"The entertainment–education (E-E) strategy in development communication has been widely described as the panacea to development challenges in Africa. However, despite its growing application on the continent, E-E is still argued to be inhibited from contributing meaningfully toward development ef
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forts. E-E interventions are argued to be hamstrung by their failure to embrace theoretical advances in development communication and E-E scholarship and for remaining rooted in the modernization paradigm. Using the social change paradigm as its framework, this article assesses the notions of development, change, communication, audiences, and education that underpin the conceptualization and design of Tsha Tsha, an E-E television drama that uses a novel cultural approach to address issues surrounding HIV and AIDS in South Africa. The data informing the study were gathered through a Focused Synthesis Approach and analyzed using qualitative content analysis. The study’s findings show that significant efforts have been made by Tsha Tsha’s producers to bridge E-E practice and contemporary development communication and E-E scholarship. The data analyzed in the study show that Tsha Tsha’s notions of development, change, education, communication, and audience have been significantly remoored in line with the core tenets of the E-E for Social Change paradigm. The implications of the study are that more engagement and synergies need to be cultivated between E-E practitioners and development communication and E-E scholars if E-E’s full potential, in contributing to development challenges on the continent, is to be realized." (Abstract)
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"Using cultural studies as its conceptual framework and reception analysis as its methodology, this study investigated and accounted for the oppositional readings that subaltern black South African youths negotiate from Tsha Tsha, an E-E television drama on HIV and AIDS in South Africa. Results from
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the study show that HIV and AIDS messages in Tsha Tsha face substantial resistances from situated youth viewers whose social contexts of consumption, shared identities, quotidian experiences and subjectivities, provide critical lines along which the E-E text is often resisted and inflected. These findings do not only hold several implications for E-E practice and research, they further reflect the utility of articulating cultural studies and reception analysis into a more nuanced theoretical and methodological framework for evaluating the ‘impact’ of E-E interventions on HIV and AIDS." (Abstract)
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"Edutainment, the combination of education with entertainment through various media such as television, radio, mobile phone applications and games, is increasingly being used as an approach to stimulate innovation and increase agricultural productivity amongst smallholder farmers in sub-Saharan Afri
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ca. Shamba Shape Up, a widely publicised makeover reality TV programme, is an example of edutainment that has received considerable attention, and airs in three countries in East Africa where it is estimated to be watched by millions of viewers.
There is no published academic research on the influence of makeover television formats on innovation systems and processes in smallholder agriculture. Using an Agricultural Innovation Systems approach, this paper explores how makeover edutainment is influencing smallholder farmer innovation systems together with the effect this is having on smallholder farms. In the absence of previous research, it articulates a Theory of Change which draws on research traditions from mass communication, agricultural extension and innovation systems. Data came from two large scale quantitative (n=9885 and n=1572) surveys and in-depth participatory qualitative research comprising focus group discussions, participatory budgets, agricultural timelines, case studies and key information interviews in Kenya. An estimated 430,000 farmers in the study area were benefiting from their interaction with the programme through increased income and / or a range of related social benefits including food security, improving household health, diversification of livelihood choices, paying school fees for children and increasing their community standing / social capital.
Participatory research showed SSU enhanced an already rich communication environment and strengthened existing processes of innovation. It helped set the agenda for discussions within farming communities about opportunities for improving smallholder farms, while also giving specific ideas, information and knowledge, all in the context of featured farm families carefully selected so that a wide range of viewers would identify with them and their challenges.
Broadcasts motivated and inspired farmers to improve their own farms through a range of influences including entertainment, strong empathy with the featured host farm families, the way ideas emerged through interaction with credible experts, and importantly through stimulating widespread discussion and interaction amongst and between farmers and communities of experts on agricultural problems, solutions and opportunities. The fact that local extension workers also watched the programmes further enhanced the influence on local innovation systems. The findings indicate that well designed makeover edutainment can strongly influence agricultural innovation processes and systems resulting in impact on the agricultural production and behaviours of large numbers of smallholder farmers." (Abstract)
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"Makutano Junction is an ‘edutainment’ soap opera made for local TV stations in Kenya and other East African countries. The show is about a fictional peri-urban village and the people who live in it. The program is made in Kenya, but was devised and is produced by Mediae, a UK based company that
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works with the support and collaboration of some major Kenyan and international NGOs. Mediae was founded by the producers David Campbell and Kate Lloyd Morgan. Since it began broadcasting in 2007 Makutano Junction has become one of the most popular shows on Kenyan TV; currently around 8 million viewers watch it every week, which is about 20% of the country’s entire population. Mediae have created a small stable of TV and radio shows mostly for Kenya, but also for Tanzania, Uganda and Rwanda. They all give rural Africans access to the latest information and discussions about issues that concern them. The themes and plotlines for these shows are informed by extensive and careful research in the field, conducted by themselves or partner organisations.
Some of Mediae’s work is highly innovative. An example of this is the show Shamba Shape Up, which is also a major hit in Kenya and neighbouring countries. Shamba means ‘farm’ in Swahili, and as the title suggests it’s a kind of small farm makeover show. So presenters and experts visit smallholding farmers, and on camera, discuss problems that they might be having, with animal health, crop yield, market strategies etc, and consider solutions and strategies. Then they put a plan into action, and have a follow up show to see the results. Some 10 million viewers across East Africa view this show every week, even more than Makutano Junction. A very important aspect of this show is its associated app; I-Shamba, with which farmers are able to use mobile phones to access a database of up to the minute information and advice. Once remote smallholding farmers are increasingly connecting, interacting and educating themselves through this special show and app." (Page 99-100)
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"Can the mass media cause changes in an audience’s knowledge, attitudes and intention to practise behaviours? At BBC Media Action, we have just successfully conducted a randomised control trial (RCT) to investigate this chain of causality in a prime time health TV drama in Bangladesh." (Introducti
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on)
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"The aim of this article is to further knowledge of the explanatory processes of narrative persuasion in the field of health communication, using data obtained in a research study of entertainment-education based on audiovisual fiction. Participating in the study were 208 young persons between the a
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ges of 14 and 20, randomly distributed to three different groups. Each of the groups was exposed to a different episode of the Colombian television series Revelados, desde todas as posiciones. The results showed that greater identification with the main character of the episode transmitting a prevention message was associated with greater cognitive elaboration, which in turn led to more favorable attitudes toward the topics addressed. However, counterarguing was not observed to play a significant mediating role. The findings of this study allow us to conclude that getting people to think and reflect can help persuade them, which suggests that narrative persuasion models and dual models of rhetorical persuasion can be compatible in certain contexts, such as when messages are designed in such a way that characters make explicit arguments that endorse a prosocial message through dialogues." (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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"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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"Seit einigen Jahren zeigt das afghanische Fernsehen zahlreiche Krimis und Dokumentationen von Gerichtsprozessen. Sie werden von Afghanen produziert, aber aus dem Ausland finanziert, unter anderem von der Europäischen Kommission, den Vereinten Nationen und der US-amerikanischen Entwicklungsagentur
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USAID. Gegenwärtig laufen insgesamt sechs derartige Fernsehserien und vier Radioprogramme. Obwohl sie ernsthafte Absichten verfolgen, werden sie ohne viel Aufwand hergestellt; die Kampfszenen etwa werden in den Straßen von Kabul improvisiert. In Afghanistan galten in den vergangen zwanzig Jahren mindestens drei völlig unterschiedliche Rechtsordnungen; die staatlichen Behörden genießen wenig Vertrauen und nur wenige Leute wissen, wie eine moderne Justiz funktioniert. Deshalb sind diese Krimiserien hilfreich: Sie vermitteln wertvolle Informationen über die Funktionsweise von Gerichten, und sie machen den Afghanen bewusst, dass alle Bürger vor dem Gesetz gleich behandelt werden müssen. Der Erfolg dieser Produktionen stellt einige im Westen verbreitete Vorstellungen über Aufbau- und Entwicklungshilfe in Afghanistan und anderen kriegsgeschädigten Ländern in Frage. Zwar ist es nicht neu, Radio- und Fernsehsendungen in den Dienst der Entwicklungspolitik zu stellen. Das Kinderhilfswerk UNICEF verknüpft schon seit langem Aufklärung und Unterhaltung in seiner Arbeit: In Indien finanziert es Hörspiele, die zur Verbesserung der Gesundheit von Müttern und Kindern beitragen sollen; in Afrika unterstützt es mobile Kinos, die nach einem kurzen informativen Vorspann populäre Filme zeigen. In der Praxis spielen solche Projekte bei Impfkampagnen, in der Bildungsarbeit und bei der Verbesserung der Hygiene eine wichtige Rolle. Doch viele Organisationen, die mit öffentlichen Mitteln arbeiten, scheuen sich bisher, mit Hilfe von Unterhaltungssendungen Aufklärung zu betreiben." (Einleitung)
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"Susan Benesch, human rights scholar, genocide prevention fellow at the U.S. Holocaust Memorial Museum, and faculty associate at the Berkman Center for Internet & Society at Harvard University, has, over the last several years, developed an analytical framework for identifying ‘dangerous speech’
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that catalyzes violence (Benesch, 2008; 2013). According to Benesch, “hate speech” is a vague term that encompasses many forms of speech, only some of which may catalyze violence under certain circumstances. By creating a set of guidelines “for monitoring speech and evaluating its dangerousness, i.e., the capacity to catalyze violence by one group against another,” Benesch aims to inform policies that reduce incitement to violence through speech while protecting free speech (Benesch, 2013). Among questions about these ambitious guidelines were how they could be used to make audiences more skeptical of incitement and therefore less likely to succumb to it. In the summer of 2012, Benesch teamed up with Media Focus on Africa (MFA) and the cast and crew of a Kenyan television comedy drama series, Vioja Mahakamani (referred to as Vioja throughout this report). The collaboration aimed to “inoculate” audiences against inciting speech, and make them more skeptical of it, by increasing understanding of what constitutes incitement to violence, the psychology behind incitement that helps prepare groups of people to condone or even take part in violence, and its consequences. This was accomplished through two avenues: 1) by applying her ideas through a medium that would entertain and educate the Kenyan public, and 2) by training the cast of the show so that they could become local agents of change, circulating this information outside the context of the television program. This evaluation was partially tasked with examining whether audiences did indeed become more skeptical of inciting speech." (Page 2)
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"Kwanda was an innovative community development initiative of the Soul City Institute and partners. Five deprived communities were challenged to make their areas 'look better, feel better and work better’ by addressing health and development issues. Responses to this challenge were documented in a
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13-episode reality TV series that culminated in a viewer vote for the most successful community. The series attracted more than a million viewers on late-night television, and feedback indicated that many viewers were motivated to take action. The evaluation of the initiative led to the conclusion that Kwanda offers possibilities for using the reality TV format to foster community development and the scaling-up of development messaging. Importantly, Kwanda demonstrated that when communities organise on their own behalf, government is better able to deliver. The evaluation also raised several questions for the Kwanda partners which would need to be taken into account in future efforts." (Abstract)
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"Entertainment-education interventions frequently include an explicit persuasive appeal, such as an epilogue, at their conclusion. This may help to overcome potential limitations of narrative persuasion by highlighting and clarifying the underlying message. Despite this potential, an explicit persua
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sive appeal may also undermine the subtle approach that distinguishes narrative persuasion and thereby induce reactance and/or counterarguing. The purpose of this study was to experimentally test these two possible outcomes. In particular, the effect of an explicit persuasive appeal in the context of a dramatic television program about the dangers of drinking and driving was examined. Overall, results revealed that the narrative and explicit persuasive appeal interact to influence drinking-and-driving attitudes. Theoretical and practical implications are discussed." (Abstract)
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"Se rangeant parmi les cinq plus grands donateurs d’aide publique au développement (APD), l'Allemagne est fortement engagée dans la lutte pour un accès universel à la prévention, au traitement et à la prise en charge du VIH. Une bonne partie des contributions allemandes est accordée sous fo
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rme de soutien financier et technique à la communication pour le changement de comportement (CCC), souvent associée au marketing social de préservatifs. Cette publication étudie en détail plusieurs projets dans le cadre desquels l'Allemagne a apporté un soutien à la production et à la diffusion de séries télévisées comme composantes clés de la CCC dans trois pays confrontés à des situations épidémiologiques très différentes. Au Kirghizistan, l'épidémie est largement concentrée parmi les consommateurs de drogues injectables (CDI), pour la plupart des hommes jeunes, mais touche aussi des professionnelles du sexe. L'épidémie s’étend rapidement, et l’on craint qu'elle ne se propage davantage dans la population en général. Diffusée pour la première fois en 2006, la série « Love as a Test » avait pour but de sensibiliser les spectateurs au fait que le VIH ne concerne pas uniquement « les autres », mais peut facilement toucher chaque individu ainsi que ses proches, et qu’il est possible d’agir pour éviter sa propagation et en limiter les dommages. En République dominicaine, les taux de prévalence du VIH sont extrêmement élevés chez les Haïtiens de souche vivant dans les bateyes (campements attenant aux plantations de canne à sucre), dans les zones rurales et dans les bidonvilles. Diffusée pour la première fois en 2007, « Amor de Batey » avait pour but de promouvoir l'utilisation régulière et correcte de préservatifs peu coûteux mais fiables, de renforcer l’autonomie des femmes, d'améliorer leur santé et de limiter la mortalité infantile. En Côte d'Ivoire, les taux de prévalence du VIH sont élevés dans l’ensemble du pays, mais beaucoup plus importants chez les femmes que chez les hommes. Cela est notamment dû à la pratique courante des relations sexuelles multiples et concomitantes et aux faibles niveaux d'éducation et de connaissances en matière de santé sexuelle et reproductive. Diffusée pour la première fois en 1994, « Sida dans la Cité » avait des objectifs similaires à ceux de « Amor de Batey ». La première série a rencontré un tel succès qu'elle a été suivie d'une deuxième diffusée en 1996-1997, puis d'une troisième diffusée en 2003. Les trois séries ont connu une grande popularité dans tous les pays francophones d'Afrique de l’Ouest et d'Afrique centrale. Cette publication retrace la genèse de chacune de ces séries, en présente un bref synopsis, résume les résultats des évaluations formelles qui en ont été faites et fournit des appréciations plus informelles. Elle tire ensuite des conclusions et constate que les séries télévisées peuvent apporter des contributions très utiles à la lutte contre le VIH au niveau national. Les séries qui remportent le plus de succès sont basées sur de solides recherches, reflètent les réalités de la vie telles qu’elles sont vécues par les publics cibles et sont réalisées de manière très professionnelle, leur assurant à la fois un haut niveau de divertissement et une grande efficacité comme outil éducatif." (Résumé, page 5)
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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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"This publication looks closely at cases where Germany has supported the production and broadcast of television soap operas as key components of Behavior Change Communication (BCC) in three very different countries with three very different HIV epidemics: In Kyrgyzstan, the epidemic is largely conce
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ntrated among injecting drug users (IDUs), mostly young males but some female sex workers. It is spreading rapidly and there is concern it could soon spread into the general population. Originally broadcast in 2006, "Love as a Test" aims to get across messages that HIV affects not only "them" but could easily affect you and your loved ones and there are things you can do to prevent its spread and reduce its harm. In Dominican Republic, there are extremely high rates of HIV prevalence among ethnic Haitians who live in bateyes (settlements on agricultural plantations), rural areas and urban barrios. Originally broadcast in 2007, "Amor de Batey" aims to promote the consistent and correct use of low-cost but reliable condoms and, also, to empower women, improve their health and reduce child mortality. In Côte d'Ivoire, there are high rates of HIV prevalence throughout the country but much higher rates among women than men. Contributing factors include the common practice of having multiple concurrent sexual relations and low levels of education and specific knowledge about sexual and reproductive health. Originally broadcast in 1994, "SIDA dans la Cité" has aims similar to those of "Amor de Batey." The first series proved so successful that it lead to a second series, originally broadcast in 1996-97, and then to a third, originally broadcast in 2003. All three series have proved popular throughout French-speaking West and Central Africa. This publication shows how each series was developed, provides brief synopses, summarizes the results of formal evaluations and provides informal assessments. It draws lessons and concludes that television soap operas can make significant contributions to national responses to HIV. The most successful series are based on sound research, reflect the realities of life as it is lived by their target audiences, and are developed in a professional manner that ensures they meet high standards both as entertainment and as educational tools." (Executive summary, page 5)
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"The Untold films bear testimony to the success of the skills development element of this Regional Programme initiative. The fact that these television dramas were developed, written, directed and produced in Botswana, Lesotho, Malawi, Mozambique, Namibia, South Africa, Swaziland, Zambia and Zimbabw
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e by local people; constitutes the achievement of one of the central goals of the Untold project – to build a community of new voices and grow local skills to develop edutainment drama. The audience reception study conducted across the region has shown that the films were successful in highlighting a range of issues relating to HIV & AIDS. These issues include orphanhood, HIV testing, stigma, and gender-based violence. The dramas reinforce the complexity of the HIV & AIDS epidemic and the need for individuals and communities to develop new ways of thinking and acting to curb its spread. The Untold series has moved and entertained audiences, created dialogue and debate, and got people thinking about their lives and the choices they face in relation to HIV & AIDS. The project has thus, through successful regional collaboration, achieved its stated goals." (Conclusion)
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"Soul Buddyz, an initiative of the Soul City Institute for Health and Development Communication (IHDC), in partnership with the South African Broadcasting Corporation (SABC), is a multi-media intervention targeting children aged 8 to 14 in South Africa. The intervention is focused on the promotion o
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f children’s wellbeing through the provision of health information and skills to lead healthy lives, especially those which relate to HIV and AIDS and sexuality. Components of the intervention include a television drama, Soul Buddyz Television; a radio intervention, Soul Buddyz Radio consisting of drama, and interactive talk between children and adults; and a Lifeskills Booklet for Grade 7. In addition, there is a face-to-face intervention Soul Buddyz Clubs, implemented in primary schools in collaboration with the Department of Education. A reality television programme, Buddyz on the Move which showcases Soul Buddyz Club activities. Complementary materials and messaging for parents and care-givers of children are also part of the intervention. This report presents an independent evaluation of Soul Buddyz conducted in 2006. Interviews were conducted with a sample of 1500 children aged 8-15 across the country, in a nationally representative sample [...] Some 82% of children in the 8-15 age group reported having watched Soul Buddyz TV. Some 63% reported having watched Buddyz on the Move. Soul Buddyz radio achieved lower reach with 32% of children in the 8-15 year age group reporting having listened to the programme on radio, although this is still substantial, given that fewer children listen to radio. Around 45% of children have heard of Soul Buddyz Clubs, while 6% of children reported ever being members. The Grade 7 Lifeskills Booklet, designed to be a user-friendly information and activity resource for Grade 7 learners in South Africa, was reportedly used by close 50% of children in the target age group. Soul Buddyz appears to appeal to both boys and girls with no significant differences in reach. Reach of Soul Buddyz is good in both rural and urban areas, but higher among urban children." (Executive summary)
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"HEARTLINES is an innovative programme developed by The Mass Media Project in South Africa. The intervention’s purpose is to address South Africa’s social issues, such as HIV and AIDS, crime, violence and the breakdown of family and social structures. HEARTLINES is unique in its approach in that
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it addresses these issues through values – the primary aim of the intervention is to promote reflection on people’s value systems and how these values are lived out in daily life. Over 85% of South Africans adhere to religious beliefs which have clear moral ideals and principles. One explicit strategy of HEARTLINES is to build on this already established authority of religious and spiritual beliefs. Using the authority of FBOs and religious faith, the Mass Media Project aims to promote values, to encourage people to live out their values more fully, and provide tools for this purpose. This evaluation is focused on the first stage of the HEARTLINES intervention. This included two main initiatives, namely, the national broadcast of 8 HEARTLINES films or dramas, with supporting print and below-the-line media components and secondly, the start of social mobilisation of faith-based organisations, where FBOs were provided with relevant tools to teach values and encouraged to undertake discussion-based activities. This first stage of HEARTLINES was evaluated using scientifically rigorous evaluation methods. During the 8 weeks of broadcast, an estimated 26% of the adult population, or 7.3 million adults watched one or more of the HEARTLINES films on television." (Executive summary)
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"Este libro aborda la actualidad de la telenovela, y sus procesos de producción y de distribución en distintos mercados; los estilos el mexicano, el brasilero, el colombiano, y el global, representado por las más recientes producciones en Estados Unidos. Como un caso de la relación de la telenov
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ela con las prácticas sociales, un capítulo trata la utilización de temáticas de salud en las telenovelas, desde el rastreo histórico a las nuevas propuestas sobre la incorporación de mensajes de salud." (Descripción de la casa editorial)
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