Why Do I Feel I Don’t Belong to the Brazil on TV?

Pastina, Antonio C. La; Straubhaar, Joseph; Sifuentes, Lírian

doi:10.1080/15405702.2014.893582

Cited by 14 publications

(9 citation statements)

References 17 publications

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“…Problematically, however, Globo’s dominance, characterized by narratives and an aesthetic that have historically emphasized middle- and upper-middle-class Whiteness based in São Paulo and Rio de Janeiro, has made it difficult for a substantial section of the population to recognize itself in the network’s representation of what it means to be Brazilian (Araújo, 2000). As La Pastina et al (2014) put it, that representation has led many Brazilians to ask, ‘Why do I feel I don’t belong to the Brazil on TV?’ The shift from Globo to a proliferation of voices offering more diverse portrayals of the Brazilian population should be understood as a broader ongoing response to such an inquiry, one that emerges in and as a result of the Pay-TV Law Era.…”

Section: Discussionmentioning

confidence: 99%

Shifting the center: the impact of the Pay-TV Law on the Brazilian audiovisual field

Carter

2018

Media, Culture & Society

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Although the Brazilian mediascape has been in transition since the early 1990s, the passage of the Pay-TV Law (Law 12.485) in 2011 established a new era. The Pay-TV Law has led to the rise of new distributors and production companies, a proliferation of viewing options, and a diversification of narrative formats. This increasingly competitive era has accelerated the fragmentation of TV Globo’s hegemony over the symbolic constructions of Brazil as an imagined community. In addition, this fragmentation has led to more diverse depictions of the country and its people, moving beyond the racially and geographically limited representations of TV Globo’s telenovelas, and thereby expanding the broader social imaginary. The series 3%, from a 2011 YouTube web pilot to its 2016 release as Netflix’s first original Brazilian series, is one prime example of production occurring beyond TV Globo’s reach, the ongoing transformation to the field, and the broadening depiction of how Brazil is imagined that began with the passage of the Pay-TV Law in 2011.

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Section: Discussionmentioning

confidence: 99%

Shifting the center: the impact of the Pay-TV Law on the Brazilian audiovisual field

Carter

2018

Media, Culture & Society

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“…The Sri Lankan megas developed in the 2000s and emerged as spinoffs of Indian soap operas of the neighbouring cultural stalwart, popularised by Indian satellite television channel Zee TV (see Gamage, 2018). However, similar to Latin American telenovelas (La Pastina et al, 2014), Sinhalese megas have definite endings. Unlike American daytime soaps (Brunsdon, 2000), megas dominate prime time television in Sri Lanka, broadcasting on both commercial and government-owned television.…”

Section: Sinhalese Soap Operasmentioning

confidence: 99%

Migration, identity, and television audiences: Sri Lankan women’s soap opera clubs and diasporic life in Melbourne

Gamage

2020

Media International Australia

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This article examines a soap opera club of Sri Lankan Sinhalese migrant women in Melbourne and their collective engagement with television soap operas from the home country. Teledramas, as Sri Lankan Sinhalese-language soap operas are known, have a predominantly female viewership in Sri Lanka and also constitute a significant presence in the media diets of Sinhalese migrant women in Melbourne, and elsewhere in the world. Furthermore, at a women’s teledrama club affiliated to a Sri Lankan diasporic association, Sinhalese migrant women come together to exchange and archive reproduced DVDs of teledramas broadcast in Sri Lanka, bought from Sri Lankan grocery shops in Melbourne. This article builds on ethnographic research conducted at the teledrama club to show how what may appear to be an informal gathering of female teledrama fans is complexly interwoven into the expression of identity and belonging in Australian society. The article positions trans-Asia media flows in Australia within the everyday lives of migrants by examining the Sri Lankan soap opera club as a gendered space as well as a cultural space of identity, belonging and expression. This article finds that the teledrama club provided the women a symbolic national identity as an audience and the Sri Lankan narratives offered audiovisual access to the value systems of their distant geography and past.

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“…The main question remaining is the degree to which mediatised boundaries could query this list of paradigms; it could reverse, for instance, one's conception that the favela dweller is the natural police target or the invader of the 'public' space (Penglase, 2007(Penglase, , 2014. The periphery could reverse simplistic media portraits judged as too harsh or too soft in comparison to 'reality', portraits that invariably results in little self-identification from spectators (La Pastina et al, 2014). Alternatives to this binary perspective emerged from recent political and economic transformation, as I shall discuss next.…”

Section: Past Ways Of Looking At the Peripherymentioning

confidence: 99%

Disrupting the Old Periphery: Alternative Media, Inequality and Counter-Mapping in Brazil

Levy

2018

Westminster Papers in Communication and Culture

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Media discourse on the periphery in Brazil has historically mirrored the country's socioeconomic divides. The periphery used to be where precarious dwellings predominate: a way of 'behaviour' of the poor, their social class, or an aspect at one's appearance. Semi-structured interviews conducted with alternative media producers based across the country have produced insights into many attempts to change a derogatory sense of the periphery through counter-mapping initiatives. Producers have geotagged their presence at the city's centre, contested the neutrality of maps, and appropriated surveillance images in semi-public spaces. While not an exhaustive exercise, this paper sees counter-mapping used to explore four distinct communicative strategies around the ethnic/racial divide, the cultural divide, the discourse of mobility, and the raising of awareness about emerging intersectional issues.

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Why Do I Feel I Don’t Belong to the Brazil on TV?

Cited by 14 publications

References 17 publications

Shifting the center: the impact of the Pay-TV Law on the Brazilian audiovisual field

Shifting the center: the impact of the Pay-TV Law on the Brazilian audiovisual field

Migration, identity, and television audiences: Sri Lankan women’s soap opera clubs and diasporic life in Melbourne

Disrupting the Old Periphery: Alternative Media, Inequality and Counter-Mapping in Brazil

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