"The impact of media industrialization on mediated religious expression all over the world has been substantial, and this study tries to understand the Indonesian case by looking at the intersections between commerce and Islamic expression. Focusing on Indonesian Islamic sinetron (soap operas), we s
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hall see that contrasting ideological motivations among producers have resulted in particular narratives within their content. Despite these peculiarities, all narratives use Islamic teachings to address societal issues experienced by middle-class Indonesian Muslims. This, in turn, projects an image of Indonesian Islam that blurs existing political divisions in Indonesian society. This article argues that the sinetron plots are inherently a commercialization of da'wah (proselytizing of Islam)." (Abstract)
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"Why was there in the year 2000 a significant shift in the representation of families on Indian soap operas, from middle-class nuclear families with independent working women to upper-class joint families with only homemakers; and from milieus in which the religion of the characters was incidental,
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to milieus in which the Hindu religion and the performance of it was of central importance? I argue that a confluence of three forces enabled these shifts: (1) in marketing, a radical 'bottom-of-the-pyramid' approach; (2) in TV, the industry's attempts to find audiences in large numbers, mediated by the structure of the Indian audience measurement system; and (3) Hindu nationalists' focus on 'middle-class' audiences. In other words, I show how the very structure of the audience marketplace, especially the Indian television audience measurement system and shifts in marketing practices, abets the naturalization of particular political discourses within popular cultural forms, in this case Hindu nationalist discourse within television soap opera." (Abstract)
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"The structure of this Yearbook is divided in three parts. The first part is an introduction chapter that makes a comparative synthesis of fiction in Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows us to observe fiction development in each countr
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y, pointing out its main products as well as the topic of the year: transmedia production strategies in television fiction. The second part includes 12 chapters (one for each country) with an internal structure in which sections of the Yearbook are usually constant, although some are more specific than others." (Pages 19-20)
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"Entertainment Media Use in the Middle East is the result of survey research in six Arab nations involving more than 6,000 face-to-face interviews in nationally representative samples—citizens and expatriates alike—and conducted in Arabic, English and French. The result is a portrait of how peop
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le in the six countries, selected to represent the larger Arab world, make use of entertainment media in their daily lives and what they think about it." (Introduction)
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"This cultivation study examined the effects of South Korean soap operas on Vietnamese female audiences. It also assessed cultivation effects in combination with the theory of reasoned action. Based on a survey of 439 female viewers, it explicated the link between South Korean soap opera consumption
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and the emergent phenomenon of transnational marriages involving Vietnamese women and South Korean men. Cultivation effects were confirmed in an international setting. Results also have important real-world implications." (Abstract)
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"The first part, “Fiction in the Ibero-American Space”, presents a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative perspective that allows to observe the development of fiction in each country, highlighting their main producti
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ons, as well as the topic of the year, herein, “Social Memory and Television Fiction”. The second part, “Fiction in the Obitel Countries”, is composed by twelve chapters (one for each country), with a structure of fixed sections, though some are more specific than others [...] The third part is an “Appendix”, where are collected the top ten TV fictions in the Obitel countries with basic and necessary information about these productions." (Pages 19-20)
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"Premiering in 2006, Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera), is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela, Yo soy Betty, la fea, back in 1999. The tale of the ugly duckling has sin
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ce taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty, la fea / Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to, and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience, as well as ideologies of feminine beauty and myths of female desire and aspiration. TV's Betty Goes Global features original interviews with buyers and schedulers, writers, story editors and directors, including the creator of Yo soy Betty, la fea, Fernando Gaitan." (Publisher description)
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"Der Bedarf an non-fiktionalen Unterhaltungsformaten ist groß: Er beschränkt sich nicht mehr nur auf das klassische »On Air«-Fernsehen, sondern erstreckt sich zunehmend auf zusätzliche, onlinefähige Medienkanäle, die über Computer, Smartphones oder Tablets abgerufen werden können. Das erste
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Buch mit umfassenden Informationen und praxisnahen Anleitungen zur Formatentwicklung non-fiktionaler Bewegtbildangebote – ergänzt um Best Practices, Interviews mit Experten aus der Branche und idealtypischen Konzepten.
Im ersten Teil des Buchs stehen die Grundlagen des TV Developments im Zentrum: Wie gestaltet sich der Kooperationsprozess zwischen Produktionsunternehmen und Sendern und welche Instrumente stehen zur Verfügung, um den Programmbedarf von Sendern zu evaluieren? Es wird ferner aufgezeigt, wie der Prozess der Ideenentwicklung organisiert und Formatideen generiert werden können. Zudem wird am Beispiel von Reality TV-Formaten, Quiz- und Gameshows dargestellt, welche Besonderheiten bei der inhaltlichen Ausgestaltung zu beachten sind. Gezeigt wird, wie Konzepte für Formatideen aufgebaut sein müssen, wie man sich auf den Pitch bei den Senderverantwortlichen vorbereitet, ein Pitch-Tape auszusehen hat und sich die Rechtslage hinsichtlich des Formatschutzes gestaltet. Im dritten Teil werden die spezifischen Herausforderungen beim Development von transmedialen Formaten erklärt: Wie können die Handlungsstränge über die verschiedenen Medienkanäle hinweg strukturiert werden und welche Steuerungsoptionen bestehen, um Entwicklungs-, Produktions- und Konsumtionsrisiken zu mindern." (Verlagsbeschreibung)
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"Since China implemented animation control policies in 2004, foreign animation programmes have almost disappeared from Chinese television. At the same time, the Chinese government has invested enormous amounts of money in developing the animation industry as a creative industry. A questionnaire surv
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ey was conducted to explore how the Chinese audience views domestic and foreign animation programmes. The results indicate that pirated Japanese animation is widely viewed via the Internet by adolescents; on the other hand, domestic animation is popular only among children. Preferences for domestic animation correlate positively with age and patriotism but negatively with Internet use, while preferences for Japanese animation correlate negatively with age and patriotism but positively with Internet use. These results show that nationalistic sentiments are associated with preferences for either domestic or foreign animation programmes. However, preferences for Japanese animation are not significantly associated with anti-government attitudes." (Abstract)
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"This article discusses a popular Syrian television drama series, Bab al-Hara (The Neighborhood Gate), which ran for five seasons (2006-10). It is part of a genre of television series called the "Damascene milieu," which nostalgically dramatizes life in imagined Damascene neighborhoods in the late 1
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9th or early 20th centuries. The narrative of Bab al-Hara focuses on how a Syrian community lived under and resisted French colonial rule and its local collaborators. The article argues that the strategic imagination of the past in the series reflects the Syrian regime's project of national consolidation in Syria, a country sharply divided by class, sect, and local belonging and desperately seeking to bridge a gap between state authority and a national sense of belonging. However, within the context of the 2011 uprising, both regime and opposition discourses echoed themes and symbols from the series - demonstrating its political relevance. The article concludes that the series is a spectacular example of how popular culture, particularly in postcolonial and authoritarian contexts, contributes to the imagination of identity and memory in ways that are used by different national groups to bolster and contest political positions." (Abstract)
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"In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: paradigms of gl
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obal entertainment media such as cultural imperialism and cultural globalization; the business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media; the "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow; the new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions; the economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media; the cross-cultural reception and effects of TV shows and films; the World Wide Web, digitization and convergence culture." (Publisher description)
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"This cultivation study examined the effects of South Korean soap operas on Vietnamese female audiences. It also assessed cultivation effects in combination with the theory of reasoned action. Based on a survey of 439 female viewers, it explicated the link between South Korean soap opera consumption
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and the emergent phenomenon of transnational marriages involving Vietnamese women and South Korean men. Cultivation effects were confirmed in an international setting. Results also have important real-world implications." (Abstract)
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"Since the late 1990s South Korea has emerged as a new center for the production of transnational popular culture – the first instance of a major global circulation of Korean popular culture in history. Why popular (or not)? Why now? What does it mean socially, culturally and politically in a glob
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al context? This edited collection considers the Korean Wave in a global digital age and addresses the social, cultural and political implications in their complexity and paradox within the contexts of global inequalities and uneven power structures. The emerging consequences at multiple levels – both macro structures and micro processes that influence media production, distribution, representation and consumption – deserve to be analyzed and explored fully in an increasingly global media environment. This book argues for the Korean Wave’s double capacity in the creation of new and complex spaces of identity that are both enabling and disabling cultural diversity in a digital cosmopolitan world." (Publisher description)
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The general analysis of this Yearbook is divided into three parts. The first is an introductory chapter that contains a comparative synthesis of fiction in the Obitel countries. This comparison is made from a quantitative and qualitative point of view that makes it possible to observe the developmen
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t of fiction in each country, highlighting their main productions, as well as the topic of the year: “Quality in television fiction”. In the second part there are eleven chapters (one for each country), with an internal structure where the Yearbook sections are usually fixed, though some are more specific than others. The sections that make up each of the chapters are the following: 1. The country’s audiovisual context; 2. Analysis of premiere fiction; 3. Transmedia Reception; The most outstanding productions of the year; 5. Finally, there is the Topic of the Year, which in this issue is: Trasnationalization of Television Fiction. This phenomenon, which is at the same a growing tendency, is received in three dimensions: 1. The transnational element “behind” the screen, where we present a media ownership index in each country; 2. The transnational element “on” the screen, by locating the origin of the stories for the premiere Top Ten, the casting and the production locations; 3. The transnational element “beyond” the screens, where we place the import and export flows of the fiction products in the OBITEL countries. The third part is an Appendix.
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"This anthology aims to portray the “soft” power of Bollywood, which makes it a unique and powerful disseminator of Indian culture and values abroad. The essays in the book examine Bollywood's popularity within and outside South Asia, focusing on its role in international relations and diplomacy
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. In addition to contributions that directly engage with the notion of soft power, a number of essays in the volume testify to the attractiveness of Bollywood cinema for ethnically diverse groups across the world, probe the reasons for its appeal, and explore its audiences' identification with cinematic narratives." (Publisher description)
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"Die nachstehende Bibliographie versammelt Sekundarliteratur zur 'Telenovela' als einem seriellen melodramatischen Fernsehformat, sowohl dem Begriff als auch dem blosen Wort nach. Das bedeutet: es findet sich auch Literatur verzeichnet, deren Gegenstande von unterschiedlichen Experten nicht oder nur
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widerwillig dem Genre (bzw. Subgenre) 'Telenovela' (von spanisch bzw. portugiesisch telenovela 'Fernsehroman') in einem streng definierten Sinne (sofern das uberhaupt - noch - moglich ist) zugeordnet werden wurden. So sprechen etwa speziell brasilianische Autoren durchaus oft auch dann von telenovelas oder einfach novelas, wenn sie auf nordamerikanische soap operas referieren, und sind dann wiederum gern bereit, ihre genuinen Gegenstande ins Englisch-Amerikanische mit soap opera zu ubersetzen, etwa in den Abstracts zu ihren Arbeiten. Abgrenzungsschwierigkeiten ergeben sich auch bei denjenigen seriellen Formaten, die mit dem frankokanadischen teleroman (in Frankreich: feuilleton televise) in Quebec und - mit der notigen Vorsicht - dem italienischen teleromanzo (zuweilen auch: romanzo sceneggiato) mit ihren jeweiligen landes-, kultur- und sprachspezifischen Eigenenheiten vorliegen. In Deutschland lässt sich beobachten, dass - zumindest auserhalb der akademischen Fachwelt - der Ausdruck Telenovela dem der Soap Opera (resp. dt. Seifenoper) oft vorgezogen und diesem dann weitgehend, wenn auch ungerechtfertigterweise, gleichgesetzt wird." (Introduction)
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