Soap Operas

El artículo explora el fenómeno mediático surgido en torno a la telenovela La Reina del Sur (2011), basada en la novela homónima de Arturo Pérez Reverte, dentro del marco de la globalización. Tanto la novela de Pérez Reverte como la teleserie coproducida por EE.UU. (Telemundo), España (Antena 3) y Colombia (RTI) son ejemplos paradigmáticos de las tendencias globales en la promoción y distribución de la narco-cultura. El ensayo se centra en la dimensión transcontinental de ambos productos y en su papel dentro de la canonización del género narco más allá de Colombia y México

Television becomes a sight of the construction of cultural and gender identities. Through content analysis of television series, the author examines that though Television becomes the global ground for questioning social constructs like gender, it becomes a reinforcement agency of the dominant ideology. The paper uses a case study of one of the most popular Pakistani (produced) Television Soap Operas- Zindagi Gulzar Hai to analyze the representation of gender relations in popular Pakistani (produced) Television. In conclusion, this project, by closely examining Zindagi Gulzar Hai sheds new light on the little-recognized issue of gender inequality, apparently behind the realistic portrayal of contemporary Pakistani society.

استقر مصطح ”دراما رمضان“ ليشري إىل كثافة املسلسالت ذات العرض األول خالل شهر  رمضان والتى
تحظى بنسبة مشاهدة مرتفعة. وعىل الرغم من التنافس الشديد بين هذه المسلسلات إلا أنها  تعكس تناقضات بين
روحانية الشهر وما تبثه من أفكار تخالف نمط غالبية المشاهدين، والتناقض الأكبر بين ما يوجهه الجمهور من
انتقادات لها وبين ارتفاع نسبة المشاهدة.

This article uses the Foucauldian framework of governmentality and the particular concept of dispositif to analyse two Vietnamese television dramas, Hanoian (1996) and The City Stories (2002). I argue that the first drama presents a memory dispositif of the recent wartime to express dissatisfaction about contemporary situations. Meanwhile, the second drama sought to build a ‘new yesterday’ to engage Vietnamese viewers in the ongoing economic transformations.

E-book do 7º Seminário História e Memória do Centro-Oeste Mineiro.
História e Memória do Centro-Oeste Mineiro [recurso eletrônico] :
(Elaborada pela bibliotecária Lorena J. Melo Mendonça – CRB-6/3161)
perspectivas 7: violências / Flávia Lemos Mota de Azevedo, José
Heleno Ferreira, Lúcia Maria Silva Arruda. – Divinópolis :
Publicações Portal EmRedes, 2020.
ISBN: 9786500090703

Zengin bir kültürel mirasa sahip olan Mardin, gerek sahip olduğu tarihi,
kültürel ve doğal zenginlikleri, gerekse geçmiş yıllardan günümüze kadar ulaşan toplumsal değerlerinin özgünlüğünden dolayı yıllardır birçok film ve dizi yapımcısının tercih ettiği bir mekân olmuştur. Bu çalışmada, yerel halkın Mardin ilinde çekilen televizyon dizileri ve filmlerin ekonomik, kültürel, çevresel etkilerine ve Mardin turizmine katkısına yönelik algılarının belirlenmesi amaçlanmıştır. Çalışmada veri toplama aracı olarak anket tekniği seçilmiş ve kolayda örnekleme yaklaşımı ile Mardin ilinde yaşayan 401 birey ile yüz yüze görüşülerek veriler elde edilmiştir. Elde edilen veriler, frekans analizleri, Mann-Whitney U ve Kruskall-Wallis testleri ile analiz edilmiştir. Araştırma bulgularına göre yöre halkının, Mardin ilinde çekilen dizi ve filmlerin, şehrin ekonomisine ve tanıtımına olumlu katkı sağlamakla beraber, kültürünün yanlış aktarılması, yaşam
tarzlarının abartılması ve dizilerin ekonomik rant amacıyla çekilmeleri gibi olumsuz algılara sahip oldukları gözlenmiştir.

The last decade has witnessed a proliferation of lesbian representations in European and North American popular culture, particularly within television drama and broader celebrity culture. The abundance of 'positive' and 'ordinary' representations of lesbians is widely celebrated as signifying progress in queer struggles for social equality. Yet, as this article details, the terms of the visibility extended to lesbians within popular culture often affirms ideals of hetero-patriarchal, white femininity. Focusing on the visual and narrative registers within which lesbian romances are mediated within television drama, this article examines the emergence of what we describe as 'the lesbian normal'. Tracking the ways in which the lesbian normal is anchored in a longer history of "the normal gay" , it argues that the lesbian normal is indicative of the emergence of a broader post-feminist and post-queer popular culture, in which feminist and queer struggles are imagined as completed and belonging to the past. Post-queer popular culture is depoliticising in its effects, diminishing the critical potential of feminist and queer politics, and silencing the actually existing conditions of inequality, prejudice and stigma that continue to shape lesbian lives.

This paper attempts an exploration of the prosperity of melodrama in the nineteenth century with its literary shortcomings in comparison with more serious and deeper plays before and after that era. Shedding light on the political, social, and economic changes that took place in Europe in general and in England in particular, this study tries to show how melodrama reflected these changes and represented the new rising middle class with all their values, beliefs, and interests. In addition, the paper shows similarities between melodrama and modern soap operas and movies, with their artificially fabricated plots and endings, unconvincing characters, and irrational incidents and coincidences. For this purpose, the study will trace the main dramatic features of melodrama and mark them out in two of the most notable melodramas of that period, namely Maria Martin and Sweeney Todd, which were adapted and produced cinematically. The paper will conclude how changes in different aspects of society are definitely reflected on the literary works during a certain period of time. The methodology will include an historical overview, shedding light on the changes that took place in England in the 19 th century, comparing and contrasting melodramas and other more important literary forms, together with the two plays to be studied as examples. To achieve credibility, the paper will refer to works by remarkable thinkers and critics in the field, illustrate by using quotes from both plays, and interpret and analyze their function and importance. Introduction This paper attempts an exploration of the dramatic features of melodrama, a genre that permeated the British theatres in the 19 th century, and an analysis of these features in two well-known melodramas of that era,

Les séries télévisuelles turques rencontrent un succès florissant à l'international et notamment dans les pays arabes depuis la diffusion de Noor en 2008. Le genre le plus exporté est le soap opéra dont les populations du Moyen-Orient sont friandes. Les séries turques dépeignent une société musulmane en plein essor économique, naviguant entre le respect des valeurs traditionnelles et la modernité. Nous verrons comment les séries turques parviennent à influencer le paysage médiatique du monde arabe et quels sont les enjeux politiques qui en découlent. INTRODUCTION :

Using in-depth analysis of film, TV, news and online productions, Understanding Media Production shows how media theory helps aspiring producers understand good practice in media production.
With detailed contemporary examples, including Pirates of The Caribbean, Game of Thrones, Love Island and PewDiePie’s "letsplay" videos, Dwyer highlights similarities and differences in the production strategies and styles used for a wide range of media products. The book tracks the evolution of these entertainment formats and the emergence of the media businesses which produce them. Chapters describe the key production practices associated with each format, including single and multi-camera filming, news reporting, three-point lighting and gameplay animation. They also explain the development of the production roles associated with these content forms; directors, producers, reporters, correspondents etc. The book goes on to explain how media businesses have used new technologies and production innovations to reduce costs and increase profits, resulting in dramatic changes to established production practices and roles.
By comparing media production across media industries, in the UK and US, and illustrating the links between economic, sociopolitical and cultural influences on production, Understanding Media Production opens up a constructive debate between media practitioners and theorists about key questions of creativity and innovation in production.

Netflix ha resuelto la ecuación de la proximidad cultural en México utilizando algoritmos para monitorear los datos de sus usuarios. Desde 2015 ha producido series originales que muestran rasgos melodramáticos a pesar de pertenecer a géneros como la comedia, la biografía o la acción de trasfondo político. Con base en un análisis textual y de la indus-tria, este artículo sostiene que Netflix ha establecido una relación de amor-odio con el melodrama mexicano, burlándose de sus convenciones pero usándolas al mismo tiempo. Se concluye que el uso de algoritmos tiene el potencial de transformar a los proveedores de televisión por Internet en competidores de los productores locales.
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By using algorithms to track the data of their users in Mexico, Netflix has managed to solve the equation of cultural proximity. Since 2015 it has produced original series that include melodramatic traits, even if they align with genres like comedy, biopic and political thriller. Applying industrial and textual analysis, this article argues that Netflix has established a love-hate relationship with Mexican melodrama, making fun of its conventions but using them nevertheless. It concludes that algorithms have the potential to transform Internet tv providers into competitors for local producers.

Since the introduction of soft power theory by Joseph Nye, many political and media scientists as well as elite journalists have used this concept in order to analyze the impact of transnational media texts and their effects on local audiences. Despite its popularity, the soft power theory raises several questions that should be taken under consideration. First, it presupposes a direct link between a product’s attractiveness and the ability to influence other nations on a diplomatic level. Second, it underestimates the complexity of the reception process of media texts by the audiences and third, it does not take under consideration the complexity of the relationship between two countries which may be defined by historic and strategic elements and in which soft power may play only a limited role.

Through this article we present the results of our empirical research concerning the reception of Turkish soap-operas by the audience in Greece. Undeniably, Turkish soap-operas attract Greek audiences for several reasons such as cultural proximity, identity negotiation, alternative storylines etc. and which may conduct activities in relation to these particular soap-operas (i.e. soap-opera induced tourism) or to Turkish civilization in general (i.e. learning Turkish language). However, this attraction should not be confounded with the desire to overcome
long-enduring rivalries and negative feelings that are due to tangible as well as on emotional elements in order to follow Turkish government’s interests as soft power theory suggests. Therefore, the attraction of local audiences by transnational texts such as Turkish soap-operas, should not be considered as a de facto success of Turkey’s soft power. Consequently, soft power should rather be used as a communicational intentionality.

The world has been watching for years the Hollywood based American soap operas from TV. These soap operas and TV series of USA has a market value of 15 billion $ globally. In the last years the Turkish soap operas have started taking the attention of the world. The Turkish soap operas and series start to be exported to European, Arabic and Balkan countries and millions of people living in these countries started watching them. The Turkish soap opera and TV series production industry is increasing its market value in the global market, this market has created a 180 million $ exportation value in the Turkish television industry in 2013. This study examines the Turkish soap opera and television series history and its movement through the exportation to global television market. The paper gives a historical review of the Turkish soap operas and television series and their effects in the Turkish television market. It examines how the television content exportation of Turkey has developed from 1970s till 2014. The study consist of a research done in Greece, which is one of the most popular exportation television content market for Turkey. In the research, the Turkish soap operas which have been exported to Greek televisions is examined and there has been an evaluation on the sample of Turkish soup opera called "Muhteşem Yüzyıl" (Magnificent Century) which was on air in Greek ANT1 TV from September 2012 till July 2014. In the study there has been a research on the effects of this Turkish series to Greek audience and its advantages to Turkey. The study has been designed with qualitative interview method. Focus group interviews and their content analysis. In the focus group interviews the ideas of the audience for this Turkish series were asked. The aim of this focus group interviews were to find out how the Greek television audience effected culturally from the Turkish television content. In the end of the study there has been an evaluation how the Turkish language, history and other cultural specifications are spread with the advantage of these Turkish television serials that are exported to global world. The Greek audience expressed that these Turkish television content contributed to friendship of Turkey and Greece which couldn't achieved by politicians for years. These Turkish series not only creates a profit to local television content production industry of Turkey, but also creates a big value to the promotion of Turkish culture to the global world which this can't be valued financial.

Soap operas and telenovelas are watched by millions of people around the world every day. As cultural, social, and economic phenomena, examining them will further our understanding of the role of global media content in the digital age. Moreover, as these programs continue to be exported and transformed at regional levels, and through digitalization, it is more important than ever to analyze where the genre has been, where it is now, and where it is going.

Fino a pochi anni fa la serialità rappresentava un tema marginale nel dibattito accademico, soprattutto in Italia mentre oggi, al contrario, le serie tv sono al centro di un vivace confronto internazionale che coinvolge una scholarship composita, appartenente a discipline tradizionalmente distanti dalla serialità televisiva.
La valorizzazione della formula seriale sembrerebbe riproporre, mutatis mutandis, alcune dinamiche che hanno accompagnato la fortuna critica della soap opera negli anni Ottanta e Novanta del Novecento, trasformandola da prodotto deteriore ad emblema della plasticità polisemica del testo televisivo, capace di coagulare intorno a sé il nascente e proficuo nucleo dei television studies e degli women studies.
Il parallelo (volutamente provocatorio) proposto in questo articolo tra soap opera e serie tv non si fonda certo sulla dimensione estetica o narrativa delle due formule seriali. L’ipotesi è, invece, che entrambe, pur diversissime tra loro, siano espressione di un assunto basilare della serialità: nelle diverse fasi storiche e culturali del suo sviluppo, la formula seriale si modella sulla fisionomia del mediascape che la ospita. 
Come per la soap opera, così per le serie tv la centralità nel dibattito critico ne mette a nudo opportunità e contraddizioni, compreso il rischio del ritorno dell’antica questione dell’egemonia culturale, che tende a gerarchizzare la rilevanza di alcuni approcci e temi rispetto ad altri nello studio di uno stesso ambito di ricerca.

Through this article we aim to present the results of our empirical research concerning the impact of religion on gender representations projected through Turkish soap operas. Since 2000, Turkey aims to become a model of a Muslim but democratic and modern country in the region especially for other Muslim countries. Even if AKP is not an explicitly religious party, the statements effectuated from times to times by its representants indicate an important convergence between the religious values and the party's political and social priorities. Within this context, Turkish soap operas, function not only as tools of the country's soft power outside Turkey's borders and of promotion of its neo-Ottoman political orientation but also as tools for the promotion and the perpetuation of the government's world view inside the country. The taboo of the sexuality and the importance of motherhood, the underrepresentation of LGBTQ community members, of ethnic or of religious minorities, the "sin" and the attribution of justice are some of the elements we discuss in the present article.

À travers cet article nous présentons les résultats de notre recherche empirique concernant l'impact de la religion sur la représentation des genres projetées à travers les feuilletons télévisés turcs. Depuis 2000, la Turquie vise de devenir un modèle d'un pays Musulman mais aussi démocratique dans la région du moyen Orient. Même si l'AKP n'est pas de manière explicite un parti religieux, les déclarations effectuées de temps en temps par ses représentants indiquent une convergence importante entre les valeurs religieuses et les priorités politiques et sociales du parti. Dans ce contexte, les feuilletons télévisés turcs fonctionnent non seulement comme des outils du soft power de la Turquie à l'étranger et de sa politique néo-ottomane mais aussi comme des outils pour la promotion et la perpétuation de la vision du monde du gouvernement au sein du pays. Le tabou de la 62 Dimitra Laurence LAROCHELLE "Brad Pitt Halal" & the Hybrid Woman … sexualité et l'importance de la maternité, la sous-représentation des membres de la communauté LGBTQ et des minorités ethniques ou religieuses, le « pêché » et l'attribution de la justice sont certains des éléments que nous discutons à travers cet article.

Muhtesem Yuzyil - Le Siècle Magnifique - est une série télévisuelle turque au succès international. Elle retrace l'histoire du sultan Soliman le Magnifique, de son idylle avec Hurrem, ancienne esclave devenue sa femme et des intrigues dans le harem du palais. Ce soap opéra historique, exportée dans plus de 45 pays, a été l'objet de nombreuses critiques de la part du gouvernement turc. Muhtesem Yuzyil est une série qui marque un profond changement dans le regard que la Turquie se fait de sa propre histoire. Nous allons orienter notre analyse sur le contenu de cette série et tenter de répondre en quoi les enjeux de son succès sont politiques.

department of sociology, Lancaster university, Lancaster, uK ABSTRACT The last decade has witnessed a proliferation of lesbian representations in European and North American popular culture, particularly within television drama and broader celebrity culture. The abundance of "positive" and "ordinary" representations of lesbians is widely celebrated as signifying progress in queer struggles for social equality. Yet, as this article details, the terms of the visibility extended to lesbians within popular culture often affirm ideals of hetero-patriarchal, white femininity. Focusing on the visual and narrative registers within which lesbian romances are mediated within television drama, this article examines the emergence of what we describe as "the lesbian normal. " Tracking the ways in which the lesbian normal is anchored in a longer history of "the normal gay, " it argues that the lesbian normal is indicative of the emergence of a broader post-feminist and post-queer popular culture, in which feminist and queer struggles are imagined as completed and belonging to the past. Post-queer popular culture is depoliticising in its effects, diminishing the critical potential of feminist and queer politics, and silencing the actually existing conditions of inequality, prejudice, and stigma that continue to shape lesbian lives.

Rethinking the Concept." iii Cultural hegemony is the domination of a culturally diverse society by the ruling class who manipulate the culture of that society-the beliefs, explanations, perceptions, values, and mores-so that their imposed, rulingclass worldview becomes the accepted cultural norm. The concept of 'hegemony' was previously used by Marxists such as Vladimir Lenin. Later Gramsci expanded this concept, developing an acute analysis of how the ruling capitalist classthe bourgeoisieestablishes and maintains its control. iv Rizomatic: Philosophical concept as developed by Gilles Deleuze and Félix Guattari in their book A Thousand Plateaus: Capitalism and Schizophrenia Schizophrenia. It is what Deleuze calls an "image of thought," based on the botanical rhizome, that apprehends multiplicities.

This is the intro to a special issue that Shyon Baumann, Susanne Janssen and I co-edited for Poetics (Volume 37 / Issue 4). It featured contributions by Michaël Berghman & Koen van Eijck; Katherine Giufree; Heather Jamerson; Melissa C. Scardaville; Vaughn Schmutz; and Alex van Venrooij,

This study aims at investigating the connection between teachers’ real lives and the fictional version of these lives in soap operas. Its main concern is to check if teachers identify themselves with the characters’ representation of teachers. Soap operas in Brazil are famous television drama programs watched by a great number of people and, most of the time; they portray ordinary models of identity. This enables viewers
to project themselves into these models either being them real or fictional models of representation. Through questionnaires, teachers - from public schools in Goiânia - revealed what they think of these models of representation. These instruments of
data collection gave access to a general historical view of the representation of teachers in Brazilian soap operas from 1951 to 2006. Based on the studies of Martín-Barbero (1998; 2001; 2003; 2004) and Orozco Gómez (1998) the results show that
teachers’ professional identity interacts with the images portrayed in the soap operas which interferes with their interpretation and making-sense of the fictional image and
their own real professional identity.

Dopo essere stato considerato un genere televisivo (e radiofonico) minore - quando non deteriore -, a partire dalla metà degli anni Ottanta del Novecento la soap opera ha attraversato un processo di profonda rivalutazione accademica da parte dei Television Studies e degli Women studies (Allen 1985, 1995; Ang 1985; Livingstone 1998; Hobson 2002; Geraghty 1991; Ford, De Kosnik, Lee Harrington 2010). All'inizio degli anni 2000, tuttavia, l'ascesa della nuova serialità complessa (Mittell 2015) sembrerebbe aver nuovamente confinato la soap opera nell’alveo dei generi narrativi di secondo piano. Rispetto alle caratteristiche di qualità delle serie tv contemporanee, parrebbe essersi ridotto lo spazio disponibile per una narrazione ritenuta troppo popolare, semplice, quotidiana, centrata sulla polarizzazione melodrammatica delle emozioni, capace di fare breccia soprattutto su un pubblico di poche pretese e di scarso profilo culturale.
Tuttavia, questa osservazione si presta ad una riflessione, che costituirà l’obiettivo del presente contributo: se è vero che la presenza di soap opera “pure” nei palinsesti televisivi è fortemente ridotta rispetto a qualche anno fa, è altrettanto vero che il modello narrativo che la contraddistingue riemerge con chiara evidenza in alcune delle recenti serie tv complesse di maggior successo mondiale, considerate di elevato livello qualitativo: si pensi a Game of Thrones o a La casa de papel, solo per citare due tra i più significativi fenomeni seriali delle ultime stagioni.
Il saggio si propone di rintracciare, da un lato, le strutture narrative della soap opera come espressione del melodramma e, dall’altro lato, di cercarne la presenza nelle pieghe della serialità cosiddetta “di qualità”: un’apparente contraddizione che sembrerebbe invece riaffermare - ancora una volta - la plasticità e la capacità di adattamento del racconto melodrammatico seriale alla fisionomia del panorama mediale contemporaneo.

Este trabalho procurou entender como se deu o fenômeno que foi a telenovela “Avenida Brasil” nas redes sociais. A pesquisa inicial ocorreu com a busca de mensagens através de hashtags utilizadas pelos usuários para se referirem à novela, como #oioioi e #oioioifinal, no serviço de microblog Twitter. A extração dos dados capturou mais de 150 mil retuites, que foram analisados em um software de visualização para criação de grafos da rede. Nossa abordagem buscou compreender quem eram os perfis que lideraram a rede.

Il volume analizza la soap opera “Vivere”, un successo di pubblico tanto notevole quanto interessante da analizzare. Nella prima parte si compie una ricognizione della letteratura di settore, ricostruendo il percorso attraverso cui gli studi sulle soap opera e sulla cultura popolare in genere hanno acquisito dignità scientifica e illustrando le loro principali acquisizioni; si compie quindi un’analisi testuale di “Vivere”, sostenendo che la peculiarità della sua formula risiede nell’equilibrio tra influenze statunitensi e la vocazione realistica che la avvicina alla tradizione dei social drama inglesi. La seconda parte del volume è dedicata all’analisi della ricezione della soap, finalizzata a indagare i motivi del suo successo e condotta tramite interviste qualitative a un campione di 16 persone di sesso e età diversa. Infine, gli strumenti dell’etnografia digitale offrono uno sguardo complementare, guidando l’esplorazione dei molti siti, forum e chat dedicati alla soap: questi i “luoghi” in cui si svolgono quelle pratiche extra-testuali attraverso cui “Vivere” viene appropriata, interpretata, risignificata e investita di usi sociali diversi da parte dei suoi fans.

The nation-wide lockdown due to the Covid-19 pandemic has given way to an unprecedented situation that every individual is grappling with. In such uncertain times, television’s role has become significant in keeping the population indoors. This article examines how the re-broadcast of several old television programmes from the 1980s-90s have given a second life to the otherwise redundant television set. The article explores the significance of the re-telecast of TV programmes like Ramayana, Mahabharat and others beyond the political lens and demonstrates how they have challenged digital entertainment and brought back the traditional television viewing habits. The article also goes on to suggest the way forward for both the public broadcaster Doordarshan and private broadcasters post the current crisis.

Si la factura del relato televisivo “convoca un volumen intertextual complejo que incluye fuentes y medios de comunicación amplísimos” (Sánchez-Biosca 1989: 17) en el enorme corpus de telenovelas argentinas que recién hoy se comienza a sistematizar y a reflexionar, producido a partir de 1953, encontramos, la concurrencia de diversas matrices que se van entretejiendo para conformar un estilo de relato argentino.

This article traces the controversial origins and contested life of the first British soap, within the context of the ‘women’s culture’ largely missing from the BBC in its early years. The terms of the debate carried out in memos, meetings and reports behind the scenes, as FLF emerged and struggled against its humble origins,
show clearly how notions of ‘quality’ and public service were both gendered and linked to notions of national identity, and, conversely, how a popular yet ‘feminine’ and ‘American’ form like the domestic serial drama challenged those important  cornerstones of the BBC ethos.
Media, Culture & Society  Vol. 29(1): 5–29

This article describes a study investigating narratives obtained from 45 participants about their watching of the television program, EastEnders. The first aim was to understand why people watch this program. The second aim was to identify the kinds of social object dominating their accounts as a way of revealing the forms of cultural debate catalyzed by the show. Material was generated via an open-ended email questionnaire and analyzed qualitatively using grounded theory. Two major themes constituting social objects were identified - female desire and community. These themes were made up of seven categories, each of which helped explain why participants watched EastEnders: reduced troubles, gender, relaxation, social activity, community, realism and Britishness. These results are discussed in relation to past research but the authors also argue that, as the findings suggest some participants gained a therapeutic effect from watching EastEnders, there is a fruitful and little-explored link between such comfort viewing and research on psychotherapy.

Κασσαβέτη, Ο.-Ε. (2017). Ο σοσιαλιστικός εξαμερικανισμός της ελληνικής κρατικής τηλεόρασης κατά την περίοδο της Αλλαγής: η εποχή της σαπουνόπερας και της κωμωδίας-παρωδίας (1981-1989). Στο Β. Βαμβακάς & Α. Γαζή (επ.), Αμερικανικές τηλεοπτικές σειρές στην Ελλάδα (1966-2015). Δημοφιλής κουλτούρα και ψυχοκοινωνική δυναμική (σσ. 141-180). Αθήνα: Παπαζήσης.