"El análisis hecho en esta investigación de los distintos personajes protagónicos femeninos de los cuatro relatos seleccionados [Dina Paucar, la lucho por un sueño; Por la Sarita; Las reinas de las carrefillas; Amor de Madre], me permite señalar que las representaciones femeninas que nos ofrece
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n estos productos culturales del siglo XXI evidencian continuidades importantes pero también transformaciones y rupturas respecto a los modelos femeninos asociados al marianismo y la domesticidad; transformaciones y rupturas, que permiten visibilizar una pluralidad de representaciones femeninas conviviendo en el tiempo actual y que nos hablan de contextos de tensión y de conflicto. Este hallazgo también me permite confirmar que los mandatos de género operan de manera diferenciada en tiempos y espacios sociales diferentes. No encontramos en esta investigación personajes que se ajusten íntegramente al modelo mariano, por ejemplo, aunque sí mantienen algunas características importantes de este, como la maternidad. Un hallazgo importante de esta investigación es que la maternidad permanece como un hecho importante –diría fundante- en la definición misma de la identidad femenina y de las diversas representaciones televisivas melodramáticas, sin embargo, no es la única: aparecen las saberes domésticos aprendidos desde la infancia en el hogar familiar, saberes que se transmiten de madres a hijas –costura, cocina, canto-; los estudios y el trabajo en la esfera pública como ejes importantes que complejizan las representaciones que, de las mujeres, hacen estos relatos audiovisuales. La representación de lo femenino continua presentando a estas mujeres como responsables, amorosas, maternales, sin embargo, la pasividad y la sumisión –condiciones del pasado para la heroína de los melodramas televisivos- cuando aparecen, son solo lugares de inicio de la representación que se van transformando en agencia y empoderamiento, a partir de experiencias que fortalecen a nuestras protagonistas." (Conclusiones, página 206)
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"Al-Gama’a [The Society], a 28-part television biopic of Muslim Brotherhood founder Hasan al-Banna, was broadcast in the fall of 2010, just before the January 25, 2011 Revolution. The writer of the series, Wahid Hamid, was an important screenwriter for both television and the cinema and a figure k
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nown for his affinity with the state’s security apparatus. Al-Gama’a functioned as a rhetorical capstone for decades of anti-Brotherhood state discourse. It also powerfully anticipated the anti-Brotherhood apologetics used to rationalize the Rab‘a massacre of 2013, which effectively ended the revolution and cemented the coup by ‘Abd al-Fattah al-Sisi against Muhammad Morsy. The series enacted a historical narrative that was almost completely absent from Egypt’s formal educational curriculum, thereby furthering a political agenda of dehumanizing Islamists and effectively excommunicating them from the national community. Hence in 2013, a thousand Egyptians were slaughtered in a day, and yet many of their fellow citizens saw the event as destiny rather than as a crime against humanity." (Abtract)
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"Egyptian Ramadan TV series have explored the relationship between law and television in a number of iterations over the past few years. In 2017, the most watched production (115 million views on YouTube), Kalabsh, went one step further by examining the interaction between television broadcasting an
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d social media in affecting the course of justice. Even though its events revolve around the framing and wrongful incrimination of a ‘good’ police officer, the dynamics suggest a not-so-subtle reference to the January 25, 2011 uprising. It portrayed social media actors as naïve agitators, outsmarted and used by those same dark networks of business and politics that they intend to expose and ultimately to unseat. This representation strengthens the counter-revolution’s narrative of the January 25 uprising as the making of some ‘Facebook kids’ ['iyal bitu' il-face]. With Kalabsh, Egyptian TV series recalibrate the representation of the role of television broadcasting in affecting the course of justice and thus produce a new narrative that includes social media. This representation challenges as ‘optimistic’ the reading of the ‘democratic’ nature of social media by showing how its actors are even more prone to falling prey to mystifications and networks of corruption. The centrality of television broadcasting in affecting the course of justice clearly recedes in Kalabsh, but television broadcasting itself seems to regain some reputation." (Abstract)
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"Collectively known as Hallyu, Korean music, television programs, films, online games, and comics enjoy global popularity, thanks to new communication technologies. In recent years, Korean popular culture has also become the subject of academic inquiry. Whereas the Hallyu's impact on Korea's nationa
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l image and domestic economy, as well as on transnational cultural flows, have received much scholarly attention, there has been little discussion of the role of social media in Hallyu's propagation. Contributors to Hallyu 2.0: The Korean Wave in the Age of Social Media explore the ways in which Korean popular cultural products are shared by audiences around the globe; how they generate new fans, markets, and consumers through social media networks; and how scholars can analyze, interpret, and envision the future of this unprecedented cultural phenomenon." (Publisher description)
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"Since the mid-2000s, an ever-increasing number of Turkish dramas have been exported to several markets and commanded high prices and ratings. To explain the transnationalization of Turkish dramas, this article explores the political economic imperatives as opposed to the commonly cited cultural pro
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ximity thesis. Based on in-depth interviews with television producers, distributors and executives, it analyses the burgeoning of the Turkish production sector, the search for additional revenue streams in foreign markets by Turkish producers, their integration into global networks of television trade, governmental support and the converging local and global dynamics that created favourable export conditions for Turkish dramas." (Abstract)
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"This book is intended as a guide on the use of the visual media for behavior change communication. It is not intended as a textbook for those just entering the world of television or film writing and production. While there are some reminders of good writing and production techniques for many progr
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amming types, the emphasis is on what needs to be taken into account when designing, writing, and producing television programs that have a specific behavior change objective." (Preface)
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"Turkish television has undergone a distinctive transformation since the early 2000s in which new regulations, rapid market growth, and political pressures have interacted with and transformed each other. As Turkey set new records in 2013 for the highest number of journalists arrested worldwide, tel
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evision dramas have suffered from their fair share of political pressures, while the contemporary political agenda has, in turn, infiltrated the content of television dramas. This article analyzes the ways in which Turkish television dramas appear as a sphere of political contest." (Abstract)
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"By assessing edutainment as a space of cultural translation, Drama for Development advances an often neglected perspective in this topics' research. It focuses on what happens when various goals, worldviews and needs from donors, producers and the audiences come together in the production and meani
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ng construction of soap operas. The perspective is illustrated by examples from the largely South Asian experiences of the BBC World Service Trust, itself seen as a cross-cultural contact zone. Tensions between western scientific paradigm and local researcher in the audience research process (chapter 3), the cosmopolitan competencies of the production team in harmonizing the urge for authenticity, cultural sensitivity and development objectives (chapter 6) and the construction of social realism as an interplay of the observed realities of the audiences and the neo-liberal themes of donors (e.g., opium in ch.6 and forced marriage in chapter 11) exemplify some of the processes taking place in that zone. The epistemological position of the book is complementary to the more technical perspective of the existing body of literature, which sometimes fails to capture the complex processes of meaning construction and link it to the wider social context." (commbox)
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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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"In this reader media experts discuss the prospects and problems of program exchange between German and Chinese Broadcasters. They explain that program exchange is not the cockaigne one could assume with regard to the non-rivalry of media content and the huge Chinese TV market (more than 300 million
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TV households and an estimated 180,000 hours of weekly broadcast time across all TV platforms), but that many economic peculiarities of the media that only can be read in the footnotes of economic text books are highly relevant in practice. To trade TV programs with China thus requires a solid knowledge about the TV business in general, but also about the Chinese media order and the Chinese society, and the Chinese way of business." (Back cover)
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"This book is designed to provide practical guidelines to those in the field of entertainment-education drama who want to sharpen their skills. With separate sections for various users - programme managers, writers, producers, directors and actors - the book is a structured, step-by-step manual that
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provides answers to the problems they can face. The book focuses in detail on the 'design approach' for determining and articulating effective messages that are contained in the drama. It draws on methods that have been tried and tested worldwide. In addition to a number of actual scripts that have been converted into dramas, it also contains useful appendices that provide sample documents of various procedural requirements as suggested in the book. Esta de Fossard is Senior Communication Advisor and Professor at the Johns Hopkins University's Bloomberg School of Public Health, Center for Communication Programs. She previously taught at the universities of Southern California, Ohio and George Mason. John Riber is a Independent Film-Maker and Director, Media for Development (East Africa), Dar-Es-Salaam, Tanzania." (Publisher website)
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