"The telenovela El Candidato did not elect Vicente Fox per se but it was a very powerful media vehicle that certainly helped him. Although there were suspicions from the beginning about the telenovela’s positive support of the PRI in the context of the real election, it turns out that in fact upon
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detailed analysis key scenes and episodes of El Candidato’s general framework, the opposite proved to be true. TV-Azteca and El Candidato together negatively framed the image of the PRI and its role in ruling the country for 71 years, which then helped to underline the necessity of change. El Candidato visually explained the complexity of the social-political world even better that the politicians themselves or the press because its arguments are accompanied by images, angles, colors, music, emotions, etc. For some of those viewers-electors, the telenovela was an understandable guide to Mexican politics because the telenovela showed details related to what people thought about the PRI, politics, recent scandals and assassinations. The public mission of TVAzteca and its nightly newscast Hechos de la Noche following El Candidato resulted in sensationalizing real public events with the private goal of supporting a president close to its own interests." (Conclusion, page 23)
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"The study finds that there is a general liking for Partenal Guidance (PG) ratings, based on the need to protect the children from harmful and foreign content, as well as to avoid adoption of foreign cultures. However, this does not translate into action in determining viewership decisions, with man
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y parents not able to implement PG ratings. Major gaps remain in the implementation of the PG ratings systems for the country. The understanding and use of ratings by parents, TV stations and regulators is limited, and the guideline remain difficult to use, with TV stations using them but to little impact in the audiences. The challenge is compounded by cut-throat competition by TV stations for audiences. Technology that has changed the methods of access to such content, as well as the social set up also affect the use and effectiveness of PG ratings. Achieving a change of trend requires a change in approach to child programming. This challenge is even bigger for Uganda, a country that boasts of a big young population, and an increasing affinity to watching television, whose numbers are increasing by the day. These challenges can however be addressed; and they need to be addressed. PG ratings is one acceptable way of regulating the kind of TV content that children access to make useful viewing. The study recommends that regulators need to take more responsibility and engage the TV stations as well as the public on the proper use of ratings, through engagement drives. The public, especially the parents, cannot shy away from demanding for proper ratings by the TV stations, and seeking redress for poorly rated content. One other way of resolving the debate is by improving on the availability of only-children content for educational purposes. This
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"Our media advisory service was set up to provide advice and support on mental health storylines and documentaries. We inputted into 75 soap opera storylines, as well as mental health seasons for BBC 3 and Channel 4. We also developed an online resource for media professionals, and supported media o
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rganisations, including the Sunday Mirror, Channel 4 and Top Santé, to make a pledge to tackle mental health stigma and discrimination. We organised 12 meet the media events, mostly aimed at professionals working in specific sectors, including sports journalism, documentaries, and entertainment and reality TV. Our Get the Picture campaign, launched at an event for picture editors, encouraged media agencies to stop using stigmatising images to illustrate stories about mental health. What we achieved: Input into 75 soap opera and drama storylines; 12 events attended by 594 media professionals; 77% used their learning within two months of the event; 54,450 visits to our media online resource; nine media organisations signed a Time to Change pledge." (Page 2)
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"In 2014, Mexico, Brazil, Portugal, Colombia and Argentina, in that order, were the top five countries in the production of national fiction hours. Once again, Brazil and Mexico, despite the drop suffered by the latter, continued to be the largest producers of fiction in the Ibero-American region. I
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n contrast, Peru and Ecuador had the lowest offer of national fiction hours, while Uruguay did not produce hours of national fiction during 2014." (Page 39)
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"El inicio del siglo XXI ha venido marcado por los debates que, en el plano internacional, están sometiendo a revisión la comunicación para el desarrollo con el fin de proponer otras alternativas como comunicación para el cambio social o comunicación para el empoderamiento ciudadano y ecosocial
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. El debate conceptual que tiene lugar está lejos de resolverse con una respuesta fácil e inmediata, en la medida en que todos los términos que entran en escena requieren de un trabajo genealógico que permita identificar las tensiones, los actores sociales y las perspectivas de investigación en conflicto." (Editorial)
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"Set in ancient Egypt and loosely based on the story of Moses, “The Ten Commandments” is billed as Brazil’s first biblical soap opera. Swathed in Egyptian robes and sporting lapis lazuli jewelry and Cleopatra wigs, some of the characters are based on biblical or other historic figures, while o
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thers are invented. The soap is taking the country by storm. It’s helped propel the Rede Record television network, owned by the founder of Brazil’s main Pentecostal church, the Universal Church of the Kingdom of God, into a showdown with top broadcaster Globo, which for decades has had a lock on prime-time soaps, known as novelas." (Introduction)
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"Este documento resume la literatura reciente sobre el rol de los medios de comunicación con relación al comportamiento social haciendo particular énfasis en contenidos de inclusión social. Nuestro objetivo es modesto: simplemente tratar de crear consciencia sobre el importante rol que herramien
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tas aparentemente “cotidianas” pueden tener sobre el cambio social al ser empleadas de manera proactiva y positiva por hacedores de políticas públicas. De esta forma, proveemos una revisión exhaustiva de la literatura sobre el rol de los diferentes medios de comunicación y en particular de la televisión." (Introducción)
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"Among the many topics discussed here are the difference among specific media formats, including television, newspapers, radio, film and photography; policy issues; and the challenge that new media poses to governance in a developing nation faced with innumerable economic, social and political probl
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ems. Eschewing the currently dominant development communication model, the editors argue that market forces rather than planned state interventions will contribute to a more equitable communication environment." (Publisher description)
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"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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"With essays on audiences in ancient Greece, early modern Germany, Soviet and post-Soviet Russia, Zimbabwe, contemporary Egypt, Bengali India, China, Taiwan, and immigrant diaspora in Belgium, each chapter examines the ways in which audiences are embedded in discourses of power, representation, and
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regulation in different yet overlapping ways according to specific socio-historical contexts." (Publisher description)
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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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"John Sinclair and Joseph D. Straubhaar provide a comprehensive account of television production, distribution and reception in Spanish- and Portuguese-speaking Latin American countries, showing how Mexican and Brazilian programmes have dominated in the region, and placing regional output in the con
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text of the global television industry." (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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"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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