"Based on a wealth of primary data collected during five years, Reality Television and Arab Politics analyzes how reality television stirred an explosive mix of religion, politics, and sexuality, fueling heated polemics over cultural authenticity, gender relations, and political participation in the
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Arab world. The controversies, Marwan M. Kraidy argues, are best understood as a social laboratory in which actors experiment with various forms of modernity, continuing a long-standing Arab preoccupation with specifying terms of engagement with Western modernity. Women and youth take center stage in this process. Against the backdrop of dramatic upheaval in the Middle East, this book challenges the notion of a monolithic “Arab Street” and offers an original perspective on Arab media, shifting attention away from a narrow focus on al-Jazeera and toward a vibrant media sphere that compels broad popular engagement and contentious political performance." (Publisher description)
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"Branching off from radionovelas, the telenovela was exported from pre-Castro Cuba during the 1950s. The essays found in Telenovelas covers a broad view of the genre, television's impact in Latino culture, as well as more in-depth discussions of specific telenovelas throughout the Spanish-speaking t
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elevision audience in the North America. Also explored is how telenovelas depict stereotypes, respond to gender and class roles, and examines the differences in topic and thematic choices as well as production values unique to each country." (Publisher description)
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"Jenseits von Kulturkritik und Rechtfertigungsrhetorik untersucht Joachim Michael die Telenovela als Ergebnis des medialen Umbruchs der lateinamerikanischen Kulturen. Er zeigt, dass die Telenovela mehr als nur ein Format ist – sie markiert eine spezifische Kultur, deren eigentümliche Faszination
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sich aus dem televisionären Blickregime des Genres speist. Zudem ist sie in der lateinamerikanischen Moderne und ihrem Begehren nach nationaler Emanzipation verwurzelt. Hierin finden sich die Voraussetzungen für die allabendliche ›Tele-ImagiNation‹ der Gattung." (Verlagsbeschreibung)
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"While the technical capacity for worldwide television broadcasting has existed at least since 1967, when the live program Our World was beamed to thirty-one countries (Parks, 2003), the cultural challenges facing transnational television exchanges have proved more formidable. Even within a single n
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ation, cultural trends and audience tastes are fickle and unpredictable, making television programs risky commercial ventures. The added cultural differences that those programs face when they cross national, ethnic, and linguistic boundaries make it even more difficult to predict the potential popularity of any single television program. Nevertheless, international syndication markets have become more and more important for funding television production around the world over the past two decades (Havens 2006). Consequently, the global television business has developed a variety of strategies to deal with the risks posed by worldwide cultural differences. Central to these strategies are the relationships, reputations, and brand identities that get expressed and renewed at the global television sales fairs." (Abstract)
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"This article aims at understanding the popularity and cultural and social significance of the highly prominent Chinese television show Super Girls’ Voice (the 2005 season), a talent contest largely modeled upon “reality shows” such as American Idol in the United States and Pop Idol in the Uni
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ted Kingdom. We focus particularly on whether the show, as some critics have claimed, has altered the power relationship between the media and the audience. Theoretically, we follow Couldry’s (2000) framework and consider the media’s construction of the symbolic boundary separating the “media world” and the “ordinary world” as crucial to the legitimization of media power. Based on an analysis of media discourses, review of publicized materials about the show’s organization, and a focus group study on young female audience members, we contend that the Super Girls’ Voice has involved a temporary suspension of the media/ordinary boundary. Yet the boundary was re-established toward the end of the show, thus relegitimizing media power. The audience members, meanwhile, were largely complicit throughout the process: they both enjoyed the temporary suspension and the ultimate re-establishment of the media/ordinary boundary." (Abstract)
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"En este manual vamos a dar pistas para reencontrarnos con el drama y tal vez… surja de entre las cenizas aquel viejo amor. Queremos seducirte para que entres al mundo del drama en la radio y te hagas de herramientas compartiendo elementos claves y procedimientos sencillos que te pueden ayudar a a
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rmar desde una escenita hasta un novelón. ¿Cómo leerlo? Puedes recorrerlo de arriba abajo, o empezar por el capítulo que más te llame la atención. Te invitamos a dar el paso, a ir incluyendo de a poquito y sin forzar todos estos formatos que van de lo simple a lo complejo.
En la primera parte, Drama en la radio, nos preguntamos por qué incorporar el drama en nuestra programación. En la segunda parte, Ver el mundo a colores, presentaremos los diversos usos que podemos dar al dramatizado en la radio. En la tercera parte, La mecha que enciende la llama, hablamos de los ingredientes de los dramatizados. En la cuarta parte, Y entonces… ¿qué somos?, nos referimos a los formatos. En la quinta parte, Pasito a paso, retomamos los pasos en el proceso de producción. Y en la sexta parte, Para que no se acabe el amor, te daremos pistas para encontrar recursos, música, sonidos, etc. que alimenten nuestras producciones y nuestras ganas de producir." (Páginas 8-9)
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"Este artículo presenta los resultados para el año 2008 del capítulo chileno del tercer informe Obitel (Observatorio Iberoamericano de la Ficción televisiva). Estos informes buscan dar cuenta de la producción y exhibición de ficción en la televisión abierta en un formato que permita comparar
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tendencias en los diez países de Iberoamérica que participan del proyecto. Los resultados que aquí se presentan se obtuvieron de un análisis cuantitativo, considerando variables relativas a la producción, exhibición y formato/género de programas ficcionales difundidos por la televisión abierta chilena durante 2008. Este informe cuantifica la producción y exhibición de ficción chilena, latinoamericana y de Estados Unidos con la finalidad de constituirse en una herramienta para dimensionar adecuadamente el desarrollo de la industria nacional así como para detectar tendencias de mediano plazo." (Resumo)
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"This paper studies the link between television and divorce in Brazil by exploiting variation in the timing of availability of the signal of Rede Globo—the network that had a virtual monopoly on telenovelas in the country—across municipal areas. Using three rounds of Census data (1970, 1980 and
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1991) and controlling for area fixed effects and for time-varying characteristics, the paper finds that the share of women who are separated or divorced increases significantly after the Globo signal becomes available. The effect is robust to controlling for potential determinants of Globo’s entry strategy and is stronger for relatively smaller areas, where the signal reaches a higher fraction of the population." (Abstract)
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"Heinz Rühmann, Hans Albers, Marika Rökk, Max Schmeling, Heinrich George und Leni Riefenstahl – die Schauspieler, die Regisseurin und der Jahrhundertboxer –, sie gehörten zu den großen Stars der NS-Zeit. Warum konnten oder wollten sie sich der Instrumentalisierung durch die braunen Machthabe
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r nicht entziehen? Warum ließen sie sich vereinnahmen, bis das „Tausendjährige Reich“ in Trümmer fiel? Waren die Helden und Idole nur willfährige Handlanger der Nazis? Zwischen Gehorsam und Gewissen, Begeisterung und Distanz, Verstrickung und Protest – Guido Knopp zeigt, wie Vertreter von Kunst, Sport und Kultur das NS-Regime stabilisierten." (Klappentext)
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"A reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows.
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Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale." (Publisher description)
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"Neste livro, José Roberto Sadek mostra que as telenovelas são uma maneira moderna de contar histórias. O autor baseia-se em estudos consagrados sobre as narrativas do cinema clássico e os aplica às telenovelas, mostrando ângulos pouco conhecidos. Na primeira parte do livro, traça um breve hi
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stórico da telenovela; na segunda, compara a estrutura dramática do cinema clássico com a das telenovelas; na terceira parte, aborda os personagens principais e secundários; por fim, trata do tempo na narrativa e do espaço em que as cenas se desenvolvem." (Ccontratapa)
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"Examining the role of dramatized narratives in Russian television, this book stresses the ways in which the Russian government under Putin use primetime television to express a new understanding of what it means to be Russian, answering key questions of national identity for modern Russians in deal
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ing with their recent history: 'What really happened to us?' and, accordingly, 'Why?' The book covers important issues in Russian television today, including:"the reworking of new 'national' on-screen heroes its relationship with classic literature, the revisionist portrayal of a romantic portrait of life in the Soviet era, the role of thematic elements such as love, fidelity, humour and irony, the particularly pressing problem of crime and its representation on screen as Mafia or police adventure, and its political usage by the Putin administration." This book provides a detailed account of the critical issues in contemporary Russian television, relating them to broader social and political developments in Russian society." (Publisher description)
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