From telenovelas to Netflix : transnational, transverse television in Latin America
著者
書誌事項
From telenovelas to Netflix : transnational, transverse television in Latin America
(New directions in Latino American cultures)
Palgrave Macmillan, c2021
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Other authors: Melissa Santillana, Vanessa de Macedo Higgins Joyce, Luiz Guilherme Duarte
Includes bibliographical references and index
内容説明・目次
内容説明
This book is about television in Latin America. Its national and regional industries create most television programming there within genres developed over time in the region. However, part of the programming has always come from the U.S., Europe and elsewhere. With cable, satellite and now streaming TV, that inflow of foreign programming has increased substantially. While many in the audience still prefer national or regional programs for their cultural proximity, an increasing number among the upper-middle and middle classes, particularly the young, are turning to the new foreign services, like Netflix, Amazon and Disney for class distinction, cosmopolitanism or other motives. Among the television industries, global, regional and national actors are creating a variety of programs and channels (broadcast, pay-TV and streaming) to segment and appeal to different parts of the audience.
目次
1. Introduction.- 2. The Growth of Latin American Television.- 3. Why Latin American Audiences Stay Loyal to National Broadcast Television.- 4. The Persistence of the Popularity of US television.- 5. Changing Class Formations and Changing Television Viewing: The New Middle Class, Television and Pay Television in Eight Latin American Countries 2004-2020.- 6. Streaming Television, Netflix, and Transverse Transnationalism.- 7. Netflix, Distinction, and Cosmopolitanism Among Latin American Middle Class and Elite Audiences.- 8. Conclusion.
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