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Despite great heterogeneity, the vast continent of Africa and the diverse people of its countries and diasporas have often been represented through the most reductive, essentialising, and denigrating paradigms— a process that Nigerian writer Chimamanda Adichie Ngozi has referred to as “the danger of a single story”. One of the most dangerous of these paradigms is the developmentalist one, which shoehorns Africa into a western, capitalist teleological framework that overlooks and denies Africa’s production of and participation in forms of leisure, pleasure and entertainment.

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.

This chapter discusses how Chinese television has been refashioned by the digital entertainment industry, and contends that new genres, identities, and representations have emerged in recognition of youths as the most valuable and desirable category of audience. It does so by way of three case studies. The first illustrates the symbiotic relationship between online literature and television drama production, and how the former contributes to the fantastical turn of Chinese television. The second seeks to understand the emergence of new cultural figures of “supreme heroine” and “sweet males” in the context of the rise of female fandom in contemporary Chinese popular culture. The third reveals how traditional television content, or in this case a political drama, may be recreated by online distributors and influencers so as to be aligned with the habits, attitudes, and preferences of the younger audiences. The chapter concludes that to understand contemporary Chinese television culture, the Internet and social media must become an integral component of inquiry because of their powerful remediating role in the public communication of any cultural text.

Telenovela shapes important and highly favorite section of the television productions. The T.V. series have moved out from their traditional structure with an entertaining aspect and have been divided into different types and scopes. Taking into consideration the time and the atmosphere of dissemination which the Telenovela programs hold in T.V. antenna, there is a need to conduct studies on sociology of Telenovela more than any other times in the past. This article is an attempt to review the two subject-matters of Telenovela and Narration and their connection with democracy through sociological sporadic studies. This will also present the significance of this genre in T.V. productions at local and international discourses. Observations, field researches and library study methods have been employed in this research.

This poignant assertionby acclaimed actor Viola Davis, star of the series How to GetAway with Murder (ABC, 2014-), during her Emmy acceptance speechwent viral and becamethe flashpoint for heated discussion about contemporary television’s representational practices. The statement draws attention to questions of taste, what is acknowledgedby the industry and audiences as quality television and the political economy of thecontemporary industry. This moment in television history, with its attendant socialmedia afterlife, captures the key elements I wish to explore in this chapter: represen-tations of women of colour, production practices and viewer responses. As Viola Davisnotes in the quote above, the contemporary US television landscape offers limited rolesfor people of colour. The few shows starring people of colour have become the focus ofintense social media exchanges. In this chapter, I will explore how televisual womenof colour have become a key site from which viewers assert a possessive investmentof racialised identity. By focusing on social media responses, I delineate the ways inwhich viewers invest symbolic and literal ownership over these representations.Through such a multifaceted examination, this essay aims to elaborate how women ofcolour are accommodated within the concept of television for women, a term inter-rogated in this volume. In addition, I illustrate the ideological instability of the term‘women of colour’ and the capaciousness of the concept ‘television for women’.

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. This digital turn has given us a 'DV China' that includes film and media communities across different social strata and disenfranchised groups. This study takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices.

I was about 10 or 11 years old when I, together with my parents, religiously tuned in weekly to the situation comedy ¿Qué pasa U.S.A.? While I do not recall the specific year the show aired in Puerto Rico, I do remember that it was broadcast on WIPR-Channel 6, the island’s public television station. Watching one of my favorite sitcoms on what I then considered the boring channel was rather odd. However, I never thought it strange that the Peñas, ¿Qué pasa U.S.A.? ’s working-class three-generation Cuban/Cuban-American family, resided in Miami or that some of the characters communicated bilingually in English and Spanish. For me, ¿Qué pasa U.S.A.? was a show that resembled other locally produced situation comedies broadcast on commercial television, with the difference that the Peña family were Cuban immigrants who, instead of residing in Puerto Rico (like some of my childhood friends), lived in Miami (like many of my friends’ relatives). Probably as a result of the principal characters’ cultural references and their accents in Spanish, I decoded ¿Qué pasa U.S.A.? as a Cuban sitcom. Fast-forward to 2004. I was invited to write a 500-word encyclopedia entry on ¿Qué pasa U.S.A.? Without having any information on the show at hand, I immediately accepted. This was an opportunity to revisit a program I loved. After conducting the research I realized the uniqueness of ¿Qué pasa U.S.A.? Sponsored by the U.S. Office of Education Emergency School Assistance Act– Television Program (ESAA-TV), ¿Qué pasa U.S.A.? —considered the first bilingual situation comedy broadcast on U.S. television— addressed the culturalgenerational misunderstandings and the socio-cultural adjustments endured by the Peñas, a 1960 Cuban exile family.

Fusing audience research and ethnography, the book presents a compelling account of women's changing lives and identities in relation to the impact of the most popular media culture in everyday life: television. Within the historically-specific social conditions of Korean modernity, Youna Kim analyzes how Korean women of varying age and class group cope with the new environment of changing economical structure and social relations. The book argues that television is an important resource for women, stimulating them to research their own lives and identities. Youna Kim reveals Korean women as creative, energetic and critical audiences in their responses to evolving modernity and the impact of the West. Based on original empirical research, the book explores the hopes, aspirations, frustrations and dilemmas of Korean women as they try to cope with life beyond traditional grounds. Going beyond the traditional Anglo-American view of media and culture, this text will appeal to students and scholars of both Korean area studies and media and communications studies.

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.

From the 1967 live satellite program "Our World" to MTV music videos in Indonesia, from French television in Senegal to the global syndication of African American sitcoms, and from representations of terrorism on German television to the international Teletubbies phenomenon, TV lies at the nexus of globalization and transnational culture. Planet TV provides an overview of the rapidly changing landscape of global television, combining previously published essays by pioneers of the study of television with new work by cutting-edge television scholars who refine and extend intellectual debates in the field. Organized thematically, the volume explores such issues as cultural imperialism, nationalism, postcolonialism, transnationalism, ethnicity and cultural hybridity. These themes are illuminated by concrete examples and case studies derived from empirical work on global television industries, programs, and audiences in diverse social, historical, and cultural contexts. Developing a new critical framework for exploring the political, economic, sociological and technological dimensions of television cultures, and countering the assumption that global television is merely a result of the current dominance of the West in world affairs, Planet TV demonstrates that the global dimensions of television were imagined into existence very early on in its contentious history. Parks and Kumar have assembled the critical moments in television's past in order to understand its present and future. Contributors include Ien Ang, Arjun Appadurai, Jose B. Capino, Michael Curtin, Jo Ellen Fair, John Fiske, Faye Ginsburg, R. Harindranath, Timothy Havens, Edward S. Herman, Michele Hilmes, Olaf Hoerschelmann, Shanti Kumar, Moya Luckett, Robert McChesney, Divya C. McMillin, Nicholas Mirzoeff, David Morley, Hamid Naficy, Lisa Parks, James Schwoch, John Sinclair, R. Anderson Sutton, Serra Tinic, John Tomlinson, and Mimi White.