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The term digital “disruption” conjures up negative connotations, with implications of disturbance, interference or interruption. Certainly, virtually every aspect of life has been affected by digitisation, but it has been pointed out that it is detrimental “only for those who chose to ignore it or try to fight it” (“Digital Disruption: What Is It?” 2016, para 2). One case in point is the American company Kodak. Where it once dominated the film and camera market for most of the twentieth century, the company recently filed for bankruptcy. Kodak’s mistake was continually opposing the digitisation of the industry and failing to read the writing on the wall (“Digital Disruption: What Is It?” 2016). Digitisation is as much a reality of life in the newsroom as it is in the boardroom.

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.

This chapter examines the intersection of popular culture and populism in Turkey by focusing on the TV show Payitaht Abdulhamid. Our motivation to analyze the recent TV series Payitaht Abdulhamid stems from our interest in the instrumental mobilization of popular culture for the Turkish government’s dual desire to both establish cultural hegemony and consolidate its populist style of government. Our analysis reveals that television, especially in the Global South, still plays a central role in governments’ desire to reconstruct history and establish cultural hegemony. This is particularly important as Turkey is going through a crisis of hegemony since the public is completely divided in its support for the government. Within the context of this hegemonic crisis, televised popular culture is vital, perhaps more than ever. Specifically, the show reduces a complicated history into easily understandable dichotomies and projects them on to contemporary politics in order to consolidate support for the government. Through televised popular culture, the government mobilizes history for purposes of cultural hegemony and populist politics flavored with nationalist, Islamist, and anti-Western motifs. Ultimately, the TV show presents yet another moment for understanding the mediated nature of 21st-century politics outside Western contexts.

African television is at the crossroads. This chapter surveys, describes, analyzes and explains the major changes that have taken place in the African television landscape since the 1990s. It focuses on three major developments that have marked the African television landscape: (1) liberalization of the television space to keep abreast of international developments, and the tension between entrenched governmental public broadcasting systems and newly licensed “independent” TV stations, (2) the process and impact of the analogue to digital TV switchover shepherded by the International Telecommunications Union, and (3) the diffusion of Chinese electronic technology, television, and film content on the African television market as part of the Asian giant’s “soft power” diplomacy and State capitalism. African television is constrained by political regimes that restrict freedom of expression, and regulatory agencies that preside over systems in which the law takes precedence over rights.

This essay examines the 2010 NBC situation comedy Outsourced, with special attention to its representation of the racial politics surrounding business process outsourcing to India. Specifically, it discusses how Outsourced participates in what Jodi Melamed calls “neoliberal multiculturalism” to work through, symbolically and narratively, the realities and contradictions of globalized economies as they are experienced. By staging the dilemmas of outsourcing through the specter of the white male middle manager traveling to India to train Indian call center workers, Outsourced minimizes the affective labor necessarily performed by Indian call center workers and dramatizes outsourcing as a crisis of white U.S. masculinity alone. Moreover, it figures our white male protagonist as the global multicultural citizen to be emulated insofar as he models the appropriate attitude toward outsourcing and toward “other” cultures in general. Finally it suggests that the failure of the show has less to do with issues of cultural stereotyping and more to do with the failure of neoliberal multiculturalism to soothe anxieties around changing global economies.

Chinese Television and Soft Power Communication in Australia discusses China’s soft power communication approach and investigates information handling between China and its targeted audiences in the eyes of key influencers – intermediate elites (public diplomacy policy elites in particular) in China and Australia. It explores CGTN (with staff from several professional cultures) and conducts a systemic test of how successful/unsuccessful China’s soft power message projection is in terms of congruence between projected and received frames as a pivotal factor of its power status. The analysis is based on a case study of frames in the messaging on Chinese international TV about China’s Belt and Road Initiative and in the minds of Australian public diplomacy policy elites. The question raised is whether and how Australia is listening.

The display of spirituality, faith and religion is not a new phenomenon among black women in the United States, nor is it new to the world of media. Africans came to the Americas with their own sense of spirituality and religion, and the awareness of a higher being became the mortar that bound the community together during the trials of enslavement and subsequent oppression. Not surprisingly, this legacy of worship continues to provide solace and strength, with black women at the helm.

The premise of the show revolves around six preachers in the Los Angeles area. They each pastor churches ranging from 3,500– 4,000 members; however, one pastor’s church has nearly 20,000 members (season 1: episode 1). A multitude of cameras follow the stories of each of the pastors’ lives, their relationships with each other, as well as their wives relationships with one another. The show has five black male preachers and one white male preacher. In season 1, all of the pastors— except for two— are married; one of the unmarried pastors is engaged to the mother of his child, and the other has a long-standing relationship with a female friend who frequently appears on the show. As viewers watch the show, they are given a glimpse into the world of evangelical preachers. Although at first glance the show seems to only focus on the men, the women provide an interesting glimpse at what it means to be a preacher’s wife, fiancée, or female companion. There were a total of eight episodes that aired over the course of two months. This chapter explores how black women and their friendships are portrayed on Preachers of L.A. — including the one white woman on the show. It also examines their discourse between one another— using critical race feminism to analyze the roles of these women as first ladies (a term used to describe the wives of pastors), their relationship with one other, and the conversations they have surrounding sex, marriage, relationships, and friendships. The chapter focuses on the first season of the show, which began in the fall of 2013. The show was later renewed for a second season, which began airing late summer 2014. This critique attempts to bring awareness to black women in the church and the discourse that perpetuates the stereotypes of black women on television. It also aims to initiate further conversations on various stereotypes— regardless of context— that have the potential to bear negatively on black women.

Five years after Hurricane Katrina devastated New Orleans, Louisiana, life remained not normal still for many residents of the city. And while mainstream news organizations remembered the fifth anniversary of the hurricane with extensive coverage, it was the work of filmmaker Spike Lee and television program creators David Simon and Eric Overmyer that perhaps created the greatest buzz about the fifth anniversary of Katrina in 2010. Spike Lee’s first documentary, When the Levees Broke , was released in 2006. It documented what happened in New Orleans through the voices of local residents, politicians, and experts during and immediately after the storm.

This project has been engaging my thoughts for nearly a decade. I was forced to actually address it while sitting in our temporary home in Ile-Ife, Nigeria, watching world satellite TV with virtually no Blacks on it. In Nigeria, I became acquainted with Paris-based Fashion TV, U.S.-based Style Network, and the Australian production McLeod’s Daughters. Outside of M-Net’s Africa Magic, a network dedicated to showing Nollywood productions primarily, television was anything but Black. This whitening of the televisual frame, even in Black Africa, made me begin to consider the dearth of knowledge circulating about Black television programming, even when abundance

In recent years, Arab television has undergone a dramatic and profound transformation from terrestrial, government-owned, national channels to satellite, privately owned, transnational networks. The latter is the Arab television that matters today, economically, socially and politically. The resulting pan-Arab industry is vibrant, diverse, and fluid - very different, the authors of this major new study argue, from the prevailing view in the West, which focuses only on the al-Jazeera network. Based on a wealth of primary Arabic language sources, interviews with Arab television executives, and the authors' personal and professional experience with the industry, Arab Television Industries tells the story of that transformation, featuring compelling portraits of major players and institutions, and captures dominant trends in the industry. Readers learn how the transformation of Arab television came to be, the different kinds of channels, how programs are made and promoted, and how they are regulated. Throughout, the analysis focuses on the interaction of the television industry with Arab politics, business, societies and cultures.

Through close readings of contemporary made-in-Singapore films (by Jack Neo, Eric Khoo, and Royston Tan) and television programs (Singapore Idol, sitcoms, and dramas), this book analyzes the prospects of resistance in an advanced capitalist-industrial society with "global city" aspirations.

'One of the most important books on race, representation and politics to come along in a decade' - Henry Giroux, Penn State University Representing Black Britain offers a critical history of Black and Asian representation on British television from the earliest days of broadcasting to the present day.

Naficy explores the seemingly contradictory way in which immigrant media and cultural productions serve as the source both of resistance and opposition to the domination by host and home country's social values while simultaneously serving as vehicles for personal and cultural transformation and assimilation of those values.