"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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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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"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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"For decades, television scholars have viewed global television through the lens of cultural imperialism, focusing primarily on programs produced by US and UK markets and exported to foreign markets. Global Television Formats revolutionizes television studies by de-provincializing its approach to me
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dia globalization. It re-examines dominant approaches and their legacies of global/local and center/ periphery, and offers new directions for understanding television’s contemporary incarnations. The chapters in this collection take up the format phenomena from around the globe, including the Middle East, Western and Eastern Europe, South and West Africa, South and East Asia, Australia and New Zealand, North America, South America, and the Caribbean. Contributors address both little known examples and massive global hits ranging from the Idol franchise around the world, to telenovelas, dance competitions, sports programming, reality TV, quiz shows, sitcoms and more." (Publisher description)
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"A critical examination of Betty's adaptation process sheds light on the disjuncture between global television distribution trends and national television markets' business cultures. The process of bringing the "ugly duckling" format to the English-language mainstream media market can be better unde
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rstood as symptomatic of the larger changes taking place within the U.S. television industry, but also as the crucial intervention of Latina/o producers with their cultural and symbolic leverage to make the project possible. In pushing the project forward, Latina/o producers' involvement reveals how their hybrid subjectivities position them in the industry as cultural translators building a bridge to mainstream and global audiences." (Abstract)
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"Based on a year's research from within a Brazilian slum, this study follows a series of unemployed women who watch up to six hours of telenovelas a day, often in the midst of arduous physical labour in the home. The women suffer in relation to their bodies, but simultaneously invest in a masochisti
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c glorification of suffering that links their lives to the soap operas, revealing disturbing valuations of the female body that traverse reality and fiction. Through its exploration of this daily integration of real suffering and fictional glamour and wealth, 'Body Parts on Planet Slum' reveals how fantasy and social exclusion can together induce a form of psychological survivalism, enabling these women to reconfigure the central features of their existence – their suffering, pleasure, sexuality and embodiment." (Publisher description)
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"A través de un estudio sistemático basado en el monitoreo de las producciones de ficción televisiva, este anuario presenta y analiza datos de producción, circulación, distribución y consumo de programas de ficción exhibidos en el 2010 y presenta una síntesis comparativa de lo que fue el añ
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o en términos de ficción televisiva." (Contratapa)
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"Betty la Fea, the phenomenally popular Colombian telenovela, has been exported as both canned (e.g. either dubbed or unaltered) programming and format to approximately 70 countries, including the recent US prime-time hit Ugly Betty. Guided by an examination of the extended global success of this Co
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lombian production, this article explores the telenovela as a cultural product that is successful because of its appeal on both the local and global level, and as an economic product traversing a global industry. Popular telenovelas succeed as both canned programming and formats because they combine universally appealing stories (rags-to-riches) and style (melodrama) with localizable specifics with which viewers can easily identify. While telenovelas are localized products produced to first achieve domestic success, the cross-ownership structure of and multinational flows that mark the telenovela industry render any conception of telenovelas as South-to-North contra-flows of culture inherently problematic. Instead, this article argues that telenovelas can best be understood as localizable yet universally appealing cultural products traversing global networks of capitalist cultural concerns." (Abstract)
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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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"An engaging and original study of current research on television audiences and the concept of emotion, this book offers a unique approach to key issues within television studies. Topics discussed include: television branding; emotional qualities in television texts; audience reception models; fan c
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ultures; 'quality' television; television aesthetics; reality television; individualism and its links to television consumption. The book is divided into two sections: the first covers theoretical work on the audience, fan cultures, global television, theorising emotion and affect in feminist theory and film and television studies. The second half offers a series of case studies on television programmes in order to explore how emotion is fashioned, constructed and valued in televisual texts. The final chapter features original material from interviews with industry professionals in the UK and Irish Soap industries along with advice for students on how to conduct their own small-scale ethnographic projects." (Publisher description)
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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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