with the aim to request a new vison. With her, in the 70’s, start new pioneer ways of knowledge and analysis of the audio-visual world, which gives way to the feminine point of view in the symbols of the cinema. The analysis of the series spread worldwide with the success of the series Dallas.

As noted by Katz and Liebes ( 1990), the premiere of this series, created by David Jacobs and showed by CBS from 1978 to 2014, lead to the first world success for a soap which generated lots of studies on it, like the one of Herta Herzog ( 1986), pioneer psychologist in market studies about the influence of publicity or the one from Sonia Livingstone ( 1987) amongst all.

As per Hidalgo and Ferrer (2018):

“Even though the perspectives of studies have been focused on the stories and the links to the society build up, some works have deepen in the study of its format and standard (Toledano y Verde, 2007; Gordillo, 2009; Padilla y Requiejo, 2010)”.

Next to the effects of reception there is also a key point of what the subject does with these contents and if these influence the establishment of the personality and the way we understand the world. According to Bandura and his social cognitive theory about mass communication (1996:112), “there is no unique leader of social influence. Medias can impose ideas, directly or by the way of people who want to adopt them”. Kellner said that the messages from TV are extracted from the images, the text and the various codes or sub codes used. All the images are coded and their means are determined by these codes and the context of the story. On this matter, 4 years later and even though referring to the cinema, De Lauretis (1992;13) would say that the language and other significant means ( for example visual and iconic )produce signs which meanings are established by specific codes which themselves build the image of the women on the big screen, as well as determining codes as a system where expression and contents are linked to the meaning (1992;60). Teresa de Lauretis considered also that the image of women on the big screen relied on clichés (1992; 66).

“near the popular stereotypes :bad versus right , or girl versus dirty woman which also create an involvement more or less obvious but dangerous, it happens that the people absorb directly the images, each image is easily interpretable and its meaning does not always take into account the context or the circumstances of its production, distribution or reception”.

As per Hidalgo-Mari and Ferrer (2018), from the start of the 90’s up to 1995, most of the people were stereotyped and sexists. The role of the women was relegated to the role of housewives who were looking after their family and everything that it involved.

These roles have evolved, as explained in the works of Sanchez Aranda Fernandez, Gill y Segado (2011:126) about the representation of women in the TV series shown at prime time in Spain. This study shows the evolution of this representation on the basis of the report from Graydon (2001) and it declares that the role of the woman represented in the series have substantially progressed by increasing their roles in representation and this constitutes a turning point in changes in the society, it has also modified the reality shown by TV fiction.

The presence of gender stereotypes in any audio-visual production worries because id the effects they could have on the childhood and adolescence. As Sanchez-Labella declares, the actors of fiction become social models to which viewers can be attracted to and also identify themselves to. For Martinez i Surinyac (1998) in Galan Fajardo (2006), the