"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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"This article explored the particular version of ‘national culture’ that emerged in Mali’s post-independent history at the interface of a governmental politics of culture and communication, media technologies, and people’s media engagement. I argued that the dialectical production of ‘the
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past’ as a source of cultural identity and nationalist pride was gradually transformed under the subsequent regimes of postcolonial Mali. Central parameters of claiming and validating one’s past have changed, along with a shift in significance (and employment) of ‘the past’. In previous decades, ‘remembering the past’ formed part of a hegemonic quest for a national heritage and an all-encompassing collective identity that tended to silence internal difference. This representation of national culture contrasts with more recent governmental attempts to create a sense of national unity not by reference to a common past but by acknowledging cultural diversity and celebrating the nation state’s capacity to ease out the tensions arising from internal difference. What conclusions can we draw from the shift from mass-mediated celebrations of oral traditions identified with practices of remembering an ‘authentic’ past to the staging of‘cultural diversity’ on state television? In what sense is this shift indicative of how individuals and groups need to frame and pursue their citizenship entitlements under current political conditions shaped by the effects of multiparty ‘democracy’?" (Conclusion, page 206)
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