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Released in 2004, Rebelde represented a turning point for telenovelas in Mexico, partly due to its subversion of conventions considered intrinsic to the genre. The series achieved this by relying heavily on fashion, not only to challenge traditional gender roles but also to address changing perceptions of class and wealth within the country. Clothing was used to explore identities new to Mexican entertainment media at the time and was central to many of the show's narratives and to the ways characters related to one another. As such, Rebelde was not only a reflection of a new globalized media landscape that had been arriving to Mexico in the previous decade but was also indicative of the ways in which teenagers all over the world were embracing these changes under the guise of freedom, rebellion and independence. [ABSTRACT FROM AUTHOR]

This second issue on 'Latin American/Latinx Fashion' and popular culture introduces research on the creative output of fashion and style in popular culture through scholarly articles from a wide range of disciplines and perspectives. The articles contained here speak to Latin American and Latinx lifestyles and cultural diversity as well as the survival and influence of native, African and European dress in the forging of fashion and style identities. Other topics discussed include ideas of beauty and style, cultural appropriation, shifting values and perceptions of fashion and style, and the development of fashion systems in the region, including emerging markets, designers, brands and venues. [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 inclusion of four gay characters in the telenovela Casa de Muñecos (2018-9) was an event that, until then, had not taken place in any other Chilean telenovela. Through a qualitative textual analysis of these figures, this article argues that the programme has strengthened a neoliberal discourse of personal responsibility that makes gay men not only accountable for their own well-being but also for the well-being of others, as they are singled out as responsible for making the 'right' decisions that will contribute to the process of articulating a non-homophobic future in the country. [ABSTRACT FROM AUTHOR]

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.)

This article explores how Brazilian telenovelas reflect long-term understandings of race and race relations in Brazil, as well as within the (tele)-visual legacy and representations shared by the slave societies of the Atlantic world. Specifically, it focuses on two TV Globo telenovelas that were especially significant to Blackness and its televisual representations in the early 2000s by respectively presenting the first main female and male Black telenovela protagonists to the Brazilian televiewing public. Concentrating my analysis on the representations of Black female beauty and subjectivity in Da Cor do Pecado (2004) and on Black male sexuality and agency in the space of the favela in Duas Caras (2007–2008), I contend that, while these telenovelas were certainly important in challenging racial democracy, they nevertheless fell victim to the stereotypical representations and tropes created by slavery and its racialized and often racist aftermath, as well as to the dynamics of completion, distancing, and the ethnographic attitude that are also important components of this (tele)visual legacy. Thus, rather than breaking from the predominance of the continuing hegemony of racial democracy in Brazilian media and society, these telenovelas serve to emphasize it. [ABSTRACT FROM AUTHOR]

This study explores the representation of Blackness in the telenovela La mamá del 10, revealing it as ambiguous but largely depoliticized. Herein, soccer presents a "sanitized" way of being Black when hard work and high‐performance sports are used to frame nonwhite populations within white values that manage to save a young man from repeating his Black father's mistakes. In addition, the mall is examined in relation to racial democracy. La mamá del 10 emphasizes the importance of the mall as a place where Blackness meets social advancement at the expense of kinship and community. [ABSTRACT FROM AUTHOR]

This essay acknowledges the theoretical contributions, the perspective and the practices carried out by Jesús Martín-Barbero concerning the popular in connection with the cultural industry and the acknowledgment of what is our own in Latin America. Based on the Martin-Barberian concept of mass popular and without losing his contribution, a conceptual re-invention is suggested to report on the meaning of entertainment, coolture and celebrity citizenship that define mainstream pop in the XXI century. In this re-invention, it is suggested that popular is defined from the bastardization of mixing together the pop, the popular, the territorial and the ancestral. [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]

This paper engages issues of complicated femininity and the representation of such in South African telenovela Gomora. Set in South African township Alexandra, Gomora tells the story of contemporary life in post-apartheid South Africa, where people are forced to engage issues of poverty, inequality, racism, and more. In particular, the paper engages one of the main characters in the program, Nomasonto Mildred Molefe. Mam' Sonto is the matriarch of her family who is also the head of an established hijacking syndicate. Throughout the first season of this show, audiences are able to engage with a complicated woman who is good and bad, kind and cruel. Moving away from a moral reading of the character, this paper unpacks how the character comes to be and how she asserts her own power and agency in engaging a deeply racist and sexist society in order to survive and provide for her family. Engaging works of Pumla Gqola, Sisonke Msimang, Roxanne Gay, and more, the paper presents a reading of this character that enables a clear argument for the need for such depictions of complicated womanhood as part of pushing the reified boundaries of patriarchy that women are forced to exist within. [ABSTRACT FROM AUTHOR]

This article explores the Turkish telenovela phenomenon that has swept Latin America since 2014 and, more recently, the Hispanic media market in the US. Drawing on media scholar Marwan Kraidy's concept of hybridity, the article examines the processes and conditions that created fertile ground for the enthusiastic reception of dizis , the name by which these series are known in Turkey. The article briefly examines the cross-pollination that is taking place between the Turkish dizi , an already hybrid genre, and the Latin American telenovela. It suggests that these cross-cultural exchanges are fueling a renewal of the Latin American telenovela after years of decline. The article's analysis of the internationally successful melodrama ¿Qué culpa tiene Fatmagul? provides an in-depth example for the discussion. The paper explores the reasons why this telenovela in particular has resonated strongly with audiences all around Latin America. [ABSTRACT FROM AUTHOR]

En el año 2019 Televisa comenzó la producción y transmisión de tres telenovelas con la temática central de la violencia de género. Cada una de estas entrecruza las historias de cuatro protagonistas que viven diferentes conflictos asociados a las múltiples violencias que enfrentan en sus relaciones cotidianas con hombres y mujeres. La trilogía lleva los títulos: Vencer el miedo, Vencer el desamor y Vencer el pasado. En el presente artículo se analizan estos melodramas desde la perspectiva de género y el método del Análisis Crítico del Discurso (ACD), los que nos permitieron comprobar que, aunque hay avances en el modo de representar a la mujer y sus problemáticas, las construcciones simbólicas y discursivas alrededor de los personajes femeninos continúan cediendo ante las normativas de la moral cristiana, los estereotipos físicos o los roles más tradicionales que se asignan a hombres y mujeres.

Telenovelas have become an attractive form of entertainment for many Ghanaians largely because of the use of local Ghanaian languages as voiceovers during telecast. The question that arises is - Does the telecast of telenovelas in a local language play any role in the promotion of Ghanaian languages? Using focus group discussions and in-depth interviews, we explored the role of Telenovelas with voice-overs in the promotion of Ghanaian languages among residents of some communities in Accra, Ghana; specifically, Lapaz, Osu and Gbawe Mallam communities, University students and market women. Findings show that due to low English literacy levels, voice-over telenovelas were preferred among residents in Lapaz community and the market women. A privately-owned television station, Max TV, emerged as the station with a wider audience due to its innovative broadcasting strategy of voice-over Telenovelas using the Ghanaian (Akan) language. Overall, the telenovelas appear to be promoting the Akan language by exposing viewers to lexical knowledge, facilitating the acquisition of new vocabulary items, and shaping children's learning of Akan. This paper, therefore, unearths the significance of glocalization of telenovelas in the promotion of local languages in Ghana. [ABSTRACT FROM AUTHOR]

O polémico estabelecimento da Igreja Universal do Reino de Deus em Portugal deu ensejo a uma cobertura jornalística durante a década de 1990, em que acusações de crimes graves — de charlatanismo a ligações com o narcotráfico e o rapto de crianças — preencheram as páginas dos jornais (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Também se observou no discurso jornalístico do período a associação da Igreja a estereótipos sobre o Brasil e os brasileiros e a referência às telenovelas brasileiras, então bastante populares no país. Com o objetivo de observar se estas características se mantiveram ao longo dos anos, analisámos peças publicadas pelos jornais de referência Público e Expresso no início do século XXI (2001 e 2002), em 2010 e em 2017. Inspirada pela análise crítica do discurso e a análise de enquadramentos, e com o suporte teórico da teoria das representações sociais, tal análise permitiu-nos concluir que se mantém as características identificadas nos anos 1990 na cobertura da Igreja, embora a sua presença mediática se tenha atenuado. Por sua vez, a referência às telenovelas revela-se na tessitura do discurso jornalístico, com uma hibridez entre os géneros melodrama e informativo.

Este artículo es uno de los resultados de mi proceso y formación como joven investigadora de la Universidad Santo Tomás 2020, en el marco del proyecto titulado Estudios de Moda en Colombia, liderado por el profesor Edward Salazar. Dentro del marco de este contexto investigativo analizo la estética y las representaciones de mujeres lesbianas/queer en algunos productos audiovisuales colombianos, particularmente en las telenovelas. Bajo una metodología cualitativa analizo la representación lésbica/queer en los medios masivos audiovisuales del melodrama latinoamericano. Exactamente en cuatro telenovelas colombianas y dentro de ellas qué tipo de tramas y estereotipos tienen estas producciones en común, cómo se ve el concepto de passing, la censura, y el tipo de actrices que se escogen para estos papeles, y de esta manera entender mejor el contexto del país alrededor de la cultura audiovisual y cómo las representaciones afectan y han afectado a la sociedad en todo ámbito; político, económico, cultural, etc. A lo largo de la investigación se hace evidente que, en Colombia, existe una conexión significativa entre el tipo de representación lésbica en los medios, y la manera en la que culturalmente se percibe a la comunidad lésbica/de mujeres que gustan de otras mujeres.

Résumé : cet article traite de l’influence des films d’Amérique Latine sur les attitudes socio culturelles de la population en Côte d’Ivoire. Depuis leur avènement en Côte d’Ivoire dans les années 80-90, les télénovelas ont séduit de nombreuses populations au point où beaucoup s’y sont attachés. Cependant, des attitudes dépravées constatées dans les maisons, dans les environnements familiaux et autres au fur et à mesure du temps, nous ont amené à mener des études dans le but de voir si ces séries ne contribuent pas à cet état de fait, font penser que ces films y sont pour quelque chose. De nos investigations, sont sorties des perceptions selon lesquelles les séries latino véhiculaient des thématiques portant beaucoup sur l’amour et que cela aurait un lien avec les comportements malsains. Par ailleurs, la majorité de nos enquêtés ont reconnu que les télénovelas ne contribuaient pas à la promotion de nos valeurs culturelles. Ainsi, nous avons proposé comme solution pour combattre le problème le marketing social.

This study examines the role of an entertainment-education intervention in informing Mexican adolescents and parents about sexual and reproductive health-related discussion and information-seeking. A survey of young adult (N = 491) and parent (N = 223) viewers of the Spanish-language program Vencer el Miedo assessed the influence of exposure to the telenovela's storylines regarding these issues. Heavy viewing of the program predicted adolescent information-seeking about contraceptives via three distinct channels. Additionally, some effects were recorded for parent viewers, and parent-child co-viewing emerged as a significant moderator of communication about one reproductive health topic. Overall, these findings suggest that entertainment-education programs tailored to Mexican culture and the experiences of Mexican families can bring about attitudinal and behavioral changes across the age spectrum, an outcome that is particularly important given the relatively low rates of contraceptive knowledge and use among adolescents across the country. [ABSTRACT FROM AUTHOR]

The controversial establishment of the Universal Church of the Kingdom of God in Portugal was the subject of many news reports during the 1990s, in which accusations of serious crimes -- from charlatanism to connections to drug trafficking and child abduction -- filled the pages of newspapers (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Many of these news reports linked the Church with stereotypes about Brazil and Brazilians and referenced Brazilian soap operas, which were quite popular in the country at the time. To observe whether these characteristics have been maintained over the years, the author analysed reports published by the influential newspapers Público and Expresso from the early 21st century (2001 and 2002), in 2010 and 2017, respectively. Inspired by critical discourse analysis and framing analysis, and with the theoretical support of the theory of social representations, such analyses allowed the author to conclude that the characteristics identified in the 1990s remained, although the Church's media presence has since reduced. In turn, the reference to soap operas manifests in the fabric of journalistic discourse, with a hybridisation formed between the melodramatic and informational genres. [ABSTRACT FROM AUTHOR]

Durante la cuarentena establecida por la pandemia por COVID-19, las familias peruanas ampliaron su horario de atención a la televisión, y demostraron preferencia por programas que presentan temas vinculados a la religiosidad y a la violencia doméstica. Sobre la base de una sistematización de los ratings de audiencia en Lima y seis regiones, se investigó la percepción de jóvenes universitarios respecto a las razones de esta preferencia. Se aplicó una encuesta a 100 jóvenes universitarios sobre el rating registrado entre el 15 de marzo y el 30 de junio del año 2020 de la telenovela “La rosa de Guadalupe” (en versiones mexicana y peruana) y del dominical “Nunca más”. Se concluyó que ambos programas son preferidos porque reflejan situaciones que son familiares y se asemejan a la realidad. Se evidencia, además, que la televisión es el medio más influyente para la difusión de los patrones sociales, por su presencia hegemónica en los hogares y por su gran fuerza expresiva para trasmitir mensajes de la vida cotidiana.

Resumo O artigo apresenta um diagnóstico dos últimos dezenove anos de representação da violência de gênero em telenovelas nacionais, pensando essas produções ficcionais em consonância com o contexto sociojurídico brasileiro de combate às violações de mulheres. Trata-se de um balanço crítico composto por um corpus de 21 novelas, que investiga as representações de agressões contra mulheres para além da fachada do merchandising social, isto é, dos núcleos dramáticos que pretenderam debater e educar sobre esse problema público. Ao fim, demonstram-se os sofisticados mecanismos narrativos que edificam e sustentam imagens dissidentes da violência de gênero, ora interpretada como sofrimento, ora como castigo necessário.

As telenovelas representam um dos mais importantes tipos de poder suave do Brasil, sendo capazes de moldar preferências e de seduzir milhões de pessoas no país e no mundo. Após sucessivas quedas de audiência, a mais importante e poderosa emissora brasileira de televisão, a TV Globo, tem feito um investimento milionário no formato streaming, antecipando capítulos de novelas e comprando séries de Hollywood para a sua plataforma de streaming, Globoplay. Dialogando com o método da compreensão e sob a luz do conceito de epistemologias do Sul, este artigo tece breves comparações entre telenovelas e séries de Hollywood no contexto do avanço do streaming, sendo guiado pelas seguintes questões: a crise de audiência dos modelos tradicionais é de formato ou de conteúdo? Ou se trata também de uma crise de poder suave das telenovelas?

Esse artigo tem por objetivo analisar, a partir de quatro beijos específicos, quais sentidos então se mobilizam sobre gêneros e sexualidades. Ao empreendermos uma análise crítica cultural, ancorada em referenciais teóricos e políticos caros aos estudos de gênero/sexualidade/teoria queer, constatamos como, a partir dos beijos de Félix e Niko (Amor à Vida, 2013), de Luccino e Otávio (Orgulho e Paixão, 2018), de Pablo e Willian (Bom Sucesso, 2019) e de Guga e Serginho (Malhação – Toda forma de amar, 2019), constituem-se sentidos muito específicos que dizem sobre possibilidades e impossibilidades de ser e de estar no mundo enquanto gay. Um beijo que apenas é autorizado mediante redenção do vilão e estabelecimento de um relacionamento heteronormativo (Amor à Vida), um beijo e uma relação, que apenas podem acontecer em privado, uma vez que, publicamente, não haveria um casal, mas dois vizinhos (Orgulho e Paixão), um beijo que se dá no contexto do armário e mediante existência de uma relação heterossexual de fachada (Bom Sucesso) e um beijo que, ainda que em público, é repreendido sob lógica homofóbica (Malhação – Toda forma de amar) sinalizam uma série de interdições que são fundamentais de serem consideradas e que aqui são discutidas.

Brazilian telenovelas are the number one locally produced and consumed program in the country and the majority of Brazilians still watch their beloved shows "on TV." In fact Brazilians spend on average a total of 4 hours and 31 daily minutes in front of to the set. Thus, Internet use is not leading to the abandonment of the television screen, but instead, we see a process of transmediation. Technological advances have also changed the way narratives are told, with increased reliance not just on web content but also on high investment on production and post-production. This article examines two recent TV Globo telenovelas that have changed the traditional genre's production and reception in their use of technology, in order to shed a light on the program's lingering popularity and their efforts at staying relevant. The telenovelas discussed are: Cheias de Charme (CDC, 2012) and Deus Salve o Rei (DSOR, 2018). [ABSTRACT FROM AUTHOR]

Motherhood is an identity category that carries considerable weight in Mexican society and cultural expressions. The cult of motherhood means that a woman and her worth are often measured by her relationship to maternity. The closer that she comes to meeting the standards of Marianism (modeled by the figure of the Virgin of Guadalupe), the more likely she is to be seen as a good woman. This trope is a standard feature in telenovelas, where the good woman (la buena) is or longs to be a mother, whereas the bad woman (la mala) rejects maternity. There is another female character, however, who eludes these categories—the tyrannical mother. She is a woman whose controlling, manipulative, and often criminal behavior lands her squarely in the category of la mala. Yet she is not subject to the same terrible fate that befalls the childless mala , often in the form of death, disfigurement, or imprisonment. Here I argue that it is maternity that provides the tyrannical mother protection from the more extreme punishments experienced by childless malas. The examples that I point to are Cuna de lobos (1986, 2019), Soy tu dueña (2010) and Abismo de pasión (2012). [ABSTRACT FROM AUTHOR]

This article compares the interracial romance between a mulato man and a white woman that is central to the plot of the 2016 Colombian telenovela La esclava blanca with the one present in Sab (1841), written by Gertrudis Gómez de Avellaneda and usually considered the first antislavery novel written in Spanish. It argues that La esclava seeks to create collective imaginaries in which viewers recognize themselves and their aspirations. Furthermore, borrowing from Doris Sommer's proposal that literary romances can serve as metaphors for nations, the article makes a case that La esclava repeats some of the romance elements of Sab in order to denounce slavery, establish a parallel between the condition of enslavement of Afrodescendants and women, and propose the need for a more inclusive family/nation. The telenovela also incorporates new messages of racial equality in an effort to allow modern-day national and international Afro audiences to recognize themselves in the telenovela. However, ultimately the telenovela neutralizes the racial messages that could be perceived as threatening to white audiences in order to attract the widest audience possible and, in doing so, proposes a problematic reconstruction that privileges white people in the historical memory of abolition in Colombia. [ABSTRACT FROM AUTHOR]

This article explores the circulation and reception of Indian media (including films and more recently television series) in the majority Muslim city of Tamale, Northern Ghana. This includes the arrival of Hindi films during the late 1950s, the subsequent (short-lived) circulation of Bollywood films in the early 1990s, and the more recent arrival of contemporary Indian television serials in the 2010s. In charting histories of these three regionally linked transnational media flows, this article complicates "linear" experiences of Indian media in Northern Ghana. Though Tamale's Dagbamba viewers understand these three media flows as regionally linked, they are sensitive to changes in format, narrative, plot, and style taking place in Indian film and television over time. For over sixty years, Indian media flows have gained traction, broken down, restarted, and flowed in "feedback loops", dependent on the ways in which Indian media reflect, align with, and at times depart from Dagbamba conservative cultural and religious values. [ABSTRACT FROM AUTHOR]

O presente artigo busca estabelecer uma relação entre a teledramaturgia brasileira e suas fontes literárias. Inicialmente, traçamos um breve histórico dessa relação a partir das origens da telenovela no Brasil e suas primeiras produções que consistiam em adaptações dos nossos clássicos. Com o passar dos anos, observa-se que essa relação vai se sofisticando e que o recurso da intertextualidade se corporifica sob diversas formas explícitas ou implícitas. Analisamos esse profícuo diálogo em tramas exibidas nas últimas décadas pela Rede Globo de Televisão. Utilizamos como principais aportes teóricos Alencar (2002), Reimão, (2004), Meyer (2005) e Moratelli (2019)

Este texto arranca con una breve revisión de la normativa de los derechos de las mujeres, para poner énfasis en aquellos avances jurídicos que afectan al campo de la comunicación y la reproducción simbólica de patrones culturales relativos al sexismo, la discriminación y la violencia de género. Alrededor de los patrones culturales, el texto remite a los estudios de las masculinidades para plantear indagaciones sobre la pervivencia de la violencia de género como expresión del mandato masculino que exige el tutelaje de las mujeres y lo femenino por parte de la masculinidad hegemónica. Seguidamente, y partir de una revisión sobre los procedimientos de las representaciones, se desarrolla una posibilidad de análisis de la violencia de género representada en las telenovelas, apoyada en teorías psicológicas conductistas.

Para muchos autores las telenovelas mexicanas son un espejo de la sociedad y de ser así, deberían reflejar cambios a nivel ideológico y actitudinal mediante sus discursos. El objetivo del presente trabajo es investigar el tratamiento de la homosexualidad en cinco telenovelas mexicanas de Televisa de los últimos cinco años y evaluar si esto sugiere posibles cambios en la sociedad. La base teórica aplicada es el análisis crítico del discurso, en su enfoque sociocognitivo propuesto por Teun van Dijk, que permite investigar aspectos como ideología, valores y posibles manipulaciones. For many authors the Mexican soap operas are a mirror of the society and if this were true, they should reflect ideological and attitudinal changes in their discourses. The objective of this paper is to investigate the treatment of homosexuality in five Mexican soap operas of Televisa during the past five years and evaluate whether this suggests possible changes in society. The approach applied in this study is the critical discourse analysis, specifically the socio-cognitive perspective proposed by Teun van Dijk, which allows us to investigate aspects like ideology, values and possible manipulations.

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Las telenovelas son de una historia muy reciente en las américas, pero por su poderoso impacto parecería que siempre han sido parte de la cultura latinoamericana. En su trayectoria global, las telenovelas, aunque inconscientemente y casi sin darse cuenta, han relacionado y conectado con éxito una miríada de comunidades globales (especialmente del sur), geográficamente dispersas y lingüísticamente diversas, que se identifican con las realidades simplistas expresadas a través del melodrama latinoamericano. Este ensayo propone que estas representaciones melodramáticas, tan fácilmente referenciadas como telenovelas, en verdad tienen un mayor impacto político que el que se les reconoce, como el de producir comunidades globales (del sur) en todo el mundo. El ensayo también busca evaluar los elementos culturales que respondiendo al capital moderno y a un mercado global, producen una identidad latinoamericana supuestamente homogénea, pero que a la vez comparte una heterogeneidad más compleja en la exportación y producciones nacionales muy discretas.

El uso de audiovisuales en el aula de ELE ha aumentado notablemente en los últimos años, y el cine y la televisión se han convertido en fuentes prolíficas de materiales didácticos. No obstante, las telenovelas hispanoamericanas han tenido muy poca repercusión hasta hoy. Como en todos los recursos auténticos, si se pretende usar las telenovelas mexicanas como input real en el aula de ele para enseñar contenidos socioculturales y lingüísticos, hay que determinar el grado de realismo que ofrecen las producciones en estos aspectos. Este artículo ofrece un breve análisis de los marcadores de realidad que se encuentran en las telenovelas mexicanas y que justifican la idoneidad de este género televisivo como recurso didáctico. Dichos marcadores son de naturaleza geográfica, lingüística y sociocultural. La investigación se hace desde el enfoque del análisis crítico del discurso que permite un acercamiento coherente al tratamiento de los contenidos. A modo de conclusión, cabe destacar que las telenovelas mexicanas ofrecen un grado satisfactorio de marcadores de realidad, que la convierten en un input valiosísimo en ELE. Para que el acercamiento crítico del alumno a México, su cultura y sus variedades lingüísticas sea lo más provechoso posible y con el fin de maximizar el potencial didáctico de las telenovelas, el profesorado debería seguir algunas pautas que se detallarán en este artículo.

This paper explores metapragmatic discourse of professionals in the Colombian telenovela industry on how the Colombian costeño 'coastal inhabitant' macrodialect is perceived to be represented in popular Colombian telenovelas 'soap operas'. Using this discourse as a point of departure, I propose certain discourse markers (DMs) have become so salient as to be third-order indexicals of costeño speech and identity in the Colombian social imaginary. Data is obtained from thirty extended qualitative interviews held with both costeño (16) and cachaco 'inland area' (14) actors, producers, script writers, voice coaches and a director, as well as 14 hours of participant observation. Findings suggest that ajá, eche, hombe, nojoda and erda resonate as being 'stereotypically costeño' discourse markers, resulting in questions on the significance of representation of variety in popular fictional television and the role of cachacos 'inland inhabitants' in the creation of this fictional 'imaginary', shedding light on an important yet understudied sociolinguistic context. [ABSTRACT FROM AUTHOR]

This article examines Natalia Oreiro, a film and television star who has contributed to representations of on-screen queer subjectivities in Latin America. I examine her film Miss Tacuarembó (Sastre 2010) as a musical that resignifies heteronormative notions of gender commonly found in popular family film genres. I consider the film’s layered intertexts such as choreography, pop songs, and telenovelas, as well as the role of Oreiro in resignifying those intertextual codes as signs of queerness. This article thus reveals the ways in which intertexts disrupt this formulaic family and young adult film. [ABSTRACT FROM AUTHOR]

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Telenovelas have been one of the main mechanisms by which Chilean television has made gay and lesbian identities visible. Through an analysis of over 50 gay or lesbian characters that have appeared on this type of programme from 1990 to 2018, it is argued that Chilean telenovelas have privileged representations of non-heterosexuals that do not destabilise the status quo, but contribute to the reproduction of sexist, homophobic and/or classist discourses. This has been done through the utilisation of four 'types' of characters: funny locas, serious machos, fighting mothers and clear lesbians/confused lesbians. [ABSTRACT FROM AUTHOR]

The article describes the portrayal of women in telenovelas in Brazil. It compares the production of Brazilian telenovelas with those produced in other Latin American countries. The representation of social ills in Brazilian telenovelas is discussed, as well as the depiction of the patriarchal and social order in these shows.

In Argentina, trans people have experienced extreme marginalization exacerbated by authoritarian dictatorships. Despite this history, since the return of democracy in the 1980s Argentina has witnessed legislative changes as an outcome of extensive trans activism. Travestis became more visible as they protested police brutality. Travesti mobilization brought more visibility, specifically within the media industries. To elucidate their participation in media, this article focuses on travesti celebrity Florencia de la V in Los Roldán (2004–, Telefe). I examine the representation of travestis on telenovelas and how fictional characters have an effect on structuring a star's career through the telenovelas' ability to blur the distinctions between character and star. Ultimately, this article questions the introduction of mainstream audiences to gender-nonconforming characters through the industry's incorporation of travesti stars in relation to themes of scandal and domesticity. I build on the work of trans scholars Blas Radi and Lohana Berkins, who theorize travesti identities as politicized non-binary bodies. [ABSTRACT FROM AUTHOR]

For the last decade, Turkish TV series particularly soap operas have been alluring an increasing rate of viewers both in Turkey and 76 countries around the world, spreading from Latin America to the Far East. This article examines the sociological foundations of high levels of interest in Turkish TV series in the Balkan region since relationships between the Turks and other people in this geographic area have a long history. As well, today’s reflections of this historical relationship date back to the fifth century in so many ways. Turkish TV series have thus captured the social and cultural proximity of individuals living in these two geographies in the best sense and have also raised their awareness in this respect. A total of 15 out of 76 TV series released in Turkey until 2016 have been so far exported to Balkan countries and they have received enough attention. Accordingly, it is of utmost importance to determine the sociological foundations of this development. [ABSTRACT FROM AUTHOR]

In a context of ever greater circulation of televisual content of all genres and formats, this article focuses on the intersections between the global and the local to understand how a specific genre – soap opera – was localised in a specific cultural and geographical setting giving origin to a specific local production model. Our general argument draws on the empirical findings of original research on the moulding of the televisual genre called 'telenovela' in Portugal, the specific production mode associated with it, and reflects on its historical emergence and the contingencies of such a process. Our goal is to identify the variables that allowed this genre to gain local dominance and later achieve international circulation. Based on the results of quantitative and qualitative research, we argue that the closed networked structure of the local production and distribution structures and the dominant ideology of the associated production culture promoted the emergence of a resilient local production culture with high levels of bonding social capital that allowed for its sustainability until today. [ABSTRACT FROM AUTHOR]

This paper analyses the activity of fans who shipped two fictional lesbian couples from recent Rede Globo’s telenovelas. It proposes a reflection over the concept of fan activism (Bennet, 2012) by identifying the practices of LGBTQ communities who acted in order to defend lesbian representativeness in television. The research has a qualitative approach and made use of methodological procedures from Grounded Theory and netnography to process a data basis of 52 515 tweets. [ABSTRACT FROM AUTHOR]