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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.

* Are cultural identities socially constructed? * How are race, nation, sex and gender constructed and represented on television? * What is the impact of globalization on television and cultural identities? This introductory text examines issues of television and cultural identities in the context of globalization. It is a wide-ranging volume, exploring many of the central cultural issues in contemporary cultural studies, such as media, globalization, language, gender, ethnicity, cultural politics and identity - perhaps the topic of cultural studies over the past decade. At the core of the book are two critical arguments - that television is a proliferating resource for the construction of cultural identity, and that cultural identity is not a fixed essential 'thing' but a contingent social construction to which language is central. The book will be essential reading for undergraduate and postgraduate courses on television and cultural identities in the fields of cultural studies, communications, media studies and sociology, with a wider appeal to those with an interest in the television industry. Key concepts are introduced and explained for those new to cultural studies, whilst debates are extended and enriched for those already familiar with them. The text is well structured, links the vocabularies of media studies and cultural studies, and is supported by original case study material.

"Addressing both the scope and the significance of television program format transferthe practice of using the basic idea of a program to produce a new version of that programthis book details this rapidly growing area of the international television distribution system. Also addressed is the remaking of a program by the television industry of another nation, highlighting issues of meaning and cultural identity of national audiences."

This text provides readers with useful summaries and evaluations of key arguments relating to the development of television as an industry across the globe and its potential cultural impact. There is a continual insistence in the book on the need to connect issues of industry with those of culture.

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.

This book develops a nuanced decolonial critique that calls for the decolonization of media and communication studies in Africa and the Global South. Last Moyo argues that the academic project in African Media Studies and other non-Western regions continues to be shaped by Western modernity’s histories of imperialism, colonialism, and the ideologies of Eurocentrism and neoliberalism. While Africa and the Global South dismantled the physical empire of colonialism after independence, the metaphysical empire of epistemic and academic colonialism is still intact and entrenched in the postcolonial university’s academic programmes like media and communication studies. To address these problems, Moyo argues for the development of a Southern theory that is not only premised on the decolonization imperative, but also informed by the cultures, geographies, and histories of the Global South. The author recasts media studies within a radical cultural and epistemic turn that locates future projects of theory building within a decolonial multiculturalism that is informed by trans-cultural and trans- epistemic dialogue between Southern and Northern epistemologies.

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.

Rentable produit d'exportation diffusé dans 128 pays, le feuilleton télévisé brésilien fait partie du quotidien de la population depuis une trentaine d'années. Si une grande part de son succès repose sur l'exploitation de « la culture des sentiments », dans sa version la plus moderne, il sait aussi plonger au cœur de la réalité comme l'a démontré entre autres avec brio « Le roi du troupeau » (1986) qui mettait en scène le conflit entre les sans-terre et les grands propriétaires terriens.

N.D.

"This book investigates how telenovelas may be the key to the future of Brazilian television and how this content can survive in an interconnected media landscape. Recognised writer and scholar Rosane Svartman considers the particular characteristics of the telenovela format - number of episodes, melodrama influence, and influence of the audience on future writing - to explore how these can be preserved on multimedia platforms, and the challenges this change may present. Svartman further charts the transformations of the telenovela throughout its history and its major influences and unveils the main storytelling elements and writing processes. Chapters examine the business model of Brazilian corporate television within the current context of hypermedia and analyse how this relationship evolves as it is influenced by the new interactive tools and technologies that amplify the audience's power. Merging empirical practices and theory, this book will be of great interest to scholars and students of transmedia storytelling, television studies, and Latin American media, as well as professionals working in these areas"-- Provided by publisher.