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This work performs an analysis of the semiotic representation of the African descent in the credits of two contemporary Spanish-American telenovelas with anti-racist themes, namely Pobre Negro and Negra consentida both from Venezuela. Antiracist telenovela work is set out to upgrade the African descent and criticize racial discrimination experienced by African descents in countries like Colombia and Venezuela. Based on peircian semiotics and on sociocriticism, this dissertation is divided into three parts. The first part underlines some theoretical points about film and serie credits while the second reads the semiotic representation of African descent people in the credits components: the titles, plans and themes. Finally, the last part realizes the socio-ideological assessment of the representation of African descent in the corpus. This research unveils the contradictions between the ideological project of a valorizing discourse, a positive painting, and the representation of Blacks in the corpus who emerge as object-memory, folcklorical object and whitened subject [ABSTRACT FROM AUTHOR]

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La Violencia is incapable of thinking about the diversity of wars and the reasons for conflicts because violence is a terrifying, unpredictable and inevitable thing, while wars can be avoided and depend on political decisions. The media likes to narrate violence, to show death, to turn fear into a story. That is why in the Colombian civil wars, the media produced citizenships of fear through a sensationalist account of destruction and death. This essay documents the genealogy of violence as a field of academic study in Colombia and the ways in which news, media and telenovelas have counted violence. It is argued that the wars in Colombia are better narrated in works of fiction than in the news. [ABSTRACT FROM AUTHOR]

Copyright of Lenguaje is the property of Universidad del Valle 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.)

This study is the result of the analysis of telenovela* as a phenomenon of mass culture that has contributed with the vindication of the identities margined of the State, and in the Colombian case, as a proposal that subvert traditional melodrama. Preliminary research about the genre tried to demonstrate that Colombian telenovela has always appeared as a different kind of telenovela in Latin America, exhibiting since the beginning stories and characters who represents the working class of the country. Three telenovelas from three different decades shaped the analysis of the identities constructed from socioeconomic, ethnic and gender differences: La Alondra (1964), Gallito Ramírez (1986) y Yo soy Betty la fea (1999). The novel construction of the main characters was an important innovation for the genre on this cases. [ABSTRACT FROM AUTHOR]