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2008 - NCA 94th Annual Convention Pages: 21 pages || Words: 7765 words || 
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1. Joyce, Samantha. "Telenovela Consumerism as Empowerment" Paper presented at the annual meeting of the NCA 94th Annual Convention, TBA, San Diego, CA, Nov 21, 2008 Online <PDF>. 2019-10-17 <http://citation.allacademic.com/meta/p245314_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Abstract: For nine months in 2005 forty five million Brazilians watched the telenovela ‘Master of her Destiny’ nightly. Brazilian telenovelas are exported to more than 140 countries, making evident the importance of telenovela research. Traditionally, feminists have criticized the genre arguing that it encourages gender stereotypical roles, and consumerism. But I argue that even while promoting consumerism, a type of empowerment is offered to the female viewers.

2012 - Designing and Building Research Network Maps: Trends in International and Latin American Communication Research Pages: unavailable || Words: 4914 words || 
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2. ALVES, DENISE. and Carvalho, Cristiane. "Merchandising social em telenovelas: disputa de espectadores e interferências no campo da autoria" Paper presented at the annual meeting of the Designing and Building Research Network Maps: Trends in International and Latin American Communication Research, School of Communications of the Pontificia Universidad Universidad Católica de Chile, in the campus Casa Central, Alameda 340, Santiago, Chile, Oct 18, 2012 Online <APPLICATION/PDF>. 2019-10-17 <http://citation.allacademic.com/meta/p600861_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: O presente artigo objetiva examinar a televisão, pensada como instituição social e agente mediador entre a sociedade e receptor, pressupondo interação, portanto, com tensões de disputa e visibilidade constantes, muitas vezes manifestadas através do suporte conhecido como merchandising social. Como recorte, observa-se a novela Insensato Coração (2011), apresentada pela Rede Globo, que representou na televisão o universo do homossexualismo masculino, bem como se reforçou como um espaço de manifestação de resoluções de cunho civil, recentemente aprovadas no âmbito jurídico do Brasil. Da mesma forma, tem-se o tema da violência doméstica como integrante do roteiro da telenovela Fina Estampa (2012), com a interferência manifestada formalmente por autoridades governamentais junto ao autor do melodrama e gestor da emissora. Neste contexto, procura-se indagar os ecos do merchandising social como diálogo entre ficção e realidade retratado pela televisão brasileira.

2014 - American Sociological Association Annual Meeting Pages: unavailable || Words: 8760 words || 
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3. Beulaygue, Isabelle. "The Cross-Cultural Meanings of Cosmetic Surgery A Socio-linguistic Analysis of Three Spanish-Language Telenovela Adaptations" Paper presented at the annual meeting of the American Sociological Association Annual Meeting, Hilton San Francisco Union Square and Parc 55 Wyndham San Francisco, San Francisco, CA, Aug 15, 2014 Online <APPLICATION/PDF>. 2019-10-17 <http://citation.allacademic.com/meta/p724505_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: The current paper utilizes social semiotics, multimodal discourse analysis, and dramatic dialogue methodologies (Van Leuween 2005; Richardson 2010) to explore the meanings of cosmetic surgery in three Spanish language telenovelas. Importantly, this paper aims to explore how discourse and images inform the meanings and representations of cosmetic surgery in three distinct sociocultural contexts: Colombia, The United States, and Spain. Thus, the present study focuses on the adaptations of the Colombian novel “Sin Tetas no Hay Paraíso” (Bolivar Moreno 2004) which depicts how disadvantaged Colombian women use cosmetic surgery as a vehicle for upward mobility in the context of drug trafficking, mafia, and violence. Three adaptations are analyzed: 1) the original Colombian series aired on channel Caracol in 2006, 2) the Telemundo adaptation aimed at Hispanic audiences in the United States in 2009; and 3), the Spanish adaption aired on Telecinco in 2008. The findings from this study reveal significant cultural variation -both visually and discursively- in terms of symbols of the representations beauty and cosmetic surgery. In Colombia, cosmetic surgery was dramatized as a tool leading to a transformation of self, a transition from childhood to adulthood, and a shift towards a hyper-sexualized female body. Conversely, the United States’s version associated it with monetary images, personal success, goals, and aspiration- findings consistent with cultural ideals such as the “American Dream”. Finally, the Spanish version was conservative and portrayed the least amount of explicit symbols of beauty and surgeries. As such, Spanish dramatists showed plastic surgery as a deviant act.

2009 - International Communication Association Words: 225 words || 
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4. Straubhaar, Joseph. "Creating Transnational Popular Culture Genres: The 60-Year Rise of the Telenovela" Paper presented at the annual meeting of the International Communication Association, Marriott, Chicago, IL, <Not Available>. 2019-10-17 <http://citation.allacademic.com/meta/p300839_index.html>
Publication Type: Session Paper
Abstract: There are several emerging global, transnational and national layers of television genre, proto-format commercialization of program elements, and current commercially licensed formats. Some genre traditions, like melodrama, tend to be large, over-arching popular culture categories that already have a long history before television. Specific genres of television production, like the U.S. soap opera or the Latin American telenovela can develop within that larger tradition. Even more specific genres, like the Brazilian socially engaged or historical telenovelas, versus the romantic Mexican Cinderella story telenovela (Hernandez 2001), develop or emerge over time within those genre traditions. This paper traces the early history of the telenovela as a genre that was already regional or transnational, and the subsequent history of its specific adaptations and variations in Brazil and Mexico.

Professor Joseph D. Straubhaar is the Amon G. Carter Centennial Professor of Communications in the Department of Radio-TV-Film at the University of Texas at Austin. He is also Associate Director for International Programs of the Telecommunication and Information Policy Institute at the University of Texas. He was the Director of the Center for Brazilian Studies within the Lozano Long Institute for Latin American Studies, 2003-2006. His primary teaching, research and writing interests are in global media, international communication and cultural theory, information societies and the digital divide in the U. S. and other countries, and global television production and flow.

2017 - ICA's 67th Annual Conference Words: 295 words || 
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5. Straubhaar, Joseph. "The Political Economy of Race, Class, and Favela Depictions in Brazilian Telenovelas" Paper presented at the annual meeting of the ICA's 67th Annual Conference, Hilton San Diego Bayfront, San Diego, USA, <Not Available>. 2019-10-17 <http://citation.allacademic.com/meta/p1233421_index.html>
Publication Type: Session Paper
Abstract: This paper argues that the source of historically skewed racial, class and spatial representations on Brazilian television lies in some large part with the underlying political economy of the consumer economy in Brazil. As SBT and then TV Record tried to find ways to chip away at TV Globo’s dominance, one tactic was to pursue the working class, which also meant more people of color on screen. In the 80s and 90s, SBT’s promotions to potential advertisers began to proclaim that they were the ones who could reach working class consumers of many advertised goods. Later, Record followed with populist shows that denounced problems in areas like health care and produced telenovelas which began to feature more dark-skinned people in favela settings. By the end of the 1990s, these strategies were making inroads into Globo's dominance of the national audience. Since 2000, I argue that Globo has dealt with competition from SBT and Record, the erosion of its national audience – particularly among the working and lower middle classes, and reacted to the expansion of those classes and their purchasing power. I will present data showing the expansion of the lower middle and working classes (2000-2015), using census and advertising research data, connecting this to an evolution in genre tastes (for telenovelas, etc). I will also look at increasing access to forms of television other than traditional broadcast television, and how that shapes changes in telenovela strategies. I will try to connect these underlying changes to Globo's changes in telenovela content in the last three years, showing far more Afro-descendants in more major roles, showing more of working class and lower middle class people in major roles, and showing the favela as an increasingly positive space, rather than a space of danger and societal disapproval.

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