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Latin American Television makes English speakers aware of the dimensions, operation, and significance of the globalization of television in the Spanish-speaking world. Second only in scale to the market for English-language programming, the Spanish-language market embraces not just most nations of South and Central America but also Spain, and even the United States--the sixth largest Spanish-speaking country in the world. This intercontinental space is connected physically by satellite communication, and culturally by a common language and heritage which binds it as both a `geolinguistic region' and an `imagined community' which certain media corporations, Latin American and North American, seek to exploit. A similar phenomenon with regard to Brazil and the Portuguese-speaking world is ... Source: Publisher

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 book examines the process of transnationalization of Latin American television industries. Drawing upon six representative case studies spanning the subcontinent’s vast and diverse geo-political and cultural landscape, the book offers a unique exploration of the ongoing formation of interrelated cultural, technological, and political landscapes, from the mid-1980s to the present. The chapters analyse the international circulation of the genres and formats of entertainment television across the subcontinent to explore the main driving forces propelling the production and consumption of television contents in the region, and what we can learn about the cultural and social identities of Latin American audiences following the journey of genres, formats, and media personalities beyond their own national borders. Taking a contemporary interdisciplinary approach to the study of transnational television industries, this book will be of significant interest to scholars and students of television and film studies, communication studies, Latin American studies, global media studies, and media and cultural industries.

As activists and political leaders in Brazil call for increasing rights, recognition, and redress to address the multiple forms of marginalization that Afro-Brazilians have endured, media has become an increasingly important sphere through which different constituencies mobilize to advance a project of racial equality. Among these groups enlisting available media resources was a group composed predominately of Afro-Brazilian media professionals who joined together to launch the TV da Gente (Our TV) television network, Brazil’s first television station with the mission to produce racially diverse programming directed toward a Black viewing audience.

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.

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.

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.

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.

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.

Globalization has intensified interconnectivity among television industries worldwide. Interconnectivity happens through structural and institutional linkages among television systems and industries worldwide, resulting in an increasingly integrated global business governed by similar practices and goals. The dynamics are reflected in the popularity of television formats. On the surface, global dissemination of formats may suggest not only the global integration of the economy of the industry but also the standardization of content. A dozen media companies are able to do business worldwide by selling the same idea, and audiences seem to be watching national variations of the same show. At a deeper level, however, formats attest to the fact that television still remains tied to local and national cultures. Bringing up examples of Latin American cases, this article argues that television is simultaneously global and national, shaped by the globalization of media economics and the pull of local and national cultures.

This article discusses key findings from a survey of the professional patterns, scholarly productivity, and educational characteristics of Chilean Journalism and Mass Communication (JMC) educators, as well as documentary information about the schools where they work. The results reveal a weak academic culture that contrasts with a strong professional culture among the members of this community, but also the influence that both organizational and individual variables have on Chilean JMC educators' orientations. Specifically, the analyses indicated that the level of education, part-time/full-time commitment, and the type of university are the most influential factors in defining both the prevalence of a professional culture and the lack of research productivity. These findings support other international studies, indicating a global tendency across key variables that influence academic development in the field. Likewise, it shows how distant Chilean JCM educators are from the university-scholarly tradition.

Ce travail s’intéresse à la population trans MtF latino-américaine issue des secteurs populaires. Le travail a pour objectifs de (1) connaître les normes de genre du milieu d’origine de cette population (2) comprendre le lien du milieu d’origine avec leur parcours dans l’identité trans (3) examiner les parcours migratoires et comprendre leur très forte inscription dans la prostitution. L’enquête de terrain a été réalisée principalement en France et en Espagne. Concernant le cheminement identitaire, la recherche montre le poids de la formation sociale du milieu d’origine, et particulièrement le poids des normes relatives au genre dans les milieux populaires (hétéronormativité, homophobie, sanction des masculinités déviantes). Cette imbrication classe/sexe situe les personnes dans la position sociale marginale et stigmatisée de la prostitution. L’article apporte un éclairage sur cet environnement, où l’imaginaire festif côtoie l’ordinaire des violences. L’expérience migratoire, très valorisée dans le pays d’origine, est examinée. Le type de liens tissés avec la famille, et les difficultés liées à l’isolement linguistique et à la solitude sont abordés.

In creating and developing the new genre of the televised novela, a one-hour long dramatic serial, the Brazilian television industry grew, in less than 15 years, from an insignificant player in the international market to one of the largest, most influential in the world. In the first book in English to explore the phenomenon of the telenovela Michele and Armand Mattelart challenge accepted views of the world dominance of United States television and probe the socioeconomic impact of this new genre on a third world country. Using the telenovela and its impact on the medium world-wide, the authors document the important changes in the international circulation of television programs and in the way television is perceived theoretically as a subject of research. The book traces the development of the novela in a country that, in the early 1960s, did not have any nationwide media and later--from 1964 to the 1970s--was ruled by a military dictatorship. It further analyzes the formation of the genre and its mode of production, placing the novela's appearance and development in its cultural, institutional, and economic context. The authors look at the peculiar contradictory relation between the genre's creators and developers--generally left wing intellectuals--and the manipulations required to construct a television industry in a highly competitive marketplace. The book begins with a description of the economic, institutional, and cultural context which produced the genre. It explores the world of soap operas, the development of a national television industry, and the beginnings of an urban consumer society in Brazil. The authors include a valuable and detailed study of the mode of production of the telenovela, placing both the form and content of the genre in their specific economic and institutional context. The book goes on to examine the relationship between the genre and its wider social and cultural environment, explaining its immense popularity and the social function it fulfills. Finally, the authors link the study of Brazilian television to wider debates in media and cultural studies.

Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their art collections and exhibitions, this publication draws upon the challenges faced today by cultural workers, Indigenous and non-Indigenous, to engage meaningfully and ethically with the histories, presents and futures of Indigenous cultural practices and world-views. Sixteen Indigenous voices convene to consider some of the most burning questions surrounding this field. How will novel methodologies of word/voice-crafting be constituted to empower the Indigenous discourses of the future? Is it sufficient to expand the Modernist art-historical canon through the politics of inclusion? Is this expansion a new form of colonisation, or does it foster the cosmopolitan thought that Indigenous communities have always inhabited? To whom does the much talked-of 'Indigenous Turn' belong? Does it represent a hegemonic project of introspection and revision in the face of today's ecocidal, genocidal and existential crises?"--Page 4 de la couverture. Autres auteurs/titres:edited by Katya García-Antón ; contributors, Daniel Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna'i Eshrāghi, David Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, Ánde Somby, Megan Tamati-Quennell, Prashanta Tripura, Sontosh Bikash Tripura.

Les auteures dressent le portrait tant des défis actuels que des possibilités qui naissent des relations interculturelles se tissant entre commissaires et cinéastes autochtones et non-autochtones dans le cadre du plus grand festival du film autochtone du Brésil, Cine Kurumin. Ce festival annuel, fondé en 2011, se déroule dans des villages ruraux autochtones, de même que dans des métropoles brésiliennes, attirant ainsi des auditoires variés. Le festival est ouvert aux cinéastes autochtones et non-autochtones qui produisent du matériel audiovisuel portant sur des sujets autochtones de partout dans le monde. Divers processus créatifs y sont encouragés grâce à l’organisation d’ateliers de scénarisation, et des partenariats établis avec des chaînes de télévision permettent une plus large diffusion des films sélectionnés. Alors que les productions audiovisuelles autochtones se développent, leurs contenus se diversifient ; elles englobent en effet de plus en plus de thèmes et de styles, de formats et de perspectives variées. En s’appuyant sur un cadre théorique postcolonial et décolonial, les auteures proposent de nouvelles perspectives sur un cinéma en pleine expansion ; les réalisateurs autochtones et leurs films circulent de plus en plus au sein de festivals non thématiques, reçoivent des prix et font rayonner leurs propres voix et points de vue auprès de publics variés, ce qui crée de nombreuses possibilités d’interactions et de dialogues interculturels. En outre, la mise sur pied de Cine Kurumin témoigne du pouvoir des productions audiovisuelles autochtones de générer des relations interculturelles entre cinéastes, commissaires et public.

While sharing fundamental similarities with other colonial and post-colonial experiences, Latin America has a unique history of having been the proving ground for early Spanish and Portuguese imperial projects, of having experienced a relatively long duration of – but also historically early end to – these projects, and of negotiating a particular and complex trajectory of internal and external post-colonial relations. What can the study of this distinct colonial and post-colonial experience contribute to a broader program of postcolonial sociology? Conversely, what can a revitalized postcolonial sociology contribute to the study of Latin America? This article develops provisional answers to these questions by reviewing major currents in South and North American scholarship on the Latin American colonial and post-colonial experience. Some of this scholarship self-consciously identifies with broader movements in postcolonial studies; but much of it – both historical and contemporary – does not. By bringing together diverse strands of thought, this article sheds new light on what postcolonialism means in the Latin American context, while using the comparative leverage that this set of often overlooked cases provides to contribute to a new program of postcolonial sociology.

La idea de elaborar un número sobre las luchas de las mujeres y las feministas en América Latina y el Caribe surgió de un encuentro entre Sabine Masson (Suiza), Jules Falquet (Francia) y Ochy Curiel (República Dominicana), cuyos caminos se cruzaron en el continente latinoamericano por razones personales y políticas. Debatimos y reflexionamos juntas sobre la cuestión de las barreras de "raza" y de clase que nos atraviesan a las feministas de diferentes partes del mundo, y que son en particular el reflejo de las relaciones de dominación entre el Sur y el Norte. Precisamente por estas barreras, las experiencias políticas y el trabajo de construcción colectiva de muchas feministas y mujeres, especialmente de América Latina y el Caribe, siguen siendo desconocidas para la mayoría de las feministas de otras latitudes, y de poco interés para las revistas académicas feministas de los países ricos. Oponerse a esta invisibilización y contribuir, aunque sea a nivel experimental y muy modesto, a la deconstrucción de estas barreras, fue nuestra principal motivación para organizar este número en una revista francófona como Nouvelles Questions Féministes. Sin embargo, el trabajo de coordinación presentó importantes contradicciones: primero, entre nosotros mismos. En primer lugar, tuvimos que reconocer e integrar las diferencias y similitudes de nuestras respectivas posiciones, para llegar a un consenso que nos permitiera desarrollar esta cuestión juntos. En segundo lugar, nos enfrentamos al riesgo de reproducir una vez más el saqueo de los conocimientos de las mujeres indias, afrodescendientes y mestizas latinoamericanas y caribeñas por parte de los "expertos del Norte". Los textos se traducirían al francés, lo que significaría que una ínfima minoría de mujeres latinoamericanas y caribeñas tendría acceso a ellos, mientras circulaban por Europa, enriqueciendo una vez más el conocimiento de las mujeres de los países ricos con el trabajo, las luchas, las historias y los escritos de las mujeres de los países pobres. Ante este problema, decidimos que la publicación de este número fuera acompañada de una versión en español, con el objetivo de hacer circular y compartir esta producción intelectual en América Latina y el Caribe   L’idée de faire un numéro sur les luttes de femmes et les luttes féministes en Amérique latine et aux Caraïbes a surgi de la rencontre entre Sabine Masson (Suisse), Jules Falquet (France) et Ochy Curiel (République Dominicaine), dont les chemins se sont croisés sur le continent latino-américain pour des raisons personnelles autant que politiques. Nous avons débattu et réfléchi ensemble sur la question des barrières de « race » et de classe qui nous traversent, nous les féministes de différentes parties du monde, et qui sont notamment le reflet des rapports de domination entre le Sud et le Nord. Justement à cause de ces barrières, les expériences politiques et le travail de construction collective de beaucoup de féministes et de femmes, notamment latino-américaines et des Caraïbes, demeurent inconnus de la plupart des féministes d’autres latitudes, et intéressent peu les revues féministes académiques des pays riches. S’opposer à cette invisibilisation et contribuer, même si ce n’est qu’à un niveau expérimental et très modeste, à déconstruire ces barrières, a constitué notre principale motivation pour organiser ce numéro dans une revue francophone comme Nouvelles Questions Féministes . Néanmoins, le travail de coordination présentait d’importantes contradictions : d’abord, entre nous. Pour commencer, nous avons dû reconnaître et intégrer les différences et les similitudes de nos positions respectives, afin de parvenir à un consensus qui nous permette d’élaborer ce numéro ensemble. Ensuite, nous nous confrontions au risque de reproduire encore une fois le pillage des connaissances des femmes indiennes, afro-descendantes et métisses latino-américaines et des Caraïbes par les « expertes du Nord ». Les textes allaient être traduits en français, c’est-à-dire qu’une infime minorité de femmes latino-américaines et des Caraïbes pourrait y avoir accès, pendant qu’ils circuleraient en Europe, enrichissant une fois de plus le savoir des femmes des pays riches à partir du travail, des luttes, des histoires et des écrits des femmes des pays pauvres. Face à ce problème, nous avons décidé que la publication de ce numéro allait s’accompagner d’une version en espagnol, dans le but de faire circuler et de partager cette production intellectuelle en Amérique latine et aux Caraïbes