Del cine a la televisión: de 24 fotogramas por segundo a 24 episodios por temporada

multi-million sagas based in attractions from theme parks, adaptations and re- adaptations ad infinitum from pseudo-childish novels of adventures, magic and fantasy, films based on comics, graphic novels, video-games, old myths of cinema rescued, prequels, sequels, trilogies, remakes？ nowadays, all this corner almost entirely cinemas worldwide. is there a crisis of ideas in contemporary mainstream cinema? is the industry, somehow, buying success cash on delivery? are we assisting to the death of the story toward the spectacular of the cinema machine as in the origin of movies? or, as a last resort, has cinema died? there are many voices that for a number of years of age, coinciding precisely with its recent centennial, have thought about this fact trying to answer these questions. while it is clear there is a mutation both discursive as espectactorial levels, and issues such as digitalization or the influence of new technologies have appeared frequently, has not been studied depthly the hybridization and overlapping that the cinema experiences with other languages such as television or advertising. in this regard, north american dramatic tv series of the new millennium collect many of its formal and narrative resources, subverting some of them, and giving feedback again, in a scenario that becomes an attractive and suggestive subject of study.