Redalyc.Testing the Effectiveness of an Entertainment-Education Health
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The Centrality of Telenovelas in Latin America's
The centrality of telenovelas in Latin America’s everyday life: Past tendencies, current knowledge, and future research Antonio C. La Pastina Texas A&M University [email protected] Cacilda M. Rego University of Kansas [email protected] Joseph D. Straubhaar University of Texas at Austin [email protected] Every evening, millions of viewers throughout Latin America tune in their television sets to watch telenovelas. For more than thirty years now telenovelas have dominated primetime programming on most of the region’s television. And here Latin America refers to more than a geographic area: it covers a culturally constructed region that goes from the southern tip of South America to the United States, where one can watch daily telenovelas on the two Hispanic networks, Univision and Telemundo,[i] and Canada. In the last few decades Brazilian and Mexican telenovelas, and to a lesser extent Venezuelan, Colombian, Argentineans and others, have been exported to more than a hundred nations around the world (Melo, 1988). In this increasingly international scenario, Latin American telenovelas have been aired in other Portuguese and Spanish speaking markets, and in dubbed and sometimes edited versions in many different national contexts (Allen, 1995; McAnany, 1984; Melo, 1988; Sinclair, 1996; Straubhaar, 1996). This international presence has challenged the traditional debate of cultural imperialism and North-South flow of media products (Sinclair, 1996; Wilkinson, 1995). Telenovelas’ popularity has lead to its increased scrutiny among scholars and the media industry, and yet it seems that not everyone is talking about the same thing. A number of arguments start with the contention that Latin American telenovela is a mere showcase for “bourgeois society” with the pernicious effect of mitigating – through the illusion of abundance – the unfulfilled material aspirations of its audience, all the while legitimating a way of life that takes consumerism to the extreme (Oliveira, 1993). -
CONTEMPORARY PROXIMITY FICTION. GUEST EDITED by NADIA ALONSO VOLUME IV, No 01 · SPRING 2018
CONTEMPORARY PROXIMITY FICTION. GUEST EDITED BY NADIA ALONSO VOLUME IV, No 01 · SPRING 2018 PUBLISHED WITH THE ASSISTANCE OF EDITORS ABIS – AlmaDL, Università di Bologna Veronica Innocenti, Héctor J. Pérez and Guglielmo Pescatore. E-MAIL ADDRESS ASSOCIATE EDITOR [email protected] Elliott Logan HOMEPAGE GUEST EDITORS series.unibo.it Nadia Alonso ISSN SECRETARIES 2421-454X Luca Barra, Paolo Noto. DOI EDITORIAL BOARD https://doi.org/10.6092/issn.2421-454X/v4-n1-2018 Marta Boni, Université de Montréal (Canada), Concepción Cascajosa, Universidad Carlos III (Spain), Fernando Canet Centellas, Universitat Politècnica de València (Spain), Alexander Dhoest, Universiteit Antwerpen (Belgium), Julie Gueguen, Paris 3 (France), Lothar Mikos, Hochschule für Film und Fernsehen “Konrad Wolf” in Potsdam- Babelsberg (Germany), Jason Mittell, Middlebury College (USA), Roberta Pearson, University of Nottingham (UK), Xavier Pérez Torio, Universitat Pompeu Fabra (Spain), Veneza Ronsini, Universidade SERIES has two main purposes: first, to respond to the surge Federal de Santa María (Brasil), Massimo Scaglioni, Università Cattolica di Milano (Italy), Murray Smith, University of Kent (UK). of scholarly interest in TV series in the past few years, and compensate for the lack of international journals special- SCIENTIFIC COMMITEE izing in TV seriality; and second, to focus on TV seriality Gunhild Agger, Aalborg Universitet (Denmark), Sarah Cardwell, through the involvement of scholars and readers from both University of Kent (UK), Sonja de Leeuw, Universiteit Utrecht (Netherlands), Sergio Dias Branco, Universidade de Coimbra the English-speaking world and the Mediterranean and Latin (Portugal), Elizabeth Evans, University of Nottingham (UK), Aldo American regions. This is the reason why the journal’s official Grasso, Università Cattolica di Milano (Italy), Sarah Hatchuel, languages are Italian, Spanish and English. -
TAIWAN Vision & Mission
TAIWAN Vision & Mission 01 Vision & Mission 01 Vision 01 Mission Statement 01 3-year Target 02 Message from the Chairperson Establish a public service media platform 03 Message from the President Envision a better future for Taiwan 04 Highlights of the Year 04 New Crafts in Storytelling: Viewing the World via 4K 06 New Platform for Storytelling: Anytime and Anywhere, My PTS 07 New Perspectives on Storytelling: Cross-border Magic of The Teenage Psychic 08 Story Treasure Box: 2017 Program Spotlight 12 International Awards 14 Stepping Out from the TV Framework 14 Linking with the New Generation via Movie Theatres Mission Statement 15 Atypical Forum Focuses on Public Issues 1. To be prosumer-orientated and provide multi-platform dissemination 2. To drive the film and television industry through the spirit of experimental innovation 16 Targeting the Campus - Best of INPUT Soars to New Heights 3. To provide trustworthy information, combined with quality entertainment content Realizing Dreams – Diverse Image Creation Training 17 4. To form a “Brand Taiwan” based on cultural diversity and voice out to the international 18 All-Round Support Fundamental to PTS Achievements community 5. To promote the development of civic society and provide a space for lifelong learning 19 Statistics and Figures 19 Program Statistics 3-year Target 20 Financial Statement 1. Complete amendment to the Public Television Act and expand scope of budget 21 2017 Balance Sheet 2. Assist CTS break even and expedite its process to become a public station 3. Finish organizational restructuring and strengthen operational efficiency 22 General Information 4. Complete a revision of PTS’s media production process 22 Board of Directors and Supervisors 5. -
Transnationalization of Turkish Television Series
TRANSNATIONALIZATION OF TURKISH TELEVISION SERIES EDITORS Özlem ARDA, Pınar ASLAN, Constanza MUJICA TRANSNATIONALIZATION OF TURKISH TELEVISION SERIES EDITORS Özlem ARDA Assoc. Prof. Dr., Istanbul University, Faculty of Communication, Radio, Television and Cinema Department, Istanbul, Turkey Pınar ASLAN Assoc. Prof. Dr., Üsküdar University, Faculty of Communication, Public Relations and Publicity, Istanbul, Turkey Constanza MUJICA Assoc. Prof. Dr., Pontificia Universidad Católica de Chile, Facultad de Comunicaciones, Santiago, Chile Published by Istanbul University Press Istanbul University Central Campus IUPress Office, 34452 Beyazıt/Fatih Istanbul - Turkey https://iupress.istanbul.edu.tr Book Title: Transnationalization of Turkish Television Series Editors: Özlem Arda, Pınar Aslan, Constanza Mujica E-ISBN: 978-605-07-0756-4 DOI: 10.26650/B/SS18.2021.004 Istanbul University Publication No: 5277 Published Online in July, 2021 It is recommended that a reference to the DOI is included when citing this work. This work is published online under the terms of Creative Commons Attribution- NonCommercial 4.0 International License (CC BY-NC 4.0) https://creativecommons.org/licenses/by-nc/4.0/ This work is copyrighted. Except for the Creative Commons version published online, the legal exceptions and the terms of the applicable license agreements shall be taken into account. iv EDITORS Assoc. Prof. Dr. Özlem ARDA Istanbul University, Faculty of Communication, Radio, Television and Cinema Department, Istanbul, Turkey Assoc. Prof. Dr. Pınar ASLAN Üsküdar University, Faculty of Communication, Public Relations and Publicity, Istanbul, Turkey Assoc. Prof. Dr. Constanza MUJICA Pontificia Universidad Católica de Chile, Facultad de Comunicaciones, Santiago, Chile ADVISORY BOARD Prof. Dr. Ergün YOLCU Istanbul University, Faculty of Communication, Istanbul, Turkey Prof. -
Telenovela, Reception and Social Debate1 Telenovela, Recepción Y Debate Social
AMIGO, B., BRAVO, M. y OSORIO, F. Soap operas, reception and social debate CUADERNOS.INFO Nº 35 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.35.654 Received: 10-15-2014 / Accepted: 11-25-2014 Telenovela, reception and social debate1 Telenovela, recepción y debate social BERNARDO AMIGO, Universidad de Chile, Santiago, Chile ([email protected]) MARÍA CECILIA BRAVO, Universidad de Chile, Santiago, Chile ([email protected]) FRANCISCO OSORIO, Universidad de Chile, Santiago, Chile ([email protected]) ABSTRACT RESUMEN The essay summarises qualitative empirical research El artículo sintetiza un conjunto de investigaciones on Chilean television carried out between 2007 and empíricas cualitativas sobre la ficción televisiva en 2014. The article focuses on the interactive mecha- Chile, realizadas entre 2007 y 2014. Específicamente, nism that mutually influences television and viewers se centra en los mecanismos de interacción que se through fiction (telenovela). It concludes that the configuran entre la televisión y los telespectadores a dynamic of social debate can influence the symbo- través del género televisivo de la telenovela. Concluye lic conditions for the production of television dis- que las dinámicas del debate social pueden influir course, argument that opposes the classic thesis of en las condiciones simbólicas para la producción de television direct effects on society. discursos en la televisión, argumento que es contrario a la tesis clásica de los efectos directos de la televisión en la sociedad. Keywords: Telenovela, identification, media representa- Palabras clave: Telenovela, identificación, representación tion, social uses, gender. mediática, usos sociales, género. •How to cite: Amigo,CUADERNOS.INFO B., Bravo, M. -
Glocalized Telenovelas and National Identities A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography Glocalized telenovelas and national identities A ‘textual cum production’ analysis of the ‘telenovelle’ Sara, the Flemish adaptation of Yo soy Betty, la fea Fien Adriaens & Daniel Biltereyst Abstract This article examines the globalization of the telenovela format in relation to issues of adaptation, proximities and national identities. As a case study of glocalized telenovelas, it deals with the domestic adaptation of one of the most popular Latin American telenovelas, Yo soy Betty, la fea (1999-2001) into the „telenovelle‟ Sara (2007-08), which takes place in a Belgian (more specifically Flemish) context. Therefore, this article specifically asks how Flemish identities are represented through the production process of Sara. While examining the international flow of telenovelas and the cross-cultural adaptation of the telenovela format, this case study considers an additional geopolitical and cultural context, as well as confronts and combines thematic textual analysis with expert interviews. Considering the successful export of „canned‟ telenovelas and the adaptation of this format within the framework of national identity and identification, this paper deals with the emergence of the „telenovelle‟ as a local genre that is inspired by, and modifies, the Latin American original format. 1 Introduction This article focuses on the globalization of the telenovela format in relation to issues of adaptation and national identities. It deals with the question of how the telenovela format is successfully adapted to regions outside Latin America, particularly in Western Europe. Since a television format‟s success is closely tied to the local and national culture, and domestic television programs play a crucial role in the construction and reproduction of national identities (Biltereyst, 1991; Straubhaar, 1991; Waisbord, 2004), we question whether and how national identities are represented through production decisions in the creation process. -
Delbert Mann (Director), H.R
FILMOGRAPHY Dates of available productions in bold print. Sense and Sensibility 1950: Delbert Mann (director), H.R. Hays (writer), NBC, live, 60 min. 1971: David Giles (director), Denis Constanduros (writer), BBC, miniseries, 4 parts, 200 min. 1981: Rodney Bennett (director), Alexander Baron and Denis Constanduros (writers), BBC, miniseries, 7 parts, 174 min. 1995: Ang Lee (director) Emma Thompson (writer), Columbia Pictures, feature film, 136 min. 2008: John Alexander (director), Andrew Davies (writer), BBC, miniseries, 3 parts, 180 min. Modern setting versions: 1990: Sensibility and Sense, David Hugh Jones (director), Richard Nelson (writer), American Playhouse, season 9 episode 1. 2000: Kandukondain Kandukondain (I have found it). Rajiv Menon (director and writer), Sujatha (writer). Sri Surya Films, Tamil with English subtitles, 151 min. 2011: From Prada to Nada, Angel Gracia (director), Fina Torres, Luis Alfaro, Craig Fernandez (writers), OddLot Entertainment, Spanish/English, 107 min. 2011: Scents and Sensibility, Brian Brough (director), Silver Peak Productions, 89 min. (Only available in America.) Pride and Prejudice 1938: Michael Barry (director/writer), BBC, 55 min. 1940: Robert Z. Leonard (director), Aldous Huxley and Jane Murfin (writers), Metro-Goldwyn-Mayer, feature film, 118 min. 1949: Fred Coe (director), Samuel Taylor (writer), NBC, live, 60 min. 1952: Campbell Logan (director), Cedric Wallis (writer), BBC, live, miniseries, 6 parts, 180 min. 1958: Barbara Burnham (director), Cedric Wallis (writer, same script as 1952), BBC, live, miniseries, 6 parts, 180 min. 38 Irony and Idyll 1967: Joan Craft (director), Nemone Lethbridge (writer), BBC, miniseries, 6 parts, 180 min. 1980: Cyril Coke (director), Fay Weldon (writer), BBC, miniseries, 5 parts, 259 min. -
How Telemundo Articulates Blackness Within the Latin American Panethnic Identity
Journal of Latin American Communication Research 7 (1-2) Being Black and Latin@: How Telemundo Articulates Blackness within the Latin American Panethnic Identity Ser negro y latin@: cómo Telemundo Articula la Negrura Dentro de la Identidad Pan- étnica Latinoamericana Ser negro e latin@: como Telemundo Articula a Negritude na Identidade Pan-étnica Latino-americana Yadira Gricel Nieves-Pizarro Universidad Interamericana de Puerto Rico Puerto Rico [email protected] Juan Mundel DePaul University Estados Unidos [email protected] Abstract: The representation of minorities in United States Latino media is scarce, as market forces push Latino panethnicity to appeal to a heterogeneous Spanish speaking audience in the country and in Latin America. Nonetheless, the biographical series “Celia” aired by Telemundo in 2015 featured an Afro Latino cast to depict the life of Cuban salsa singer Celia Cruz. This study examines the portrayal of Afro Latinos and Latinas through a content analysis of the telenovela. Even though, Afro Latino characters were depicted in a positive light, they were still portrayed as something other than panethnic. This research contributes an empirical analysis of the representation of minorities in Latino media. Keywords: Latino panethnicity, Afro Latinos and Latinas, Afro Cuban, Latino media, Content Analysis Resumen: La representación de las minorías en los medios latinos de los Estados Unidos es escasa, ya que las fuerzas del mercado presionan a la pan-etnicidad latina para atraer a una audiencia heterogénea de habla hispana en el país y en América Latina. No obstante, la serie biográfica “Celia” transmitida por Telemundo en 2015 presentó un elenco afro latino para representar la vida de la cantante de salsa cubana Celia Cruz. -
Merchandising Social Na Telenovela Brasileira: Notas Sobre a Promoção Da Sustentabilidade Ambiental Em Velho Chico
Merchandising social na telenovela brasileira: notas sobre a promoção da sustentabilidade ambiental em Velho Chico Social merchandising in a Brazilian telenovela: notes on the promotion of environmental sustainability in Velho Chico Merchandising social en la telenovela brasileña: notas sobre la promoción de la sostenibilidad medioambiental en Velho Chico DOI: 10.1590/1809-58442018310 Gisela G. S. Castro1 https://orcid.org/0000-0003-0662-3770 Beatriz Braga Bezerra1 http://orcid.org/0000-0002-0443-0492 1(Escola Superior de Propaganda e Marketing de São Paulo, Pró-Reitoria de Pesquisa e Pós-Graduação Stricto Sensu, Programa de Pós-Graduação em Comunicação e Práticas do Consumo. São Paulo – SP, Brasil). Resumo A telenovela é uma das principais narrativas audiovisuais no cenário midiático nacional. A Rede Globo, líder no setor, firma como grande característica de suas tramas a presença de temáticas de cunho social que ajudam a promover a conscientização e o debate entre os telespectadores. Esse artigo pretende discutir as inserções sociais, chamadas de merchandising social, examinando como a temática da sustentabilidade ambiental foi trabalhada em Velho Chico. Lopes e Orozco Gómez (2009), Trindade (2007), Blessa (2006) e Baccega (2003) são alguns dos autores que dão suporte teórico a esse estudo. Como recorte empírico, são analisadas cenas selecionadas evidenciando os conteúdos abordados e as características desse tipo de construção narrativa que visa, sobretudo, fomentar a interação com a telenovela por meio da identificação do momento vivido com a trama elaborada para o espetáculo. Palavras-chave: Comunicação. Telenovela. Merchandising social. Sustentabilidade ambiental. Abstract Telenovela is one of the main audiovisual narratives in Brazilian television. -
The Public Manifestations of the Audience
The public manifestations of the audience Roger de la Garde 1 Abstract Mobile communication has confirmed our entry in the Post-Network Era (in particular, but not exclusively, through television programming). This state of affairs has not only challenged the economics of the television industry by rendering the “capture” of audiences (principally through programming) more complex, and random, but also the basic notion of audience itself. In so doing, this Post-Network Era has re-activated, but in a more dialectical fashion, the earlier debate that accompanied the spread of cultural industries and the introduction of the Network Era, when and where “audiences” became a substitute for “publics”, “ratings” for “popular approval”, and “opinion polls” for “public debates”. The present Era offers the occasion to reflect on how “audiences” were and are constructed, how they manifest themselves, and what impact these constructions and manifestations have held on our conception, and research, of “publics” (as in the French tradition of “les publics” and “auditoire”), of “mass” and “mob”. Keywords: audience, publics, crowds, mass, cultural industries. As to the question “Why are we here?” the answer will or will not become apparent at the closing session. But I can say at this very moment why I am here. First, because of an invitation for which I am most honored, but also, and mainly, because you are here. In a very self-centered viewpoint I saw this gathering as a rare opportunity to share a growing personal concern with what Martin A. Schwartz, Department of Microbiology, University of Virginia, observes as the vanishing “importance of stupidity in scientific research” (2008). -
Nodame Cantabile: a Japanese Television Drama and Its Promotion of Western Art Music in Asia
NODAME CANTABILE: A JAPANESE TELEVISION DRAMA AND ITS PROMOTION OF WESTERN ART MUSIC IN ASIA Yu-Ting Tung A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2009 Committee: David Harnish, Advisor Robert Fallon © 2009 Yu-Ting Tung All Rights Reserved iii ABSTRACT David Harnish, Advisor The fictional Japanese TV drama series, Nodame Cantabile (!"#$%&'()), based on the lives of Western art music performance majors in a Japanese music conservatory, has successfully reached out and appealed to the Japanese common audience since it was first aired in Japan in October, 2006. It has also attracted an international following, been aired in various Asian countries (including Taiwan, Hong Kong, and Malaysia), and found mass audiences beyond national boundaries. Why is a TV drama depicting such a specific group (i.e. music majors) able to cater to a mass audience in Japan and even to millions of viewers beyond Japan? In this thesis, I will argue that Nodame Cantabile not only has the typical prerequisites to be a successful Japanese TV drama, it also enchants its spectators by employing a unique, almost unprecedented approach—using Western art music as the thematic music and main soundtrack— which results in a whimsical, sensational, cross-cultural success. By contrast, most music in similar drama series uses Japanese pop music and electronic music. I will decode how this drama attracts mass audiences by interpreting/elucidating it from different perspectives, including: 1) how it portrays/reflects the Japanese music conservatory culture; 2) how it reflects the long-term popularity of certain Western art music compositions in/among Japanese music consumers; and, most interestingly; 3) how this drama further changes the perception of mass audiences, especially fans in Taiwan, about Western art music, and serves to increase the popularity of this music in Asian countries. -
Latin American Melodrama: Passion, Pathos, and Entertainment, Ed and Intro by Darlene J
Fairfield University DigitalCommons@Fairfield Modern Languages & Literature Faculty Publications Modern Languages & Literature Department 6-2011 Book Review: Latin American Melodrama: Passion, Pathos, and Entertainment, ed and intro by Darlene J. Sadlier Michelle Leigh Farrell Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/modernlanguagesandliterature- facultypubs Copyright 2011 Johns Hopkins University Press for American Association of Teachers of Spanish and Portuguese Repository Citation Farrell, Michelle Leigh, "Book Review: Latin American Melodrama: Passion, Pathos, and Entertainment, ed and intro by Darlene J. Sadlier" (2011). Modern Languages & Literature Faculty Publications. 23. https://digitalcommons.fairfield.edu/modernlanguagesandliterature-facultypubs/23 Published Citation Farrell, Michelle Leigh. Review of Latin American Melodrama: Passion, Pathos, and Entertainment, ed and intro by Darlene J. Sadlier. Hispania, 94(2) June 2011: 373-375. This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Reviews 373 narrated voice of the semifictional protagonist Candelario Navarro in the pseudo-testimonial novel Canto de sirena (1977) by Gregorio Martínez (b. 1942).