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The paper discusses national and global interactions from Orphans of a Nation (Órfãos da Terra, Globo, 2019), a Brazilian telenovela that approaches the refugee drama and proposes a new logic in the offering of long-form TV fictions on Video on Demand systems. It is argued that telenovela’s format seeks to keep the centrality in the Brazilian audiovisual scene by investing on fusing melodramatic narratives with contemporary technologies and imaginaries shared around the globe. Reflecting this dialogical relationship, the Brazil of Orphans of a Nation embodies the refuge – where the national identity is supported by cultural diversity. [ABSTRACT FROM AUTHOR]

Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Brazilian television fiction as it transitions out of a six-decade-long network era. [ABSTRACT FROM AUTHOR]

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This article addresses the importance of telenovelas in launching fashions in Brazil and their role in the translation of the international fashion scene for Brazilians between 1978 and 2001. This study analyzes the costumes of three female characters from three Brazilian telenovelas which were broadcast during prime time on the Rede Globo de Televisão (Globo Television Network—the broadcasting station that since the 1970s has had the highest viewing figures in Brazil, largely due to the appeal of its telenovelas). The telenovelas represented areDancing’ Days(1978–1979),Roque Santeiro(1985) andO Clone(2001–2002). These telenovelas also became renowned internationally and, in turn, helped spread Brazilian fashion abroad. The fashions of the telenovelas led to the creation of at least two trends in fashion consumption: one formed at the periphery and another that moved from the periphery to the center. [ABSTRACT FROM AUTHOR]

How are marginalized peoples and places framed in their dominant national media? Framing theory applied through a comparative narrative analysis of 313 news articles, 291 photos and 1051 telenovela scenes allowed Brazilian media representations of a marginalized people, favelados, and marginalized, contested spaces, favelas, to be juxtapositioned. ‘Organizing principles’ communicated through media reports and stories of these marginalized groups operated to shape a certain social reality within the nation-state of Brazil. The salient latent frames Abandoned favelas and favelados and Favela life is ideal father-led life percolated from news and novela reports, respectively. That the timing of news reports and photos with telenovela production were concurrent, yet the manifest media framing of these people and places proved so radically different, makes this study interesting. More importantly, while the telenovela initially appeared as the more progressive storyteller, latent framing across media platforms harmonized hegemonically, retrogressing Brazilian storytelling to its paternalistic past. [ABSTRACT FROM PUBLISHER]

This study was conducted with the interest of knowing female identities in their reality, as well as the role of Brazilian telenovelas in the constitution of being a woman. The objective is to understand how the conflicts and the complementarities between telenovela audience and empirical mediations of family, school and social class constitute the female identity of young women from popular classes. The sample of this research was composed of twelve young women from fifteen to twenty-four years of age, who live in the outskirts of Santa Maria, a city in the South of Brazil with three hundred thousand inhabitants. The results of the research point to an imposition of the social class on the female identities of these young women. Their economic deprivation defines the experiences and ways of being a woman, either through teenage pregnancy, due to work, to abandoning school, or to television as their main form of leisure. The role of telenovelas is also essential. On the one hand, they (re)produce a traditional female model—in which maternity and marriage are the priorities of women. On the other hand, they present evidence to those interviewed of a representation of equality between genders, which they do not experience in their daily lives. [ABSTRACT FROM AUTHOR]

This article presents comparative results about the ways Brazilian working-class and middle-class youth interpret class messages in telenovelas. This work thus explores class differences in light of the current context of Brazilian peripheral modernization and argues for the continuing centrality of telenovelas in communicating to cross-class audiences about modernity. It further develops a systematic methodology for reception studies to account for the complexity of everyday sociocultural interactions and how hegemony functions. The conclusion suggests preferred and negotiated readings of poverty may be associated with telenovela viewing, which, in turn, promotes faith in personal merit and obscures Brazilian inequalities. [ABSTRACT FROM PUBLISHER]

This paper sought to map the use of online platforms by social actors as a process of constructing interpretations of midiatic representations of sociocultural questions and as tools for social mobilization against so-called "homophobic censorship". Thus, the strategies used in the campaign "Marcela e Marina Sem Censura" were observed, which arose as a reaction to the cuts of scenes of the couple played by Luciana Vendramini and Giselle Tigre, who starred the first gay kiss in Brazilian soap operas. It is noted that in social networks on the Internet the social actor will be inserted in the midiatic context not as a mere receiver, but as an active subject in the social construction of reality and distributor of "alternative" midiatic products, creating a culture of the social mobilization against censorship. [ABSTRACT FROM AUTHOR]

Soap operas are a cultural phenomenon of recognized importance in Brazilian society. They have come into the attention of investigators since they represent concrete social processes that are not strange to the spectator's reality. A large variety of social themes have already been discussed in soap operas, characterizing a broad spectrum which covers from daily ordinary events up to controversial situation of rupture, forcing public debate. This investigation attempted to identify and analyze how family arrangements, as well as familial and conjugal daily routine, were portrayed in six soap opera plots exhibited between 2003 and 2008 by Rede Globo network. The data collection was performed by the analysis of the soap operas chapter synopses, and the data was organized and discussed using the classic content analysis technique. The way Brazilian family is portrayed in the weekly TV fiction incorporates new family arrangements, presenting new relationship construction possibilities originated during the last decades, in opposition to the conservative raditions. [ABSTRACT FROM AUTHOR]

This work aims to verify how the soap opera Avenida Brasil has been appropriated by internet users / viewers in social media. So, we sought to understand the scenario of interaction between television and the Internet that exists today in Brazil. The empirical analysis in this article is based on the impact around 100° chapter of the plot, highlighting the wide use of the feature freeze images on Twitter. Clearly, rather than supplant one another, TV and internet are interrelated when the subject is soap opera, one that arouses the attention of most Brazilians. [ABSTRACT FROM AUTHOR]

Through the lenses of Latin American cultural studies and Brazilian reception studies, this article investigates how women of advanced age in popular classes, who have watched Brazilian soap operas since their initial appearance, establish their identities from this television genre. For this a reception study was performed with six women between 63 and 76 years old, residents from the surrounding areas of the city of Santa Maria – Rio Grande do Sul. Over the course of a year, an ethnographic criticism of reception was performed with observations of domestic space and viewing of telenovelas alongside the receptors, conducted through exploratory interviews and semi-open/closed interviews. The investigation demonstrated the importance of the soap opera in the construction of the women’s old age, marked through social class and gender relations. The class defines a more oppressive experience of the feminine condition, which influences the ways they define their old age. Entry into old age, in turn, destabilizes traditional concepts of gender. This dynamic, which configures its representations of old age, is present in the reception of soap operas. In the plot, the women find models of female old age with which they can identify, in accordance with the more positive meanings of old age that they construct for themselves. [TRANSLATION]

Copyright of Lua Nova is the property of CEDEC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article tries to present the Ethnography of the Media as methodthought and to indicate its possible uses for the reception analysis. We search to explain some important concepts of the Ethnographic Research, mainly those concepts adopted for the Cultural Studies, as the "participant observation" comment for Malinowski or the "thick description" of Geertz. As on example of the described theory, we mention ethnographies carried through in Brazil with focus on the daily relations between the Brazilian soap opera and the production of meanings and uses of the viewers. [ABSTRACT FROM AUTHOR]

Increasingly, the fictional narrative of the soap operas is inserted in a concrete social reality. The representations constructed by soap operas are associated with daily life and the social context in which they are immersed. This paper discusses the thin line between fiction and reality in soap operas and the intention of educating by dealing with real andcurrent issues. To this end two soap operas written by Manoel Carlos and produced by Rede Globo, Brazil were selected: Mujeres apasionadas (2003) y Páginas de la vida (2006). [ABSTRACT FROM AUTHOR]

This article focuses on Brazilian commercial television production and its relation to advertisement and propaganda symbolic logic, analyzing the associations between telenovela and consumption. It argues that television strategies to promote a consumerist society are not restricted to the ads in the commercial break neither to the product placement in the narratives: when using goods and services to show life styles that help define the characters, telenovelas show how consumption goods perform social distinctions. The analysis refers to O Rei do Gado, which was aired by TV Globo in 1996-97. [ABSTRACT FROM AUTHOR]