The production of an image of the world of wine in Chile is relevant to develop new markets. We wonder about the image of women in the world of wine projected by the audiovisual media. We analyze a sample of chapters from two documentary series on Chilean vineyards, produced for the purpose of diffusion or promotion of them and the wine sector in general. We code various aspects of the discourse and montage with a gender perspective, finding that the subject position is strongly centered on men; women appear with emerging importance in the role of oenologists; and the dominant narrative places male and female winemakers as protagonists of innovation in a normative framework of traditional social relations (economic, gender, with nature), rooted in the family. We discuss the tensions inherent in the image projected by these media.La producción de una imagen del mundo del vino en Chile es relevante para el sector vitivinícola, en el que las mujeres han conseguido una presencia significativa. Las preguntas sobre la imagen que proyectan los medios audiovisuales y cómo aparece relacionado el género con la narrativa de la modernización de la industria del vino son centrales en esta investigación donde se analizan dos series de televisión de tipo documental sobre vitivinicultura producidas con fines de difusión (2017 – 2018). Se codificaron diversos aspectos del discurso audiovisual con una perspectiva dialógica, encontrando que la posición de sujeto está fuertemente centrada en hombres; las mujeres aparecen con una relevancia emergente sólo en el rol de enólogas y la narrativa dominante pone a enólogos y enólogas como protagonistas de la innovación en un marco normativo tradicional, que enraíza en la familia las relaciones sociales económicas, de género y con la naturaleza. The production of an image of the world of wine in Chile is relevant to develop new markets. We wonder about the image of women in the world of wine projected by the audiovisual media. We analyze a sample of chapters from two documentary series on Chilean vineyards, produced for the purpose of diffusion or promotion of them and the wine sector in general. We code various aspects of the discourse and montage with a gender perspective, finding that the subject position is strongly centered on men; women appear with emerging importance in the role of oenologists; and the dominant narrative places male and female winemakers as protagonists of innovation in a normative framework of traditional social relations (economic, gender, with nature), rooted in the family. We discuss the tensions inherent in the image projected by these media.