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The animalisation of women is a recurrent strategy of dehumanisation in Manosphere discourses. Its normalisation as a social phenomenon and its popularity are rooted in short and sententious genres (proverbs, sayings, etc.), which have significantly contributed to reaffirming the status quo of domination largely assigned to men in myths and philosophical theories. This article analyses the use of misogynistic zoomorphism in Burbuja.info, a Spanish economic forum whose extreme neoliberal perspective provides a suitable breeding ground for sexism. The corpus was constructed by identifying the most frequent examples of zoomorphism detected in an initial search of the approximately six million comments posted in the forum between 1 January 2022 and 31 May 2023. The research combines different digital techniques for the construction and quantitative analysis of the corpus with a qualitative analysis of examples of misogynistic zoomorphism. The analysis reveals that, while hostile sexist comments do a systematic comparison of women with the most undesirable traits culturally associated with animals, the positive aspects are never transferred to figurative use. The research also highlights the role played by some rhetorical strategies in the discursive construction of misogyny, such as metaphorical use of humour.

The first studies of film and television as inducers of tourism appeared in the 1990s. From the outset, research in this area has identified a diverse range of tourist profiles, highlighting the fact that audiovisual media fans constitute an important segment of the tourism market because fan consumers dedicate considerable amounts of time, money, and energy to pursuing their specific interest. As a result, academic researchers have developed a substantial body of knowledge in this field over a relatively short period. The objective of this article is to offer a critical review of studies that have enhanced our understanding of film fan tourists to identify critical gaps in knowledge and, consequently, propose new ways to fully integrate the fan perspective into studies of audiovisual fiction-induced tourism. To this end, all the articles dealing with this specific tourist profile indexed in Web of Science, Scopus, and Google Scholar (49) have been identified and analysed based on their year of publication, geographical location, type of audiovisual production studied, methodology adopted and composition of the sample, major research themes and main theoretical and/or practical contributions. This review of the literature on film fan tourists finds that our understanding of the specific characteristics of the profile and behaviour of this type of tourist is still limited. This is due to some extent on the lack of consensus on the definition of the concept of “fans”, which has led to the erroneous classification of tourists whose travel motivation has nothing to do with a film and/or television production—and who may not even be fans of that production—as film fan tourists. The recommendations of this review thus focus mainly on reaching a consensus on the definition of the concept and establishing a single set of selection criteria for future research

The popular Spanish fiction series Money Heist has been seen in more than 190 countries and has won the International Emmy Award for Best Drama. In 41 episodes over five seasons, a group of thieves dressed in red overalls and concealing their faces behind Salvador Dalí masks break into the Royal Mint of Spain and the Bank of Spain with the intention of carrying out an ambitious heist at each location. There are almost no product placements of real-life tourist attractions in the narrative structure of the series. This article discusses whether certain symbolic constructs identified in Money Heist could act as tourism inducers in the same way as the placement of real-life locations, a practice explored extensively in recent research. This study finds a considerable increase in tourist numbers to the Royal Mint of Spain that coincided with a massive rise in searches on YouTube for identifying elements of the series and a significant correlation between those elements and Spanish tourist destinations on Instagram. It thus offers evidence of the presence of symbolic constructs that could serve as inducers of both domestic and international tourism to Madrid.

This paper explores parasocial phenomena on social media pages related to Spanish television fiction by analysing the development of parasociality through relationships established between users and characters and the characteristics of this type of online community. The sample consisted of 4,762 spontaneous comments posted on social media pages (1,598 on Facebook and 3,164 on Twitter) linked to television series. Comments published between 1 January 2018 and 31 May 2020 were compiled the day after the premiere of each fiction. Our findings confirm those of previous researchs on the similarity between parasocial relationships with fictional characters and relationships in real life. This study also substantiates that women’s comments show a greater tendency to draw associations between parasocial relationships and daily life. We also find a link between programme longevity and audience success on the one hand, and the intensity of parasocial relationships with the characters on the other. The relationships among community members reveal a degree of narcissism, prompting more self-disclosure than interaction with the rest of the users. Therefore, such relationships are closer to consociality (Kozinets, 2015) than parasociality, although significant differences concerning gender identity are also found in this context. Este artículo explora los fenómenos parasociales que se producen en las redes sociales dedicadas a la ficción televisiva española, con el objetivo de analizar tanto las relaciones entre los usuarios y los personajes como las características de este tipo de comunidades y la evolución de ambas manifestaciones de la parasocialidad. La muestra de análisis está integrada por 4.762 comentarios espontáneos en las webs dedicadas a los programas (1.598 en Facebook y 3.164 de Twitter), publicados entre el 1 de enero de 2018 y el 31 de mayo de 2020 y recogidos al día siguiente del estreno de cada ficción. El trabajo confirma los resultados de las investigaciones precedentes sobre la semejanza de las relaciones parasociales con los personajes y las relaciones reales, así como la mayor tendencia de los comentarios femeninos a extrapolar las relaciones parasociales a su vida cotidiana. El análisis también evidencia la relación entre, por un lado, la longevidad de los programas y el éxito de audiencia y, por otro lado, la intensidad de las relaciones parasociales con los personajes. Las relaciones entre los miembros de la comunidad revelan un cierto narcisismo, que los induce más a mostrarse (self-disclosure) que a interactuar con el resto de los usuarios. Se sitúan, por consiguiente, más próximos a la consocialidad (Kozinets, 2015) que a la parasocialidad, aunque también en este punto se aprecian diferencias significativas en relación con la identidad de género.

The anonymity of the Manosphere has provided a fertile breeding ground for the spread of misogyny through increased hate speech on the Internet. In recent years, this virtual space composed mostly of men, has been the subject of numerous studies aimed at identifying the discursive mechanisms of identity constructions that underlie the denigration of women. This paper takes the findings from international research on the subject to address a phenomenon still little explored in Spain through the analysis of misogynistic comments on Burbuja.info. Economic forum. The analysis sample comprises 4,281 messages that include the lexeme “woman” posted over 2.5 years, 761 of which contain expressions that ridicule, disparage, or insult women. Thematic analysis demonstrates the repetition of misogynistic topics and tropes common in the most radical Reddit and 4chan subforums, such as hypergamy, objectification, and the constant disparagement of the world of women, not to mention criticism of feminism, left-wing political parties, and legislation on gender violence. The results obtained show that the “male identity crisis” is narratively constructed in the messages on Burbuja.info using the motif of sacrifice –the cornerstone of a monotypic story in which the purpose of the hero-man-victim’s journey is to punish the villain-woman. Furthermore, we also found that there are different configurations of identity related to attitudes toward women; these match up with the four most prominent masculinist subcultures identified in the leading literature on the subject: Men Rights activists (MRA), Men Going Their Own Way (MGTOW), Pickup Artists (PUA), and Involuntary Celibates (Incels).

The first studies of film and television as inducers of tourism appeared in the 1990s. In light of the role these media play in tourist decisions, studies of the capacity of audiovisual fiction to project a unique image of tourist attractions and destinations or to influence audience perceptions of them are particularly important. However, ever since research of this kind began, it has suffered from significant theoretical and methodological shortcomings associated mainly with the lack of an interdisciplinary approach. Most of the research has been in the field of tourism and marketing studies, with only a limited number of contributions from film and television studies. The objective of this article is to offer a critical review of studies exploring the relationship between audiovisual fiction and tourist destination image. The aim is to identify their conceptual shortcomings and to point out possible solutions with reference to audiovisual textual theory and analysis. The article begins with the identification of the main areas studied in this research: the effect on the attributes of tourist destinations and on their overall image, stereotypes, and the capacity of audiovisual fiction to vest the locations where their stories are set with different connotations. This is followed by an analysis of studies that exhibit more of an interdisciplinary approach by combining audiovisual studies and tourism studies. The article then addresses the debate over the types of audiovisual productions that researchers argue have the greatest tourism-inducing capacity. Finally, the conclusions point out possible future lines of research based more on explanation than on description, recommending the systematic incorporation of textual analysis into research on film-induced tourism, and particularly on its impact on tourist destination image.

Institutions are investing increasing amounts of resources in the promotion of their regions through audiovisual fiction. At the same time, there has been increasing scholarly interest in the relationship between audiovisual fiction and tourism, and particularly the effect of that relationship on potential tourists. Despite the inherently interdisciplinary nature of this field of research, very little attention appears to be given to what media studies, and particularly audience studies, could contribute. The purpose of this article is to offer a critical review of the literature on film-induced tourism from the perspective of audience analysis. To this end, previous studies are categorised according to their objectives (e.g., to study the effect of films and series on destination image, travel motivations, experiences and intentions to visit, or tourist visits themselves), and an analysis is offered of their main findings and conclusions and of the use they make (if any) of audience analysis. The article then concludes with some proposals of ways to integrate audience analysis more fully into studies of film-induced tourism to support research in this field.

Debido al gran éxito de Juego de Tronos, numerosos espacios históricos y culturales en España han ganado reconocimiento mundial. Turistas cuyas fotografías capturan escenarios únicos que se encuentran en la serie de televisión, proyectan espacios narrativos específicos e intentan expresar las respuestas afectivas inducidas previamente por su experiencia visual. Se proyectaron 452 imágenes a 214 espectadores sobre espacios patrimoniales y culturales españoles que aparecen en Juego de Tronos publicadas en Instagram #juegosdetronosespaña y #juegodetronos. Los resultados evidencian que la dimensión afectiva de las imágenes por sí sola no explica su éxito en Instagram, lo que sugiere que estas imágenes tienen una estructura connotativa específica que transmiten mensajes que evocan sentimientos y recuerdos a nivel simbólico. También, que las composiciones visuales específicas de mayor éxito en Instagram se identifican en términos denotativos y los atributos de imagen asociados a estos sentimientos afectivos. Los datos concluidos tienen implicaciones prácticas para las organizaciones de gestión de destinos (OGD) y gestores culturales.

The critical potential of humour in television comedy has generated an extensive debate among researchers of television fiction. The sitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.