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Journal articles on the topic 'Spanish language cable television'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Walczuk Beltrão, Ana Carolina. "Aquí no se habla Spanglish: the issue of language in US Hispanic media." Revista Alicantina de Estudios Ingleses, no. 21 (November 15, 2008): 191. http://dx.doi.org/10.14198/raei.2008.21.11.

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A strong and still growing ethnic community in the United States, Hispanic Americans, with a common language but culturally diverse, have for years constituted a challenge for the media. How to communicate with them? With the development of Spanish-language print, broadcast, and cable outlets within American territory, communication became easier. Some of these media, however, have for years denied Hispanic Americans one of their most genuine forms of expression: namely, the use of Spanglish, a language generated by immigrants. The two major Hispanic American television networks in particular have adopted the policy of vetoing the use of Spanglish. The issue may be very upsetting for many Hispanic Americans who consume information on a daily basis. It becomes even more upsetting, then, when the same media also self-appoint themselves as “representatives of the Hispanic American population”. If the hybrid language is one of the few elements that indeed unite and represent the Hispanic group in America, shouldn’t these media rethink their practices? This is exactly what this article intends to answer, taking the case of Hispanic American television, from an initial description of Hispanics in America, to a closer analysis of the major media outlets available in the country.

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2

Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 3 (2018): 72–76. http://dx.doi.org/10.1525/fq.2018.71.3.72.

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Italian television scholar Milly Buonanno has often complained that, in this second Golden Age of TV, academic attention is focused almost exclusively on the United States. Even in a country like Spain, newspapers dutifully recap each episode of American premium-cable and streaming-service series while ignoring their own local productions. Hence, the importance of Buonanno's new collection Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, which tracks its female figures on screens from Italy and France to Australia and Brazil. Smith examines two prominent Spanish language TV shows featuring women in prison and concludes that Buonanno's invaluable book shows it is no longer necessary to ask where the female Tony Sopranos or Walter Whites may be. And, thanks to the compelling examples of Capadocia (HBO Latin America, 2008–12) and Spain's Vis a vis (Antena 3/Fox, 2015–), it is now clear that difficult women can speak Spanish as well as English on global TV screens, even as they are confined within them to the smallest of prison cells.

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3

PAGONE, NOVIA. "Exporting Spanishness: The Role of Netflix in Shaping How the World Imagines Spain." Bulletin of Contemporary Hispanic Studies 2, no. 2 (2020): 143–59. http://dx.doi.org/10.3828/bchs.2020.9.

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The worldwide leader in streaming television, Netflix exercises significant influence over what viewers watch through algorithms and the shaping of communities based on a set of culturally determined preferences, or ‘taste communities’. Furthermore, its reputation for producing noteworthy and boundary-pushing original television content creates the expectation that Netflix will follow a similar path in Spain, where viewers represent diverse backgrounds. This essay argues that as a company based in the US creating original shows for broadcast to a global audience, Netflix sidesteps many of the thorny issues surrounding contemporary Spanish national identity and the country’s multicultural ‘ethnoscape’ to focus on genres and storylines that have proved successful on the platform. In this way, the streaming company offers locally produced content that appeals to existing global taste communities. Their made-in-Spain original dramas - Las chicas del cable, La casa de papel and Élite - present common themes such as socio-economic inequality, social mobility and female friendship, and settings that resonate with a local audience while remaining accessible and relevant globally. In this way, Netflix influences how Spain is portrayed to a global audience while maintaining a local presence.

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4

O'Ouinn, Thomas C., Ronald J. Faber, and Timothy P. Meyer. "Ethnic Segmentation and Spanish-Language Television." Journal of Advertising 14, no. 3 (1985): 63–66. http://dx.doi.org/10.1080/00913367.1985.10672961.

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5

Aufderheide, Patricia. "Cable Television and the Public Interest." Journal of Communication 42, no. 1 (1992): 52–65. http://dx.doi.org/10.1111/j.1460-2466.1992.tb00768.x.

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6

SeongHun LEE. "Latino Media and Spanish Language Television Broadcasting." Cross-Cultural Studies 23, no. ll (2011): 243–64. http://dx.doi.org/10.21049/ccs.2011.23..243.

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7

Subervi-Velez, Federico A. "Spanish-Language Television Coverage of Health News." Howard Journal of Communications 10, no. 3 (1999): 207–28. http://dx.doi.org/10.1080/106461799246825.

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8

Eshbaugh-Soha, Matthew, and Christine Balarezo. "The President on Spanish-Language Television News." Social Science Quarterly 95, no. 2 (2013): 448–67. http://dx.doi.org/10.1111/ssqu.12042.

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9

Parsons, Patrick R. "Defining Cable Television: Structuration and Public Policy." Journal of Communication 39, no. 2 (1989): 10–26. http://dx.doi.org/10.1111/j.1460-2466.1989.tb01026.x.

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10

Rivadeneyra, Rocío. "Gender and Race Portrayals on Spanish-Language Television." Sex Roles 65, no. 3-4 (2011): 208–22. http://dx.doi.org/10.1007/s11199-011-0010-9.

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11

Chavez, Vivian, and Lori Dorfman. "Spanish Language Television News Portrayals of Youth and Violence in California." International Quarterly of Community Health Education 16, no. 2 (1996): 121–38. http://dx.doi.org/10.2190/hg42-6mbx-195r-eaj8.

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Language is central to Latino1 culture and to the current multicultural multilingual realities of the United States. This exploratory study takes those who may be unfamiliar with Spanish language television news through a comparative analysis of television portrayals of youth and violence. Findings from this ethnographic content analysis reveal that local Spanish language television news stories on youth and/or violence are framed thematically (with a social, political, and economic context) three and a half times more often than English language local television news. This study highlights the importance of engaging the Spanish media in the future health promotion efforts. Public health advocates can share information related to the socioeconomic factors associated with violence and outline policy and programmatic solutions with Spanish language journalists.

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12

Kunkel, Dale, Dana Mastro, Michelle Ortiz, and Christopher McKinley. "Food Marketing to Children on U.S. Spanish-Language Television." Journal of Health Communication 18, no. 9 (2013): 1084–96. http://dx.doi.org/10.1080/10810730.2013.768732.

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13

de Casanova, Erynn Masi. "Spanish Language and Latino Ethnicity In Children’s Television Programs." Latino Studies 5, no. 4 (2007): 455–77. http://dx.doi.org/10.1057/palgrave.lst.8600274.

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14

Fullerton, Jami A., and Alice Kendrick. "Portrayal of Men and Women in U.S. Spanish-Language Television Commercials." Journalism & Mass Communication Quarterly 77, no. 1 (2000): 128–42. http://dx.doi.org/10.1177/107769900007700110.

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While numerous studies have analyzed women's portrayals in U.S. general market television as well as depiction of both sexes in several foreign countries, no data have been published regarding gender depictions targeted to the growing U.S. Hispanic market via Spanish-language television. A content analysis of 162 prime-time commercials from a Spanish-language television affiliate in a major U.S. market revealed depiction of women is most likely to be in traditional sex-stereotypical roles. In only a few cases was a male character cast as a parent or performer of household chores, and never as a homemaker. Some of the commercials appeared to be “re-treads” of general market creative edited for the Hispanic market.

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15

Wilkinson, Kenton T., and Daniela Contreras-Díaz. "U.S. Spanish-Language Television Management during the Industry’s First 50 Years." Palabra Clave - Revista de Comunicación 17, no. 4 (2014): 1168–93. http://dx.doi.org/10.5294/pacla.2014.17.4.8.

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16

Rodríguez-Medina, María Jésus. "The Use of Anglicisms in Spanish Television Commercials of Cosmetics, Hygiene and Personal Care Products." HERMES - Journal of Language and Communication in Business, no. 55 (August 29, 2016): 157. http://dx.doi.org/10.7146/hjlcb.v0i55.24295.

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This paper analyses the use of English in Spanish television commercials, since no scientifi c studies have been carried out so far in this fi eld. Although there are a few similar studies of print media, our review of the literature has shown some gaps in the research on Anglicisms used in advertising. English seems to be widely present in television commercials in Spain for different reasons. Marketing and cost-saving strategies of multinational companies together with the prestige of the English language and Anglo-American culture in Spain are some of the primary causes. In our study, we have focused on a corpus of pure Anglicisms (English words which have not been adapted to Spanish) and pseudo-Anglicisms (terms that do not exist in English, though they are similar to English words), found in commercials related to cosmetics, hygiene and personal care products, as part of the research project “Globalisation and Impact of the Anglo-American Culture on Spain”. Five hundred and thirty one commercials of the three main private national television channels in Spain (Tele5, Antena3, LaSexta) and children’s Disney Channel (Spain) were compiled in 2013. The results confi rm a considerable presence of pure Anglicisms, English-Spanish code switching, pseudo-Anglicisms and Anglo-American imagery and music in the advertising of products related to cosmetics, hygiene and personal care on Spanish television. Consequently, the link of these products to the prestige of the English-speaking world is reinforced.

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17

Salinas Ibáñez, Jesús. "Satélites, cables, redes un nuevo panorama para la producción de Televisión Educativa Reedición del nº 0." Edutec. Revista Electrónica de Tecnología Educativa, no. 25 (March 20, 2008): a093. http://dx.doi.org/10.21556/edutec.2008.25.482.

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Se presenta el trabajo que constituyó el número 0 de Edutec-e Revista electrónica de Tecnología Educativa. En el artículo Satélites, cable, redes: Un nuevo panorama para la producción de televisión educativa se plasmaba la posición de la Asociación de Usuarios Españoles de Satélites para la Educación (EEOS) respecto a los temas candentes de la Tecnología Educativa en aquel momento. AbstractThis work constituted number 0 of Edutec-e electronic Review of Educational Technology. In the article Satellites, cable, networks: A new view for the production of educatiional television shaped the position of the Association of Spanish Users of Satellites for Education (EEOS) with respect to the main subjects of the Educational Technology at that moment.

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18

Vitrinel, Ece. "Making foreign ready-made content great again: VOD platforms and English-language series in Turkey." Journal of Popular Television 8, no. 3 (2020): 313–19. http://dx.doi.org/10.1386/jptv_00031_1.

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Thanks to a growing television drama industry with notable success beyond its borders, domestic television series have, since the 2000s, become the dominant programme category on broadcast and cable television in Turkey. This article considers the presence of Anglo-Saxon TV series in an audio-visual landscape characterized by a widespread taste for local content. Briefly describing the differences between Turkish and foreign series in terms of format and appeal to audiences, it argues that English-language series may play a more decisive role than local content in the success of video on demand (VOD) platforms, which have been launched relatively late in the country.

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19

Alfaro de Carvalho, Carolina. "Quality Standards or Censorship? Language Control Policies in Cable TV Subtitles in Brazil." Broadcasting with Intent 57, no. 2 (2013): 464–77. http://dx.doi.org/10.7202/1013956ar.

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This study seeks to understand the origins and reasons behind the grammar and style guidelines elaborated by Brazilian broadcasters and video producers and applied to the translated subtitles of cable television shows. The language of the translation is often controlled, and coarse or scatological vocabulary tends to be curbed or avoided, among other restrictions. Brazil was under a military regime from 1964 to 1985, when the media was subjected to strict censorship. Could it be that this heritage still casts a shadow over current policies applied to audiovisual translation (AVT)? To approach this issue, this study outlines the history of censorship applied to content and language during the Brazilian military regime, describes the evolution of the AVT industry in the context of cable television in Brazil, and finally conveys first-hand insights and experiences on language control by quality control professionals. The ultimate goal is to bring these rulemaking processes to light, in an attempt to help improve the dialogue between end clients and service providers, for the benefit of the viewers.

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20

Barambones, Josu, Raquel Merino, and Ibon Uribarri. "Audiovisual Translation in the Basque Country: The Case of Basque Television-Euskal Telebista (ETB)." Broadcasting with Intent 57, no. 2 (2013): 408–22. http://dx.doi.org/10.7202/1013953ar.

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Recent historical translation research done on Basque state-owned television shows that while the Basque-speaking channel has used dubbed translation of children’s programmes to promote and standardize the use of Basque, the Spanish-speaking channel has competed in the wider market of Spanish broadcasting channels with fiction for adults. The choice of products to be broadcast for diverse target audiences clearly reflects a diglossic situation in terms of language distribution but it also serves to illustrate government language planning policies. Since Basque television is controlled by political instances (power), manipulation and ideology clearly have an influence both selecting the programmes and controlling the type of (Basque) language used when translating and dubbing imported products.

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21

Mastro, Dana E., and Michelle Ortiz. "A Content Analysis of Social Groups in Prime-Time Spanish-Language Television." Journal of Broadcasting & Electronic Media 52, no. 1 (2008): 101–18. http://dx.doi.org/10.1080/08838150701820916.

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22

Piñón, Juan. "Disruption and continuity on telenovela with the surge of a new hybrid prime-time fictional serial: The super series." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (2019): 204–21. http://dx.doi.org/10.1177/1749602019838885.

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The Latin American telenovela genre has enjoyed a long-lasting hegemonic position in prime-time television across the region, and particularly within US Spanish-language television market. However, in the last several years, Spanish-language national television networks, as well as their prime-time telenovela product, are being challenged by the new digital and mobile media landscape. Television networks have deployed a variety of strategies to better accommodate to new audiences’ consumption routines in a digital age. This article focuses on a particular moment of disruption – and continuity –, which has been a game changer for US Hispanic television and has transformed the face of fictional serial (telenovelas) in prime time. The surge in popularity of a telenovela subgenre originating in Colombia and widely adopted by US television corporations, known as narconovela, has transformed the telenovela genre/format, prompting industry professionals to initiate new institutional discourses aimed to mark these texts as super series, and in doing so labelling them as a new type of genre. Super series are an excellent case study for understanding the dialectic notion of disruption and continuity both in television studies and the television industry.

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23

Padgett, Jeremy, Johanna L. Dunaway, and Joshua P. Darr. "As Seen on TV? How Gatekeeping Makes the U.S. House Seem More Extreme." Journal of Communication 69, no. 6 (2019): 696–719. http://dx.doi.org/10.1093/joc/jqz039.

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Abstract Today’s news media environment incentivizes gatekeeping practices that lead to a bias toward content containing partisan conflict and ideological extremity. Using a content analysis of 46,218 cable and broadcast television news transcripts from the 109th through 112th Congresses, we examined the frequency with which members of Congress appeared on cable and broadcast news. When we modelled on-air statements by members of Congress as a function of legislator and institutional characteristics, we revealed a gatekeeping function that vastly overrepresents extreme partisans on both sides of the aisle. The effect is largely consistent for network and cable outlets alike, suggesting that gatekeeping processes under both market and advocacy models bias content towards the extreme and conflictual. This finding is particularly important in light of recent evidence linking media-driven misperceptions about polarization to partisan-ideological sorting and negative political affect in the electorate.

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24

Avilés-Santiago, Manuel G., and Jillian M. Báez. "“Targeting Billennials”: Billenials, Linguistic Flexibility, and the New Language Politics of Univision." Communication, Culture and Critique 12, no. 1 (2019): 128–46. http://dx.doi.org/10.1093/ccc/tcz012.

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AbstractUnivision, historically the number one Spanish network, departed from its long tradition of safeguarding neutral Spanish to embrace not only English, but also Spanglish and Spanish-Caribbean accents in 2015. This article explores Univision’s new linguistic flexibility via two emblematic reality TV shows: Nuestra Belleza Latina (2007–) and La Banda (2015–). Through a textual analysis of these shows and industrial analysis of the strategies deployed by the network, the authors argue that Univision’s targeting of “billennials”—bicultural and bilingual millennials—prompted a linguistic flexibility that challenges the traditional lineup of neutral, Spanish-only, television, and is more inclusive of Latina/o audiences’ language use.

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25

Wilkin, Holley A., Carmen Gonzalez, and Michael Tannebaum. "Evaluating Health Storytelling in Spanish-Language Television from a Communication Infrastructure Theory Perspective." Howard Journal of Communications 26, no. 4 (2015): 403–21. http://dx.doi.org/10.1080/10646175.2015.1080637.

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26

Prieler, Michael. "Gender Stereotypes in Spanish- and English-Language Television Advertisements in the United States." Mass Communication and Society 19, no. 3 (2015): 275–300. http://dx.doi.org/10.1080/15205436.2015.1111386.

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27

Illés, Gabriella. "Expansion of the small cable television counterparts of market leading commercial channels in view of Hungarian regional and social aspects." Acta Agraria Debreceniensis, no. 58 (April 8, 2014): 107–10. http://dx.doi.org/10.34101/actaagrar/58/1981.

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Currently, there are 102 Hungarian-language television channels in Hungary. TV2 Hungary is the second largest commercial television channel. Current trends in the television market in Europe indicate that large channels are expanding their portfolios while at the same time selling their smaller units. This trend has now affected Hungary as well. After having TV2 for 16 years, MTM-SBS Television Ltd. eventually expanded its portfolio with three new cable channels. The first new channel was FEM3, a channel directed at women, which was launched on January 1, 2010. A year later, the male channel, PRO4, was launched and finally, SuperTV2, primarily a premium entertainment channel, was launched on November 2, 2012. Although the main channel, TV2, remained free, the new pay channels on cable received a significant amount of investment from venture capitalists and Pro7Sat1 for the development of new content. SuperTV2 is a premium channel. When the channel was launched, the goal was to target those viewers who had turned away from watching the increasingly less-sophisticated content on the commercial channels as well as those who were not drawn to the programming on public television. When the viewer stats were examined, the channel had proven itself. The premium brand of Super TV2 was successful in attracting new viewers and consumers and within a year it had gained a strong foothold over more than 100 other Hungarian-language channels.

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28

Lorenzo-Dus, Nuria. "Review of Hardin (2001): Pragmatics of Persuasive Discourse in Spanish Television Advertising." Spanish in Context 1, no. 2 (2004): 289–93. http://dx.doi.org/10.1075/sic.1.2.09lor.

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29

PATTERSON, JANET L. "Relationships of expressive vocabulary to frequency of reading and television experience among bilingual toddlers." Applied Psycholinguistics 23, no. 4 (2002): 493–508. http://dx.doi.org/10.1017/s0142716402004010.

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This study investigated the relationships of expressive vocabulary size with frequency of being read to and frequency of watching television among 64 bilingual 21- to 27-month-old children from homes in which Spanish and English were spoken. The frequency of being read to in each language was related positively with expressive vocabulary size in the same language, and the relationships were significant even when taking the children's age and overall exposure to each language into account. The frequency of watching television was not related significantly to vocabulary size in either language.

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30

Hughes, Sallie. "The Latino/a audience unbound: Intra-ethnic social hierarchies and Spanish-language television news." Latino Studies 16, no. 1 (2018): 43–64. http://dx.doi.org/10.1057/s41276-017-0107-6.

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31

Thompson, Darcy A., Glenn Flores, Beth E. Ebel, and Dimitri A. Christakis. "Comida en Venta: After-School Advertising on Spanish-Language Television in the United States." Journal of Pediatrics 152, no. 4 (2008): 576–81. http://dx.doi.org/10.1016/j.jpeds.2007.09.011.

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32

Glascock, Jack, and Thomas E. Ruggiero. "Representations of class and gender on primetime Spanish‐language television in the United States." Communication Quarterly 52, no. 4 (2004): 390–402. http://dx.doi.org/10.1080/01463370409370208.

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33

Rodríguez-Medina, María Jesús. "The Use of Anglicisms in Spanish Television Commercials of Cosmetics, Hygiene and Personal Care Products." HERMES - Journal of Language and Communication in Business, no. 55 (August 30, 2016): 157. http://dx.doi.org/10.7146/hjlcb.v0i55.24308.

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This paper analyses the use of English in Spanish television commercials, since no scientific studies have been carried out so far in this field. Although there are a few similar studies of print media, our review of the literature has shown some gaps in the research on Anglicisms used in advertising. English seems to be widely present in television commercials in Spain for different reasons. Marketing and cost-saving strategies of multinational companies together with the prestige of the English language and Anglo-American culture in Spain are some of the primary causes. In our study, we have focused on a corpus of pure Anglicisms (English words which have not been adapted to Spanish) and pseudo-Anglicisms (terms that do not exist in English, though they are similar to English words), found in commercials related to cosmetics, hygiene and personal care products, as part of the research project “Globalisation and Impact of the Anglo-American Culture on Spain”. Five hundred and thirty one commercials of the three main private national television channels in Spain (Tele5, Antena3, LaSexta) and children’s Disney Channel (Spain) were compiled in 2013. The results confirm a considerable presence of pure Anglicisms, English-Spanish code switching, pseudo-Anglicisms and Anglo-American imagery and music in the advertising of products related to cosmetics, hygiene and personal care on Spanish television. Consequently, the link of these products to the prestige of the English-speaking world is reinforced.

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34

Perren, Alisa. "From Dawn Till Dusk: El Rey Network and the Evolution of Cable Television in the 2010s." Texas Studies in Literature and Language 63, no. 2 (2021): 213–32. http://dx.doi.org/10.7560/tsll63206.

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35

Mora, G. Cristina. "Regulating immigrant media and instituting ethnic boundaries – The FCC and Spanish-language television: 1960–1990." Latino Studies 9, no. 2-3 (2011): 242–62. http://dx.doi.org/10.1057/lst.2011.20.

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36

Miller, Taylor Cole. "The Fashion of Florrick and FLOTUS." Television & New Media 18, no. 2 (2016): 147–64. http://dx.doi.org/10.1177/1527476416652486.

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In this article, I explore The Good Wife’s particular uses of costuming and wardrobe and the consequent linkages to politics, feminism, and the discourse of “quality” television the show mediates. I argue that CBS borrows language from feminism to rehabilitate network broadcasting’s reputation as a dying medium in the wake of premium cable, time shifting, and cord-cutting. In the service of this strategy, I investigate how CBS dusts off an old tactic from The Mary Tyler Moore Show in the 1970s, using fashion to target a “quality” professional female audience and self-referentiality to resignify broadcast television as an activity for progressive, educated, and diverse women. Ultimately, I argue that The Good Wife uses costuming with female characters to self-legitimate and brand itself as “quality” television.

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37

Pfetsch, Barbara, and Albrecht Kutteroff. "The Short-Term Impact of Cable Television in West Germany: Preliminary Findings from a Quasi-Experimental Study." European Journal of Communication 3, no. 3 (1988): 323–43. http://dx.doi.org/10.1177/0267323188003003005.

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38

Smith, Paul Julian. "The Approach to Spanish Television Drama of the New Golden Age: Remembering, Repeating, Working Through." Bulletin of Hispanic Studies 83, no. 1 (2006): 61–74. http://dx.doi.org/10.3828/bhs.83.1.5.

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39

Fleming-Milici, Frances, Jennifer L. Harris, Vishnudas Sarda, and Marlene B. Schwartz. "Amount of Hispanic Youth Exposure to Food and Beverage Advertising on Spanish- and English-Language Television." JAMA Pediatrics 167, no. 8 (2013): 723. http://dx.doi.org/10.1001/jamapediatrics.2013.137.

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40

Moran, Kristin C. "THE GROWTH OF SPANISH‐LANGUAGE AND LATINO‐THEMED TELEVISION PROGRAMS FOR CHILDREN IN THE UNITED STATES." Journal of Children and Media 1, no. 3 (2007): 294–300. http://dx.doi.org/10.1080/17482790701532076.

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41

Khong, Hou Keat, Swi Ee Cheah, Nurul Na’imy Wan, and Susana Martínez Vellón. "Does the adapted version of The Amazing Race (AVOTAR) benefit Spanish language learning among technical students?" Revista Española de Lingüística Aplicada/Spanish Journal of Applied Linguistics 31, no. 1 (2018): 159–96. http://dx.doi.org/10.1075/resla.15019.kho.

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Abstract Students’ lack of interest and motivation in language learning has long been the focus of language scholars and researchers. In the Malaysian Technical and Vocational Education and Training (TVET) context, this concern has posed many practical challenges particularly to the foreign language teachers. This study proposes a teaching innovation adapted from the popular reality television program, The Amazing Race, to instill and promote interest in learning Spanish among the technical students. The study on the Adapted Version of The Amazing Race (AVOTAR) was conducted using a quantitative dominant mixed methods approach in a technical university where Spanish language is a compulsory subject. The quantitative findings show that AVOTAR improves learners’ linguistic performance especially in the areas of vocabulary and reading comprehension while the qualitative findings indicate that AVOTAR helps increase learners’ motivation. This may contribute useful insights to address the challenges and improve the curriculum and instruction of foreign languages.

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42

Zamora, Andrés. "Spain, Made in Catalonia: Mechanics of Spanish Nation-Building in the Television Series 50 años de." Hispanic Review 89, no. 1 (2021): 93–114. http://dx.doi.org/10.1353/hir.2021.0004.

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43

Oberholzer-Gee, Felix, and Joel Waldfogel. "Media Markets and Localism: Does Local News en Español Boost Hispanic Voter Turnout?" American Economic Review 99, no. 5 (2009): 2120–28. http://dx.doi.org/10.1257/aer.99.5.2120.

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In the past decade Americans have increasingly turned their attention to nonlocal information sources, raising concerns about disengagement from local communities. Regulation sometimes seeks to curtail the integration of media markets through the promotion of “localism.” This paper examines the role of local media. We make use of the rapid growth of Hispanic communities in the United States to test whether the presence of local television news affects local civic behavior. We find that Hispanic voter turnout increased by 5 to 10 percentage points, relative to non-Hispanic turnout, in markets where Spanish-language local television news became available. (JEL D72, J15, L82)

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44

Requejo, Maria Dolores Porto. "The life of the green shoots metaphor in the Spanish media." Metaphor and the Social World 2, no. 1 (2012): 22–40. http://dx.doi.org/10.1075/msw.2.1.02por.

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The green shoots metaphor is quite recent, but not completely new in financial language. It has been used by economists for more than a decade to refer to the first signs of economic recovery after a recession and it can easily be analysed as a specification of the more general, abstract metaphors the economy is a living organism or the economy is a plant. However, in 2009 the worldwide financial crisis made this metaphor spread fast and reach non-specialist language. This has been especially noticeable in the Spanish media (mostly television and general newspapers), where the expression was extensively used during the whole year 2009 to the point that, in only six months, the metaphor underwent important semantic and pragmatic changes and became a common referential phrase outside economic discourse. Using a corpus of occurrences of the expression in the Spanish non-specialist press throughout 2009, this paper analyses the short life of the metaphor in the Spanish media during 2009, from its ‘birth’ and first occurrences, to its ‘growth’ and evolution towards less comparative, more discursive, pragmatic functions, such as those of categorizing and of summarizing other people’s discourse. Finally, the arguable ‘death’ of the metaphor is considered, as findings indicate that context plays a crucial role in the actual survival of the expression, which has undergone some significant changes in its meaning

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Tejedor Martínez, Cristina. "The influence of the English language on the description of cosmetic products." Revista Alicantina de Estudios Ingleses, no. 30 (December 15, 2017): 303. http://dx.doi.org/10.14198/raei.2017.30.11.

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The influence of English as an international language has increased in many areas, from scientific, technological, economic and political fields to cinema, music and advertising. The use of English as a global language has exerted an enormous pressure over languages, especially on the lexical level. Since the second half of the 20th century, many works have already dealt with Anglicisms in Spanish (most cases of recent borrowings) in various fields, including fashion (Balteiro and Campos, 2012) and television cosmetics commercials (Rodríguez Medina, 2016a), but the study of descriptions provided by the brands for their cosmetic products has received less attention in Spanish. This paper provides an analysis of facial cosmetics descriptions selected from a corpus collected in 2016 from four Spanish cosmetic brands. Language creativity exploiting both the use of English borrowings and the influence of the English language in some orthographical patterns related to word-formation processes in Spanish in this genre will be discussed. The proportion of the influence of the English language on this kind of texts may be an important factor in determining its socio-psychological effect on the target public; besides, the quantitative results will be compared with those obtained in our previous studies in the fields of tourism and computing. A qualitative analysis of a selection of examples from our corpus will be offered. The present study intends to illustrate the influence of the English language on the information consumers can read about cosmetic products.

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GÓMEZ MORALES, Beatriz Maria. "TELEVISIÓN CRÍTICA O INDUSTRIA DE LA RISA: EL CASO DE LA COMEDIA TELEVISIVA ESPAÑOLA (1990-2018)." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 467. http://dx.doi.org/10.5944/signa.vol29.2020.23947.

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Resumen: El potencial crítico del humor en la comedia televisiva ha generadoun extenso debate entre los investigadores de la ficción televisiva.La sitcom, su principal exponente, ha sido valorada como vehículo reproductorde la ideología dominante por un número significativo de estudiosos.Otros, en cambio, han destacado su capacidad transgresora. Eneste artículo se analizan las significaciones críticas o conservadoras de lacomedia televisiva española de los últimos 30 años centrándonos, principalmente,en la introducción de temáticas de actualidad y problemáticasque conectan con las preocupaciones de la audiencia y su respectivo tratamientonarrativo. Abstract: The critical potential of humour in television comedy has generatedan extensive debate among researchers of television fiction. Thesitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.

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Retis, Jessica. "Book Review: Spanish-Language Television in the United States: Fifty Years of Development by Kenton T. Wilkinson." Journalism & Mass Communication Quarterly 96, no. 2 (2019): 641–43. http://dx.doi.org/10.1177/1077699019836951.

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Fowler, Erika Franklin, Matthew Hale, and Tricia D. Olsen. "Spanish- and English-language Local Television Coverage of Politics and the Tendency to Cater to Latino Audiences." International Journal of Press/Politics 14, no. 2 (2009): 232–56. http://dx.doi.org/10.1177/1940161209333087.

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Aguirre, Adalberto, and Diana A. Bustamante. "Critical notes regarding the dislocation of Chicanos by the Spanish‐language television industry in the United States." Ethnic and Racial Studies 16, no. 1 (1993): 121–32. http://dx.doi.org/10.1080/01419870.1993.9993775.

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Gash, Hugh, and Pilar Domínguez Rodríguez. "Young People's Heroes in France and Spain." Spanish journal of psychology 12, no. 1 (2009): 246–57. http://dx.doi.org/10.1017/s1138741600001657.

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Heroes play collectivist or individualist roles in imagination and self-development. Representations of heroic figures in questionnaires given to French (n = 241) and Spanish (n = 227) samples of 10 and 15-year-olds were examined to assess the extent that heroes originated in digital media, and whether they were proximal or distal personalities. There is strong evidence that heroes in this sample were largely learned about in digital media (France 45%, Spain 50%): family and community heroes were a minority (France 11%, Spain 9%). Male heroes were more important to Spanish participants compared to their French peers. The acquisition sequence for hero type reported in the pre-television era, proximal (family and community) to distal (beyond the neighbourhood), is reversed in this study. Generally, 10-year-olds preferred heroes with collectivist qualities and 15 year olds with individualised qualities. Findings are discussed in terms of the emergence of social capital.

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