Votre recherche

This chapter explores the ways in which the portrayal of children in Palestinian screen content compares with the positioning of children in leading pan-Arab children’s channels. Using critical discourse analysis, it compares the definition and representation of childhood in three Arabic language texts (two magazine shows and one animation), and examines the ways in which the texts construct narratives of childhood and whether they reproduce or challenge hegemonic definitions of childhood. The chapter analyses the language used to address the child audience and the ways in which adult–child relations are depicted. The chapter concludes that while there are some characteristics unique to Palestinian programming, the positioning of children and the “modes of address” are similar in all three programmes, and there are common assumptions and idealizations of childhood. However, there is some evidence that the Emirati animation analysed challenges dominant (adult-generated) definitions of childhood present in Arab societies by presenting childhood as a dynamic space of empowerment

Animation allows for the creation of mediatic spaces that strengthen prevailing ideologies of masculinity and femininity. Manhood seems to operate as a key point of reference in the creation of televised animation across Latin America, especially by elevating certain heroic cultural narratives. Through a review of 21 television series, produced between 2008 and 2018, this chapter examines the portrayals of femininity and masculinity in some of the most widely broadcast animated series from the region. As a norm, Latin American illustrators adhere to the tradition of depicting female figures as secondary characters, as leading characters with a certain degree of autonomy, or as subaltern, considerate, and supportive figures. By contrast, male figures are portrayed as strong, daring, independent, and primary characters, often destined to lead their families and communities, and save their weaker friends that are typically female characters.

This chapter historicises and contextualises the evolution, production, and development of key Mexican screen melodramas over fifty-two years to understand and mediate Mexico’s ambivalence around socioeconomic background, ranother. Perhaps if Televisa had allowed its various ace and religion, gender and worth, family and duty. The chapter demonstrates the importance of localised scholarly inquiry into Mexican audiovisual media that considers not only narrative discourses, content and textual analyses, but also industrial records and practices, marketing campaigns and press releases, archival research and interviews, multimedia synergy, and comparative analysis. For some time, research on Mexican melodrama has had a strong social focus, with several writings about audience engagement, but it is imperative to have more close readings of the texts themselves to understand their cultural context and industrial histories. This research exposes societal changes within Mexico by utilising one of its most omnipresent forms of popular culture and provides a deeper understanding of Mexico’s primary media productions through the use of genre and remake theory. The representations of young women yield a multitude of tensions and ambiguities placed upon Mexican women, which reveal volumes about wider sociocultural expectations.

Gender and the contemporary audio-visual landscape of Mexico.

This chapter analyzes the reflections of Turkey’s neoconservative and neoliberal politics of gender on daytime television. The focus is on Bridal House, a popular daytime TV show in Turkey which interpellates women as domestic subjects competing with other women to prove their domestic abilities, particularly the ability to navigate the etiquette of domestic consumption. Hierarchies are instigated among women through symbolic battles on “tasteful” consumption, and the marital household surfaces as a space of constant regulation where women strive to be ideal housewives. By analyzing Bridal House through a Bourdieusian framework, this chapter traces the representations of the “ideal female subject” along neoconservative and neoliberal lines, and demonstrates the ways in which symbolic violences are enacted on women in contemporary Turkey’s daytime TV culture.

During 2019, various situations once again showed the deep crisis in the country. Audiovisual production continued, albeit with figures that account for a declining industry. Four productions were released: a first was made by the state channel (TVe), a second by a local independent producer (Oduver Cubillán and BGcreativos), the third was produced by the private channel (RCTV) and broadcast by the subscription channel IVC Networks, and the fourth was also produced by RCTV. While the first two productions did not exceed the 35-episode figure, the third and fourth had 73 episodes. On March 7, there was the biggest blackout in the country’s history. For more than a week, 95% of the territory was paralyzed by a lack of electricity. The action was classified by the government as an electric sabotage. The darkness that covered the country also subsumed serial fiction.

Serial fiction released in Argentina in 2019 continues to fall. Only one telenovela had more than 200 chapters. To a lesser extent than the previous year, the supply of serialized fiction incorporated themes from the social agenda, especially feminist struggles and the visibility of sexual dissidence. The channels found in the co-produc- tion and in the production for platforms one of the ways in which fic- tion survives. Some of these programs are now on the open television screen. New fiction releases from Ibero-America are also falling.

The country’s political crisis led to the confrontation between the Peruvian Congress and President Martín Vizcarra on irreconcil- able limits. After a second denial of confidence, Vizcarra made use of his constitutional prerogatives and dissolved Congress at the end of September 2019. The majority of the mass media step in line with the different positions of the Executive or the opposition, giv- ing much more attention to the political situation, thus modifying the TV programing. In this scenario, the Enfoca group – owner of Latina station – has continued looking for potential buyers, but without success yet. The conglomerate – with interest in financial, health and productive sectors – does not feel that the investment made in acquiring all the station’s shares seven years ago yielded the expected results. Meanwhile, Willax – a small locally held station acquired by the Wong group in 2015 with promises of a large investment – has become a stronghold of opposition to the government of Vizcarra and the largest broadcaster of Korean fictions. In February 2020, they an- nounced that a commercial partnership had been signed with South Korean company CJ ENM, a production company of several Korean dramas and the award-winning film Parasite, but without indicating what this company could mean for audiovisual production in Peru.

The year 2019 in Colombia was characterized by the presence of a series of social and cultural phenomena of high impact on the population, such as the National Strike on November 21, when dif- ferent sectors expressed their disagreement with the country’s poli- cies and the reforms that were being proposed for the new year. This situation led to a leading presence of the news on the small screen and, at the same time, an interesting reflection of national identity, the needs of various Colombian social groups and the cul- tural matrices of the nation. In this hectic context and in accordance with a certain global climate of crisis in democratic and government systems, a highly interesting television phenomenon emerges: the highly successful reappearance of the programs that marked differ- ent generations of compatriots and that, as in the past, once again led families to discuss episodes and situations presented under the classical structure of melodrama.

The high expectations of change caused by the victory of An- drés Manuel López Obrador for the presidency of Mexico have not been translated into any substantive modification in the Mexican media ecosystem or in the communication policies that have led the media-state relations in the country. However, what has been modi- fied/conditioned is the setting of the daily news agenda, since the new president has imposed a political-governmental communica- tion framework by holding morning press conferences, in which, with little opposition from the media, he sets the topics to be dis- cussed on a daily basis. It has created various problems with those media and/or journalists that have questioned the stances he has adopted, his plans and projects. The conflict escalated to such an extent that López Obrador has called his opponents “prensa fifí” (“snob press”), pointing out in a very clear way that these are ac- tors who only seek to defend the privileges lost during his govern- ment by conservative media, or, as he has called them: “la mafia del poder” (“the power mafia”).

A look at the screens of Uruguay’s open television in prime time will give the viewer a very reduced offer: after a television newscast that exceeds two hours long, there are only contest pro- grams, national or imported ones. It is possible that in the afternoon and at night the viewer finds a telenovela, almost always Turkish one. This is a very different panorama from the Uruguayan televi- sion history. Ibero-American fiction is in decline on open television, while its offer on VoD expands. In this chapter we will try to consider the various aspects of this landscape. Melodrama is on both options, open television and streaming, on a broad thematic spectrum, even in productions that are not usually classified as such. In the absence of national fiction in the period, at the end of the chapter we will study the melodrama in prison fiction, particularly in the case of El Marginal.

In 2019, the World Wide Web (www) celebrated its 30th anni- versary, However, the internet had not yet asserted itself as a right in the “network society” (Castells, 2009), and its balance points to the expansion of both opportunities and threats. Another fact that deserves to be highlighted in the year was the drop in the rating as a global phenomenon that challenges the television industry. It means change of habits and search for new business models. The integration of platforms and the generation of quality content appear as pillars of thetransformation of audiovisual worldwide. And the changes are manifested with a certain degree of diversity, according to the economic and cultural characteristics of each society, with disruptive processes.

This book examines the phenomenon of prime time soap operas on Indian television. An anthropological insight into social issues and practices of contemporary India through the television, this volume analyzes the production of soaps within India’s cultural fabric. It deconstructs themes and issues surrounding the "everyday" and the "middle class" through the fiction of the "popular". In its second edition, this still remains the only book to examine prime time soap operas on Indian television. Without in any way changing the central arguments of the first edition, it adds an essential introductory chapter tracking the tectonic shifts in the Indian "mediascape" over the past decade – including how the explosion of regional language channels and an era of multiple screens have changed soap viewing forever. Meticulously researched and persuasively argued, the book traces how prime time soaps in India still grab the maximum eyeballs and remain the biggest earners for TV channels. The book will be of interest to students of anthropology and sociology, media and cultural studies, visual culture studies, gender and family studies, and also Asian studies in general. It is also an important resource for media producers, both in content production and television channels, as well as for the general reader.

The marriage show was a popular reality show format that invited people to find their soulmate and marry on live television in Turkey. Based on ethnographic fieldwork which took place in the show’s studio between 2011 and 2012, this chapter explores female participants’ investment of their trust in the show. While being reluctant about finding a spouse on television, women take on registers of safety, familiarity, and secrecy to navigate the show as a safe venue. This endeavor also involved women’s safeguarding of themselves on their way to marriage. The fragility of trust in the show, therefore, indicates how women foresee risks and yet strive for securing happiness and safety in marriage in general. This affective tension, at a larger scale, is related to the increased sense of insecurity at a global scale, and the systematic failure of the family to provide the safe living environment it promises in the Turkish context.

This chapter explores the social and cultural factors that have contributed to the success of Turkish programs in the Arab world. Following the cancelation of Turkish serials on the Arab world’s largest networks in Saudi Arabia and the United Arab Emirates, this chapter will explore how dedicated Arab fans are continuing to watch Turkish shows via alternative platforms after having seen them become such a large part of their daily lives and a permanent fixture on their screens in recent years. By using the Gulf State of Qatar as a departure point, it will examine why Turkish content resonates so closely with female Arab audiences, while also determining their viewing motivations and how Turkish serials have managed to fill a void among its viewers that Arab media has failed to satisfy. At the same time, this chapter will discuss why Turkish dramas have been widely perceived as a women’s genre despite being prime-time serials in Turkey.

Satellite television has not only provided migrant communities with stronger ties to their home countries but also enabled second-generation migrants in particular to know more about their country of origin beyond their family ties. The aim of this chapter is to explore the ways in which Turkish television contributes towards the making of the transnational identity of the “twice minority” group of Alevi Kurds through what I call mediatised culturalisation. Drawing on 17 in-depth interviews that I conducted with the second-generation members of the Alevi Kurdish community in London in 2016, I explore the role of Turkish television in contesting the boundaries of transnational social imaginaries of the second-generation viewers.

Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas' transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Even as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas' international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas' mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world. Scholars of media studies, communication, cultural studies, and Asian studies will find this book especially useful.

Television Drama in Spain and Latin America addresses two major topics within current cultural, media, and television studies: the question of fictional genres and that of transnational circulation. While much research has been carried out on both TV formats and remakes in the English-speaking world, almost nothing has been published on the huge and dynamic Spanish-speaking sector. This book discusses and analyses series since 2000 from Spain (in both Spanish and Catalan), Mexico, Venezuela, and (to a lesser extent) the US, employing both empirical research on production and distribution and textual analysis of content. The three genres examined are horror, biographical series, and sports-themed dramas; the three examples of format remakes are of a period mystery (Spain, Mexico), a romantic comedy (Venezuela, US), and a historical epic (Catalonia, Spain). Paul Julian Smith is Distinguished Professor at the Graduate Center, City University of New York. He was previously Professor of Spanish at the University of Cambridge. He is the author of twenty books and one hundred academic articles.

The Turkish television industry has undergone great transformation during the past three decades and enjoyed unprecedented success among national and transnational audiences alike. This chapter reconsiders the rise of Turkish television as a global player and an emerging national industry from a new theoretical perspective by situating Turkish television within the contemporary global developments of international television markets and within its own national history, economic, political, and cultural dynamics. By providing different examples of key turning points in its history, we offer a brief overview of TV production, distribution, and reception in Turkey since the beginning of the industry. We also illustrate how societal debates around television content, such as Turkish TV dramas (dizis), have ignited the question of representation and caused a struggle over official narratives, resulting in the entwining of the industry and production processes with politics. In our introductory chapter, we argue that with the increasing demand for content and the expansion of access to online TV platforms, emerging TV industries play an intricate and complex role in reshaping global television flows. Therefore, the case of the Turkish TV industry constitutes a significant example for understanding the current structural transformations in global television and sheds light on the interplay between national and transnational production, distribution, and reception processes.

Police procedural has been historically perceived as a dominantly masculine genre for continually revolving around the investigations of male police officers. In accordance with the patriarchal norms that pervade Turkish society, local variations of the police procedural genre have conveniently appropriated this globally known convention and left little room for female detectives in their narratives. However, whenever they got a chance to be included in this male-dominated universe, female detectives have been frequently depicted as relatively independent women but also submitted to the traditional norms of womanhood in an ambivalent manner. This chapter examines this hesitant position of female police detectives in three contemporary Turkish police procedurals, Kanıt (The Evidence, 2010–2013), Cinayet (The Killing, 2014) and Sṃahsiyet (Personality, 2018), by building connections between the interest of police procedural genre in feminist debates in the global context and the influence of this interest on local variations.