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1

Boniface, Liz, and Guy Mac Ilroy. "Soap Opera: Fiction or Fantasy?" Critical Arts 8, no. 1-2 (1994): 66–76. http://dx.doi.org/10.1080/02560049485310071.

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2

Herieningsih, Sri Widowati, and Tandiyo Pradekso. "Soap-opera, Parental Mediation, Perceived Reality and Antisocial Behavior." E3S Web of Conferences 73 (2018): 14008. http://dx.doi.org/10.1051/e3sconf/20187314008.

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Many attentions have been spotted to the potential drive and effect of television on anti-social behavior. The main argument lies on the frequent repetition of intense violent showed by television soap opera. Previous studies showed that children with heavy viewing habit of violent soap-operas were tend to imitate anti-social behavior. Children were considered to have limited skill to differentiate facts and fictions from television content, and this is where parental mediation (restrictive, active, or viewing) should take place to moderate the impact of television violence. The research was i
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3

Rodríguez Ortiz, Raúl. "Las tres etapas del radioteatro en Chile: de la época dorada al nuevo auge de las series de ficción." INDEX COMUNICACION 9, no. 2 (2019): 55–73. http://dx.doi.org/10.33732/ixc/09/02lastre.

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Following the growth, since 2016, of new fiction and non-fiction sound series in a large part of Ibero America, thanks to podcast and radio on demand, the task of analyzing the history of radio theater as a genre in Chile, from its roots and sociocultural importance to the new ways of producing and thinking about the genre in the 21st century is conducted. On the basis of documentary information, consisting of press archives, audios of radio theater scripts and the few studies on radio and radio theater, three stages can be elucidated: the golden age (1940-1970); the rebirth of radio theater (
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4

Geraghty, Christine. "Women's Fiction Still? The Study of Soap Opera in Television Studies." Critical Studies in Television: The International Journal of Television Studies 1, no. 1 (2006): 129–34. http://dx.doi.org/10.7227/cst.1.1.17.

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5

Martínez-Otón, Laura, Cristina Rodríguez-Luque, and Mario Alcudia-Borreguero. "El reportaje de historias de vida como punto de partida de la radio dramatizada y el ´podcast´ de no ficción en el ecosistema digital. Estudio de caso. ´Sin mi identidad´ (Cadena COPE), ´Lo conocí en un Corpus´ (Podium Podcast) y ´Las tres muertes de mi padre´ (Cuonda)." INDEX COMUNICACION 9, no. 2 (2019): 135–62. http://dx.doi.org/10.33732/ixc/09/02elrepo.

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In current digital ecosystem, sound is gaining prominence through new formats such as podcasting, born in the era of mobility. Formats that can share elements, characteristics, dynamics of work and consumption with other traditional radio formats, such as reports, docudramas or the radio soap opera. This article aims to analyze whether the strength of human reach storytelling is a common starting point in analogic reports and in fictional and non-fiction podcasts, both on audio platforms and on conventional radio. For this, three podcast are proposed as case study: ‘Sin mi identidad’ (2018, CO
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6

Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (August 5, 2014): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26295.

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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of major
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7

Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (December 29, 2013): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26287.

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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of major
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8

Michael M. Kamau, Collins Auta Wagumba;. "Determining the Context of Television Serial Drama Viewership in Nairobi, Kenya." Editon Consortium Journal of Media and Communication Studies 2, no. 1 (2020): 115–37. http://dx.doi.org/10.51317/ecjmcs.v2i1.163.

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The study sought to determine the context of television serial drama fiction viewership in Nairobi, Kenya. Watching of television serial drama fiction/soap operas is popular among Nairobi audiences. The research is anchored on uses and gratification and cultural proximity theories. The study employed a mixed-method design approach and used simple random, purposive and systematic sampling techniques to determine the population sizes. The study is further organised at two levels. In the first phase, 422 interview guide questionnaires were administered to respondents in households in three random
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9

Halperin, Paula. "Então Ela é Escrava? Escrava Isaura, Popular History and National Identity." Significação: Revista de Cultura Audiovisual 47, no. 53 (2020): 162–83. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.155856.

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This paper analyzes the soap opera Escrava Isaura, aired in Brazil by the network Rede Globo from October 11, 1976 until February 5, 1977. Based on Bernardo Guimarães’ novel written in 1875, Escrava Isaura enjoyed attention from both the media and a vast national audience at a time when television had become a significant and influential medium. The narrative and aesthetics displayed showed a complex relationship between History and fiction, establishing a peculiar view of the past and slavery. Escrava Isaura launched a lively discussion in the press around slavery, patriarchy, and national id
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10

Gillis, John R. "“A Triumph of Hope over Experience”: Chance and Choice in the History of Marriage." International Review of Social History 44, no. 1 (1999): 47–54. http://dx.doi.org/10.1017/s002085909900036x.

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When Dr Johnson made his famous eighteenth-century remark about second marriages being a triumph of hope over experience, his wit could easily have been directed toward the unions that Steven King has illuminated. It is never entirely clear why people marry or choose to marry the people they do, a situation that is as frustrating to historians as to friends and family. Marriage remains one of life's great mysteries, perhaps the last great mystery left to us. It fascinates and absorbs us, providing an inexhaustible audience for daytime soap operas and evening situation comedies. Romance novels
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11

Syahrul, Ninawati. "REKAYASA SASTRA SEBAGAI UPAYA MENINGKATKAN GERAKAN LITERASI DI KALANGAN GENERASI MUDA." Multilingual 18, no. 1 (2019): 48–66. http://dx.doi.org/10.26499/multilingual.v18i1.110.

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Characteristics of quality literary works must carry and convey moral messages. As a civilized citizen, the young generation — of course other citizens — must seize moral values in treading diverse lives. In this regard, literary engineering is an idea that should be taken into account as a form of literary approach in accordance with the mental development of the younger generation. How far is literary engineering capable as a new idea to introduce literature to the younger generation, that is the problem in this paper? This paper aims to describe and "sell" the role of literary literacy engi
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12

Liebes, Tamar, and Sonia Livingstone. "European Soap Operas." European Journal of Communication 13, no. 2 (1998): 147–80. http://dx.doi.org/10.1177/0267323198013002001.

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13

González-Conde, María Julia, Miguel Ángel Ortiz-Sobrino, and Hugo Prieto-González. "El radioteatro en España: marco de referencia para una aproximación diacrónica." INDEX COMUNICACION 9, no. 2 (2019): 13–34. http://dx.doi.org/10.33732/ixc/09/02elradi.

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The main objective of this article is to give a contextualization of radio drama in Spain, over a period of three decades in the last century, between the 1940s and the 1970s. Through retrospective analysis on its history some of the keys related to narrative and drama genres implementation are assessed. The research methodology used can be classified as theoretical-conceptual, since it has been based on the search, compilation and analysis of documentation that have allowed radio theater to be contextualized in those three decades. As a result of the research, the relationship between radio p
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14

Cantor, Muriel G., and Robert C. Allen. "Speaking of Soap Operas." Contemporary Sociology 15, no. 3 (1986): 386. http://dx.doi.org/10.2307/2070016.

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15

Fromm, Annette B. "Bathtubs and Soap Operas." Anthropology News 39, no. 4 (1998): 12. http://dx.doi.org/10.1111/an.1998.39.4.12.1.

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16

Riegel, Henriette. "Soap Operas and Gossip." Journal of Popular Culture 29, no. 4 (1996): 201–9. http://dx.doi.org/10.1111/j.0022-3840.1996.00201.x.

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17

Goodman, Geoffrey. "Dynasties and soap operas." British Journalism Review 12, no. 3 (2001): 3–5. http://dx.doi.org/10.1177/095647480101200301.

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18

Beenish Zaheen, Aasima Safdar, and Muhammad Riaz. "Impact of Soap Operas on the Television Viewers: Experience from Pakistani Society." Journal of Business and Social Review in Emerging Economies 7, no. 1 (2021): 145–55. http://dx.doi.org/10.26710/jbsee.v7i1.1539.

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Soap operas are popular genre in media industry from all over the world. Generally, Soap operas focus on family dramas, domestic issues and women plight. There were number of studies conducted to explore public perception regarding soap operas. The present study aimed to explore the opinion from Pakistani society regarding their experience of watching Star plus soap operas. The research based on Cultivation theoretical framework which intended to explore the difference between heavy and light viewers of Star plus soap operas. It was found that there was no significant difference exist between
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19

Moreira, Paulo Roberto Staudt. "HÁ TANTOS LIBERTOS QUE VIVEM NA MISÉRIA. ADEMAIS, NÃO PODIA VIVER SEM MEU SENHOR: REPRESENTAÇÕES SOBRE ESCRAVIDÃO E LIBERDADE NA NOVELA O PATUÁ, DE CARLOS JANSEN (1878/1879)." Revista Prâksis 1 (January 11, 2021): 54. http://dx.doi.org/10.25112/rpr.v1i0.2324.

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Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande
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20

Moreira, Paulo Roberto Staudt. "HÁ TANTOS LIBERTOS QUE VIVEM NA MISÉRIA. ADEMAIS, NÃO PODIA VIVER SEM MEU SENHOR: REPRESENTAÇÕES SOBRE ESCRAVIDÃO E LIBERDADE NA NOVELA O PATUÁ, DE CARLOS JANSEN (1878/1879)." Revista Prâksis 1 (January 11, 2021): 54. http://dx.doi.org/10.25112/rpr.v1i0.2324.

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Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande
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21

Charles, D. "Soap Operas to Save Energy." Science 325, no. 5942 (2009): 807. http://dx.doi.org/10.1126/science.325_807a.

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22

Vu, Hong Tien, and Tien-Tsung Lee. "Soap Operas as a Matchmaker." Journalism & Mass Communication Quarterly 90, no. 2 (2013): 308–30. http://dx.doi.org/10.1177/1077699013482912.

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23

SHERRY, JOHN L. "Prosocial soap operas for development." Journal of International Communication 4, no. 2 (1997): 75–101. http://dx.doi.org/10.1080/13216597.1997.9751855.

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24

Ogden, David. "Therapeutic use of soap operas." Psychiatric Bulletin 31, no. 6 (2007): 234. http://dx.doi.org/10.1192/pb.31.5.234a.

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25

Lockyear, Hester. "Multiculturalism in South African soap operas." Communicatio 30, no. 1 (2004): 26–43. http://dx.doi.org/10.1080/02500160408537985.

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26

Babrow, Austin S. "Student motives for watching soap operas." Journal of Broadcasting & Electronic Media 31, no. 3 (1987): 309–21. http://dx.doi.org/10.1080/08838158709386666.

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27

Lopes, Alice Casimiro, and Elizabeth Macedo. "Education in Brazilian Television Soap Operas." Journal of Curriculum and Pedagogy 3, no. 2 (2006): 42–46. http://dx.doi.org/10.1080/15505170.2006.10411597.

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28

Kim, Sangkyun, and Philip Long. "Touring TV Soap Operas: Genre in Film Tourism Research." Tourist Studies 12, no. 2 (2012): 173–85. http://dx.doi.org/10.1177/1468797612449249.

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There is a growing body of literature that addresses the relationships between film and television programmes and tourism. However, we argue in this paper that much of this research has not considered the critical issue of genre and how this may be a key factor in shaping tourist demand, expectation, experience and behaviour. In particular, we suggest that the distinctive characteristics of TV soap operas have been neglected, with much of the literature focused on English language, ‘blockbuster’ Hollywood produced film releases. In this paper, we address TV soap operas as genre in relation to
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29

Sahu, Sudhansubala. "Revisiting Television in India: Mapping the Portrayal of Women in Soap Operas." Sociological Bulletin 67, no. 2 (2018): 204–19. http://dx.doi.org/10.1177/0038022918775502.

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This article attempts to map the portrayal of women in popular soap operas on television in India. It begins with the discourses around portrayal of women on Doordarshan in the pre-liberalisation era and goes on to analyse a few soap operas in the past one decade. With substantive review of visual texts, it aims to disprove the claim that there is a paradigm shift especially with respect to the portrayal of women in the contemporary and so-called progressive soap operas. It concludes by comparing all the phases of development of television in India with respect to construction of women and sta
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30

Riffe, Daniel, Patricia C. Place, and Charles M. Mayo. "Game Time, Soap Time and Prime Time TV Ads: Treatment of Women in Sunday Football and Rest-of-Week Advertising." Journalism Quarterly 70, no. 2 (1993): 437–46. http://dx.doi.org/10.1177/107769909307000218.

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This content analysis of national television ads accompanying sporting events, soap operas and general prime time shows indicates that male characters are more common in ads accompanying sporting events and that males are more often given speaking roles. There was no support for a hypothesis that there would be more provocatively dressed women in sporting event ads than in advertising accompanying soap operas or prime time shows.
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31

Medina, Mercedes, and Leticia Barrón. "Television Soap Operas on a Global Scale." Palabra Clave - Revista de Comunicación 13, no. 1 (2010): 77–97. http://dx.doi.org/10.5294/pacla.2010.13.1.5.

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32

Kruger, Jan-Louis. "Ideology and Subtitling: South African Soap Operas." Broadcasting with Intent 57, no. 2 (2013): 496–509. http://dx.doi.org/10.7202/1013958ar.

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This article investigates the ideological component of patronage in the subtitling of four South African soap operas: Generations, 7de Laan, Muvhango, and Isidingo. Taking the concepts introduced by Lefevere as point of departure, the article first discusses the various ways in which audiovisual translation (AVT) is subject to manipulation. This manipulation is shown to be a result of the fact that subtitles, as text superimposed onto the image during post-editing, thereby obscuring a small part of the screen, constantly foregrounds itself to the audience. This foregrounding is also affected b
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33

Blumenthal, Danielle. "Women and soap operas: a cultural perspective." Social Science Journal 37, no. 1 (2000): 148–50. http://dx.doi.org/10.1016/s0362-3319(99)00055-5.

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34

Khorana, Sukhmani. "Prime Time Soap Operas on Indian Television." Feminist Media Studies 12, no. 4 (2012): 612–13. http://dx.doi.org/10.1080/14680777.2012.723934.

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35

Ferrara, Eliana La, Alberto Chong, and Suzanne Duryea. "Soap Operas and Fertility: Evidence from Brazil." American Economic Journal: Applied Economics 4, no. 4 (2012): 1–31. http://dx.doi.org/10.1257/app.4.4.1.

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We estimate the effect of television on fertility in Brazil, where soap operas portray small families. We exploit differences in the timing of entry into different markets of Globo, the main novela producer. Women living in areas covered by Globo have significantly lower fertility. The effect is strongest for women of lower socioeconomic status and in the central and late phases of fertility, consistent with stopping behavior. The result does not appear to be driven by selection in Globo entry. We provide evidence that novelas, and not just television, affected individual choices, based on chi
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36

Chakrabarti, Santanu. "Prime time soap operas on Indian television." South Asian Popular Culture 9, no. 2 (2011): 229–31. http://dx.doi.org/10.1080/14746689.2011.569080.

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37

Singhal, Arvind, and Everett M. Rogers. "Television soap operas for development in India1." Gazette (Leiden, Netherlands) 41, no. 2 (1988): 109–26. http://dx.doi.org/10.1177/001654928804100203.

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38

Czarniawska, Barbara, Ulla Eriksson-Zetterquist, and David Renemark. "Women and Work in Family Soap Operas." Gender, Work & Organization 20, no. 3 (2011): 267–82. http://dx.doi.org/10.1111/j.1468-0432.2011.00569.x.

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39

Bunyamin, Bunyamin Bunyamin. "Sinetron Indonesia Menuju Perkembangan Sebagai Sarana Media Massa." Al-Mada: Jurnal Agama, Sosial, dan Budaya 1, no. 2 (2019): 35–45. http://dx.doi.org/10.31538/almada.v1i2.198.

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Soap ope ras, better known as electronic cinema or teledrama, play a major role in society in understanding this real or real life and plugging in frames / images of thought in the future. In preparing for a global era and an increasingly advanced industrial society and intense competition in the global market, Indonesian soap operas must be able to play its role. Along with the increasing number of private TV sets, quantitatively Indonesian soap operas experienced a very proud development and also gave a variety of nuances, however the quality of Indonesian soap operas has only recently devel
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40

Okyayuz, Şirin. "Re-assessing the ‘weight’ of translations within the context of translated soap operas." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 5 (2017): 667–88. http://dx.doi.org/10.1075/babel.00003.oky.

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Abstract In translation studies, investigating translations beyond the implications, realities and difficulties of single texts and single language combinations, viewing the larger picture surrounding translations and following the translations through to the impacts they produce wherever they are received, is an integral part of the discipline. The study discussed in this article is an effort to present food for thought for audiovisual translators of soap operas. Turkish soap operas have been aired in 90 countries around the world, reaching over 400 million viewers, according to 2014 statisti
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41

Basheer, Zendal, and Gonegai Abdelkader. "Impact Des Feuilletons Turcs Sur Le Telespectateur Arabe : Cas De Maroc Et Yemen." European Scientific Journal, ESJ 12, no. 17 (2016): 431. http://dx.doi.org/10.19044/esj.2016.v12n17p431.

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This work aims to find out the impact of Turkish soap operas on Arab viewer in two different populations in the political and economic situation such as Morocco and Yemen, a survey is conducted on two universities: the University Hassan II in Morocco with about 151 students (48.40%) and the University of Sanaa in Yemen with 161 students (51.60%). The results of the survey showed that participants spend hours watching TV (over 3 hours) to 4.5% (depending on circumstances) to 57.1%. The lack of good Arabic drama is the main reason to watch Turkish soap operas for more than (79%) following the pr
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Custers, Kathleen, and Jan Van den Bulck. "The Association Between Soap Opera and Music Video Viewing and Fear of Crime in Adolescents." Communication Research 44, no. 1 (2016): 96–116. http://dx.doi.org/10.1177/0093650215605152.

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The potential impact of mass media has been virtually neglected in the study of adolescent fear of crime. This is remarkable, given adolescents’ heavy media consumption and developmental vulnerability. Music videos and soap operas have been completely overlooked in the TV-fear association, even though they have a large adolescent audience and contain a lot of violence. An online survey of 3,372 adolescents aged 12 to 18 years found that the relationship between exposure to soap operas and music videos on the one hand and fear of crime on the other hand was mediated by perceived personal risk o
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43

Lait, Margaret. "The use of soap operas in nurse education." Nursing Standard 14, no. 29 (2000): 38–40. http://dx.doi.org/10.7748/ns2000.04.14.29.38.c2809.

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44

Bhowmick, Bikash Ch, and Nawaj Sharief. "The Popularity of Indian Soap Operas in Bangladesh." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 3 (2020): 14–31. http://dx.doi.org/10.17576/jkmjc-2020-3603-02.

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45

Damásio, Manuel José, and Jorge Paixão da Costa. "Portuguese Soap Operas: A Genre at the Crossroads." International Journal of Film and Media Arts 4, no. 1 (2019): 14–35. http://dx.doi.org/10.24140/ijfma.v4.n1.02.

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46

Keobke, Ken. "Creating WWW-based Soap Operas for Learning English." IALLT Journal of Language Learning Technologies 31, no. 1-2 (1999): 35–44. http://dx.doi.org/10.17161/iallt.v31i1-2.9690.

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47

Uygarer, Gulen, and Bahire Ozad. "What Do Soap Operas Tell About Family Relationships?" Anthropologist 22, no. 2 (2015): 381–89. http://dx.doi.org/10.1080/09720073.2015.11891890.

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48

Sollohub, H., D. M. Czajika-Narins, D. Wright, and M. Rew. "An Evaluation of Food Commercials During Soap Operas." Journal of the American Dietetic Association 99, no. 9 (1999): A54. http://dx.doi.org/10.1016/s0002-8223(99)00588-x.

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49

McBrien, Julie. "Watchingclone: brazilian soap operas and muslimness in kyrgyzstan." Material Religion 8, no. 3 (2012): 374–96. http://dx.doi.org/10.2752/175183412x13415044208952.

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50

Rymarczyk, Piotr. "Recreation Physical Activity in Popular TV Soap Operas." Studies in Sport Humanities 20 (December 20, 2016): 48–52. http://dx.doi.org/10.5604/01.3001.0012.6490.

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The paper presents results of the study concerning patterns of participation in recreational physical activity in popular soap operas. The analysed material are the season 2014/2015 episodes of three soaps: „M jak miłość”, „Na dobre i na złe” and „Barwy szczęścia”. The applied research methods are quantitative and qualitative content analysis. The author wanted to answer the following questions: 1/ Do the researched serials encourage overcoming cultural stereotypes constituting barriers to participation in physical culture, or do they act in the opposite way? 2/ Do their content refl ects a la
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