"Probablemente, el indicador más elocuente del descenso en la producción es que, sumados, los mismos países produjeron en 2022 un 54% de lo que producían en 2012. El gráfico 3 muestra las caídas ocurridas en cada país. A nivel agregado, los niveles de producción de 2012 son similares a los
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de 2017, pero a partir de ahí empieza una disminución que se agudiza durante la pandemia, se recupera parcialmente en 2021 y vuelve a caer en 2022. A los factores ya mencionados como algunas de las posibles causas de la caída, el descenso inversión publicitaria y desplazamiento de hacia las plataformas, cabe considerar otros dos que apuntan a la sustitución: la ya consolidada presencia de telenovelas turcas y de otros orígenes incipientes y también la competencia de las reposiciones. La brecha en la calidad visual de las realizaciones de fines de los años 90 en adelante, respecto de las actuales, es baja. Telenovelas históricas como Terra Nostra, Betty la Fea o Pasión de Gavilanes se reprograman y son consumidas de un modo parecido a las actuales.
Un elemento recurrente entre los capítulos nacionales de este informe es relevar la importancia de la reposición de materiales ya exhibidos. Los intercambios de contenidos audiovisuales entre países iberoamericanos han estado presentes por décadas, pero hay fuertes diferencias en las cantidades de producciones que cada país importa o exporta. Asimismo, también hay diferencias en la variedad de orígenes desde los que se importan contenidos.
En los capítulos nacionales se muestra la cantidad de títulos y horas de ficción televisiva de estreno iberoamericana de exhibida en el país durante 2022. Vistas individualmente, muestran los consumos locales. Sin embargo, al combinarlas, revelan los flujos de intercambios de producciones entre países.Eso es lo que se muestra en la tabla 3, usando las horas como unidad de medida. La tabla 3 puede leerse vertical y horizontalmente. Leída verticalmente, muestra el origen de la ficción televisiva de estreno exhibida en cada país. Horizontalmente, muestra los distintos países en que se exhibió ficción televisiva originada en un país [...]
La tabla 3 muestra que el principal país exportador de ficción televisiva en Iberoamérica es México, al igual que en los años anteriores. En 2022 vendió contenidos a todos los países, salvo Portugal, siendo además, con la excepción del cono sur, el principal exportador hacia cada uno de los países de la región. En segundo lugar, tanto en volumen como en cantidad de países a los que exportó, está Brasil. Un caso llamativo es Colombia: no sólo redujo sus exportaciones en casi un 60%, sino que su producción se redujo en un 53%, fundamentalmente por la reducción en la producción de telenovelas. Los casos de España y Portugal son interesantes en 2022 por la misma razón que lo fueron en 2021. Su volumen de producción los ubica sólo por debajo de Brasil o México y muy por encima de todos los demás países. La factura de sus realizaciones es de alto estándar. Sin embargo, sus niveles de exportaciones no alcanzan al 5% de lo producido." (Páginas 26-28)
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"Dieser Band behandelt in sechs Abschnitten Grundlagen, Probleme, Ursachen und Folgen von Markt- und Unternehmensstrukturen in der Unterhaltungsindustrie. Wissenschaftler und Praktiker aus Großbritannien, Schweden, der Schweiz und Deutschland beschäftigen sich mit dem Produktionssektor in Großbri
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tannien, mit den Grundlagen der Programmplanung und Produktplatzierung, mit Rezeption und Marketing sowie der Zukunft der Fernsehindustrie. Schwerpunkte des Bandes bilden darüber hinaus die Organisation und das Management von Beschaffung, Produktion und Distribution in der Unterhaltungsindustrie. Schließlich werden auch die Fragen von Innovation und Imitation in der Unterhaltungsproduktion thematisiert." (Verlagsbeschreibung)
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"In Latin America, the production of telenovelas and TV series about the region's recent and traumatic past has grown considerably in the last 20 years, affecting societal perceptions of the past, historical consciousness, and political culture. While these TV products are usually perceived as trivi
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al, they do provide a historical framework to a wide audience, which finds it easier to relate to the national past through fiction than through history books, journalistic articles or documentaries. Latin America’s Contested Pasts in Telenovelas and TV Series analyzes the historical culture of Latin American society embodied in telenovelas and TV series from the 1960s to this day. It compiles regional case studies on the televised representation of 20th-century dictatorships in Chile, Argentina, and Brazil, as well as the war against drug trafficking and the armed conflict in Colombia. Highlighting the political and social relevance of fictional television, the contributions offer interdisciplinary insights into its discourses and narratives, from the heroization of criminals to the search for reconciliation and the construction of a historical memory." (Publisher description)
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"Fictional TV politics played a pivotal role in the popular imaginaries of the 2010s across cultures. Examining this curious phenomenon, Sebastian Naumann provides a wide-ranging analysis of the rapidly evolving landscape of contemporary polit-series. Proposing a novel structural model of serial tel
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evision, he offers an innovative methodological framework for comparative textual analysis that integrates sociocultural, economic, sociotechnical, narratological, and aesthetic perspectives. This study furthermore explores how the changing affordances of (nonlinear) television impact serial storytelling and identifies key narrative trends and recurring themes in contemporary TV polit-fiction." (Publisher description)
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"Con quince contribuciones de investigadores procedentes de universidades italianas e internacionales, este volumen construye una perspectiva de los estudios sobre el humor, las posibles variaciones tropológicas y las metodologías que se necesitan a la hora de acotar sus diferentes expresiones. Es
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, al mismo tiempo, un recorrido por las urgencias, las propuestas y los sufrimientos de las sociedades latinoamericanas (en la patria o en el exilio) frente a los tiempos ásperos que fueron y los que se van aproximando." (Descripción de la casa editorial)
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"Centered around Mexico as a case study, the book explores the production of political entertainment in post-authoritarian legacy media and how political and economic conditions constrain the range and edge of discourse; how political entertainment in social media is shaped by the structure of platf
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orms, as creators are encouraged to conform to specific norms such as constant publication; and the impacts of these media on attitude formation among the population. The book proposes a theoretical framework for identifying the specific conditions of post-authoritarian democracies that constrain the production of political entertainment, as well as its outcomes in terms of content and effects. This framework can be applied to the analysis of similar case studies, particularly in the Global South at large." (Publisher description)
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"The study seeks to understand consumers’ and decisionmakers’ perspectives on how current entertainment media treats themes of faith, religion and spirituality in its narratives and characters, if there is a market for more accurate and diverse representation of faith, and what opportunities exi
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st for improving these portrayals. HarrisX surveyed nearly 10,000 entertainment consumers across 11 countries as well as 30 in-depth interviews with entertainment industry leaders. Consumers say they learn about other religions through entertainment and see the potential for faith-inclusive content to create understanding and dialogue in society. Yet, respondents share that when they see their religion or faith - and others - included in mainstream entertainment, they feel it’s often sensationalized or that the portrayal leans on stereotypes. Similarly, entertainment industry professionals also highlighted an opportunity to reach and connect with an underserved audience. They noted that producing this content not only represents a good business opportunity, but also provides the opportunity to demystify what consumers know about other faiths and create understanding between people of different belief systems." (Introduction)
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"Since the beginning of 2020, media around the world have started and intensified their TikTok activity to gain notoriety and reach young people, their main user group. However, as with other previously popularized social media, such as Facebook or Twitter, the platform’s logic is different from t
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hat traditionally employed by the media system when developing information products. The objective of this paper is to analyze the degree of adaptation to the logic of this network for the activity developed on it by the Spanish media. For this purpose, a combined methodology of quantitative and content analysis was applied to 446 videos posted by the official user accounts of 20 Minutos, Antena 3 Noticias, El Diario, El Mundo, and El País –the five media outlets with the largest online audience in that period –from the time the accounts were created until January 31, 2022. Specifically, we studied the activity developed, the notoriety achieved, and the interaction obtained, as well as the most common formats, topics, protagonists, and brand identity elements. The results show that the main Spanish media have tried to adapt to the entertainment logic of the platform both with the use of native editing resources as well as through the creation of original materials, predominantly soft news, about entertainment, celebrities, and lifestyle. The videos that gain more notoriety are those that are more adapted to this logic. However, the Spanish media analyzed post less frequently than international media, obtain fewer views, and register lower engagement levels; in addition, they do not use their presence on this social network to promote their other editorial products." (Abstract)
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"In light of the controversial relationship and blurred lines between information and entertainment media, the current study’s goal aimed at qualitatively exploring media entertainment’s role in emerging adults’ political identity formation and engagement. By analyzing 55 semistructured interv
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iews from Germany, Croatia, Turkey, South Korea, and the Philippines, we examined how emerging adults in 5 countries—differing in tightness-looseness, political culture, and media freedom—explore alternative political identities (identity exploration) and commit to a set of political values (identity commitment). Across countries, notable similarities supported the notion of traditional and new forms of entertainment as universal drivers of political identity formation and engagement (e.g., informational source, broadening one’s horizon). However, idiosyncrasies of countries reflected unique cultural values, beliefs, and norms, and the benefits of media entertainment pathways to political identity development appeared to depend on political freedom and democracy." (Abstract)
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"This article applies the concept of cult TV to Brazilian telenovelas. The term cult TV is used to refer to products that were perceived to be different from mainstream popular culture. However, theoretical contexts have started to embrace the notion of a mainstream cult. With the concept of a mains
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tream cult in mind, I will argue that some telenovelas are responsible for occasioning a ritual which forms a national community, and could thus be considered cult for three main reasons: they can acquire nostalgic appeal; they can present aesthetic innovation even within a classic format; and they sometimes engender a type of audience engagement that stands out from other productions. This third reason will be addressed closely from the perspective of the audience, arguing that their opinion on what is a cult should be considered in relation to the academic debate around the concept. Amongst the main results, I highlight the identification of telenovelas as popular productions that may be considered cult TV, and the growing importance of common sense understandings for our consideration of concepts in the field of Communications." (Abstract)
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"Wie einst im ursprünglichen Gothic die verlassenen Schlösser des Feudalismus als Orte des Spuks in die bürgerliche Ära hineinragten, so sind es heute die globalen Ruinen des geplatzten Traums von Freiheit, Gleichheit und Brüderlichkeit, in denen das Grauen haust: Von den vom Immobiliencrash ge
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zeichneten Vororten Detroits (Barbarian, 2022) bis zu den bleivergifteten Ufern des Riachuelo in Buenos Aires. Das sind düstere Aussichten: Eine Vergangenheit, die, wie Marx schrieb, »wie ein Alp auf dem Gehirne der Lebenden« lastet und eine Zukunft, in der wir, wie David Cronenberg zeigt, Plastik fressen müssen (Crimes of the Future, 2022). Der »Train to Busan« (2016) rast mit Hochgeschwindigkeit, doch auch am Zielbahnhof lauern die Zombies – und weil jede*r um das eigene Überleben kämpft, liegt der Griff nach der Notbremse fern. Da wird es unheimlich, oder im Sinne der Wortbedeutung: un-heimelig. Den das Un-heimliche verweist gerade auch auf den Schrecken, der hinter dem Vertrauten lauert. Und weil auf den Schrecken der Normalität zu verweisen immer schon Anliegen der iz3w ist, proklamieren wir: Gespenster aller Länder, vereinigt euch! Die Frage, was Horror und Gesellschafskritik verbindet, vertieft im Einleitungsartikel Georg Seeßlen (Seite 23). Danach bleiben wir dem globalen Spuk anhand ausgewählter Beispiele auf der Spur: Wie die argentinische Literatur Horrormotive nutzt, um die Schrecken von Diktatur und Postdiktatur auszudrücken, zeigt Nikolas Grimm (Seite 26). Dass sich realer und fiktiver Schrecken oft in nichts nachstehen, betont Rosaly Magg am Beispiel vom Horror der Flucht und Migration (Seite 36). Dazu gibt es zwei schaurige Interviews: mit dem Autor Mark H. Harris über Horror und Rassismus in den USA (Seite 32); und was Dracula in Istanbul treibt, erklärt uns der Regisseur Cem Kaya (Seite 40)." (Editorial, Seite 22)
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"Em popularidade, as telenovelas são o equivalente, na cultura brasileira, aos blockbusters de Hollywood, aos livros best-sellers mundiais, às músicas ouvidas por milhões ao redor do planeta e aos megashows que lotam estádios. Mas, com a consolidação do streaming e das novas mídias digitais,
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qual será o futuro da telenovela e da indústria televisiva brasileira como um todo? Em A telenovela e o futuro da televisão brasileira, Rosane Svartman, cineasta, escritora, diretora, produtora, pesquisadora e autora de novelas da TV Globo como Vai na fé (2023), Bom sucesso (2019) e Totalmente demais (2015), avalia que a resposta está na convergência midiática e na participação dos espectadores. Retomando a história do formato e sua transformação ao longo de mais de meio século, o livro oferece uma imersão no universo dos folhetins televisivos. A autora analisa a estrutura das telenovelas – tanto narrativa quanto de negócios – para entender sua relação com o público e sua consequente modificação a partir da popularização das plataformas de streaming, da diversificação das telas e das demandas e desejos da audiência. Para Rosane Svartman, a telenovela, enquanto se mantiver como parte da cultura do Brasil, não perderá seu lugar como produto de massa – podendo, dessa forma, ser consumida em qualquer plataforma, mídia ou tela sem perder sua essência e relevância. “O futuro da telenovela está nas mãos do telespectador e o futuro da televisão brasileira está nas mãos da telenovela”, escreve. A telenovela e o futuro da televisão brasileira é leitura essencial não só para quem estuda e se interessa por cultura e mídia, mas para todos aqueles que desejam se aprofundar nos caminhos da cultura e da sociedade brasileiras." (Descrição da editora de livros)
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"Television has a prime role to play in the formation of discursive domains in the everyday life of South Asian publics. This book explores various television media practices, social processes, mediated political experiences and everyday cultural compositions from Bangladesh, India, Nepal, Pakistan
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and Sri Lanka. With the help of country-specific case studies, it captures a broad range of themes which foreground the publics and their real-life experiences of television in the region. The chapters in this book discuss gendered television spaces, women seeking solace from television in pandemic, the taboo in digital TV dramas, television viewership and localizing publics, changing viewership from television to OTT, news and public perception of death, redefining ‘the national’, theatrical television and post-truth television news, among other key issues." (Publisher description)
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