The soap opera "Cinta Fitri" is one of the most popular TV drama series (soap operas) not only in Indonesia but also in Singapore (MdEntertainment). This paper focuses on the phenomenon of soap ...operas and gender representation in Indonesian media. The research methods that will be used in this research include content analysis, case studies, surveys and statistical analysis, literature studies, and comparative analysis. The Indonesian soap opera "Cinta Fitri" captivates audiences with its portrayal of personal struggles and complex relationships. Lead characters Fitri and Farrel challenge traditional gender norms, resonating with viewers. The show's popularity is fueled by its relatable storyline, strong character dynamics, and dedicated fan base, making it a cultural phenomenon in Indonesia. "Cinta Fitri" is an Indonesian soap opera that was successful because it presented an evocative story, strong characters who challenged traditional gender norms, and received fanatical support from the audience. By focusing on personal conflicts and relationships between characters, this soap opera shows its appeal and becomes a cultural phenomenon that influences views on gender in Indonesia.
RESUMO Este artigo propõe uma reflexão acerca do projeto de retorno das telenovelas antigas do Grupo Globo na plataforma de streaming Globoplay, discutindo sobre seu impacto na constituição e ...manutenção da(s) memória(s). Para isso, foram empregados o método bibliográfico exploratório, utilizando-se da abordagem qualitativa, e o método de análise indutivo. Os dados obtidos com a pesquisa permitem enxergar o arquivo televisivo além da força mercadológica contida no projeto de retorno das telenovelas antigas. Verifica-se que o resgate dessas obras atua como meios de evocação, potencialização e, sobretudo, manutenção das memórias.
RESUMEN Este artículo propone reflexionar sobre el proyecto de retorno de las antiguas telenovelas del Grupo Globo en la plataforma de streaming Globoplay para discutir su impacto en la constitución y mantenimiento de la(s) memoria(s). En este esfuerzo investigativo, se movilizan el método bibliográfico exploratorio, utilizando el enfoque cualitativo, y el método de análisis inductivo. Los hallazgos de la investigación permiten ver el archivo televisivo más allá de la fuerza de mercadotecnia contenida en el proyecto de devolución de telenovelas antiguas. Parece que el rescate de estas obras actúa como un medio para evocar, potenciar y, sobre todo, mantener los recuerdos.
ABSTRACT This article aims to propose a reflection on the return project of Grupo Globo’s old soap operas, on the Globoplay streaming platform, discussing its impact on the constitution and maintenance of memory(s). To that end, the exploratory bibliographic method, using the qualitative approach, and the inductive analysis method were used. The date found by the research allow us to see the television archive beyond the marketing force contained in the project to return the old soap operas. It appears that the rescue of these productions acts as a means of evoking, enhancing, and, above all, maintaining memories.
The increase in clandestine migrants to Italy following the 2010 Tunisian uprising has been an issue of popular and political concern in both countries. This article investigates Harga (2021, 2022), ...a top-rated and critically acclaimed drama series. Produced and aired by Tunisian national television as a vehicle of entertainment-education, Harga strove to make a geopolitical intervention in the process of irregular migration. Combining textual analysis with interviews conducted with the production’s producers and participants, the article explores how local and transnational actors came together to create a counternarrative to the popular success stories of clandestine migrants. This approach contributes to a better understanding of the relationship between media and socio-cultural and political dynamics as well as of their effect on formulating mediated narratives on clandestine migration. Due to Harga’s documentarist depiction of the social and political driving forces behind irregular migration and its open criticism of Tunisian authorities, the show is investigated within the framework of post-uprising Tunisia’s mediascape, and domestic and international political environment. In this regard, it offers a good case study for examining how local politics, transnationalism, and postcolonialism are intertwined in formulating discourses on irregular migration.
Produced as a spin-off of The Vampire Diaries (Julie Plec, The CW, 2009‑2017), The Originals (The CW, 2013-2018) depicts the return of the Mikaelsons, the white Nordic vampires Elijah, Rebekah and ...Klaus, to New Orleans. As they seek to take back control of the city, they face other supernatural groups, notably another vampire community led by a Black leader and an assembly of Latina witches. The power relations between the different supernatural groups are fluctuating and constantly renegociated, according to the narrative logic of the soap opera (Modleski, 1990), and are given a cultural dimension (Guitar, 2015). Focusing on the conflicts between the different communities, The Originals shows how white authority is defied by racial Others with whom it must compromise in order to renegociate and reimpose its hegemony. Using the framework of white critical studies (Dyer, 1997) and post-colonial studies (Loomba, 1995), as well as a generic perspective on the gothic (Botting, 1996) and the soap opera (Allen, 1995), this paper examines the conditions of white authority in the first season of The Originals. It focuses first on how the white norm can no longer remain invisible in the face of other supernatural races. It then examines the figure of the vampire and its relations with whiteness. Finally, it analyzes how the instability that characterizes the Mikaelsons’ power is in fact the ultimate condition for their supernatural, narrative and political authority.
The representation of indigenous African cultures in hegemonic soap operas remains a contentious issue. Critics and cultural activists have challenged the portrayal of African cultures from the prism ...of prescribed images and frames of reference. This article reports on a study that sought to ascertain how a contemporary South African soap opera, Generations: The Legacy, portrays indigenous African cultures. The study used a combination of quantitative content analysis and critical discourse analysis within the framework of Stuart Hall's audience reception theory. The results showed that Generations: The Legacy uses everyday discourse to highlight issues of patriarchy, gender relations, social inequities, power asymmetries, and contestations, as well as matters of domination and exploitation. While the show gives effusive expression to indigenous African cultures, it reuses existing sociocultural stereotypes prevalent in a divided society. It does not call attention to them so much as it re-enacts them. This representation can create tension and implicate intercultural relations and the survival of subaltern cultures, especially in a racially polarised and culture-sensitive society like South Africa. Soap operas can foster a more progressive and dynamic society by promoting a more nuanced depiction of indigenous values, practices and beliefs, and de-emphasising sociocultural stereotypes.
This paper explores the production and consumption of contemporary Zulu masculinities presented in three South African soap operas by Zulu male audiences living in KwaZulu-Natal, South Africa. ...Exploring the interpretations of the constructions of Zulu masculinities in Uzalo, Imbewu, and Isibaya by the situated Zulu male audience provides insight into their various forms of identity and social experience, bearing in mind the dominant societal and media discourses on Zulu masculinities. Data was collected via three face-to-face semi-structured interviews with soap opera producers and thirty focus group participants who represent the soap opera audience. The analysis is conceptually guided by cultural studies active audience theory and masculinity theory, both from a constructionist perspective that explores the connection between discourses, masculinities, and popular culture. The argument is based on the idea that masculinity is not fixed and is constructed within a social context and that meanings bestowed upon objects and events are influenced by the audience member's frameworks of interpretation.
The resulting analysis demonstrates that although there are deliberate attempts in soap opera's preferred messaging to subvert the dominant discourses of Zulu masculinities founded on machismo entrenched in Zulu tradition, as well as negative stereotyping, the audience participants predominantly decode these according to a hegemonic understanding of an ideal Zulu masculinity based on patriarchy. This negotiation of meaning is presented according to four themes, namely; opposing homosexuality, hegemonic masculinities vs "the sensitive man", absent fatherhood as a (post) struggle identity, and polygamy as divergent decoding.
The goal of this contribution will be to analyze the ways in which gender issues are treated within the fiction Un posto al sole. Specifically, the corpus of analysis will be defined around the ...narrative development of the character of Carla Parisi, a transgender father, who allows fiction to deal with issues such as transsexualism and homogenitoriality. Through a methodology that integrates semiotics of culture, gender studies and audiovisual studies, the semantic universe introduced by Carla will be highlighted, paying particular attention to stereotypes and clichés that characterize the complexity of this subjectivity.
During a 2-year period, the depictions of religious figures and their interactions with secular individuals in urban daily life became an integral feature of Turkish soap operas that gained ...popularity in the world after the 1990s. While previous studies have explored the portrayal of various actors in them in terms of age, gender, socio-economic status, and historical perspectives, there is a lack of analysis regarding the interaction between secular and religious urban representations. This research aims to investigate the differences in everyday cosmopolitan perspectives in terms of spatiality and temporality between the two groups. To examine this, the soap opera Kızılcık Şerbeti (One Love) was analysed. Research has shown that when two groups develop their identities in opposition to one another, it leads to the emergence of different temporal and spatial dimensions within the same urban setting. While it seems unfeasible to reconcile the daily routines of both groups in the same place, age, gender, education, and class make negotiation possible in shared spaces. This draws attention to the intersectional approach rather than the binary positions of identities in the placemaking process. The main contribution of this research is to integrate religion, which has been forgotten in human geography, into geographical and sociological discussions by focusing on an intersectional approach in an urban context.
In addressing the soap opera's enduring vitality, this study focuses on the soap culture on the Russian-language Web (Runet). With the serials produced in Asia and Latin America at the center, this ...culture emerges as a vibrant site of transnational spectatorship and a crucial area to negotiate the interpersonal relationships and social values. A fundamental condition of this cross-border phenomenon is language translation predominantly performed by women. In foregrounding the case of the Hindi soap serial on the Runet, this paper examines the role of women translators as a driving force behind global television traffic and an important agent of soap imaginaries.
El artículo propone un acercamiento a la radionovela La Perricholi (1935), escrita por la feminista peruana María Jesús Alvarado. Se busca mostrar cómo el personaje de Micaela Villegas fue usado por ...la autora para intervenir en el debate sobre los derechos políticos, el acceso a la educación y el trabajo remunerado de las mujeres. La autora utiliza como estrategia principal para posicionarse una construcción alternativa de esta figura histórica que había sido leída desde muchos ángulos. Al mismo tiempo, interviene el régimen sentimental dominante y propone nuevos criterios para la evaluación moral de la mujer ciudadana.
PDF
