(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) 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) 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.
