Profugos: New Formats and Regionalization in Latin American Television Serial Fiction

Total Page:16

File Type:pdf, Size:1020Kb

Profugos: New Formats and Regionalization in Latin American Television Serial Fiction 8 Profugos: new formats and regionalization in Latin American television serial fiction 1 Prófugos: Novos Formatos e Regionalização na Ficção Seriada de TV Latino-Americana Luiza Lusvarghi1 ABSTRACT The resumption of audiovisual productions in Latin America during the 1990s have not only affected the cinematographic sphere, but TV production as well. The latest production aimed at explo- ring this genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), fe- aturing four popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008, Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictional format, besides dialoguing with the action genre global tradition, also marking the consolidation of major networks intervention policy towards the local market. KEYWORDS Latin American TV series; HBO Latin America; crime and action genre; serial fiction; neo- -crime genre 1 Luiza Lusvarghi graduated in English Language & Literature at FASB (1977) and also in Journalism at PUC São Paulo (1986). She holds a Master degree in Communication Sciences at ECA-USP (2002) with a dissertation on MTV and Globalization. She holds a Ph.D. degree (ACE-USP, 2007) with a thesis on Globalization and Brazilian audiovisual Production, and held a Post-Doctoral position at UFPE as a researcher on audiovisual strategies of media corporations in the Northeast. She is the author of the books De MTV à Emetevê (2007), Cinema Nacional e World Cinema (2010) and Fora do Eixo: Indústria da Música e Mercado Audiovisual no Nordeste (2010). She currently researches new television formats and cop shows as a Latin American genre. 9 INTRODUCTION vasser (El Puntero, El Trece, 2011, Daniel Barone)2 he international success of movies like Cidade combines action, suspense, and political thriller Tde Deus (City of God, Fernando Meirelles & Ka- elements (GULLINO, 2012). By establishing a vi- tia Lund, 2002), and Tropa de Elite 2 (Elite Squad 2, sual identity of their own, these TV serials have José Padilha, 2011) – the highest-grossing movie been largely contributing to bury, once and for all, ever in the history of Brazilian cinema – have ins- the idea that Latin American television serial fic- pired a whole new wave of crime dramas and ac- tion is simply a parody of the American sitcoms or tion television series in Brazil. The television scre- just as a synonym for telenoleva (soap opera) or en was invaded by series like Força-Tarefa (Task “melodrama”. Force, Globo, 2009-2011, José Alvarenga), 9 MM: One recent example of this trend is the series São Paulo (HBO, 2008-2011, Michael Ruman), A Lei Profugos (HBO, 2011-2013) - a Spanish word that e o Crime (Law & Crime, Record, 2009, Alexandre means “runaways” – produced by HBO Chile in Avancini), and Mandrake (HBO, 2005-20007, José partnership with local production companies Efe- Henrique Fonseca), besides Fora de Controle (Out tres and Fabula, running for two seasons 3. The of Control, Record, 2012, Daniel Resende & Johnny series is quite typical of Latin American police Araújo), written by Marcílio de Moraes. While Re- literature of the 70’s and 80’s, and the same ap- cord is negotiating a new series agreement with plies to cinema: the most important parts of the Fox Films, Globo has announced the TV series The plot is neither solving the mystery nor finding the Web ( A Teia) to be released in 2014. This trend, truth. However, its imaginary owes more to mo- however, is not peculiar to Brazil, nor can it be ex- vies and television drama than to literature itself. plained solely in terms of box-office success. This paper took into account the police genre as TV Series like Argentinean Cops & Robbers a concept according to studies by Jason Mittell (Poliladrón, Canal 13, 1995-1997, Sebastián Pivot- (2004), who proposes approaching genre as a so- to, Fernando Spiner), Epitaphs (Epitafios, HBO, cial category, hence analyzing its emergence in 2004-2009, Jorge Nisco), and Brothers & De- American television with the cop shows4, since tectives (Hermanos y Detectives , Telefe, 2006, the American model is this sort of production most Damián Szifrón), a franchise series developed in eight different countries, as well as the Mexican 2 In fact, differently from cinema, television opening series Cappadocia, (Capadócia, HBO,2008-2010, credits highlight the roles of both scenario author and scriptwriter, as shown in El Puntero with Adrian Suar Epigmenio Ibarra), produced in association with and Mario Segade’s names. There is also the concept HBO, became part of the Latin American Imagina- of showrunner, as in Fox’s 9 MM credits for Roberto Dávila, the producer who signs the series creation ry surrounding the genre with a fictional produc- along with Newton Cannito and Carlos Amorim. tion which speaks of violence and social clashes, 3 The second season’s finale will be aired in Decem- realistically addressing urban issues while also ber, 14th 2013. mirroring the tradition of these genres in world ci- 4 Actually, early cop shows ran on the radio as crime nema, especially in the U.S. drama, a formula that is similar to docudrama and do- The successful Argentine miniseries The Can- cumentaries inspired by police journalism which have migrated to television and cinema (MITTELL, 2004). The term refers to television police serials. 10 relevant reference both to producers and audien- some of these literary works adaptations for the ce. Jesus Martin-Barbero (2006) concepts were screen. used to analyze reception and addressing modes. By its turn, the term noir was first used by Nino Cultural Studies provide the main approach to the Frank (1946), and it is discussed here under the most recent reception studies in Latin America perspectives offered both by James Naremore (FRANKEMBERG et al, 2009), and Martin-Barbero (2008) and Frank Krutnik (1991), since the audio- is one of its heralds, specially due to his studies visual codes of television genres, and especially on the significance of television’s hegemony over crime news shows developed in the United States the Imaginary. According to Martin-Barbero, the derived from cinema. classification of television genres functions as a When they were first released, noir movies strategy for attracting the audience, and althou- were identified as social criticism for showing gh telenovela is the most popular format in Latin modern societies’ conflicts, in which evil seems America, it doesn’t mean other references have to be inherent to civilization. Like the American not inspired cop shows as well. cop shows of the 50’s, which challenged sitcoms’ Usually, this new Latin American film and televi- schmaltzy formula by showing America’s other sion production was dubbed neo-crime or “novela side (MITTELL, 2004), Latin American police and negra”, in Spanish, alluding to the concept of noir action series are responsible for introducing post- created by French critics, as used in studies on -modern conflicts in television fiction with more the genre in France (NAREMORE, 2008). The term realistic characters, a setting distant from the “neo-crime” was used in reference to the genre’s electronic-feuilleton, the easy formula of social expansion as a literary phenomenon in Latin Ame- improvement through marriage and the happy rica, particularly since the 80’s with writers like endings. Paco Ignacio Taibo, Ricardo Piglia, Patrícia Melo, This paper aims at understanding the dialogue Ramon Diaz Eterovic, Leonardo Padura, and Mar- between the genre’s Hollywoodian formats and çal Aquino, whose works turn to the continent’s Latin American audiovisual tradition, and more reality instead of the distant reality of the Ame- specifically Chilean, through the television series rican model, for the policeman image is not one “Profugos” produced by filmmaker Pablo Larra- of heroism: most of them earn little and live in ín in association with HBO, and classification of conflict inside the corrupted corporation. Some Hollywoodian genres as proposed by Steve Neale of them have also played an essential role during (2000). the times of the military dictatorship, when police corps supported authoritarian and repressive go- Contemporary action and crime vernments. Although Naremore (2008) dismisses The “Prófugos” series tells the story of a family the influence of police genre and specifically noir who makes a living out of drug dealing in the re- in literature as irrelevant compared to film, it is im- gion between Bolivia and Chile. The Ferragut fa- portant to note that this literary tradition in Latin mily is headed by Kika (Claudia di Girólamo), a wo- America was consolidated in parallel with the re- man who, after losing her husband, convinces her sumption of local film production, which included 11 eldest son, the veterinarian Vicente (Néstor Can- produce a certain estrangement. There’s no rock tillana), to take over his father’s job and becomes and roll, no jazz, not the slightest trace of the typi- the head of the cartel. Kika has also a daughter, cal American soundtrack. The song “Cuatro Heri- Laura (Blanca Lewin), a lawyer, with whom she das”, written by Moreno and Juan Cristobal Me- maintains an uneasy relationship. Against her will, zas, who composed the soundtrack for Profugos, Laura is encharged of defending and concealing combines traditional Mexican instruments such the family business before the law. The family is as cuatro, tiple, charango, and zampoña. also aided by the handyman Mario (Luis Gnecco), “Prófugos” main screenwriter Pablo Illanes a violent man who used to be a torturer during the enjoyed a successful career in television at first Pinochet regime. in TV drama aimed at the younger audience seg- Oscar (Francisco Reyes), one of the drug smu- ment, addressing issues like homosexuality and gglers, was a revolutionary in the 70’s but after drugs, and later with the huge hit “¿Donde está being diagnosed with a terminal illness he will re- Elisa¿” (Where is Elisa?, TVN, 2009), classified as sort to trafficking in order to assure his daughter’s a teleserie by TVN (Chile’s state national televi- future.
Recommended publications
  • J U L I a N a M O
    J u l i a n a M o r i [email protected] www.julianamori.com Objective To contribute with my experience, knowledge and skills to develop new ways and contents of audiovisual media expression Education Universitat Pompeu Fabra — Digital Arts, Masters Barcelona-Spain, 2009 Pos graduate-level coursework towards a Masters in Digital Arts. Courses in experimental media and art history, human-computer-interaction, physical interfaces, networks, creative programming, web development, photographism and algorithmic video. PUC-SP — Social Communication-Journalism, BA São Paulo-Brazil, 2000 Graduated with a Bachelor of Communication with a majour in journalism. Courses in social and media sciences, communication theory, semiotics, reporting, news editing, media writing, photography and video production. Specialization on Documentary Video. Professional Experience Tugo Filmes — Director São Paulo, 2004-... Directed the audiovisual branch of the studio producing documentaries, experimental and videoart projects. Collaborated with several brazilian producers and broadcast channels creating television contents for clients such as MTV Brasil, TV Cultura, GW Productions/GloboTV. Avalanche Filmes — Assistant Director São Paulo, 2008 Assistant directed several advertisement films. Worked with multidisciplinary teams helping to define and organize the productions needs. Responsible for working with the director on script decoupage, casting tests, shooting schedules and post-production supervising. Hiper Produções — Editor São Paulo, 2006-07 Editor of gastronomical tv program Diário do Olivier, hosted weekly on broadband brazilian channel TV Record. Responsible for script the program since the shooting (acting as the second cinematographer on the team) untill the material selection, editing and masterization of the program. RedeTV— Assistant Director São Paulo, 2005-06 Assistant directed tv program Top Report, hosted weekly on broadband brazilian channel RedeTv.
    [Show full text]
  • International Film Festival April 24 – May 4, 2008 the Washington, Dc International Film Festival
    THE 22ND ANNUAL WASHINGTON, DC INTERNATIONAL FILM FESTIVAL APRIL 24 – MAY 4, 2008 THE WASHINGTON, DC INTERNATIONAL FILM FESTIVAL A world of films…a window into our world. Whether experienced in movie theaters, on DVDs or television in our homes, on our iPods or computers, films are the major communications media of our time. Hollywood films dominate commercial cinema. However, scores of talented filmmakers around the globe produce thou- sands of quality films that speak with a different voice, provide a different point of view, and tell different stories. Presenting these films in the nation’s capital is the purpose of Filmfest DC. Photo: Chad Evans Wyatt Film festivals are a journey of Tony Gittens, Festival Director and Shirin Ghareeb, Assistant Director discovery, a visual and thought provoking adventure into how people see and interpret our world. Every Filmfest DC is different and every film is unique from every other film in the festival. Together, they comprise an amazing representation of human imagination, commitment and talent. The festival has two special focuses this year — Politics & Film and New Latin Ameri- can Cinema. Obviously, politics are especially prominent during this election season and we wanted to explore the role affairs of state play in people’s every day lives. Latin American filmmakers are always a treasure trove of inventive storytelling. The di- verse selection of new work we have gathered from the Spanish-speaking world (in- cluding Spain) are moving, humorous, and insightful. None of this would be possible without the many dedicated people who have shared their time and talents with Filmfest DC.
    [Show full text]
  • Catálogo Comkids Interativo 2020
    Apresentação Realização Colaboração Apoio Apresentação Realização De 11 a 15 de agosto Colaboração Canal comKids no YouTube www.youtube.com/comkids www.comkids.com.br Apoio SUMÁRIO APRESENTAÇÃO / PRESENTACIÓN comKids_6 Goethe-Institut_8 Spcine_10 INFORMAÇÕES / INFORMACIONES Como é o Festival? / ¿Cómo es el Festival?_13 PROGRAMAÇÃO / PROGRAMACIÓN 11 de agosto_19 12 de agosto_21 13 de agosto_26 14 de agosto_32 15 de agosto _34 FINALISTAS Apps_42 Games_44 Livros Digitais / Libros Digitales_46 Multiplataforma_48 DEMAIS INSCRITOS / DEMÁS INSCRITOS Apps_52 Games_54 Livros Digitais / Libros Digitales_57 Multiplataforma_59 PRÉ-JÚRI / PRE-JURADO Apps_63 Games_64 Livros Digitais / Libros Digitales_65 Multiplataforma_66 EQUIPE E AGRADECIMENTOS / EQUIPO Y AGRADECIMIENTOS_70 O UNIVERSO DIGITAL PARA CRIANÇAS, EM TEMPOS DE CRISE Nesses tempos de transformações e desafios, como os que estamos vi- vendo, novos formatos e linguagens redesenham as nossas experiências de comunicação. O consumo de produções digitais interativas, que já crescia pro- gressivamente antes da pandemia do Covid-19, disparou com a necessidade de isolamento social. Para crianças e adolescentes, público final do comKids, conteúdos educativos e as mais diversas produções culturais se multiplicam em telas que entretêm, informam e estimulam a inventividade lúdica das in- fâncias. Ninguém imaginava que, de uma semana para outra, o uso da tecnolo- gia iria se tornar um requisito tão fundamental para manter aulas e acesso a conteúdos variados. Além disso, não esperávamos que os recursos e ferra- mentas digitais contribuiriam de forma tão decisiva para aplacar as semanas sem contato e calor humano. O debate sobre o amanhã e suas novas formas de interação e consumo cultural passa pelo universo dos conteúdos digitais e o Festival comKids Interativo 2020 é um espaço oportuno para a reflexão sobre a qualidade dessas produções.
    [Show full text]
  • Editorial by Nicolás Smirnoff
    WWW.PRENSARIO.TV WWW.PRENSARIO.TV //// EDITORIAL BY NICOLÁS SMIRNOFF CEE: ups & downs at the new digital era Central & Eastern Europe is going forward through the new digital era with its own tips. The region has suffered a deep crisis from 2008 to 2017- 2018, with many economies Prensario just standing up. This has International meant rare investment pow- er and long-term plans, but at the same time the change ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF moves fast and comparing to EDITORIAL PRENSARIO SRL other territories, CEE shows OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO strong digital poles and de- DE AUTOR Nº 10878 velopment appeals. Argentina: In favor, most of the biggest broadcast- OTT platforms? It is what main broadcasters Las Casas 3535 ers are group of channels that include many of the world are doing, to compete better in CP: 1238 the new converged market and to generate Buenos Aires, Argentina countries, so it is easier to set up cross region- Tel: (+54-11) 4924-7908 al plans and to generate high-scale moves. proper synergies. If content business moves Fax: (+54-11) 4925-2507 On the opposite, there are many different to franchise management, it is important to USA: languages and audiences, so it is difficult to be flexible enough to any formula. 12307 SW 133 Court - Suite #1432 spread solutions that work to every context. This Natpe Budapest? It promises to be bet- Miami, Florida 33186-USA Phone: (305) 890-1813 Russia is a big Internet pole and now it is ter than last ones, with the region going up Email: [email protected] also a big production hub for international and the need of pushing more and more col- Website: www.prensario.tv companies setting up studios or coproduc- laborations.
    [Show full text]
  • Carlos Eduardo Pereira De Oliveira Universidade Do Estado De Santa Catarina (UDESC)
    “EU QUERO MINHA MTV”: NARRATIVAS SOBRE UMA NOVA EMISSORA NO BRASIL DEMOCRÁTICO (1988-1990) Carlos Eduardo Pereira de Oliveira Universidade do Estado de Santa Catarina (UDESC). E-mail: [email protected] Resumo O presente artigo analisa as narrativas sobre a inserção da MTV no Brasil, relacionando com o processo de abertura política no país. Partindo de algo já formatado, a operação brasileira trazia diferenças profundas, que repousavam na sua transmissão e no contexto de inserção, com uma série de acontecimentos que estruturaram a narrativa de abertura política, social e cultural. Coloco como marco central a promulgação da Constituição Cidadã, em 1988, por compreendê-la enquanto fator crucial de um processo de redemocratização, reverberando na radiodifusão no país, consolidando clima de liberdade, protagonismo e renovação. Com isso, o contexto de entrada da MTV no país está intimamente ligado com as reverberações da promulgação, em que as expectativas sobre o futuro estavam na ordem do dia. As fontes trabalhadas são matérias do jornal Folha de São Paulo, entre 1985 e 1990, em diferentes cadernos e colunas e que tiveram como foco as narrativas sobre a MTV. Portanto, o início das atividades desta emissora em solo brasileiro esteve associado ao desenvolvimento de narrativas que aventavam a ideia de liberdade, mediante conteúdo musical na programação, voltada ao público jovem. Palavras-chave: MTV Brasil; redemocratização; História do Tempo Presente “A TV Abril é a MTV no Brasil. A emissora brasileira anunciou ontem [07/03/1990], oficialmente, que passará a transmitir – e a produzir – programação com a marca da rede mundial Music Television” (MARSIAJ, 1990, p.E3).
    [Show full text]
  • Universidade Federal De Juiz De Fora Faculdade De Comunicação Social Mestrado Em Comunicação
    UNIVERSIDADE FEDERAL DE JUIZ DE FORA FACULDADE DE COMUNICAÇÃO SOCIAL MESTRADO EM COMUNICAÇÃO Pedro Augusto Silva Miranda INTIMIDADE MEDIADA: as estratégias narrativas do GloboNews Em Pauta na comunicação com o público Juiz de Fora 2019 Pedro Augusto Silva Miranda INTIMIDADE MEDIADA: as estratégias narrativas do GloboNews Em Pauta na comunicação com o público Dissertação apresentada ao Programa de Pós- graduação em Comunicação, da Universidade Federal de Juiz de Fora como requisito parcial a obtenção do grau de Mestre em Comunicação. Área de concentração: Comunicação e Sociedade. Orientadora: Prof.a Dra. Cláudia de Albuquerque Thomé Juiz de Fora 2019 Ficha catalográfica elaborada através do programa de geração automática da Biblioteca Universitária da UFJF, com os dados fornecidos pelo(a) autor(a) Miranda, Pedro Augusto Silva. Intimidade Mediada : as estratégias narrativas do GloboNews Em Pauta na comunicação com o público / Pedro Augusto Silva Miranda. -- 2019. 173 p. Orientadora: Cláudia de Albuquerque Thomé Dissertação (mestrado acadêmico) - Universidade Federal de Juiz de Fora, Faculdade de Comunicação Social. Programa de Pós Graduação em Comunicação, 2019. 1. Narrativas. 2. Estratégias. 3. TV por assinatura. 4. Telejornalismo. 5. GloboNews Em Pauta. I. Thomé, Cláudia de Albuquerque, orient. II. Título. Dedico este trabalho aos meus pais, Xavier e Maria, e ao meu irmão Junior. Exemplos de coragem, dedicação e amor incondicional. AGRADECIMENTOS Agradeço, primeiramente, a Deus, por permitir que esse momento acontecesse e por ser luz em meio às adversidades dessa caminhada. Obrigado por me fazer acreditar e mostrar que todos os meus sonhos são possíveis. Agradeço a minha família, pai, mãe e irmão, por sempre estarem ao meu lado com muito amor e acreditando em mim e que tudo daria certo.
    [Show full text]
  • HBO and Mercado Libre Seal Strategic Alliance to Provide Benefits in Content
    HBO and Mercado Libre seal strategic alliance to provide benefits in content The benefit will allow Mercado Libre and Mercado Pago users to subscribe to HBO GO with discounts and without needing a credit or debit card. HBO GO will offer millions of Mercado Libre and Mercado Pago users’ access to its complete catalog of productions, featuring thousands of premium titles. Miami, July 20, 2020 - Mercado Libre and HBO Latin America announced today a strategic and innovative alliance that, for the first time, will provide premium content benefits to millions of Mercado Libre users in Mexico, Argentina and Brazil. Users of the e-commerce platform in these territories will have two great benefits with this new offer: the ability to subscribe to the HBO GO streaming platform with special discounts, as well as the possibility to do so without a credit or debit card. As a result of this agreement, Mercado Libre users in Mexico, Argentina and Brazil will be able to access thousands of exclusive HBO titles including the most recent releases, such as drama series PERRY MASON and the acclaimed VERONICA MARS, as well as the most awarded productions of HBO, including GAME OF THRONES, WESTWORLD, CHERNOBYL, SUCCESSION, BIG LITTLE LIES and iconic series like THE SOPRANOS and SEX AND THE CITY, plus successful local original productions from Latin America like JOINT VENTURE, THE BRONZE GARDEN, SR. AVILA, THE BUSINESS, EPITAFIOS and CAPADOCIA. Users will also count on the latest HBO releases including new Hollywood blockbusters and upcoming content such as the new drama series LOVECRAFT COUNTRY, premiering in August.
    [Show full text]
  • LATAM PODCAST REPORT TOP 100 PODCASTS Reporting Period: July 6 - August 2, 2020
    LATAM PODCAST REPORT TOP 100 PODCASTS Reporting Period: July 6 - August 2, 2020 RANK PODCAST PODCAST NETWORK AVERAGE WEEKLY RANK CHANGE DOWNLOADS 1 O Assunto Radios Grupo Globo 814,704 0 2 LOS40 MX - La Corneta Prisa Radio 546,249 0 3 GE Flamengo Radios Grupo Globo 166,067 h22 4 Pânico Jovem Pan Podcast 148,021 0 5 Últimas noticias de CNN en Español WarnerMedia 130,612 h3 6 Estadão Notícias Estadao 121,273 i1 7 Comentaristas Radios Grupo Globo 109,006 i1 8 Podcast BLU primera termporada Grupo BluRadio 100,607 i1 9 RPP NOTAS DE RADIO Grupo RPP 100,505 h4 10 Asi las cosas con Carlos Loret de Mola Prisa Radio 96,980 h2 11 Panorama CBN Radios Grupo Globo 96,452 i1 12 Academia CBN - Mario Sergio Cortella Radios Grupo Globo 96,183 i3 13 Coronavirus: Realidad vs. ficción con Dr. Elmer WarnerMedia 93,612 h1 Huerta 14 Audio.ad Podcast Network Café Brasil 91,159 New Brasil 15 Educação Financeira Radios Grupo Globo 88,254 i4 16 Mundo da Luta Radios Grupo Globo 78,921 h7 17 Os Pingos nos Is Jovem Pan Podcast 62,483 h1 18 G1 Ouviu Radios Grupo Globo 59,599 i3 19 5 Fatos CNN Brasil 57,215 h7 20 Economia Radios Grupo Globo 53,811 i1 21 Isso É Fantástico Radios Grupo Globo 51,606 h1 22 Jornal da CBN Radios Grupo Globo 51,298 i2 23 El Dollop Wondery 49,586 i6 24 LOS40 MX - ¡Ya Párate! Prisa Radio 46,438 i3 25 Mañanas BLU con Néstor Morales Grupo BluRadio 43,375 i9 26 Conversa com Bial Radios Grupo Globo 40,193 h9 27 Dia a Dia da Economia - Míriam Leitão Radios Grupo Globo 40,089 0 28 W_RADIO - Martha Debayle en W Prisa Radio 39,627 0 29 Gringolândia Radios
    [Show full text]
  • Comissão De Educação, Cultura E Esporte
    Ponto de vista sobre o PLC 116 Luciana Ferri Diretora do Departamento Jurídico A HBO GARANTE No mínimo, 70% do seu conteúdo é destinado a filmes Campeõesde Bilheteria apresentados pela primeira vez na TV Paga E MAIS: Pelo menos 1/3 do seu Uma programação que conteúdo é dedicado a não se encontra em Produções Originais nenhum outro lugar HBO Conteúdo exclusivo , produzido pela própria HBO, com investimentos nunca vistos na TV CANAL PREMIUM HBO: - Atuação no mundo todo - Presente em mais de 150 países DIFERENÇA PARA OS DEMAIS CANAIS: - Pagamento adicional para acesso a conteúdo diferenciado. - Expectativa elevada quanto à qualidade dãda programação. VALOSORES DE UM CANAL PREMIUM .A ÓTICA DO CONSUMIDOR: - Especial - Exclusivo - Sem cortes e comerciiiais .A ÓTICA DA PROGRAMADORA: - Satisfazer o assinante - Entregar algo pelo qual o assinante se disponha a pagar mais por isso. E POR QUE QUEREMOS PRODU ZIR CADA VEZ MAIS NO BRASIL? BENEFÍCIOS DE PRODUÇÕES HBO NO BRASIL . Para o mercado . Para a HBO: bilibrasileiro: Aproximação aos Mais recursos talentos do Brasil Acesso a Produções locais que experiência HBO atraem consumidores Portas no mercado brasileiros itinternac iona l CtúdEConteúdo Espec ilial Recursos para nosso assinante incentivados sob Uso de recursos controle da Ancine incentivados Investimentos já realizados- Maadaendrake .Obra baseada em romance de Rubem Fonseca .Co-produzida com a Conspiração Filmes .EibidExibido no B rasil ilA, Amé éirica Latina e EUA .Indicada ao Emmy Internacional-Melhor Série Dramática 06/08 2008 Investi ment
    [Show full text]
  • La Semiótica Del Espacio Político: Un Estudio De Caso En América Hispana Tardo-Colonial
    Actas 14º Congreso Mundial de Semiótica: Trayectorias Buenos Aires Septiembre 2019 International Association for Semiotic Studies (IASS/AIS) Tomo 7 Palabras públicas Coordinadores Maria Alejandra Alonso y Sergio Ramos Proceedings of the 14th World Congress of the International Association for Semiotic Studies (IASS/AIS) Actas 14º Congreso Mundial de Semiótica: Trayectorias Buenos Aires Septiembre 2019 International Association for Semiotic Studies (IASS/AIS) Tomo 7 Palabras públicas Coordinadores María Alejandra Alonso y Sergio Ramos Área Transdepartamental de Crítica de Artes Actas Buenos Aires. 14º Congreso Mundial de Semiótica : trayectorias : Proceedings of the 14th World Congress of the International Association for Semiotic Studies-IASS/AIS : tomo 7 : palabras públicas / editado por Rolando Martínez Mendoza ; José Luis Petris ; prólogo de María Alejandra Alonso ; Sergio Ramos. - 1a ed edición multilingüe. - Ciudad Autónoma de Buenos Aires : Libros de Crítica. Área Transde- partamental de Crítica de Artes, 2020. Libro digital, PDF Edición multilingüe: Alemán ; Español ; Francés ; Inglés. Archivo Digital: descarga y online ISBN 978-987-47805-6-0 1. Semiología. 2. Semiótica. 3. Comunicación Política. I. Martínez Mendoza, Rolando, ed. II. Petris, José Luis, ed. III. Alonso, María Alejandra, prolog. IV. Ramos, Sergio, prolog. V. Título. CDD 401.41 Actas Buenos Aires. 14º Congreso Mundial de Semiótica: Trayectorias. Trajectories. Trajectoires. Flugbahnen. Asociación Argentina de Semiótica y Área Transdepartamental de Crítica de Artes
    [Show full text]
  • OCR a Level Film Studies
    R Film Studies A Level Film Studies F633 Section A: Messages and values in Global Film Study Guide 1: Elite Squad August 2014 www.ocr.org.uk/filmstudies Oxford Cambridge and RSA A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD CONTENTS Film facts 4 Synopsis 4 Before Viewing – Issues and research points Social / historical / political / cultural contexts 4 Messages and values 5 Genre 5 Narrative 5 Representation 5 Authorship 6 Theme 6 While Watching Genre 7 Narrative 7 Messages and values 7 Representation 7 Authorship 7 Theme 7 Style 7 2 A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD After viewing – weighing it all up Genre 8 Narrative 8 Messages and values 8 Representation 8 Authorship 8 Theme 8 Style 8 3 A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD FILM FACTS SYNOPSIS Directed by: José Padilha The film is set in the late 1990s, in the run-up to the Pope’s visit to Rio. Rio has a considerable organised crime problem and criminal Certificate: 18 gangs have turned some favelas into ‘no-go’ areas. The BOPE (Battalion of Special Operations) are fighting the criminal gangs Running time: 115 minutes and corruption inside the ordinary police force in their bid to bring Release date: 8th August 2008 peace and order to Rio. Captain Nascimento, joined by his two apprentices, Matias and Neto are on the front line of this inter war and the story follows their tribulations – private and professional – as they attempt to accomplish their mission.
    [Show full text]
  • Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
    INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America.
    [Show full text]