asimismo, asistieron al acto el vicepresidente de la Academia Rafael Portela; el cineasta y creador de la serie Verg enza, Juan Cavestany; el protagonista de lite Omar Ayuso; la Directora general de ALMA Ana Pineda; la directora de desarrollo de contenidos Viacom Espa a, Cristina Alcelay, y miembros de la Junta Directiva de la Academia, entre otros profesionales de la industria audiovisual espa ola.
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The Film Academy explores the role of the new television series Profesionales del cine y las series debaten en la instituci n sobre los formatos y el nuevo contexto audiovisual. 
