Televisa 2005

Total Page:16

File Type:pdf, Size:1020Kb

Televisa 2005 Televisa BRINGING Grupo Televisa, S.A. IT Av. Vasco de Quiroga 2000 ALL C.P. 01210 México, D.F. (5255) 5261-2445 together Annual Report 2005 www.televisa.com ANNUAL REPORT 2005 AT TELEVISA, investor INFORMATION Corporate headquarters Legal counsel Independent auditors Grupo Televisa, S.A. Mijares, Angoitia, Cortés y Fuentes, S.C. PricewaterhouseCoopers, S.C. Av. Vasco de Quiroga 2000 Montes Urales 505, 3rd Fl. Mariano Escobedo 573 C.P. 01210 México, D.F. C.P. 11000 México, D.F. C.P. 11580 México, D.F. (5255) 5261 2000 (5255) 5201-7400 (5255) 5263-6000 Fried, Frank, Harris, Shriver & Depositary Jacobson LLP JPMorgan Chase Bank One New York Plaza One Chase Manhattan Plz., 40th Floor New York, New York 10004 U.S.A. New York, New York 10081 USA (212) 859-8000 (866) JPM-ADRS (576-2377) letter to our [email protected] > 2shareholders 4financial highlights contents at a glance 6 Investor relations Common stock data We ask that investors and analysts CPOs (Certificados de Participación Ordinarios) covering Grupo Televisa, S.A., direct all inquiries to comprise 117 shares (25 A Shares, 22 B Shares, 35 D Shares, and 35 L Shares) and are listed and admitted for trading on the Bolsa Mexicana de Valores, S.A. de C.V. Grupo Televisa, S.A. (the Mexican stock exchange), under the ticker symbol TLEVISA CPO. The GDSs Av. Vasco de Quiroga 2000 (Global Depositary Shares), each representing five CPOs, are listed on the New C.P. 01210 México, D.F. York Stock Exchange and trade under the ticker symbol TV. On March 22, 2006, building (5255) 5261-2445 Televisa changed its GDS ratio from its previous 1 GDS per 20 CPOs to 1 GDS [email protected] per 5 CPOs, a 1:4 GDS split. excitement, 8 driving results Website Dividend policy http://www.televisa.com Decisions regarding the payment and amount of dividends are subject to approval by a majority of the A Shares and B Shares voting together generally, but not necessarily, on the recommendation of the board of directors, as well as a majority of the A Shares voting separately. On March 25, 2004, the company’s board of directors approved a dividend policy under which Televisa intends to pay an annual regular dividend of Ps.0.35 per CPO. SEC filings Televisa files and submits reports to the US Securities and Exchange Commission on an annual basis. This annual report contains both historical information and forward-looking statements. These forward-looking statements, as well as other broadening forward-looking statements made by the company, or its representatives from audiences, time to time, whether orally or in writing, involve risks and uncertainties relating bringing it all to the company’s businesses, operations, and financial condition. A summary of stimulating together these risks is included with the company’s submissions accompanying this annual 14 growth 18 report with the US Securities and Exchange Commission, and this summary, as well as the other filings with and submissions to the US Securities and Exchange Commission, are and will be available through the office of investor relations upon written request. The pro-forma information is presented for informational purposes only and does not purport to represent Televisa’s financial position or results of operations. Furthermore, the reader should not rely on the pro-forma information as an management indication of the results of operations of future periods. 23 discussion bringing our communities board of directors signi, s.c. 22 : together 35 This annual report is available in both English and Spanish. April 2006. DESIGN Este informe anual está disponible tanto en español como en inglés. Abril 2006. financial 36 statements we are BRINGING IT ALL together We are integrating and leveraging all of our media assets to extend the reach of our content beyond the screen and to extract maximum value from it. As a result, we are growing and diversifying the audiences for our programs, building enthusiasm for our brands, increasing ratings and revenues, and delivering ever greater value to our shareholders. BRINGING IT ALL TOGETHER / 1 DEAR FELLOW shareholders At Televisa, we are integrating all of our business segments distribute pay-television channels in the United States, 40.7% to create value for our shareholders. By leveraging all of our was another driver of our sales. TuTV currently reaches assets to transform our television content into rich multi- approximately 1.3 million viewers in the United States. consolidated media experiences for our audiences, we are drawing higher Given the popularity of our programming, improving operating ratings and increasing revenues in all of our businesses. Our macroeconomic conditions in Mexico and abroad, and income before ability to capitalize on the synergies that exist among our the rapid growth of the Hispanic population in the depreciation and diverse media assets has been a key factor that has enabled United States, we continue to see solid growth potential us to continue to increase our sales and expand our margins in this segment. amortization during the past several years. margin Through our programming exports segment, we reached In 2005, our results once again speak for themselves. Pro- audiences in more than 50 countries in 2005. In the forma consolidated sales grew 8 percent to Ps.32.5 billion. United States, our programs continue to be a key driver Our operating income before depreciation and amortization of Univision’s success. In 2005, we provided 39% of the increased 16 percent to Ps.13.2 billion, and we achieved a Univision network's nonrepeat broadcast hours, including record-high margin of 40.7 percent. I attribute these results most of its prime-time programming. In fact, in 2005 the to three primary factors. The first is our ability to consis- Univision network attracted the largest prime-time and tently produce high-quality content for our audiences. The total-day audience of adults ages 18–49 and 18–34 in its second is, as I mentioned, our ability to leverage all of our history. We also provided 23% of Telefutura network’s business segments and capitalize on their synergies to nonrepeat broadcast hours and virtually all of Galavision extract maximum value from our content. The third factor is network's programming. our disciplined management of costs and expenses. We believe that the Hispanic community in the United Our television broadcasting segment remains the corner- States presents a tremendous opportunity for Televisa. stone of our operations. Our programs consistently pull in Given the size and rapid growth of this market and, in high ratings and, in 2005, drew an average sign-on to sign- particular, its demographic similarity to Mexico and Latin off audience share of more than 70 percent. In fact, we America, we continue to explore ways to increase our pres- aired 87 of the top 100 television shows in Mexico during ence in this region. the year. We expanded our advertising revenues, which grew 5.1 percent this year. Once again, we managed our Sky Mexico, our direct-to-home satellite television business, operations to keep costs and expenses relatively flat. All of remains the undisputed leader in the Mexican pay-television this adds up to continued expansion in our operating industry. Sky's superior content offerings and customer income before depreciation and amortization margin, service continue to draw subscribers. In addition, during which reached 47.7 percent for the year—a record for this 2005 we completed the DirecTV subscriber migration segment. process. As a result of these efforts, we added 248 thou- sand subscribers during the year and brought Sky's total Our pay-television networks segment delivered strong subscriber base to more than 1.25 million. This growth growth once again. This segment benefited from an translated into outstanding sales and margin expansion increase in sales from channels sold in Mexico and in 2005. We expect Sky to continue to experience strong throughout Latin America as well as from higher adver- growth in 2006, due in part to its exclusive broadcast of tising revenues. TuTV, our joint venture with Univision to 34 of the 64 World Cup soccer games. 2/ TELEVISA ANNUAL REPORT 2005 Over the past three years we have returned over US$950 million to our shareholders Cablevisión, our cable television business in Mexico City, to operate sportsbooks and number draws, including the has seen an amazing turnaround thanks to the conversion of establishment of 65 locations throughout Mexico. We plan our system from an analog to a digital format. Thus far we to launch this business in the second quarter of 2006. have converted 51 percent of our network and have seen a concomitant rise in our subscriber base, ranging from 34 The digital era has created appealing opportunities for our percent to as much as 98 percent in certain areas. At close company. In 2004, we began using our vast library and media of year our subscriber base had reached more than 422 assets to deploy our content in the Mexican wireless space thousand, and our broadband customer base had grown to through SMS. In addition, last November we launched 61 thousand from 26 thousand. We expect to see healthy Tarabu—the first legal, online digital music store in Latin subscriber growth as we complete our conversion to the America. This is just the beginning. In addition to SMS and digital format. In addition, we recently announced our music we will soon offer video and will keep expanding the intention to start providing voice services through our reach of our content well beyond the television screen. cable platform; this initiative will open a completely new revenue source for this business.
Recommended publications
  • CAPÍTULO 5 CONCLUSIONES En La Actualidad, La Telenovela Mexicana
    CAPÍTULO 5 CONCLUSIONES “Las malas telenovelas existen porque el público las ve, la única manera de que se terminen es que el público ya nos las vea” Helena Rojo (actriz). En la actualidad, la telenovela mexicana se ha generalizado hacia una mala opción de entretenimiento sin ponerse a ver que existen telenovelas que están bien hechas y renovadas. El estudio de este género ha quedado en el abandono y se ha enfocado más a la crítica, es por ello, que los comunicólogos deberían ver en las telenovelas un medio de estudio muy interesante y poco explotado. Este género de entretenimiento es de los pocos que ha sobrevivido a lo largo de cuatro décadas y se ha ido transformando conforme la sociedad evoluciona con nuevas temáticas, nuevos tipos de telenovelas y algunas variantes en su contenido. Además de que las telenovelas han provocado en el público diversidad de respuestas, que van de los insultos al villano, adquisición de frases de moda y nombres de protagonistas hasta la paralización de un país en guerra, cuestiones que resultan de gran interés para una futura investigación. Por otra parte, el público desconoce que las telenovelas están divididas por tipos y dependiendo de ellos es lo que puede esperar de la historia. El hecho de que las telenovelas de tipo “populachero” y “fársicas” fueran en algún momento las más recurrentes no quita que existan otros tipos diferentes que la gente no se toma la molestia de ver y que, debido a ello, los productores piensen o tengan que producir telenovelas de este tipo, porque son las que la gente ve.
    [Show full text]
  • Información De La Sct Registrada El 31 De Agosto
    INFORMACIÓN DE LA SCT REGISTRADA EL 03 DE FEBRERO DE 2012, DE LAS 05:00 A LAS 20:00 HORAS EN 17 PROGRAMAS DE RADIO, 10 EN TELEVISIÓN Y 12 PORTALES TIEMPO DE COBERTURA EN MEDIOS ELECTRÓNICOS 2 H 43’ 15” TIEMPO EN RADIO 2 H 27’ 54” TIEMPO EN TELEVISIÓN 15’ 21” COMUNICADO COM. No. 026. SITUACIÓN QUE GUARDA EL CONCURSO MERCANTIL DE MEXICANA DE AVIACIÓN.- Los inversionistas de Med Atlántica, encabezados por Cristian Cadenas, aún no han depositado en firme en el fideicomiso los recursos que podrían salvar a Mexicana de una virtual bancarrota. Tras sostener una reunión en privado con representantes de Med Atlántica, con el juez que lleva el proceso de Mexicana y otras autoridades, la Secretaría de Comunicaciones y Transportes, explicó que "el cheque sigue en proceso de cobro, por lo que los recursos no han sido depositados en firme en el fideicomiso". La SCT reitera su compromiso de seguir facilitando el proceso de reestructura de Mexicana de Aviación en el marco de la Ley, y ratifica su total disposición para que el proceso pueda concluir exitosamente. (El Universal online, 14:56 / El Universal online, 14:56 / Grupo Fórmula, López Dóriga, 15:01/ Grupo Fórmula online, 15:20 / La Jornada online, 15:54 / Excélsior online, 15:56 / Reforma online, 15:57 / El Economista online, 16:00 / Notimex online, 16:08 / 17:44 / Milenio online, 16:10 / La Crónica online, 16:17 / El Financiero online, 16:26 / Grupo Radio Centro, Formato 21, Enrique Cuevas Báez, 16:49/ MVS Comunicaciones, Noticias MVS, Ezra Shabot, 17:21 / Grupo ACIR, Panorama Informativo, Susana Melgarejo, 18:07/ Núcleo Radio Mil, Enfoque, Raúl Sánchez Carrillo, 18:52/ Grupo Radio Centro, La Red, Jesús Martín Mendoza, 18:52) COM.
    [Show full text]
  • Nota Aclaratoria Referente Al Ntimero Anterior: Aiio XXVII Ntim. 2 (2000)
    • Nota aclaratoria referente al ntimero anterior: Aiio XXVII Ntim. 2 (2000) La bibliografia que tomamos como base para Ia que publicamos en el numero anterior de la Revista sobre Diaz Valcarcel fue preparada por la doctora Zoraida Fajardo Heyliger, quien present6 su tesis doctoral "La narrativa de Emilio Diaz Valcarcel" en Ia Universidad Complutense de Madrid, Facultad de Filologia, Secci6n de Literatura Hispanica en 1989. 390 , BIBLIOGRAFIA FUNDAMENTAL DE Y SOBRE DULCE MARIA LOYNAZ Este trabajo es una bibliografia fundamental de y sobre la poeta cubana Dulce Maria Loynaz ( 1902-1997) merecedora por su obra 1iteraria de ser ga­ Jardonada en Espana, en 1992, con el premio "Cervantes". La calidad de Ia obra de Loynaz, y el Iugar que ocupa no solo en Ia historia de Ia literatura cubana en particular sino en Ia hispanoamericana en general, no paso inadvertida ante los crfticos en Espana que ]e otorgaron el mas prestigioso galardon de literatu­ ra en lengua espanola. La realidad del premio "Cervantes" revitalizo la produccion literaria de Loynaz quien vio reeditadas muchas de sus obras durante la decada de los noventa. La poeta, que hasta entonces habia vivido sumida en singular mutis­ mo en su vieja y aristocratica mansion de La Habana, comprobo con satisfac­ cion como resurgian sus poemas ala Juz de nuevos estudios y como Ilegaban a la prensa nuevas antologias de su obra. Sin duda, esto motivo a Loynaz a pu­ blicar lo que quedaba inedito de su obra, incluyendo un epistolario. Dulce Maria Loynaz seria basta su fallecimiento en La Habana en 1997, la directora emerita y vitalicia de la Academia Cubaila de Ia Lengua correspondiente de Real Academia de Ia Lengua Espanola.
    [Show full text]
  • Mujer, Tradición Y Conciencia Histórica En Gertrudis Gómez De Avellaneda
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2017 MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA Ana Lydia Barrios University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Latin American Literature Commons, and the Spanish Literature Commons Recommended Citation Barrios, Ana Lydia, "MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA. " PhD diss., University of Tennessee, 2017. https://trace.tennessee.edu/utk_graddiss/4441 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Ana Lydia Barrios entitled "MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Óscar Rivera-Rodas, Major Professor We have read this dissertation and recommend its acceptance: Michael Handelsman, Nuria Cruz-Cámara, Jacqueline Avila Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Ana Lydia Barrios May 2017 ii Copyright © 2017 by Ana Lydia Barrios All rights reserved.
    [Show full text]
  • Redalyc.La Telenovela En Mexico
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Directory of Open Access Journals Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Sistema de Información Científica Guillermo Orozco Gómez La telenovela en mexico: ¿de una expresión cultural a un simple producto para la mercadotecnia? Comunicación y Sociedad, núm. 6, julio-diciembre, 2006, pp. 11-35, Universidad de Guadalajara México Disponible en: http://www.redalyc.org/articulo.oa?id=34600602 Comunicación y Sociedad, ISSN (Versión impresa): 0188-252X [email protected] Universidad de Guadalajara México ¿Cómo citar? Fascículo completo Más información del artículo Página de la revista www.redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto La telenovela en mexico: ¿de una expresión cultural a un simple producto para la mercadotecnia?* GUILLERMO OROZCO GÓMEZ** Se enfatizan en este ensayo algunos It is argued in this essay that fictional de los principales cambios que el for- drama in the Tv screen is becoming mato de la ficción televisiva ha ido more and more a simple commodity. sufriendo desde sus orígenes, como If five decades ago, one of the key relato marcado fuertemente por la marks of Mexican Tv drama was its cultura y los modelos de comporta- strong cultural identity, and in fact miento característicos de su lugar y the audience’s self recognition in their su época. En este recorrido se hace plots made them so attractive and referencia a la telenovela “Rebelde” unique as media products, today tele- producida y transmitida por Televisa novelas are central part of mayor mer- en México a partir de 2005.
    [Show full text]
  • Benemerita Universidad Autonoma De Puebla
    BENEMERITA UNIVERSIDAD AUTONOMA DE PUEBLA FACULTAD DE DERECHO Y CIENCIAS SOCIALES RELACIONES INTERNACIONALES TESIS “LA INFLUENCIA NEGATIVA DE LOS MEDIOS DE COMUNICACIÓN EN LA EVOLUCIÓN DEL EMPODERAMIENTO DE LAS MUJERES EN AMÉRICA LATINA. CASO MÉXICO.” NOMBRE: MARCELA PICHARDO ENRIQUEZ NOVIEMBRE 2014 Índice Introducción ................................................................................................ iv Capítulo 1. Situación de la Mujer .............................................................. 07 1.1 Demografía ................................................................................. 07 1.2 Educación ................................................................................... 09 1.3 Empleo ....................................................................................... 12 1.4 Violencia hacia la mujer ............................................................... 14 1.5 Protección jurídica ....................................................................... 20 Capítulo 2. La Televisión en México .......................................................... 23 2.1 Génesis ....................................................................................... 24 2.2 Desarrollo ................................................................................... 25 2.3 Presente ..................................................................................... 27 Capítulo 3. Mujer en la Televisión ............................................................ 31 3.1 Diferenciar entre sexo y género ...................................................
    [Show full text]
  • On the Charts
    ON THE CHARTS The chart recaps in this Latin music spe- Ht T,a,ti n un s T(» Latin cial are year -to -date starting with the Dec. 3, 2005, issue, the beginning of the chart Pos. TITLE -Artist Imprint/Label year, through the April 1, 2006, issue. 1 ROMPE Daddy Yankee Pos. DISTRIBUTOR (Na Charted Titles) Recaps for Top Latin Albums are based 2 ELLA Y YO Aventura Featuring 1 UNIVERSAL (11O) on sales information compiled by Nielsen Don Omar 2 SONY BMG (39) SoundScan. Recaps for Hot Latin Songs 3 RAKATA Wisin & Yandel 3 EMM (10) are based on gross audience impressions 4 LLAME PA' VERTE Wisin & Yandel 4 INDEPENDENTS (13) from airplay monitored by Nielsen BDS. Ti- 5 VEN BAILALO Angel & Khriz 5 WEA (4) tles receive credit for sales or audience im- 6 MAYOR QUE YO Baby Ranks, pressions accumulated during each week Daddy Yankee, Tonny Tun Tun, Wisin, rh)I) Latin they appear on the pertinent chart. Yandel & Hector 7 CUENTALE Ivy Queen Recaps compiled by rock charts manager 8 NA NA NA (DULCE NINA) Pos. IMPRINT (Na Charted Titles) Anthony Colombo with assistance from A.B. Quintanilla III Presents 1 SONY BMG NORTE (33) Latin charts manager Ricardo Companioni. Kumbia Kings 2 EMI LATIN (8) 9 CONTRA VIENTO Y MAREA 3 EL CARTEL (2) mio Billboard, Flaco Jiménez is inducted into Intocable 4 DISA í77) the Hall of Fame, and Olga Tañón receives the 10 ESO EHH II Alexis & Fido 5 FONOVISA (25) I1O1 Latin ( (If' í\rtisls Spirit of Hope award. 11 LA TORTURA Memorably, Ricky Martin performs "Livin' Pos.
    [Show full text]
  • Exhibit O-137-DP
    Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006.
    [Show full text]
  • Spanglish Code-Switching in Latin Pop Music: Functions of English and Audience Reception
    Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 II Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 © Magdalena Jade Monteagudo 2020 Spanglish code-switching in Latin pop music: functions of English and audience reception Magdalena Jade Monteagudo http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract The concept of code-switching (the use of two languages in the same unit of discourse) has been studied in the context of music for a variety of language pairings. The majority of these studies have focused on the interaction between a local language and a non-local language. In this project, I propose an analysis of the mixture of two world languages (Spanish and English), which can be categorised as both local and non-local. I do this through the analysis of the enormously successful reggaeton genre, which is characterised by its use of Spanglish. I used two data types to inform my research: a corpus of code-switching instances in top 20 reggaeton songs, and a questionnaire on attitudes towards Spanglish in general and in music. I collected 200 answers to the questionnaire – half from American English-speakers, and the other half from Spanish-speaking Hispanics of various nationalities.
    [Show full text]
  • CAPÍTULO 1 MARCO REFERENCIAL 1.1 Antecedentes De La Telenovela
    CAPÍTULO 1 MARCO REFERENCIAL “‘Gutierritos’ despertó el interés masivo y también la interrogante: ¿acaso las telenovelas sólo sirven para provocar el llanto del auditorio” Mauricio Peña. 1.1 Antecedentes de la Telenovela Molina y Carvajal (1999:2), en su artículo “Trayectoria de la telenovela Latinoamericana” nos señalan que el género telenovela tuvo sus antecedentes en 1790 en Francia e Inglaterra con las representaciones populares, tomadas de las formas y modos de los espectáculos de ferias, donde el tema a escenificar dependía de la literatura oral de la región, en los que destacan cuentos de miedo, misterio y relatos de terror. A mediados del siglo XIX, nació un nuevo medio de comunicación dirigido a las masas, el folletín, el cual, sirve de modelo para la realización de telenovelas. Villanueva, M., en su artículo “El melodrama, la telenovela en América y su nacimiento en México” (2000:1), apunta que: “este género literario de origen francés, se inició con la publicación en el diario Le siècle de la traducción —como pliego suelto— de El lazarillo de Tormes. Los principales exponentes de esta forma narrativa fueron, entre otros, Eugene Sue, Dumas (padre), Dickens y Balzac. Las historias rebosaban intriga, romance y suspenso, lo que atrapaba el interés de los lectores, que las seguían diariamente para conocer el final” Lataban (1995:8) en su Tesis Consumo de telenovelas por estudiantes de universidades privadas señala que dentro de sus fases, encontramos la función ideológica, la cual presentaba una novela donde “triunfaban el sentido común, los buenos pensamientos, el orden y la moral”, dejando atrás la constante vigilancia de la sociedad y convirtiéndose en una fantasía de ésta.
    [Show full text]
  • R Ftr's INDUSTRY VIP PACKAGE Rftr Today: the Industry's Leading Daily Fax Rftr's Today's News
    CONTEMPORARY TOP 30 July 1, 2005 POWERED LAST THIS TOTAL +l - WEEKS ON TOTAL STATIONS/ WEEK WEEK ARTIST TITLE LABEL(S) PLAYS PLAYS CHART ADDS iVIEDIABASE 1 SHAKIRA fIALEJANDRO SANZ La Tortura (SonyBMG) 1026 +124 11 2811 2 © JUANES La Camisa Negra (Universal) 946 +72 20 3111 MOST ADDED* 3 LA 5A. ESTACION Algo Más (SonyBMG) 827 +82 18 3010 ARTIST TITLE LABELS) ADDS 4 LAURA PAUSINI Víveme (WarnerML.) 664 +29 16 2410 No Adds 5 REYLI BARBA Amor Del Bueno (SonyBMG) 594 +32 23 2610 6 REIK Yo Quisiera (SonyBMG) 580 +90 7 2210 7 PAULINA RUBIO Mía (Universal) 496 +9 9 2110 MOST B RICARDO ARJONA Por Qué Es Tan Cruel El Amor (Sony BMG) 474 +59 12 2010 INCREASED PLAYS 13 FRANKIE J. fIBABY BASH Obsession (No Es Amor) (Columbia) 439 +62 17 2110 TOTAL PLAY 11 OLGA TAÑON Bandolero (Sony BMG) 435 +42 12 1211 ARTIST TITLE LABEL(S! INCREASE 9 RBD Rebelde (EM I Latin) 420 +8 16 1910 LUIS FONSI Nada Es Para Siempre (Universal) + 127 SHAKIRA f)ALEJANDRO SANZ La Tortura (Sony BMG) + 124 21 THALIA Amar Sin Ser Amada (EMI Latin) 397 +103 5 1711 ALEJANDRO FERNANDEZ Canta Corazón (Sony BMG) +123 14 LUIS MIGUEL Echame A Mí La Culpa (WarnerM.L.) 397 +30 8 15)0 THALIA Amar Sin Ser Amada (EMI Latin) + 103 22 LUIS FONSI Nada Es Para Siempre (Universal) 393 +127 4 1510 REIK Yo Quisiera (Sony BMG) +90 10 15 CHAYANNE Contra Vientos Y Mareas (Sony BMG) 384 11 15 1710 LA 5A. ESTACION Algo Más (Sony BMG) +82 17 LA SECTA ALISTAR La Locura Automática (Universal) 377 +51 4 1010 JUANES La Camisa Negra (Universal) +72 KUMBIA KINGS Parte De Mi (EMILatin) +69 19 TIZIANO FERRO wIPEPE
    [Show full text]
  • 99428790212205899.Pdf
    Ok ter cee) ghar need, ay Peeper att haulers pre Br preter ne a a pees aa ey yt ona ait The eal Cate ty 4 Y UR Cannes bt oe . in Tear ory paren LOWE DE bape ce i ech beat pavevr tien Pb tte cre Matera RS tIT me Te Brae Te pitas Peer ree Dac vacant i : ety se eit ae nae h Portas, Scat! WAN Sel hak AST Corer ay puree re ee) i Ketel $ P ae ; if H Pere ene Bey 4 ULEL Et cat or Coney , rn Pony RR eae oe oes § cote Hate TS Nerd cE Sere PO Lar Ciro eta brian oe ens : ineecncait gto : sate eats | F \ . Hetty eroh ; ; thet am é Gitar Skene, Pee. f eorcmtiy be 5 Pe ecard Ne Dee MWdsauhctekstoney, Sra er aon Pica oR se ts Pe rcnen tse Orta coer ene) + Re raat ay PIS IE Gree Ce Sa EAR tees 5 RCreri eee ape Recetas chee FIC on eran eo kytn i eee i} Lave ua bid BRST ORK oth DBRS he ae vee i Bae rere ie Be hn ; ARTE cm Dees i oe rarer ok baat i pl) RSS iz 7 hae) erueittg Piers Ere pork Bamana hp hh beat d POH rire Saat 7m +) cra) J mee aA " bela at Bicrocrenys ee Rise BO et We) (the ie Hy ; i) Deen *h van mt KLEE ‘ rr ae arr i Bas Pie Ann WOR EY ORES Ce date ERE Rey ie Terie 4 eh Penta i Sethe he oe oad F SPEED ne pine) eee Mana ‘ Mt RISEN Bact eoat ot fk} z PMPs MESH viata Pea Pa SUR Toes ‘'- eye UNIVERSITY OF ILLINOIS LIBRARY _ OT URGANA - CHAMPAIGN ENGINEERING lof C — NOTICE: Return or renew all Library Materials! The Minimum Fee for each Lost Book is $50.00.
    [Show full text]