front cover of Drugs, Thugs, and Divas
Drugs, Thugs, and Divas
Telenovelas and Narco-Dramas in Latin America
By O. Hugo Benavides
University of Texas Press, 2008

Soap opera speaks a universal language, presenting characters and plots that resonate far beyond the culture that creates them. Latin American soap operas—telenovelas—have found enthusiastic audiences throughout the Americas and Europe, as well as in Egypt, Russia, and China, while Mexican narco-dramas have become highly popular among Latinos in the United States. In this first comprehensive analysis of telenovelas and narco-dramas, Hugo Benavides assesses the dynamic role of melodrama in creating meaningful cultural images to explain why these genres have become so successful while more elite cultural productions are declining in popularity.

Benavides offers close readings of the Colombian telenovelas Betty la fea (along with its Mexican and U.S. reincarnations La fea más bella and Ugly Betty), Adrián está de visita, and Pasión de gavilanes; the Brazilian historical telenovela Xica; and a variety of Mexican narco-drama films. Situating these melodramas within concrete historical developments in Latin America, he shows how telenovelas and narco-dramas serve to unite peoples of various countries and provide a voice of rebellion against often-oppressive governmental systems. Indeed, Benavides concludes that as one of the most effective and lucrative industries in Latin America, telenovelas and narco-dramas play a key role in the ongoing reconfiguration of social identities and popular culture.

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Her Stories
Daytime Soap Opera and US Television History
Elana Levine
Duke University Press, 2020
Since the debut of These Are My Children in 1949, the daytime television soap opera has been foundational to the history of the medium as an economic, creative, technological, social, and cultural institution. In Her Stories, Elana Levine draws on archival research and her experience as a longtime soap fan to provide an in-depth history of the daytime television soap opera as a uniquely gendered cultural form and a central force in the economic and social influence of network television. Closely observing the production, promotion, reception, and narrative strategies of the soaps, Levine examines two intersecting developments: the role soap operas have played in shaping cultural understandings of gender and the rise and fall of broadcast network television as a culture industry. In so doing, she foregrounds how soap operas have revealed changing conceptions of gender and femininity as imagined by and reflected on the television screen.
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Soap Fans
Pursuing Pleasure and Making Meaning in Everyday Life
C. Lee Harrington and Denise D. Bielby
Temple University Press, 1995

Do soap opera fans deserve their reputation as lonely people, hopeless losers, or bored housewives? No, according to C. Lee Harrington and Denise D. Bielby. These authors—soap fans themselves—argue that soap fans are normal individuals who translate their soap watching into a broad range of public and private experience. People who cut across all categories of age, gender, race, ethnicity, income, education, and ideology incorporate a love of the soaps into their day-to-day leisure activities.

Interviews with soap opera viewers, actors, writers, producers, directors, the daytime press, and fan club staff members reveal fascinating details about the inside world of fandom and the multitude of outlets for fan expression—clubs, newsletters, electronic bulletin boards, and public events. Numerous examples illustrate the pleasure fans derive from critiquing characters, speculating on plot twists, and swapping memorabilia.

Examining the experiences that shape fan culture, Harrington and Bielby analyze the narrative structure and various aspects of the production of the soaps. Their examination reveals that the "meaning" of soaps is complex, individualized, and not simply a reflection of the narrative content of the stories. The authors show fans who actively contemplate what it means to be a fan, and who adjust their level of involvement accordingly.

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Staying Tuned
Contemporary Soap Opera Criticism
Suzanne Frentz
University of Wisconsin Press, 1992
Staying Tuned: Contemporary Soap Opera Criticism examines serials. Broadcast first in 1926 on radio and since 1956 on television Monday through Friday 52 weeks a year, soap operas provide a clear promise to continue for as long as mass medicated entertainment exists. Over the last sixty years, billions have happily suffered along with the gallant men and women of the afternoon.
    A growing body of scholarly literature exists now to provide insights and suggest answers to the question of why so many continually return to the routine tragedies of daytime drama. Each of our chapters explores an aspect of soap opera which contributes to the endurance of the genre.
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