146 | nº 29, pp. 139-159 | doxa.comunicación
July-December of 2019
Portrayal of the journalist in Spanish cinema from 1990 to 2010
ISSN: 1696-019X / e-ISSN: 2386-3978
Atilano, presidente (La Cuadrilla, 1998)
MOD73
Pr
1
C, U
Año Mariano (F. G. Cuervo y K. Elejalde, 2000)
RY80
Pr
2
A, U
Hable con ella (Pedro Almodóvar, 2002)
RY84
Sec1/Sec2
1 / 3
A, J / A, U
No somos nadie (Jordi Mollà, 2002)
RY89
Pr
3
A, U
Teresa, Teresa (Rafael Gordón, 2003)
RY94
Pr
3
A, K, U
Franky Banderas (J.L. García Sánchez, 2004)
RY103
Sec1/Sec2
2 / 3
A, U / A, U
Cuba-libre (Rai García, 2006)
RY113
Pr
3
B, M, N, P, U
Volver (Pedro Almodóvar, 2006)
RY115
Sec
3
A, U
Prime time (Luis Calvo Ramos, 2008)
RY127
Pr/Sec
3
A, U / H, U
Source: created by the authors
3.2. Morbidness and the dominance of television in the 1990s
The television media has dominated the section of unrealistic, villainous characters. Of the 12 titles from the 1990s, 9 be-long to professionals in the audio-visual media. Comedy prevailed in this period in which the gender balance was nearly equal with villains numbering 4 female and 5 male.
Figure 2: Presence of women, men, and the media (1990-1999)
Source: created by the authors
Next, we move to the analysis in chronological order. Manolo Molero (Antonio Ozores) and Emilio Lezcano (Óscar Ladoire) are celebrity journalism photographers in Disparate Nacional, and are able to take all kinds of compromising photos with their cameras.
