(Pontificia Universidad Católica del Perú, 2023-06-26) Effgen Santos, Matheus; Santos Alves, Gabriela
In Brazil, the telenovela has established itself as one of the most important products of television. Thus, it addresses the differences between social groups and disputes between them. The visibility for these groups that is built from this dynamic becomes a chance to promote their representation, when they see themselves as part of the nation. This study aims to understand the representation of Black women in the scenario of contemporary Brazilian telenovelas, focusing on Amor de Mãe (2019-2021). The research consisted of analyzing the protagonists of the first part of this narrative, Camila (Jéssica Ellen) and Vitória (Taís Araújo), based on the analytical category of controlling images (Collins, 2019), which unravels the logic that tries to justify the oppression experienced by these women. The results show that these images can be identified isolated and/or combined in the construction of these characters. At times, the telenovela plot questions these images; at others, it reinforces them.
(Pontificia Universidad Católica del Perú, 2023-06-26) Mauro, Rosana
This article proposes the relationship between the concepts of chronotope, by the Russian theorist Bakhtin, and territoriality (from a decolonial perspective) to analyze Latin American audiovisual fiction, focusing on power relations. These reveal themselves discursively, among other ways, in spatio-temporal clues that, in turn, dialogue with extradiegetic social contexts. In urban representations, we highlight the tension between public and private, while in natural environments there is a tension between nature (merged with the man represented by the native inhabitants) and civilization (represented by the colonizing white man).
(Pontificia Universidad Católica del Perú, 2023-06-26) Antezana Barrios, Lorena
Based on the narrative, televisual and hermeneutical analysis of three successful Chilean night-time soap operas of the police subgenre: Alguien te mira (2007), ¿Dónde está Elisa? (2009) and El laberinto de Alicia (2011) we wonder about the gender representations that these stories offer us. The results indicate that these soap operas are a hybrid product that combines classic melodrama with detective story. Unlike daytime and evening productions, the protagonists here are from the upper class, the story is fast-paced and dynamic, and plays with secrecy and suspense. However, in a gender reading we can see that, although women are initially presented as autonomous, independent and empowered, they finally end up fulfilling a classic role: that of mothers.
(Pontificia Universidad Católica del Perú, 2023-06-26) Rocha, Simone Maria; de Almeida Ferreira, Mariana
In this paper, we identify how local streaming services strategically adapt, enter, and remain in the highly competitive new television ecosystem. We analyze potential narrative innovations and seriality issues in the telenovela All the Flowers (2022), the first original script released by Brazilian streaming service Globoplay. Even though it maintains precepts of classic narrative design and melodrama, we identify an acceleration in the pace of narrative events with the anticipation of the inciting incident; the convergence of subplots around the central plot, and the interdependent crisscrossing of weekly arcs and biweekly arcs, which elevate and intensify the dramatic tone, suspense, and complexity of the narrative.
(Pontificia Universidad Católica del Perú, 2023-06-26) Gómez Rodríguez, Gabriela; Méndez Pupo, Yarimis
In 2019 Televisa began the production and transmission of three telenovelas with the central theme of gender violence. The trilogy, Vencer el miedo, Vencer el Desamor y Vender el Pasado, intertwines the stories of four protagonists who experience different conflicts associated with the multiple forms of violence they face in their daily relationships with men and women. This article analyzes these telenovelas from the gender perspective and the Critical Discourse Analysis (CDA) method. Among our findings, it stands out that, although there are advances in the way of representing women, the symbolic constructions and discursiveness around the female characters continue to yield to the norms of Christian morality, physical stereotypes or the more traditional roles assigned to men and women.
