A multilayered transnational broadcasting television industry: The case of Latin America

Abstract

The transformation of the U.S. Hispanic and Latin American television industrial landscape is slowly reshaping the composition of interregional programming flows, with an increasing presence of transnational corporations competing in different modalities in national markets. While long-standing dominant Latin American media corporations still hold a disproportionately hegemonic position in their domestic markets, the production of culturally proximate products is no longer the prerogative of national networks. The transnational invites us to reflect on the new sets of collaborations and transnational industrial structures of production, distribution, exhibition, and consumption resulting from the interrelated institutional relationships among television corporations across the region.

Peripheral Stardom, Ethnicity, and Nationality: The Rise of the Argentinian Ricardo Darin From Local Celebrity to Transnational Recognition

“…In this sense, paraphrasing Kraidy's definition of hybridity, we could think of “peripheral stars” such as Ricardo Darin as “constitutive of, and constituted by sociopolitical and economic arrangements” (Kraidy, ). While we cannot conclude that Darin's international career pattern will evolve into an imitable model for other film stars from developing countries, we would like to highlight similarities between the circulation and consumption of “peripheral stars” and, more broadly, the transnational dynamics at work within national and regional cultural industries (Iwabuchi, ; Piñón, ; Thussu, ). Much like television formats, popular music, or other cultural industry products, the production and consumption of film star texts are also “mediated by transnational connections and discursive devices that turn them into attractive assets for geographically and culturally more distant markets and cultures” (Ribke, ).…”

Políticas de diversidad cultural en el sector audiovisual de América Latina: posibilidades e incertidumbres en la era de las plataformas de streaming

“…Por lo tanto, actualmente en el subcontinente existen heterogéneas identidades culturales, en un entorno de vertiginosas fragmentaciones y transformaciones sociales (García, 1999) que las ponen en riesgo y las amenazan, en un contexto digital donde prevalece el comercio corporativo. En ese sentido, aunque los procesos de globalización generados por el capitalismo en las última décadas han limitado las posibilidades de desarrollo de iniciativas culturales en algunas regiones como Latinoamérica, a pesar de los embates del neoliberalismo, "lo latinoamericano anda suelto", como señala García Canclini (2002), y extiende su territorio traspasando fronteras por diversas rutas, toda vez que estos procesos sociales, económicos y culturales de corte híbrido, desde una perspectiva simbólica transnacional (Piñón, 2014), interactúan con las identidades nacionales.…”

A comida como chef de um formato televisivo: MasterChef Brasil versus MasterChef Colômbia

“…A partir de uma grande pressão mercadológica, o governo de César Gaviria instituiu, na Constituição de 1991, a privatização das televisões e empresas de telecomunicação, fazendo com que os maiores grupos econômicos do país abocanhassem esse mercado (MONTOYA-LON-DOÑO, 2014). Hoje, a Colômbia é um dos sete maiores mercados televisivos da América Latina (PIÑÓN, 2014). Principalmente nos últi-mos 10 anos, Brasil e Colômbia têm importado uma gama significativa de formatos televisivos, com destaque para os reality shows.…”