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O polémico estabelecimento da Igreja Universal do Reino de Deus em Portugal deu ensejo a uma cobertura jornalística durante a década de 1990, em que acusações de crimes graves — de charlatanismo a ligações com o narcotráfico e o rapto de crianças — preencheram as páginas dos jornais (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Também se observou no discurso jornalístico do período a associação da Igreja a estereótipos sobre o Brasil e os brasileiros e a referência às telenovelas brasileiras, então bastante populares no país. Com o objetivo de observar se estas características se mantiveram ao longo dos anos, analisámos peças publicadas pelos jornais de referência Público e Expresso no início do século XXI (2001 e 2002), em 2010 e em 2017. Inspirada pela análise crítica do discurso e a análise de enquadramentos, e com o suporte teórico da teoria das representações sociais, tal análise permitiu-nos concluir que se mantém as características identificadas nos anos 1990 na cobertura da Igreja, embora a sua presença mediática se tenha atenuado. Por sua vez, a referência às telenovelas revela-se na tessitura do discurso jornalístico, com uma hibridez entre os géneros melodrama e informativo., The controversial establishment of the Universal Church of the Kingdom of God in Portugal was the subject of many news reports during the 1990s, in which accusations of serious crimes — from charlatanism to connections to drug trafficking and child abduction — filled the pages of newspapers (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Many of these news reports linked the Church with stereotypes about Brazil and Brazilians and referenced Brazilian soap operas, which were quite popular in the country at the time. To observe whether these characteristics have been maintained over the years, the author analysed reports published by the influential newspapers Público and Expresso from the early 21st century (2001 and 2002), in 2010 and 2017, respectively. Inspired by critical discourse analysis and framing analysis, and with the theoretical support of the theory of social representations, such analyses allowed the author to conclude that the characteristics identified in the 1990s remained, although the Church’s media presence has since reduced. In turn, the reference to soap operas manifests in the fabric of journalistic discourse, with a hybridisation formed between the melodramatic and informational genres.

The controversial establishment of the Universal Church of the Kingdom of God in Portugal was the subject of many news reports during the 1990s, in which accusations of serious crimes — from charlatanism to connections to drug trafficking and child abduction — filled the pages of newspapers (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Many of these news reports linked the Church with stereotypes about Brazil and Brazilians and referenced Brazilian soap operas, which were quite popular in the country at the time. To observe whether these characteristics have been maintained over the years, the author analysed reports published by the influential newspapers Público and Expresso from the early 21st century (2001 and 2002), in 2010 and 2017, respectively. Inspired by critical discourse analysis and framing analysis, and with the theoretical support of the theory of social representations, such analyses allowed the author to conclude that the characteristics identified in the 1990s remained, although the Church’s media presence has since reduced. In turn, the reference to soap operas manifests in the fabric of journalistic discourse, with a hybridisation formed between the melodramatic and informational genres., O polémico estabelecimento da Igreja Universal do Reino de Deus em Portugal deu ensejo a uma cobertura jornalística durante a década de 1990, em que acusações de crimes graves — de charlatanismo a ligações com o narcotráfico e o rapto de crianças — preencheram as páginas dos jornais (G. M. Dias, 2006; R. A. S. Dias, 2016; Farias, 1999; Farias & Santos, 1999; Júnior, 2013; Machado, 2003). Também se observou no discurso jornalístico do período a associação da Igreja a estereótipos sobre o Brasil e os brasileiros e a referência às telenovelas brasileiras, então bastante populares no país. Com o objetivo de observar se estas características se mantiveram ao longo dos anos, analisámos peças publicadas pelos jornais de referência Público e Expresso no início do século XXI (2001 e 2002), em 2010 e em 2017. Inspirada pela análise crítica do discurso e a análise de enquadramentos, e com o suporte teórico da teoria das representações sociais, tal análise permitiu-nos concluir que se mantém as características identificadas nos anos 1990 na cobertura da Igreja, embora a sua presença mediática se tenha atenuado. Por sua vez, a referência às telenovelas revela-se na tessitura do discurso jornalístico, com uma hibridez entre os géneros melodrama e informativo.

ilustraciones, fotografías, diagramas Este trabajo busca entender los contextos culturales en los que surgieron los comentarios negativos, críticos o irónicos sobre la telenovela Yo soy Betty, la fea (1999) aparecidos en Twitter con el marcador #BettyLaFea durante su reemisión de 2019. Con la intención de caracterizar a las audiencias heterogéneas que comentaron con ese marcador, en el primer capítulo trae algunos estudios sobre audiencias televisivas y telenovelas de los años 90 a una contemporaneidad invadida por nuevos dispositivos de comunicación y entretenimiento buscando dar cuenta del rol que cumple un consumidor de televisión en las nuevas dinámicas comunicativas. El segundo capítulo se concentra en las interpretaciones de tipo político que se hicieron de la telenovela enmarcándolas dentro de un tipo de militancia en línea en el que la ciudadanía se mezcla con el consumo. Desde los estudios de las emociones, específicamente del amor, el tercer capítulo se centra en los comentarios relativos a la atracción sexual y a las relaciones afectivas tratando de entender el rechazo hacia las maneras de amar y relacionarse representadas en Betty manifestado por algunos usuarios del marcador. Finalmente, observando los memes sobre la telenovela, el cuarto capítulo analiza la forma en la que muchos de esos usuarios tendían a relacionar a Betty con otros productos televisivos del pasado que parecían manifestar cierta nostalgia que hacía posible el hecho de que una telenovela con veinte años de edad pudiera ser vista y comentada desde Twitter en la contemporaneidad. (Texto tomado de la fuente) This work seeks to understand the cultural contexts in which the negative, critical or ironic comments about the telenovela Yo soy Betty, la fea (1999) appeared on Twitter with the marker #BettyLaFea during its reissue in 2019. With the intention of characterizing the heterogeneous audiences that commented with that marker, the first chapter brings some studies on television audiences and telenovelas from the 90s to a contemporaneity invaded by new communication and entertainment devices seeking to account for the role that a television consumer plays in the new communicative dynamics. The second chapter focuses on the political interpretations that were made of the telenovela, framing them within a type of online militancy in which citizenship is mixed with consumption. From the studies of emotions, specifically of love, the third chapter focuses on comments related to sexual attraction and affective relationships, trying to understand the rejection of the ways of loving and relating represented in Betty expressed by some users of the marker. Finally, looking at the memes about the telenovela, the fourth chapter analyzes the way in which many of those users tended to relate Betty to other television products of the past that seemed to express a certain nostalgia that made possible the fact that a twenty-year-old telenovela could be seen and commented on from Twitter. in contemporary times. Maestría Magíster en Estudios Culturales Comunicación, cultura y poder

Televizija predstavlja jedan od najpopularnijih masovnih medija za emitiranje različitog videosadržaja. Čovjek je s televizijom povezan kao njezin gledatelj koji sudjeluje u razmjeni poruke prenesene tim medijem, a globalnim razvojem televizije razvijao je svoja osjetila kao što su vid i sluh. Televizija je tijekom svog dugogodišnjeg razvoja i pristupa publici stvorila televizijske žanrove od kojih su latinoameričke sapunice – telenovele neke od najpopularnijih vrsta televizijskih žanrova među gledateljima diljem svijeta. Telenovele svoj put prema globalnom uspjehu započinju od klasičnih emitiranja na televiziji, a zahvaljujući digitalnoj tehnologiji, pojavi novih medija i interneta, postaju poznati svjetski uspješan izvozni proizvod Latinske Amerike. Pojava novih medija mijenja načine prijenosa i prezentacije audiovizualnog sadržaja, što dovodi do konvergencije medija. Konvergencijom medija, a posebno televizije te pojavom novih hibridnih i interaktivnih usluga kao što je Netflix, telenovele i sapunice dobivaju svoje novo digitalno obilježje, a publika postaje sve više povezana s njima. Na kraju ovoga rada analiza sadržaja prikazuje trenutni popis latinoameričkih sapunica – telenovela na aplikaciji Netflix i podatke o zemlji podrijetla, broju sezona te epizoda. Television is one of the most popular mass media for broadcasting different video content. The man is connected to television as its viewer who participates in the exchange of the message coming from this interactive media, and with the global development of television he developed his senses such as sight and hearing. Through its long-term development and audience, television has created various television genres, of which Latin American soap operas – telenovelas are one of the most popular types of television genres among viewers around the world. Telenovelas begin their journey to global success from classic broadcasts to television, and thanks to digital technology, the emergence of new media and the Internet they became a world-famous successful export product of Latin America. The emergence of new media changes the ways of transmission and presentation of audiovisual content, which leads to the convergence of media. With the convergence of media, especially television, and the emergence of new hybrid and interactive services such as Netflix, telenovelas and soap operas are gettinh their new digital feature, and audiences are becoming increasingly connected to them. At the end of this paper, content analysis shows the current list of Latin American soap operas – telenovelas on the Netflix application and data on the country of origin, number of seasons and episodes.

This study has been inspired by the political events in the past few years that signalled a general decline, instead of consolidation, of democracy in South Africa. The decline has caused a rising trust deficit between the government and the citizens of South Africa. These events have raised questions of the role of the media in the consolidation of democracy. Katrin Voltmer's pioneering work, The Media in Transitional Democracies (2013) shines an important light in delineating the role of the media in transitions, including democratic consolidation. Much of the focus of scholastic research in the subject of media and democracy has been on news and journalistic content. Jurgen Habermas' seminal work, The Structural Transformation of the Public Sphere (1989) also accorded more weight to the rational and cognitive, as opposed to the affective and emotive aspects of the media when arguing in favour of emancipatory potential of the public sphere. The rational and cognitive aspects are generally associated with news and journalistic content (McGuigan, 2005: 430). Unlike Habermas, this study follows the lead by scholars like Van Zoonen (2006) and McGuigan's (2005) interest in the popular entertainment content which has often been regarded as having little significance in politics, especially democracy. In its emphasis on the consolidation aspect of South African democratic transition, the study is conducted against the backdrop of the broader ‘third wave' transitions of the early 1990's (Huntington, 1991). The study's theoretical framework is aligned with Christians et al.'s (2009) revision of the Four Theories (Siebert, et al, 1956) of the press. Their approach is useful because of its normative strength that opens the possibilities of media roles in democratization. The normative approach allows a free exploration of the potential of the media, instead of restricting the media to the political systems within which they operate. In addition, it aligns itself to Jim McGuigan's theory of the cultural public sphere which highlights the often-ignored political potency of popular cultural texts in the public sphere. McGuigan (2005: 430) argues that the affective or emotive aspects of popular cultural texts enhance, rather than hinder, the quality of political engagement in the public sphere. Through entertainment television programmes, democratic ways of life can be portrayed as part of everyday, ordinary life (Stevenson, 2010: 276). Against the widely held expectation that the media should play a positive role in democracies, some scholars have noted that in reality, “this is not necessarily so” (Jebril, Stetka & Loveless, 2013: 3). Rather, the media can serve dictatorships as happily as they serve democracies (Voltmer, 2013: 23). Using the case studies of two soap operas of the South African Broadcasting Corporation (SABC), Muvhango and 7de Laan, the study explores the role of popular media in the enhancement or consolidation of democracy, and the circumstances under which this is carried out. The media of interest for this study is public service broadcasting (PSB). For most democracies of the third wave, especially in Africa, PSB has been an easy victim of political power. Because of its dependence on the state, PSB tends to be more susceptible to political interference than other media types. Like other PSBs, the SABC has clearly spelt-out objectives that are linked to the national developmental objectives, including the goal of promoting and deepening democracy. This connection makes it possible to evaluate the selected entertainment case studies against these objectives. The study uses Multimodal critical discourse analysis (MCDA) because it allows for the analysis of text in its multimodal form such as visuals and audio. It equally allows for the application of analytical tools borrowed from film and television theories. By indirect measurement, MCDA model is used in the study to evaluate how democracy is represented (promoted, negated, omitted) in various aspects of the text.

In addition to the health risks, the covid-19 pandemic has disrupted the normal way of life and all its parts. It threatened the sense of ontological security that allows individuals to trust in the permanence of themselves and their environment. This feeling is an integral part of life in modern society and is reinforced by many factors, including television and its content, for example in the form of television series. This thesis explores the ways in which regular viewers of selected Czech television series and soap operas used their viewing as a source of reassurance and security in a time characterised by the disruption of the familiar and the creation of uncertainty. The first part of the thesis introduces key theoretical frameworks, including ontological security, everyday life, cultural studies and Roger Silverstone's work on understanding television as a source of ontological security. The second part of the thesis presents the methodology of the conducted qualitative research, which consisted of in-depth interviews with regular viewers of selected Czech television series and soap operas. The third part of the thesis presents the results of the research and their interpretation. The central motive that emerged from the respondents' statements was the security that watching soap operas...

No other work of audiovisual fiction in the Brazil has managed to arouse the interest of the Brazilian public as much as soap operas. Having its origin linked to the literature of French novels in the nineteenth century, here, the genre became “Brazilianized”, adopting its own aesthetics and themes that approach the daily life of the Brazilian public, with emphasis on issues of social relevance involving health and illness. It is not uncommon for these products, through social merchandising, to address topics such as cancer, a disease that will affect 625,000 Brazilians for each year of the 2020- 2022 triennium. Since telenovelas address this health condition, our objective was, through the content analysis of the 9 pm telenovelas on Rede Globo de television, to understand how it is portrayed. In the study, we coded seven categories that described: 1. "Character Profile", 2. "Types of Cancer", 3. "Causes of Cancer", 4. "Cancer Findings and Symptoms", 5. "Submitted Treatments", 6. “Cancer Stage and Disease Outcome”, 7. “Dramatic Reasons”. We note that most of the characters who had the disease are adult women, from upper-middle social class, with the most varied tumors (seven types in all), without clear medical causes for the disease, with treatments that follow the recommendations of the medical literature specific, but with a high fatality rate. The high lethality of the characters was justified, from a fictional point of view, by the need to explore the suffering of the good guys, as punishment for cruel acts, a reason for their change in their moral conduct, as well as a dramatic resource that allowed changes in the directions of the analyzed narratives. Nenhuma outra obra de ficção audiovisual no país conseguiu despertar tanto o interesse do público brasileiro quanto as telenovelas. Tendo sua origem ligada a literatura dos romances franceses no século XIX, aqui, o gênero se “abrasileirou”, adotando uma estética própria e temas que se aproximam do cotidiano do público brasileiro, com destaque para questões de relevância social que envolvem a saúde e a doença. Não raramente esses produtos, por meio de merchandising social, abordaram temas como o câncer, doença que atingirá para cada ano do triênio 2020- 2022, 625 mil brasileiros. Uma vez que as telenovelas abordam tal condição de saúde, nosso objetivo foi, por meio da análise de conteúdo das telenovelas das 21 horas da Rede Globo de televisão, compreender como ela é retratada. Em estudo, codificamos sete categorias que descreveram: 1. “Perfil dos Personagens”, 2. “Tipos de Câncer”, 3. “Causas do Câncer”, 4. “Descobertas do Câncer e Sintomas”, 5. “Tratamentos Submetidos”, 6. “Estágio do Câncer e Desfecho da Doença”, 7. “Razões Dramáticas”. Notamos que a maioria dos personagens que tiveram a doença são mulheres adultas, de classe social média-alta, com os mais variados tumores (sete tipos ao todo), sem causas médicas claras para a doença, com tratamentos que seguem o recomendado pela literatura médica específica, mas com alta taxa de letalidade. A alta letalidade dos personagens se justificou, do ponto de vista ficcional, pela necessidade de exploração do sofrimento dos mocinho/as, como castigo para atos cruéis, um motivo para sua mudança na sua condunta moral, bem como um recurso dramático que permitiu mudanças nos rumos das narrativas analisadas. São Cristóvão

Esta investigación es resultado de mi proceso y formación como joven investigadora de la Universidad Santo Tomás 2020, en el marco del proyecto titulado “Estudios de Moda en Colombia”, liderado por el profesor Edward Salazar. Por medio de la entrevista etnográfica, analizo diversas experiencias de mujeres lesbianas/queer residentes en Bogotá, centradas en las maneras en las que la estética crea identidades lésbicas reconocibles en el cuerpo: la ropa, el pelo, el maquillaje y otros vehículos narrativos/expresivos. Contrasto estas experiencias estético-lésbicas con las representaciones de mujeres lesbianas en varias telenovelas colombianas de los años 80 hasta hoy, junto con algunos referentes claves de la producción audiovisual global, pues permiten profundizar en la configuración de los códigos estéticos y culturales de estas mujeres. Propongo un ejercicio de triangulación de la información, que permite concluir que las experiencias de las mujeres en la construcción de identidades lésbicas están fuertemente atravesadas por sus narrativas estéticas en el cuerpo, así como por ciertos relatos culturales que circulan gracias (o a pesar de) a las representaciones en la televisión. Estas identidades no son fijas; por el contrario, son móviles y polisémicas en el tiempo, lo cual permitió un registro visual que, además de este artículo, finalizó en un proceso de investigación-creación de un libro que narra estas historias del cuerpo, la ropa, la representación y la identidad. This research is the result of my process and training as a young researcher at the Universidad Santo Tomás 2020, within the project entitled "Fashion Studies in Colombia", led by Professor Edward Salazar. Through the ethnographic interview, I analyze various experiences of lesbian / queer women residing in Bogotá, focusing on the ways in which aesthetics create recognizable lesbian identities in the body: clothing, hair, makeup and other narrative / expressive vehicles . I contrast these experiences with the representations of lesbian women in various Colombian soap operas from the 1980s to the present day, along with some key references of global audiovisual production, as they allow us to delve into the configuration of the aesthetic and cultural codes of these women. I propose an exercise of triangulation of information, which concludes that the experiences of women in the construction of lesbian identities are strongly traversed by their aesthetic narratives in the body, as well as by certain cultural stories that circulate thanks to (or despite) representations on television. These identities are not fixed; On the contrary, they are mobile and polysemic in time, which allowed a visual record that, in addition to this article, ended in a process of research-creation of a book that narrates these stories of the body, clothing, representation and the identity. Diseñador gráfico Pregrado