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This article, titled "A Love Letter to Grandma Lilay: Autoethnography as Transcorporeal Communication," explores the use of autoethnography as a means of communication with deceased loved ones. The author reflects on their own experiences with their grandmother, who suffered from dementia, and discusses the power of autoethnography to revise and remember troubled histories. The article emphasizes the importance of deep listening and the physicality of love, especially in the face of end-of-life challenges. It concludes by highlighting the enduring presence of love and the role of autoethnography in perpetuating that love. [Extracted from the article]

The increase in clandestine migrants to Italy following the 2010 Tunisian uprising has been an issue of popular and political concern in both countries. This article investigates Harga (2021, 2022), a top-rated and critically acclaimed drama series. Produced and aired by Tunisian national television as a vehicle of entertainment-education, Harga strove to make a geopolitical intervention in the process of irregular migration. Combining textual analysis with interviews conducted with the production's producers and participants, the article explores how local and transnational actors came together to create a counternarrative to the popular success stories of clandestine migrants. This approach contributes to a better understanding of the relationship between media and socio-cultural and political dynamics as well as of their effect on formulating mediated narratives on clandestine migration. Due to Harga 's documentarist depiction of the social and political driving forces behind irregular migration and its open criticism of Tunisian authorities, the show is investigated within the framework of post-uprising Tunisia's mediascape, and domestic and international political environment. In this regard, it offers a good case study for examining how local politics, transnationalism, and postcolonialism are intertwined in formulating discourses on irregular migration. [ABSTRACT FROM AUTHOR]

In addressing the soap opera's enduring vitality, this study focuses on the soap culture on the Russian-language Web (Runet). With the serials produced in Asia and Latin America at the center, this culture emerges as a vibrant site of transnational spectatorship and a crucial area to negotiate the interpersonal relationships and social values. A fundamental condition of this cross-border phenomenon is language translation predominantly performed by women. In foregrounding the case of the Hindi soap serial on the Runet, this paper examines the role of women translators as a driving force behind global television traffic and an important agent of soap imaginaries. [ABSTRACT FROM AUTHOR]

Drama is a mode of storytelling that has transcended from traditional to online media. This study aimed to determine salient topics and trends in drama research through data mining of peer-reviewed English articles in Web of Science and Scopus. By employing the keywords "television drama," "online drama," "drama series," "web drama," and "soap opera," 2,148 articles were identified. Analysis revealed 25 distinct research topics: evolution, issues and analysis, impact, audience, and institutionalization. Prominent topics included "power and politics," "viewership and engagement," and "gender and sexuality," while less-published topics encompassed "elements and structure," "impact on culture," and "drama characterization." Notably, publication rates for all topics exhibited a significant increase since 1970. These findings underscore the need for continuous research updates across various categories to advance understanding of the interplay between society and dramas. The methodology employed can also guide future trend analyses in specific drama research topics. Plain language summary: This paper maps the terrain of drama research, referring to scholarly work focusing on television and online dramas through a systematic review using data mining techniques. We chose drama as our unit of analysis because we are interested in how this medium pervades and reflects daily life and society. Further, in this golden age of information and globalization, the social impact of media cannot be denied. Moreover, drama cuts across academic disciplines, making it vital in enriching our knowledge of society. Through data mining techniques, we analyzed drama research topics and trends spanning decades. Analysis revealed 25 distinct research topics: evolution, issues and analysis, impact, audience, and institutionalization. Prominent topics included "power and politics," "viewership and engagement," and "gender and sexuality," while less-published topics encompassed "elements and structure," "impact on culture," and "drama characterization." Notably, publication rates for all topics exhibited a significant increase since 1970. Through the techniques we used, we were able to offer baseline information that may be used by other scholars on drama-related areas or topics for further discussion, analysis, and engagement across various disciplines. In addition, our data mining methods may serve as a guide for other research. [ABSTRACT FROM AUTHOR]

During a 2-year period, the depictions of religious figures and their interactions with secular individuals in urban daily life became an integral feature of Turkish soap operas that gained popularity in the world after the 1990s. While previous studies have explored the portrayal of various actors in them in terms of age, gender, socio-economic status, and historical perspectives, there is a lack of analysis regarding the interaction between secular and religious urban representations. This research aims to investigate the differences in everyday cosmopolitan perspectives in terms of spatiality and temporality between the two groups. To examine this, the soap opera Kızılcık Şerbeti (One Love) was analysed. Research has shown that when two groups develop their identities in opposition to one another, it leads to the emergence of different temporal and spatial dimensions within the same urban setting. While it seems unfeasible to reconcile the daily routines of both groups in the same place, age, gender, education, and class make negotiation possible in shared spaces. This draws attention to the intersectional approach rather than the binary positions of identities in the placemaking process. The main contribution of this research is to integrate religion, which has been forgotten in human geography, into geographical and sociological discussions by focusing on an intersectional approach in an urban context. [ABSTRACT FROM AUTHOR]

Audiovisual formats such as telenovelas are particularly effective in stimulating knowledge and proactive attitudes towards disease prevention and health preservation, as they combine entertainment with the promotion of self-care. Brazilian telenovelas are productions of great attractiveness and penetration in the population and have, through social merchandising actions, a space to discuss issues such as cancer, one of the main public health problems in Brazil that directly impacts the lives of millions of people. The soap operas of TV Globo, the main producer and broadcaster of Brazilian television, are the object of analysis in our study, through the adoption of the method of content analysis. Our objective, in this sense, was to present a historical survey of the presence of cancer in Brazilian telenovelas, thus, we describe 27 telenovelas broadcast between the 1980s and 2021. [ABSTRACT FROM AUTHOR]

This essay examines the intersections of Taiwanese soap operas and foreign policy in Latin America, the one area of the world where Taiwan has retained some degree of formal diplomatic recognition despite the pressures of China. Yet has the decline in official Taiwanese power even in this region been compensated by a new kind of cultural power? The distribution of Taiwanese soap operas dubbed into Spanish from the mid-2010s to the early 2020s marks the first time that Taiwan tried to cultivate favor among Latin American publics at large. This was an explicitly diplomatic maneuver. But was it perceived as such by soap opera viewers in the Spanish-speaking Americas? When and how did Taiwanese soap opera diplomacy begin in Latin America, why did it apparently end, and did it ultimately work? Approximately eighty newspaper articles in Spanish from a wide range of countries across the Americas, plus corresponding visual and audiovisual materials online, furnish the basis of this study. The totality of media reports suggests that the pop culture strategy of Taiwanese foreign policy that was carried out in Latin America, though diplomatically unproductive in a material sense, was worth undertaking all the same. [ABSTRACT FROM AUTHOR]

"The Oxford Handbook of the Hollywood Musical" explores the nature and evolution of the Hollywood musical genre. The book raises questions about what defines a specifically 'Hollywood' musical and how it has changed over time. The volume consists of twenty-six chapters grouped into six themed parts, covering topics such as the relationship between stage and screen, the use of technology in film musicals, the impact of racial identity, and the cultural export-import activity of the genre. While the book aims to add musicological considerations to the discussion, some chapters may require a technical grounding in music theory. Overall, the handbook provides valuable insights into the Hollywood musical genre, although it misses some opportunities to challenge and expand perceptions of what 'Hollywood' represents. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

Soap operas have been shown to play a key role in the production of national publics. Yet what happens if the lifestyles and actors they feature are distinctly not national? This article examines the role of foreign (Mexican, Turkish, Brazilian) soap operas in producing new national imaginations in Morocco. Through an ethnography of Plug-In studios, the Casablanca recording studio where these soap operas are dubbed in colloquial Moroccan Arabic (Darija), I explore the discomfort experienced by studio employees (translators, voice actors, sound engineers) when laminating this highly local language onto visibly foreign bodies. Through an analysis of discussions between employees, I show how they negotiate this discomfort by bifurcating the national language into two registers: a neutral register that could plausibly be spoken by anybody; and a "real" register that indexes ethnic Moroccanness. This bifurcation, I argue, produces new possibilities for imagining foreigners as part of the Moroccan nation, while simultaneously keeping them at arm's length. [ABSTRACT FROM AUTHOR]

In this paper, we propose an unsupervised approach to generate TV series summaries using screenplays that are composed of dialogue and scenic textual descriptions. In the last years, the creation of large language models has enabled zero-shot text classification to perform effectively in some conditions. We explore if and how such models can be used for TV series summarization by conducting experiments with varying text inputs. Our main hypothesis being that interesting moments in narratives are related to the presence of interesting events, we choose candidate labels to be events representative of two genres (crime and soap opera) and we obtain competitive results with respect to the state-of-the art baseline. [ABSTRACT FROM AUTHOR]

This article examines the themes of prison aesthetics and female body spatiality in two novels, "A House Without Windows" by Nadia Hashimi and "The Miraculous True History of Nomi Ali" by Uzma Aslam Khan. It explores the historical context of these novels, including the experiences of Afghan and Indian prisoners. The article analyzes how the prison spaces in the novels impact the mental outlook and subjectivity of the female prisoners, highlighting the rejuvenating experiences in one novel and the subjugation and torture in the other. It also discusses the concepts of prison aesthetics, prisonization, and heterotopia in relation to the novels. Overall, the article argues that these novels raise awareness about the prison system and the experiences of female prisoners. [Extracted from the article]

This paper unearths the archeology of reaction media across cinema, television and the Internet. We show how reaction content exists in high and low modes, tracing their reoccurrence and remediation from art-house and horror in cinema, to television soap opera, to animated GIFS, and YouTube compilations. Because reactions can be readily repackaged and resourced, we argue that they are a form of inter-media; operating in-between media text and media reception; in-between narrative and sensation; in-between authenticity and performativity; and in-between entertainment and resource. Reaction media are a form of sensory media with material properties. The textual and aesthetic richness of reaction content informs their persistent function, allowing for generative repurposing by internet users as a form of cultural expression and also operating as a rich resource of content able to be repackaged by professional content creators for producing economic value. [ABSTRACT FROM AUTHOR]

In 1992, Jesús Martín-Barbero and Sonia Muñoz co-authored a book called Televisión y melodrama: géneros y lecturas de la telenovela en Colombia (Television and melodrama: genres and readings of the telenovela in Colombia). There, the authors proposed some ideas that allow us to understand the new forms of entertainment, typical of the culture of the algorithm, at the dawn of the TVIV era. This article is arranged in the following sections: first, by way of introduction, a distinction is made between soap opera and telenovela in order to show that the analysis of these authors applies to both audiovisual products, now in decline; secondly, the way the audio-visual transition from TVIII to TVIV has experienced a boost during the last years is shown; thirdly, how the authors' insights on television melodrama find accommodation within the Mediation Theory and in the cultural context of the 1980s and 1990s is explained; finally, the article concludes by highlighting Barbero and Muñoz's lens (on social typology of screen time and other important conceptual tools) to understand new drama series on streaming media platforms within the context of a psychologized culture. [ABSTRACT FROM AUTHOR]

The present study addresses the question of whether preverbal so, also known as "GenX so," which can be used as an intensifier and as an emphasizer, is going out of fashion as a means of emphasis in present-day American English as demonstrated in scripted soap operas. The results are based on 1,357 tokens of preverbal so extracted from Mark Davies's Corpus of American Soap Operas (2011–). These tokens create both real- and apparent-time scenarios to detect potential differences in the use of preverbal so for younger and older, woman and man characters. The data suggest the following trend: between 2001 and 2012, so with emphatic do and perfects is on its way out, while all other uses of preverbal so (e.g., so with simple forms or progressives) are still associated with the speech of female characters in general or with younger woman characters in particular (so with future going to). If TV data reflects the intensifier's use in natural speech, preverbal so can be taken to have grown stale in some contexts. [ABSTRACT FROM AUTHOR]

The interview focuses on the acting performance of Giselle Collao in the Peruvian soap opera "Mil oficios" (2001-2003). Collao talks about her vocation since she was a child and how she had the opportunity to participate in Almendra Gomelsky's program, which led her to be part of "Torbellino" and later "Mil oficios". Regarding her character Lucía Reyes, Collao mentions that it was the most realistic and focused character in the series, and that she remained true to her profile throughout the plot. The use of gags in comedy series and the meaning of the verb "chotear" in Peru are also mentioned. The actress emphasizes the importance of giving reality to the characters she portrays and highlights the success of the series in connecting with the audience through funny situations. Additionally, Collao hopes that new formats will appear that break the mold and mark a new stage in television. [Extracted from the article]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 focuses on Pumla Dineo Gqola's book "Female Fear Factory," exploring the concept of the female fear factory and its impact on women in various contexts, such as migration, higher education, and pandemics. The book delves into the interlocking relationship between fear and shame, the fluency of fear as a language, and the mythologizing of sexual violence in public discourse and highlights the paradoxes surrounding female fear.

Music is very vital in the teleserye, since as a soap opera, its form is structured in melodrama. In the case of the teleserye, the use of music may be further valued by an exploration of what is called the teleserye theme song, commonly utilized not only as marker of program identity or signifier of its beginning and end, but also its being the program's overall musical theme. I wish to offer some insights about the use, and of course, the value of these songs as musical iterations to the teleserye which is immersed in melodrama. To make the discussion relatively extensive, I will frame my exploration of the use of teleserye theme songs by using my periodization of the teleserye's history of adaptation, development, and transformation. This paper expands my historical approach on the teleserye while it explains the three uses I offered--as reiteration to the teleserye story or narrative; as a means to heighten drama and theme; and as disseminator of the televisual product. [ABSTRACT FROM AUTHOR]

The viewing of Turkish soap operas in Greece is a stigmatized activity not only for reasons intrinsically related to the nature of soap operas per se, but also for reasons related to the historical past and the traditionally troubled diplomatic relationship between the two countries. Based on the data gathered during an audience ethnography, the author analyzes the use of Information and Communication Technologies made by the fans of these transnational soap operas. Online fan communities function as havens for their members as, in these communities, the norms which are dominant within the Greek society are not rigidly adhered to, stigmatized viewing preferences are endorsed by like-minded individuals and prevalent ideologies can be challenged without fear of criticism in a sympathetic, nonprejudiced environment. [ABSTRACT FROM AUTHOR]

The article discusses the song "Homem com H" by Antônio Barros and its performance by Ney Matogrosso in the 1980s, which challenged traditional notions of masculinity and critiqued chauvinistic culture. It also explores the Museu do Homem do Nordeste in Brazil, conceptualized by Gilberto Freyre, which celebrated colonial occupation. Artist Jonathas de Andrade's project, "Posters for the Museum of the Northeast Man," critiques the museum's representation and politics of masculinity, reflecting on the ambiguity and complexity of its portrayal of brown men and exclusion of women. The text discusses de Andrade's art exhibition, which aims to challenge the ideological framework of a museum and explore the construction of identities and informal social practices. [Extracted from the article]

The purpose of this paper is to reflect on an experience of fictional ethnographic writing that we made while doing collaborative research. Through an exercise of memory, imagination and investigation, we created a radio fiction series together with a social movement that fights for the right to decent housing: Stop Desahucios Granada 15M. Starting from the materiality of one of the scripts that form part of our series, a radio soap opera, we want to show how we jointly wrote the six episodes of the series by constructing first the plots and characters, and after the dialogues. Secondly, we’ll reflect on the performative aspects of the production process, in which we transgressed the scripts. Thirdly, we will address two ‘mutations’ that the collaborative framework of our fiction-based research had generated in our way of doing and communicate ethnography. And finally, we’ll explain the reasons why we consider the writing of the scripts as a central element of our collaborative ethnography. [ABSTRACT FROM AUTHOR]

Copyright of Palobra is the property of Universidad de Cartagena 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.)

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Copyright of Comunicação Pública is the property of Escola Superior de Comunicacao Social 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 article considers two overlapping phenomena: the huge popularity of the Australian soap opera Neighbours in Britain during the late 1980s and early 1990s, and the failure of the Labour Party to mount a successful electoral challenge until the leadership of Tony Blair. It argues that Neighbours' appeal—community focussed, friendly, classless, unthreatening, a mixed economy, and in some ways small 'c' conservative—was precisely the platform that Labour needed to convince voters (particularly women and those living in suburbs) that it failed to reach between 1983 and 1992. Neighbours offered an albeit imagined and fictionalised window into Bob Hawke's Australia that many of the British electorate found attractive, but until the Labour party tapped into such support, significant numbers of 'floating voters' would continue to back the Social Democratic Party and, subsequently, John Major's Conservatives. There were generational dynamics at play here—with the 8 in 10 12–15 year olds who watched the show in 1990 unable to vote at earlier elections, but joining the franchise in time for the first Blair landslide of 1997. Neighbours was of course not the only influence on such voters, but it was a meaningful one. [ABSTRACT FROM AUTHOR]

Science fiction has been an inexhaustible source for the creation of technoscientific imaginary that has marked certain historical periods and influenced the production of subjectivity. This imaginary evokes complex ontological, epistemological, political, social, environmental and existential questions on the present and the future. The aim of this study was to identify and characterize the cultural productions accessed by the public to form an opinion about the genetic manipulation of human beings. A survey about sources of information that influence opinions on the genetic manipulation of human beings was applied to 360 medical students (70.8% female). Movies were the most commonly mentioned source of information, followed by books, documentaries, news programs, television series, informational videos, soap operas and videogames. Science fiction was the most frequent genre and dystopian views of the future of humanity predominated. [ABSTRACT FROM AUTHOR]

The Magnificent Century series, which was aired in more than 70 countries after its screening in Turkey, narrates the events of the most powerful period of the Ottoman empire (sixteenth century). The series, which was popular from the first episode, has received various criticism from many angles. In particular, the historical reliability of the series has been questioned the most on a local scale. The article aims to interpret the movement called Hürrem Sultan fashion that emerged through the hybridization of time and space in the female characters' costume, hair and make-up design as a significant component of global audience attraction in the wider context of the historiographical performance of fictional narratives. [ABSTRACT FROM AUTHOR]

This study illuminates the ways in which men and women consume soap operas as a means of reflecting on and discussing sociocultural taboos. Through interpretive research we examine the ways in which religion, sexuality and gender relations are depicted in popular Turkish soap operas and how these depictions are consumed in the Balkans and the Middle East. This study challenges the assumption that consumption of taboo discourses leads to active identity modification or public defiance. Instead, in-depth interviews and online ethnography reveal that consumption of soap operas that challenge local religious and gender norms provide a liminal space for discussing taboo topics. Firstly, the findings indicate that talking about taboo topics seen in soap operas enables consumers to speak about what they expect gender and religious norms to be. Secondly, consumers get their mediated understandings of what religion is through soap operas. Thus, rather than simply offering escape, soap opera consumption facilitates the discussion of taboo topics. [ABSTRACT FROM AUTHOR]

Levine discusses the research and writing of her 2020 book, Her Stories: Daytime Soap Opera and US Television History, considering whether the long duration of the project qualifies it as "slow scholarship." Within this context, she examines the slow scholarship movement and the ways that slowness may function as an interventionist practice. As well, she considers the ways that cultural studies benefits from an embrace of slowness, in particular in terms of the move toward radical contextualization inherent in cultural studies models of inquiry. [ABSTRACT FROM AUTHOR]

The present research aims to analyze the stereotypes of the accountant characters represented in Brazilian soap operas, between 2010 and 2020. We selected six television productions produced by Rede Globo that contained accountants in their plot were selected. We chose Rede Globo productions for their leadership in the audience and production of soap operas in the country which it can impact society. We accessed the telenovelas' websites to extract character descriptions and identify the physical, behavioral, and attitude characteristics of the accountants. Therefore, we adopted Langer's classification (2004) to analyze the characteristics and professional skills associated with the characters in the face of prevailing stereotypes in literature: traditional accountant and contemporary accountant. We found out that the characters were represented by male individuals, they were involved in illicit activities, and they have a life without major changes; none of them were protagonists or belonged to the central environment of the novels. Only one character was represented by a black actor, which makes room for greater representation of the accountant. Among the professional skills, the representation based on the stereotype of the traditional accountant who, in the exercise of accounting functions, are meticulous, perform numerical tasks of a technical and operational nature, is still predominant. While two characters have management positions in companies and are associated with the stereotype of the contemporary accountant. Taken together, the results illustrate the need for productions to convey positive characteristics linked to the accountant, especially to the activity of contemporary accounting professionals. [ABSTRACT FROM AUTHOR]

Knowing the scope of television for the dissemination of information, entertainment, and ideologies, this paper investigates the characterization of two characters' speech features from two Brazilian soap opera works: O Sétimo Guardião (2018), and Verdades Secretas (2015), seeking to recognize if the representation can lead viewers to a negative evaluation of characters based on how they express themselves by speaking, or if the representation legitimizes speech as mark of identity. We based the analyses on the Sociolinguistics studies, especially those of Labov (2008), Pagotto (2004), Bortoni-Ricardo (2009, 2011), and Bagno (2015). By using qualitative research following the method proposed by Bortoni-Ricardo (2009), in which the analyzed speakers are allocated in points of imaginary lines according to their linguistic expression, especially in the "urbanization continuum", we could conclude that one of the television narratives brings caricature traits, providing opportunities for negative evaluations, whereas the other brings out representation since it reliably shows the represented identities. [ABSTRACT FROM AUTHOR]

This article demonstrates how the soap opera Personal Problems reveals a crucial yet overlooked moment of Black media production in the late 1970s and early 1980s. Tracing the evolution of the show from radio drama to television program, I illuminate how video technology, generic innovation, and collaborative networks provided the foundation for new representations of Black life. While scholarly accounts typically focus on Hollywood and the LA Rebellion, I argue that the crew’s location shooting animated a critique of New York City’s media-focused urban redevelopment policies while challenging the broader inequities of creative industries. The trajectory of Personal Problems serves as a model for rethinking Black film history. [ABSTRACT FROM AUTHOR]