Sage Journals: Discover world-class research

Abstract

In the context of a new economy and the new international cultural division of labor, we must recognize emerging globalization processes, triggered by the rise of a network cities media system in telenovela production comprising by the axis of Miami, Bogota, Mexico. This system has created an economic-socio-cultural production template I term reglocalization within the Spanish-language television industry. Reglocalization is a process through which Latinidad is re-crafted for regional/global consumption, through notions of traveling narratives, multinational settings, and multicultural castings, and transnational co-production agreements in which local entities produce a hybrid version of the region that includes a commodified production of a hemispheric Latinidad for global consumption.

Keywords

flows globalization Hispanic Latin American Latino Telemundo telenovela television

Get full access to this article

View all access options for this article.

References

Acosta-Alzuru

(2009) Presentation on telenovelas at a Global Media Conference (video-web material). MIT Communication Forum, 23 April. Available at: http://techtv.mit.edu/videos/16542-media-in-transition-6-global-media-mit-communications-forum (accessed 15 September 2012).

Castells

(2009) The Rise of the Network Society, 2nd edn. Malden, MA: Wiley-Blackwell.

Cepeda

(2010) Musical imagiNation: U.S. Colombian Identity and the Late Latin Music Boom. New York: New York University Press.

Consoli

(2007) Setting the stage. Mediaweek 17(38): 1–8.

Curtin

(2003) Media capital: towards the study of spatial flows. International Journal of Cultural Studies 6: 202–228.

DANE (2007) Colombia una nación multicultural: su diversidad étnica. Departamento Administrativo Nacional de Estadística Dirección de Censos y Demografía (DANE). Available at: http://www.dane.gov.co/files/censo2005/etnia/sys/colombia_nacion.pdf (accessed 17 August 2012).

Dávila

(2012) Latinos Inc.: The Marketing and Making of a People. Berkeley, CA: University of California Press.

Dorcé

(2009) Construyendo la historia de la telenovela en México: el modelo fundacional. Signo & Seña 21.

Dorcé

(2011) ¿A qué se resiste la televisión mexicana? In: Bolling

Casas

(eds) Resistance and Emancipation: Cultural Poetic Practices. Frankfurt: Peter Lang, pp. 319–334.

10.

EFE News Service (2009) Telemundo crea una nueva productora en alianza con RTI Colombia: Colombia-Televisión. EFE News Services, Bogota, 29 September.

11.

Flint

(2000) Telemundo, Argos are set to unveil production deal. Wall Street Journal, 17 October: B12.

12.

Foucault

(1972) Archaeology of Knowledge. New York: Pantheon Books.

13.

Fox

(1997) Latin American Broadcasting: From Tango to Telenovela. Luton: University of Luton Press.

14.

García-Canclini

(1989) Culturas Hibridas: Estrategias para Entrar y Salir de la Modernidad. México City: Grijalbo, Conaculta.

15.

Gómez

(2004) TV Azteca y la industria televisiva Mexicana en tiempos de integración regional (TLCAN) y desregulación económica. Comunicación y Sociedad 1: 51–90.

16.

Gómez

(2012) Media industry and policy in digital times: a Latin American perspective of notes and methods. In: Volkmer

(ed.) The Handbook of Global Media Research. Malden, MA: Blackwell, pp. 212–226.

17.

Harley

(2005) Creative industries. In: Harley

(ed.) Creative Industries. Malden, MA: Blackwell, pp. 1–40.

18.

Henao

(2010) A corazón abierto es la producción más exitosa de la historia según Fernando Gaitán. Televisión Nacional, 12 July.

19.

Hesmondhalgh

(2006) Cultural Industries, 2nd edn. Los Angeles, CA: Sage.

20.

James

(2012) Fox launching Spanish-language network. Los Angeles Times, 12 August. Available at: http://articles.latimes.com/2012/aug/12/entertainment/la-et-ct-0813-mundofox-network-20120813 (accessed 13 December 2013).

21.

López

(1995) Our welcome guests: Telenovelas in Latin America. In: Allen

(ed.) To Be Continued … Soap Operas Around the World. New York: Routledge, pp. 256–275.

22.

Martín-Barbero

(1995) Memory and form in the Latin American soap opera. In: Allen

(ed.) To Be Continued … Soap Operas Around the World. New York: Routledge, pp. 276–284.

23.

Martín-Barbero

Rey

(1999) Los Ejercicios del Ver. Hegemonía Audiovisual y Ficción Televisiva. Barcelona: Gedisa Editorial.

24.

Mato

(2005) The transnationalization of the telenovela industry, territorial references, and the production of markets and representations of transnational identities. Television & New Media, 6(4): 423–444.

25.

Mazziotti

(2010) La telenovela y su hegemonía en Latinoamérica: la pasión por los relatos. In: Casano

(ed.) Televisión: 14 Formas de Mirarla. Lima, Perú: Departamento Académico de Comunicaciones; Pontificia Universidad Católica de Perú, pp. 17–34.

26.

Miller

(2010) Ugly Betty goes global: global networks of localized content in the telenovela industry. Global Media and Communication 6(2): 198–217.

27.

Miller

(2007) Cultural Citizenship: Cosmopolitanism, Consumerism, and Television in a Neoliberal Age. Philadelphia, PA: Temple University Press.

28.

Miller

Leger

(2001) Runaway production, runaway consumption, runaway citizenship: the new international division of cultural labor. Emergences 11(1): 89–115.

29.

Miller

Covil

McMurria

Maxwell

Wang

(2005) Global Hollywood 2. London: British Film Institute.

30.

Mittell

(2001) A cultural approach to television genre theory. Cinema Journal 40(3): 3–24.

31.

Murdock

(2003). Back to work: cultural labor in altered times. In: Beck

(ed.) Cultural Work: Understanding the Cultural Industries. New York: Routledge, pp. 15–36.

32.

Noticias Financieras (2009) Sony Pictures compra 50% de Teleset en Colombia. Noticias Financieras (Miami), 30 January.

33.

Pineda

(2006) Impacta a Colombia telenovela polémica. Reforma (Mexico City), 20 September: 9.

34.

Pineda

(2011) Apuesta Colombia por ‘globaelencos’. Reforma (Mexico City), 4 January: 8.

35.

PR Newswire (2001) Telemundo, Caracol Television and RTI join together in unprecedented co-production force. PR Newswire (New York), 22 March: 1.

36.

Rey

(1998) Balsas y Medusas. Visibilidad Comunicativa y Narrativas Políticas. Bogotá: Cerec, Fescol y Fundación Social.

37.

Rey

(2002) La televisión en Colombia. In: Orozco

(ed.) Historias de la Televisión en América Latina. Barcelona: Gedisa Editorial.

38.

Rincón

(2007) Colombia: cuando la ficción cuenta más que los informativos. In: Vilches Vasallo

(eds) Culturas y Mercados de la Ficción Televisiva en Iberoamérica. Observatorio Ibero-Americano de la Ficción Televisiva. Anuario OBITEL 2007. Barcelona: Gedisa Editorial, pp. 133–158.

39.

Rodriguez

(1999) Making Latino News: Race, Language and Class. Thousand Oaks, CA: Sage.

40.

Rosaldo

(1994) Cultural citizenship and educational democracy. Cultural Anthropology 9(3): 402–441.

41.

Selznick

(2008) Global Television: Co-producing Culture. Philadelphia, PA: Temple University Press.

42.

Straubhaar

(2007) World Television: From Global to Local. Los Angeles, CA: Sage.

43.

Suárez

(2012) Critical Essays on Colombian Cinema and Culture: Cinembargo Colombia. New York: Palgrave Macmillan.

44.

Trejo

(2010) Muchos medios en pocas manos: concentración televisiva y democracia en América Latina. Revista Brasileira de Ciencias da Comunicacao 33(1): 17–51.

45.

U.S. Census Bureau (2011) The Hispanic population: 2010. Census briefs and reports. Available at: http://www.census.gov/prod/cen2010/briefs/c2010br-04.pdf (accessed 15 July 2012).

46.

Villarreal

(2011) Saying hola to Emmy voters; ‘La Reina del Sur’ and Kate del Castillo work to break ground for Spanish-language TV. Los Angeles Times, 20 June: D1.

47.

Yúdice

(2003) The Expediency of Culture: Uses of Culture in the Global Era. Durham, NC: Duke University Press.

Reglocalization and the rise of the network cities media system in producing telenovelas for hemispheric audiences

Abstract

Keywords

Get full access to this article

References