Telenovela
A telenovela
Commonly described using the American colloquialism Spanish soap opera, many telenovelas share some stylistic and thematic similarities to the soap opera familiar to the English-speaking world. The significant difference is their series run length; telenovelas tell one self-contained story, typically within the span of a year or less whereas soap operas tend to have intertwined storylines told during indefinite, continuing runs.
The medium has been used frequently by authorities in various countries to transmit sociocultural messages by incorporating them into storylines.[7] By the 1950s, Brazil became one of the first countries to produce novelas with high budgets and aimed both to the national and international markets. Mexico soon followed, and by the 1970s and 1980s the country started to engage more profusely in using telenovelas to shape behavior. This was particularly successful in introducing the idea of family planning. The 1990s played a key role in the international export of telenovelas, thus the so-called 'Telenovela Craze' that spread in many regions in the world.[8]
By 2018, some signs of fading popularity had emerged.[9]
History
Genres
Telenovelas tend to fall within these seven categories:
- Working-class melodrama, which is the most popular to date, easy to understand and contains less explicit content. This is heavily reliant of the common rags-to-riches plot, typically featuring a poor woman who falls in love with a rich man whose family spurns her, such as the Las Tres Marias ("Maria Trilogy", 1992, 1994 and 1995).
- Historical romance is set in the past, such as the colonial period (Martín Garatuza, 1986), the restoration of the Republic (El carruaje "The Carriage", 1972), the late 19th Century (El vuelo del águila "The Flight of The Eagle", 1994) the Mexican Revolution (Bodas de odio "Weddings of Hate", 1982), and the 20th-century military dictatorships (such as Anos Rebeldes "Rebellious Years", 1992)
- Teen drama, which portrays the lives of high school teenagers and their issues with sex, drugs and other coming-of-age topics. This genre started with Quinceañera in 1987.
- Mystery/thriller is a category of telenovela that is more cold-hearted than the other subgenres. It may portray a mysterious death or disappearance, which may tear couples, even families apart, such as Cuna de Lobos ("Wolves Crib"), La Casa al Final de la Calle ("The House at the Street End"), La Mujer de Judas ("The Woman of Judas"), ¿Dónde está Elisa? ("Where's Elisa?"), El Rostro de la Venganza ("The Face of Revenge") or La Casa de al Lado ("The House Next Door"). Chile has produced this genre.
- Horror is a subgenre of telenovelas that is rarer than the rest, it can deal with anything of the El Extraño Retorno de Diana Salazar, and La chacala.
- Romantic comedy, which portrays love stories with some or much comedy such as Las tontas no van al cielo "Fools Don't Go to Heaven" or Yo soy Betty, la fea (the most successful telenovela in history).[10]
- Pop band story portrays the lives of aspiring popstars such as in Rebelde (2004), which spawned a multi-platinum pop group, RBD. Some, though not all, of these type of telenovelas are geared towards a teenage and/or pre-teen audience.
- Drug smuggling telenovelas have become frequently produced in recent times.
Besides these, another category of series that has become popular in recent years is the youth telenovela, which borrows some elements of the teen drama format but is usually more family-oriented in structure, contains comedic elements and sometimes maintains a high concept or supernatural plotline (such as 11:11: En mi cuadra, nada cuadra and Chica vampiro).
Telenovelas have geographically diverged into two major groups – the Latinovelas, and the Asianovelas, portmanteaus of Latin and Asian with novelas. Telenovelas, in particular, are the most popular non-English-speaking scripted forms of entertainment in the world to date.
Novelas made in Spain and the Spanish-speaking Americas are widely popular in Spanish-speaking countries and communities.
Novelas made in Portugal and Brazil are highly popular in Lusophone countries, with Angolan novelas also making their way recently.
Some novelas also have a huge following in Europe's Mediterranean and eastern countries, as well as in Asia and Oceania. Latinovelas are primarily responsible for the telenovela trend in regions outside of Latin America, which is known as the biggest producer of telenovelas up until the early 2000s.[11]
Millennial telenovela
In the 2010s, the terms "millennial telenovela" and "modern telenovela" have been coined to describe an emerging genre related to the telenovela. Based in the same culture, the target audience is much younger (the millennials); the typical storylines and melodrama were recreated to better appeal to this demographic.[12] Commenters have written that a millennial telenovela will contain many of the following themes: it fits into contemporary politics and culture;[12] has positive representations of LGBT+ people when present;[13] features themes of female empowerment and the sexualization of the male body;[13] involves use of social media;[12] presents characters of moral ambiguity rather than in black and white, and with more complexity;[14] contains intentionally comedic moments;[15] and is centered on an unconventional family.[16]
Though the term "millennial telenovela" was first used in 2016 when BuzzFeed and Telemundo co-produced a short series to cater for the emerging Latin American millennial market,[12] it became more widely used in 2018 after the success of the Netflix black comedy The House of Flowers.[15][17][18][d]
The development of the genre may be a response to a controversial market practice of importing telenovelas to US channels, with a Univision and Televisa deal having to be renegotiated when traditional telenovelas fell in popularity around 2016; at this point, the majority of Hispanic people in the US were millennials, and "drawn to edgier and more fast-paced programs than traditional telenovelas." Though Univision did not start making its own hybrid shows, they began investing in online and multimedia programming, and bought into Netflix's original Mexican programming.[19]
- Series described as millennial telenovelas
- Jane the Virgin[16]
- Much Ado About Nada[12]
- The House of Flowers
- Luis Miguel: The Series[14]
Major producers of telenovelas
Some of the world's major producers of telenovelas include the following:[citation needed]
- North America
- Latin America
- Argentina
- Pol-Ka, Underground Producciones
- Brazil
- Excelsior(defunct)
- Chile
- Colombia
- Ecuador
- Mexico
- Argos Comunicación
- Peru
- ATV, Inka Visión
- Puerto Rico
- Venezuela
- Venevisión, RCTV (defunct), Marte TV, VTV, Televen
- Argentina
- Europe
- Asia
- Philippines
- East Timor
- Turkey
- (defunct)
- South Korea
- Thailand
- Pakistan
- India
- Star One, Star Vijay, Star Bharat, Star Jalsha, Sun TV, Sahara One, Gemini TV, Imagine TV, ALTBalaji, Asianet
- Malaysia
- Singapore
- Indonesia
Telenovelas by country
Argentina
Arab world
In the
Bolivia
In Bolivia, themes of drama, romance, music, natural landscapes, remote situations and adventure are common. Some are based on novels, historical and factual events. Such melodramas produced in Bolivia include Las Tres Perfectas Solteras, Indira, Tierra Adentro, La Virgen de las 7 calles, Luna de Locos and Tres de Nosotras. The country has made over 15 telenovelas so far, and most of the productions take place in Santa Cruz de la Sierra. The majority of telenovelas shown on domestic television networks are international productions (imported from Brazil, Colombia, Argentina and Mexico). A lot of Bolivian telenovelas are produced by independent producers, since many producers are more dedicated to the country's film industry. [citation needed]
Brazil
Brazilian telenovelas (more often "novelas") are both more realistic and apt to broach controversial subjects. These programs tend to showcase realistic depictions of middle class, working class and upper class individuals in society.[citation needed] Brazilian productions are the highest-budget telenovelas in South America.[26] Escrava Isaura (1976) was a major hit in South America, the Eastern Bloc, Africa and China.[27] Novelas usually last six to eight months at most in Brazil. One of the longest-running telenovelas in the country, however, is the teen-oriented Malhação (Young Hearts), which had aired from 1995 until 2020; as such, it is commonly classified as a Western-format soap opera instead.
Brazilian telenovelas often have convoluted subplots involving three or four different settings. Usually, there is a rich setting, a poor setting and one or more settings in which the characters of both settings can interact. There is no clear-cut line between "good" and "evil" characters, with protagonists often displaying weaknesses such as
Another important characteristic of Brazilian telenovelas is that they rely less on individual stars than other South American works. A Brazilian telenovela may have a permanent cast of more than 40 actors, of which some seven or eight are considered "central" to the show. The chief reason for this is that telenovelas are not shot in advance (instead chapters are shot around two weeks before their airdate) so that they can respond to public reaction. Under this scheme, the occasional death or poor performance of the actor playing the main character may turn the production into a flop, which happened with the 1982 telenovela Sol de Verão ("Summer Sun") after the death of main star Jardel Filho[28] and in 2016, in Velho Chico ("Old River"), after the death of lead-actor Domingos Montagner.
Canada
In Canada, telenovelas are known as téléromans in French and are a part of the culture of the Francophone province of Quebec. Nearly all television stations in the country that broadcast in the French language carry téléromans. The first téléroman was La famille Plouffe ("The Plouffe Family"), which was broadcast on Radio-Canada in the 1950s.
The téléroman was created during the earliest days of the
In 2003,
Beginning with its
Chile
Colombia
The first Colombian telenovela was El 0597 está ocupado, produced in 1959 by the programadora Producciones PUNCH.[29] From then until the late 1990s arrival of private television in the country, a variety of programadoras produced and aired their own telenovelas, such as those from Colombiana de Televisión, TeVecine, Cenpro Televisión (the producer of Perro amor, which was popular in the late 1990s).
Telenovelas produced by RTI Colombia and Telemundo are usually shown and produced on Caracol, while
It is notable that many novelas designed and written by Colombians sell outside the country well, as a prime export. Other countries then localize them by creating novelas based on the same story, barely changing names, settings and, more often than not, mixing the cast with Colombian actors to respect ownership/property agreements and copyright laws. One fine example is Betty, la fea (adapted by ABC in the United States as Ugly Betty) in which the franchise for the storyline was translated and adapted by over 30 networks around the world.
Croatia
The first Croatian telenovela was Villa Maria, made in 2004 by AVA Production. After Villa Maria, AVA made Ljubav u zaleđu (2005–2006), Obični ljudi (2006–2007), Ponos Ratkajevih (2007–2008) and Zakon ljubavi (2008). Telenovelas made by AVA were aired in more than 25 countries.
With Serbian
Dominican Republic
Television networks in the
Germany
In 2004,
India
Indonesia
In
Sinetrons are usually made by production companies such as SinemArt and
Malaysia
In Malaysia, the equivalent of telenovela for a local language drama is drama rantaian. The drama may last for 13 episodes for a weekly drama and more than 15 episodes if broadcast by a daily basis, usually three to five days a week.
However, since almost all television broadcasters that air domestically produced dramas also air foreign dramas, Malaysian television dramas are less prolific compared to Indonesian, Philippine, South Korean or Turkish dramas.
Mexico
Mexico was one of the first countries in the world to become known for producing telenovelas aimed at shaping social behavior – one issue of which is family planning during the 1970s. The Mexican model of telenovelas – quick to be replicated by other telenovela-producing countries in Latin America and Asia for most of the 1990s – usually involves a romantic couple that encounters many problems throughout the show's run including a villain. One common ending archetype consists of a wedding and the villain dying, going to jail, becoming permanently injured or disabled, or losing their mind. The use of sexually themed episodes starring the leading couple of the story has been a common element through most Mexican (and Latin American) telenovelas.
During the peak of the global success of Latin American telenovelas in the 1990s and 2000s, several prominent Mexican actors and actresses gained huge following for the telenovelas that they starred in. For example,
Due to the international success of the telenovelas broadcast in and out of Mexico, by the late 1990s, it was claimed that telenovelas were Mexico's leading export product. Many consider the period from 1958 to 2004 to be Televisa's
Currently, the most successful telenovelas are being created by Argos and Telemundo and are rebroadcast (or adapted) by the main companies. The most successful one,
Pakistan
Peru
Philippines
Domestically produced telenovelas first appeared on Philippine television in the 1960s, beginning with the ABS-CBN program Hiwaga sa Bahay na Bato. The format of Philippine telenovelas is almost the same as Spanish and Mexican telenovelas, as they have borrowed many elements including many clichés. However, Philippine telenovelas, which portray the reality of Filipino (as well as much of other Asian) societies, have evolved through decades and feature specific characteristics distinct from most of the world's telenovelas.
The late 1980s and 1990s coincided with the end of
.Modern Philippine television dramas are usually termed teleserye, a
Portugal
The first Portuguese telenovela was Vila Faia, in 1982. Throughout the 1980s and 1990s, almost all Portuguese telenovelas were broadcast by
Puerto Rico
The telenovela genre was historically popular in the U.S. territory and there still is some interest to this day. The serials in days past were usually broadcast on domestic television stations three days a week at 6:30pm, with hour-long telenovelas airing at 7:00 and 9:00 p.m. during prime time. Production of telenovelas in Puerto Rico began in the 1950s with "Ante la ley" in 1955. Successful novelas to have come out of Puerto Rico have included La Mujer de aquella Noche, El Hijo de Angela Maria, El Cuarto Mandamiento, Tomiko, Cristina Bazan, El Idolo,
During the 1980s,
Russia
Telenovelas were first introduced to Soviet viewers in 1988, when a stripped-down version of Escrava Isaura (running only 15 episodes) was shown on central television channel. The adaptation of that series was very popular with the Soviet viewers. An even bigger success was
Serbia
The first Serbian telenovela was made in 2004 by
South Africa
The first telenovela in South Africa was Inkaba, which was aired on Mzansi Magic. Inkaba was canceled after it flopped to lure in viewers. Isibaya was the first ever successful telenovela on the channel of Mzansi Magic.
The most successful South African telenovela is Uzalo. Uzalo has over 10.25 million viewers in South Africa.[31] Uzalo tells the story of two families in the township of Kwa-Mashu: the Mdletshe family which plays a significant role in the management of the Kwamashu Kingdom Church and the Xulu family which runs a car theft syndicate. The connection between the families is that their eldest sons were switched at birth during the period when Nelson Mandela was released from prison. Uzalo details the relationships and conflict between members of the two families as part of a complex story.
Following the trend, other telenovelas started to flood in, with Mzansi Magic holding the monopoly of the genre with shows like Isithembiso, The Queen and The River among others. Other channels, such as e.tv and SABC, launched productions such as Keeping Score, Giyani: Land of Blood, High Rollers, Ashes To Ashes, Gold Diggers and Broken Vows.
South Korea
Korean telenovelas are often similar to a soap opera but without a neverending plot and frank sexual content. These dramas typically involve conflicts around dating and marital relationships, money problems, relationships between family members and
South Korea became one of the world's largest Asian-based television drama producers at the start of the 21st century. Korean dramas have been exported globally and have contributed to the
Spain
Spanish telenovelas are known in the nation as culebrones (Spanish of "long snakes") because of their convoluted plots. Broadcasters of telenovelas in the country are
Telenovelas have also aided in the formation of a transnational 'Hispanic' identity, as the Venezuelan scholar Daniel Mato has suggested. The appeal of the genre lies in the melodramatic and often simplistic narrative which can be understood and enjoyed by audiences in a wide variety of cultural contexts. Bielby and Harrington have argued that this reverse flow has influenced soap operas in the United States, leading to "genre transformation", especially with daytime soaps.[32]
Thailand
Thailand began producing its own telenovelas, also known in
Turkey
Turkey began producing its own telenovelas, also known in Turkish as televizyon dizileri, in the late 1990s at the same time that as the Philippines and South Korea began exporting their own television dramas as well in parts of the world. The storylines of Turkish dramas are usually based from the country's classic novels as well as historical settings (mostly during the Ottoman Empire period), and are known to have episodes lasting at least two hours each, much longer than an ordinary telenovela episode. These drama shows, in general, are of miniseries type, typically lasting for less than half a year, and are broadcast either as canned series or simultaneous telecasts in Turkey's key television markets with subtitles in multiple languages depending on the country outside Turkey where it has been aired.[citation needed]
Turkish telenovelas have gained wide popularity and appeal among viewers especially in the Arab world as well as the Balkans, Eastern Europe, Russia, and Central-South Asia due in part to the picturesque cinematography. This exportation of dramas has been cited as one of Turkey's foremost strategies in boosting their popularity in these regions by promoting Turkish culture and tourism. As a result, these make up one of its most economically and culturally important international exports.[citation needed]
International media experts have cited the 2010s as the biggest turning point of Turkish television production, which shifted to a balance of export of religious shows that were often widely viewed in these predominantly
Islamic conservatives in many Arab countries, however, condemn these Turkish shows as "vulgar" and "heretical" to Islam, as most of the prominent secular Turkish television series often have political undertones as well as a noticeable trend on emphasis of female empowerment, which contrasts with their patriarchal interpretation of Islam. Nonetheless, Turkish television drama broadcasts reach 1 billion viewers from approximately 100 countries in the world[citation needed], helping it surpass Latin America by the 2010s as the second largest exporter of television series worldwide after the United States.[33]
United States
In the United States, the telenovela concept has been adapted into the English language. The first American telenovela was the soap opera
In contrast, telenovelas adapted into a more conventional, weekly format have been more successful, such as ABC's adaptation of Betty la Fea,
In 2001, after it was purchased by NBC (which later merged with
Some Spanish-language telenovelas are now translated into English. Univision and Telemundo provide closed captioning in English in order to attract English-speaking American viewers (primarily American-born Mexicans who are not fluent in Spanish), carried as the second or third caption channel depending on the station. Xenon Pictures also includes English subtitles on its DVD releases of Mexican serials. The sudden interest in English telenovelas can be attributed to the appeal and successful ratings of the genre. Producers also see this as a way to attract the fast-growing Mexican population, most notably the female sector of this demographic. In addition, telenovelas break the traditional production format in the United States, in which a television program runs for 20–25 episodes a season, on a once-weekly basis.
Since 2010, Nickelodeon and its sibling networks have aired several programs produced in the style of telenovelas. These shows are usually broadcast in a daily-strip format over a one-month period. House of Anubis, based on a drama produced by its Dutch counterpart, was the first show produced for the network to adopt this format. Nickelodeon has since produced English-language adaptions of telenovelas produced by Nickelodeon Latin America. including Every Witch Way (based on Grachi), Talia in the Kitchen (based on Toni la chef), and I Am Frankie (based on Yo soy Franky). The popular Canadian drama series, Degrassi, periodically used this format and aired daily during summer runs on Teennick.
Uruguay
In Uruguay, telenovelas began to be produced in the 2000s.[34] At first, short run length productions were made that focused on melodramatic twists of traditional middle class life and were broadcast mainly on Channel 4, such as, Mañana será otro día, Constructores and Charly en el aire.[35][36]
In the 2010s, productions began to have a larger budget, which led to a greater number of episodes and even the participation of foreign actors.[37] The youth-oriented telenovela Dance! La Fuerza del Corazón was Channel 10's first major production, being syndicated in several countries in Latin America and Europe, and dubbed into Portuguese and Italian.[38][39] Another well-known production of Channel 10 is Porque te quiero así, which ran from 2010 to 2011.[40]
Venezuela
Telenovelas in Venezuela are mainly produced by
Venezuela is one of the largest producers of telenovelas in the world, with up to 279 serials of this style have aired to date. Many of the major productions have been syndicated to Colombia, Brazil, Mexico, Peru, Ecuador, Spain, Italy, Japan, and the United States, among other countries.
In the beginning, Venezuelan telenovelas followed the telenovela rosa format of a poor Cinderella who falls in love with Prince charming. Later in the 1980s, writers began writing realistic telenovelas that reflected everyday life of the common citizens where the audience could relate with the characters with telenovelas such as
In recent years, telenovela production has declined in the country especially after the closure of RCTV which was a major telenovela producer and exporter. Channels such as Venevisión end up producing only one national production per year. Government sanctions and regulations on media content has led to self-censorship of telenovela writers, also leading to reduced telenovela production.
Awards
The most important Telenovela award shows are the Mexican
Comparison with soap operas
The standard American, British or Australian soap opera is of indefinite length, sometimes running for decades, with an ever-rotating cast of players and characters. However, most Latin American telenovelas have an average run of six months up to a year. The show's duration is pre-planned at the show's inception, with the overall story arc and conclusion also known by the show's creators and producers at its inception.
Telenovelas also have a different type of story from English-language soaps, the typical telenovela story being focused on a rivalry between two or more people or families in romance or business. Many of them use stock themes like a Cinderella (who is a rival of the male protagonist's evil girlfriend), two brothers after one woman (or two sisters after one man) or mistaken/unknown parentage. Typically, the hero gets shot (or some form of fate equivalent to that).[41][failed verification][unreliable source?]
Telenovelas comprise the great majority of the
See also
- Arab television drama
- Fantaserye – a genre of teleserye
- Fotonovela– the magazine equivalent, a sort of photo-comic book usually with a romantic theme.
- Hong Kong television drama
- List of telenovelas
- Limited-run series
- MyNetworkTV telenovelas
- Serial (radio and television) – for a general discussion of the serial format, including soap operas and telenovelas
- Taiwanese Drama
- Teleserye
- Korean drama
- Indian soap opera
- Japanese television drama
- Téléroman – the French-Canadian equivalent
- Thai television soap opera
- Turkish television drama
- Webnovela – movement on the Internet, which is equivalent to the simulation of telenovelas.
Notes
- ^ /ˌtɛlənoʊˈvɛlə/ or /-nəˈvɛlə/;[1] Spanish: [telenoˈβela], Brazilian Portuguese: [ˌtɛlenoˈvɛla]
- ^ Spanish: televisión, Portuguese: televisão
- ^ Novela is the Spanish word for "novel". The word for "novel" in Portuguese is "romance", so "telenovela" should be "teleromance" in Portugal and Brazil, but due to the popularity of the Spanish term, it was adopted in Portuguese-speaking countries, which helped fuel confusion between the novel and novella literary forms ("novela" is the word for "novella" in Portuguese).
- ^ See also: The House of Flowers: Status as a telenovela
References
- ^ Telenovela | Define Telenovela at Dictionary.com. Dictionary.reference.com. Retrieved July 21, 2013.
- ^ "The Power of the Telenovela". PBS NewsHour. January 25, 2012. Retrieved November 28, 2017.
- ^ Hecht, John (September 26, 2006). "Telenovela market". The Hollywood Reporter. Retrieved July 15, 2007.
- ^ Paula Andaló, "Love, Tears, Betrayal...and Health Messages", Perspectives in Health Magazine: The Magazine of the Pan American Health Organization. vol. 8, no. 2, 2003
- ^ Beccera, Hector (April 17, 2015). A not-so-fond farewell to 'Sábado Gigante,' a corny, buffoonish show. Los Angeles Times. Retrieved April 17, 2015. "The telenovelas were better than American soap operas because the action was faster(.) Mercifully, unlike their slower-paced American brethren, they also were finite."
- ^ "La telenovela en México 1958–2002: Forma y contenido de un formato narrativo de ficción de alcance mayoritario". Tesis de Maestría en Letras Mexicanas. Univ. Nal. Autónoma de México. 2002.
- ^ Brown, William J. (Winter 1992). "Sociocultural Influences of Prodevelopment Soap Operas in the Third World". Journal of Popular Film and Television. Vol. 19, no. 4. Carnegie Endowment for International Peacen. p. 157.
- ^ Gabriela Soto Laveaga, "'Let's become fewer': Soap operas, contraception, and nationalizing the Mexican family in an overpopulated world." Sexuality Research and Social Policy. September 2007, vol. 4, no. 3 pp. 19–33.
- ^ Luhnow, David, and Santiago Pérez (April 23, 2018). "Netflix Breaks Up Audience Romance With Telenovela." The Wall Street Journal. Retrieved from WSJ.com, December 12, 2018.
- ^ "Yo soy Betty la fea’ entra al libro de los Guinnes Records[permanent dead link]
- ^ ":: Latin Soaps Fever :: Tv listings". Retrieved June 10, 2015.
- ^ a b c d e Spangler, Todd (May 11, 2016). "Telemundo and BuzzFeed Want to Reinvent the Telenovela Using Audience Data (EXCLUSIVE)". Variety. Retrieved December 12, 2019.
- ^ a b Garrán, Daniel (October 16, 2019). "Manolo Caro: "La corrección política atenta contra la creatividad"". Cadena SER (in Spanish). Retrieved December 12, 2019.
- ^ a b "¿Las nuevas series de Netflix son telenovelas para millennials?". Life and Style (in Spanish). August 16, 2018. Retrieved December 12, 2019.
- ^ ISSN 1134-6582. Retrieved December 12, 2019.
- ^ a b "'Jane the Virgin' Is 'Buffy the Vampire Slayer' For Millennials". Decider. March 30, 2017. Retrieved December 12, 2019.
- ^ La Casa de las Flores ¿Una telenovela millennial? (Ep. 26) | WEEKLY UPDATE, archived from the original on October 30, 2021, retrieved December 12, 2019
- ^ Pascual García, Alberto (September 4, 2018). "¿Por qué triunfa "La Casa de las Flores? Es la telenovela millennial (del mo-men-to)". Quo (in Spanish). Retrieved December 12, 2019.
- ^ Campo-Flores, Shalini Ramachandran and Arian (September 4, 2016). "Univision, Televisa Wrestle With Changing Tastes Among Hispanic Millennials". Wall Street Journal. Retrieved December 12, 2019.
- ^ Caldwell, Leah (July 29, 2011). "Syria's Subversive Soap Operas". The Atlantic. Retrieved March 12, 2024.
- ^ "Why Ramadan is a TV executive's dream in the Middle East". CBC Radio. Retrieved January 11, 2024.
- ^ "Ramadan TV: Your ultimate guide to the best of the month's television programmes". gulfnews.com. July 17, 2012. Retrieved March 11, 2024.
- ISSN 0362-4331. Retrieved March 12, 2024.
- ^ Keenan, K., & Yeni, S. (2003). Ramadan Advertising in Egypt: A Content Analysis With Elaboration on Select Items. Journal Of Media And Religion, 2(2), 109-117. http://dx.doi.org/10.1207/s15328415jmr0202_04
- ^ Dawoud, A. (2013). Chapter 9: Egyptian Audiences of Musalsalat in the Eye of the Beholder. In R. Butsch & S. Livingstone, Meanings of Audiences: Comparative Discourses (pp. 123-134). London: Routledge.
- ^ "Telenovelas in South America". November 8, 1999. Retrieved July 15, 2007.
- ^ "Brazilian telenovela actor Rubens de Falco, star of The Slave Isaura, dies at 76". International Herald Tribune. Associated Press. February 22, 2008. Retrieved February 24, 2008.
- ^ de Castro, Thell (September 14, 2014). "Morte de protagonista tumultuou final de novela da Globo em 1983". Notícias da tv (in Portuguese). Retrieved March 21, 2021.
- ^ El 0597 está ocupado Archived April 11, 2013, at the Wayback Machine in Colarte
- ^ "Ivonne Goderich".
- ^ Tvsa, Tvsa Team. "Top Shows on TV: September 2018". tvsa. Retrieved October 8, 2018.
- ^ 4th edition published 2012, edited by Frank J.Lechner and John Boli, Wiley-Blackwell p.355
- ^ Mandalit del Barco. "Turkish TV Travels Far As Craze For Dramas Goes Global". NPR.org. NPR. Retrieved May 18, 2016.
- ^ "Monte Carlo TV estrenó Constructores". PRODU.COM (in Spanish). April 18, 2003. Retrieved February 2, 2024.
- ^ "El lujo de la pobreza". LARED21 (in Spanish). July 12, 2002. Retrieved February 2, 2024.
- ^ "Termina "Charly en el aire"". Pantallazo (in Spanish). Retrieved February 2, 2024.
- ^ "Dance! La fuerza del corazón". LARED21 (in Spanish). August 5, 2011. Retrieved February 2, 2024.
- ^ "Serie musical Dance! coproducida por Powwow y Canal 10 de Uruguay se estrenó por RAI 2". PRODU.COM (in Spanish). September 24, 2012. Retrieved February 2, 2024.
- ^ "Elas são as vozes de 'Dance' - TV & Media - Correio da Manhã". December 3, 2012. Archived from the original on December 3, 2012. Retrieved February 2, 2024.
- ^ "Se estrenó "Porque te quiero así"". LARED21 (in Spanish). July 29, 2011. Retrieved February 2, 2024.
- ^ phorum – Amarte Así (Frijolito) forum Archived October 19, 2013, at the Wayback Machine. Foro.telenovela-world.com. Retrieved July 21, 2013.
Further reading
- Castellot de Ballin, Laura (1993). Historia de la televisión en México. Narrada por sus protagonistas. México: Alpe.
- Covarrubias, Karla; Angélica, Bautista y Ana B. Uribe (1994). Cuéntame en qué se quedó. La telenovela como fenómeno social. México: Trillas.
- de Lizaur Guerra, María Blanca (2002). La telenovela en México 1958–2002: Forma y contenido de un formato narrativo de ficción de alcance mayoritario. Master's degree dissertation in Mexican Literature. Univ. Nal. Autónoma de México.»
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