In the year 2000, in the midst of the economic and social crisis, the series Okupas by directors Bruno Stagnaro and Adrián Caetano premiered on Argentine television. This program marks a new way of addressing certain problems of the most vulnerable sectors of society on television, not only in relation to the thematic treatment but also in its realistic form of enunciation. From the premiere of Okupas, a set of similar series began to be produced seeking to represent subjectivities that inhabit a space of social marginality and which stories are developed based on the prominence and problems of these subjects and/or spaces. We refer to: Tumberos (2002), Sol negro (2003), Disputas (2003), Los pibes del puente (2011), La purga (2011), El marginal - Temp 1 (2016), Un gallo para Esculapio - Temp 1 (2017), El marginal Temp 2 (2018), Un gallo para Esculapio - Temp 2 (2018), El marginal Temp 3 (2019), Puerta 7 (2021), among others. Currently it is possible to recognize not only common characteristics in this type of narrative, but also a set of conventions that allow us to understand them as a particular genre.
In this article we expose some of the investigations carried out so far within the framework of the doctoral thesis called “Social fiction” in contemporary Argentine television: definitions and analysis of a genre. Mainly we seek to explore different forms of representation of marginality in this type of fiction, the general characteristics of this genre and how it is currently defined in some journalistic discourses.
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