Towards a transnational approach to Latin American television: journeys, borders, and centers and peripheries
DOI:
https://doi.org/10.11606/issn.1982-8160.v15i2p55-71Keywords:
Transnational television, Latin American history, Fragmented unity, Streaming platforms, Multiple centers and peripheriesAbstract
The present paper proposes a historical transnational approach with the aim of grasping the main patterns and challenges in the production and consumption of television contents in the region. Instead of focusing on national cases, as most studies on the field do, I would like to focus here on the transnational circulation of Latin American television through the journeys and passages of producers, entrepreneurs, contents, and technologies across the region from the 1950s to the present. The resulting remapping of Latin American television prompts us to consider the linguistic and cultural obstacles and barriers affecting the circulation of television contents produced in the region as well as the established power asymmetries and hierarchies among Latin American countries.
Downloads
References
Acosta-Alzuru, C. (2021). From riches to rags: The decline of Venezuelan telenovelas. In E. Korin & P. Pain (Eds.), When media succumbs to rising authoritarianism (pp. 61-76). Routledge.
Allen, C. (2020). Univision, Telemundo, and the rise of Spanish-Language television in the United States. University Press of Florida.
Andro4ll. (2019, 23 de julho). México, segundo lugar en suscripciones a Netflix a nivel mundial, entre Brasil y Argentina. La Vanguardia. https://bit.ly/3eIIiOI
Avci, E. (Produtor executivo). (2006-2009). Binbir gece [Mil e uma noites] [Telenovela]. TMC.
Beltrán, L. R., & Fox de Cardona, E. (1980). Comunicación dominada: Estados Unidos en los medios de América Latina. Nueva Imagen.
Brancato, C., Bernard, C., Miro, D., O’Connell, K., Newman, E., Padilha, J., & Ellis, E. T. (Produtores executivos). (2015-2017). Narcos [Série de televisão]. Gaumont International Television.
Castro, J. (2000). Tupi. Pioneira da televisão brasileira. Fundação Assis Chateaubriand.
Chamy, C. H. (2014, 3 de setembro). Cómo Turquía está cambiando el mercado de las teleseries de América Latina. BBC. https://bbc.in/3iGclYu
CHV explica las razones de emitir la primera teleserie doblada al “chileno”. (2016, 6 de dezembro). El Mercurio. https://bit.ly/2Uw9Yj9
Clark, W., & Priolli, G. (1991). O campeão da audiência. Uma autobiografia. Best Seller.
Cornelio-Marí, E. M. (2020). Mexican melodrama in the age of Netflix: Algorithms for cultural proximity. Comunicación y Sociedad, 27, e7481. https://doi.org/10.32870/cys.v2020.7481
Coronado, D. (1992, 27 de setembro). David Stivel. El Tiempo. https://bit.ly/2UFrAc7
Cruz, M. F. (2015, 3 de novembro). Claudio Villaroel: ‘Hoy la tele es gente que canta, responde preguntas y discute’. La Nación. https://bit.ly/3BzTve8
Dávila, A. (2012). Latinos, Inc.: The marketing and making of a people. University of California Press.
Diez años de ‘Sabado Gigante’. (1996, 30 de junho). La Reforma, 4.
Ferreira, G. C. (2017). O fenômeno da ficção televisiva turca: A recepção da telenovela Fatmagul no Brasil [Trabalho de conclusão de curso, Universidade Federal do Paraná]. Repositório Institucional da UFPR. https://bit.ly/2Tt5YPF
Fraga, N. (2011, 5 de setembro). O filme vai se repetir no Brasil? O Estado de S. Paulo. https://bit.ly/3xVlFOC
Garrett, J. L. (1985). The Beagle Channel dispute: Confrontation and negotiation in the Southern Cone. Journal of Interamerican Studies and World Affairs, 27(3), 81-109. https://doi.org/10.2307/165601
Glória, ditadora das novelas, cai sem lágrimas. (1969, 14 de maio). Veja, (36), 62.
González de Bustamante, C. (2012). Muy buenas noches: México, television, and the cold war. University of Nebraska Press.
Gutierrez, E. (2007). De la tele-visión a la televisión. Signo y Pensamiento, 50(26), 290-291. https://bit.ly/3zqwzw3
Herz, D. (1987). A história secreta da Rede Globo. Tchê!.
Joacogarau (Apresentador). (2015, 2 de maio). Walter Sequeira habló sobre las Mil y Una Noches [Episódio de podcast de áudio]. In Noche de Necios. Radio Zonica. https://bit.ly/3iy2O5C
Kreutzberger, M. (2001). Don Francisco, entre la espada y la pared. Grijalbo.
La Pastina, A. C., & Straubhaar, J. D. (2005). Multiple proximities between television genres and audiences the schism between telenovelas’ global distribution and local consumption. Gazette, 67(3), 271-288. https://doi.
org/10.1177/0016549205052231
Machado de Assis, E. (2000). O brasileiro mais brasileiro. In J. A. Castro (Ed.), Tupi. pioneira da televisão brasileira (p. 20). Fundação Assis Chateaubriand.
Mattelart, A. (1973). Agresión desde el espacio: Cultura y napalm en la era de los satélites. Siglo XXI.
Melo, J. M. (1987). Cultura brasileira: Temas e situações. Ática.
Mora, G. C. (2011). Regulating immigrant media and instituting ethnic boundaries – The FCC and Spanish-language television: 1960-1990. Latino Studies, 9(2-3), 242-262. https://doi.org/10.1057/lst.2011.20
Muñoz, J. A. (2011, 19 de setembro). Los obstáculos que encontrará Netflix en América Latina. CNN. https://cnn.it/3rrTtAF
Oliveira, J. B., Sob. (2011). O livro do Boni. Casa Da Palavra.
Owens, D. (1988, 3 de outubro). Joaquin Blaya va vendiendo el mercado hispano. El Nuevo Herald, 1.
PRODU. (2016). Conversación con Patricio Hernández CEO de Mega Chile y su éxito [Vídeo]. YouTube. https://bit.ly/2Tx49Bq
Ribke, N. (2013). The genre of live studio audience programmes in a political context: The Flavio Cavalcanti Show and the Brazilian military regime.
Screen, 54(3), 355-370. https://doi.org/10.1093/screen/hjt022
Ribke, N. (2020a). Telemontecarlo as a (failed) Italo-Brazilian communications experiment: South-South transnational business, politics and culture (1985-1994). Media History, 27(3), 364-380. https://doi.org/10.1080/13688804.2020.1801402
Ribke, N. (2020b). Transnational Latin American television: Genres, formats and adaptations. Routledge.
Rivero, Y. (2012). Our Betty: The legacy of Yo soy Bety, la fea’s success in Colombia. In J. McCabe & K. Akass (Eds.), TV’s Betty goes global: From telenovela to international brand (pp. 45-61). Bloomsbury Publishing.
Sanchez, E. (2019, 21 de março). Los mejores países de América Latina para ver Netflix Merca2.0. https://bit.ly/3kOagN0
Sinclair, J. (1998). Latin American television. A global view. Oxford University Press.
Sinclair, J. (2005). Latin American commercial television: “Primitive capitalism”. In J. Wasko (Ed.), A companion to television (pp. 503-520). Blackwell.
Sinclair, J. (2014). Transnationalization of television programming in the Ibero-American Region. MATRIZes, 8(2), 63-77. http://dx.doi.org/10.11606/issn.1982-8160.v8i2p63-77
Sirvén, P. (1996). El rey de la TV: Goar Mestre y la historia de la televisión. Clarin Aguilar.
Sousa, H. (1997, 2-7 de julho). Crossing the Atlantic: Globo’s wager in Portugal [Artigo apresentado]. Conferência da International Association for Mass Communication Research, Oaxaca, Mexico. https://bit.ly/3rvQsiP
Straubhaar, J. D. (1991). Beyond media imperialism: Assymetrical interdependence and cultural proximity. Critical Studies in Media Communication, 8(1), 39-59. https://doi.org/10.1080/15295039109366779
Straubhaar, J. D. (2007). World television: From global to local. SAGE.
Suar, A. (Criador e produtor). (2015-2016). Esperanza mía [Telenovela]. Pol-ka.
Turow, J. (1997). Breaking up America: Advertisers and the new media world. University of Chicago Press.
Varela, M. (2005). La televisión criolla: Desde sus inicios hasta la llegada del hombre a la Luna, 1951-1969. Edhasa.
Vassallo de Lopes, M. I., & Greco, C. (2016). Brasil: A TV “transformada” na ficção televisiva brasileira. In M. I. Vassallo de Lopes & G. Orozco Gómez (Eds.), (Re)invenção de gêneros e formatos da ficção televisiva: Anuário Obitel 2016 (pp. 135-176). Sulina.
Villar Gertner, A. (2014). The Beagle Channel frontier dispute between Argentina and Chile: Converging domestic and international conflicts. International Relations, 28(2), 207-227. https://doi.org/10.1177/0047117814526910
Wallach, J. (2011). Meu capítulo na TV Globo. TopBooks.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain the copyright and grant the journal the right to first publication, with the work simultaneously licensed under the Creative Commons Attribution License (CC BY-NC-SA 4.0) which allows sharing of the work with acknowledgment of authorship and initial publication in this journal for non-commercial purposes.
- Authors are authorized to assume additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg, publishing in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.