{"title":"Pay-Television Welcomes Brazil","authors":"E. L. Carter","doi":"10.2307/j.ctv11hptkh.7","DOIUrl":"https://doi.org/10.2307/j.ctv11hptkh.7","url":null,"abstract":"This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for the better part of two decades Brazilian pay-television was largely characterized by slow growth, access limited to the country’s most affluent classes, and a programming-grid chock-full of content imported from the United States. The Pay-TV Law’s establishment of quotas for locally produced content, however, has helped to carve out a space for the production and distribution of Brazilian content. With this in mind, the chapter analyzes 1 contra todos (1 Against All, Fox Brasil) and Lama dos dias (Mud of the Days, Canal Brasil). In addition to satisfying the content quotas outlined in the Pay-TV Law, both series benefited from government financing mechanisms, were directed by celebrated Brazilian filmmakers, and explicitly, albeit in distinct ways, contemplate the nation and Brazilianness.","PeriodicalId":132290,"journal":{"name":"The New Brazilian Mediascape","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124063221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Pay-TV Law and the New Brazilian Mediascape","authors":"E. L. Carter","doi":"10.2307/j.ctv11hptkh.6","DOIUrl":"https://doi.org/10.2307/j.ctv11hptkh.6","url":null,"abstract":"This chapter establishes Brazil’s 2011 Pay-TV Law (Law 12.485/11) as the marker of the onset of the new, still-developing Brazilian mediascape. The chapter outlines the major tenets of the Pay-TV Law while also situating its development and adoption within the larger political milieu beginning in 1990. By analyzing a wide array of data during the period between 1990 and 2018 and by emphasizing the increased presence of independent production companies, the number of hours produced, the number of distribution channels, funding sources, and the uptick in the creation of series, the analysis reveals the significant extent to which the Brazilian mediascape has expanded and become increasingly competitive since 2011.","PeriodicalId":132290,"journal":{"name":"The New Brazilian Mediascape","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116511758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Blackness in the Post-2011 Mediascape","authors":"E. L. Carter","doi":"10.2307/j.ctv11hptkh.10","DOIUrl":"https://doi.org/10.2307/j.ctv11hptkh.10","url":null,"abstract":"This chapter expands on the structural analyses of earlier chapters by emphasizing the interrelatedness of developments occurring within the post-2011 mediascape and a broader theme: blackness in two contemporary Brazilian serial comedies: Mister Brau (Mr. Brown) and O Grande Gonzalez (The Great Gonzalez). The analysis of the two series’ distinct portrayals of blackness embodies an argument in favor of studies of representation that include fictional works of television outside of or in addition to TV Globo’s telenovelas. More specifically, it is a call for scholars to consider the varied matters of representation within the context of the structural shifts occurring during the post-2011 mediascape, accounting for how such shifts have played (or perhaps not) a central role in expanding production beyond the hegemonic confines of TV Globo’s vertical production model, resulting in the emergence of new voices and the possibility for more critical contemplations of race and other pressing social issues.","PeriodicalId":132290,"journal":{"name":"The New Brazilian Mediascape","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124040821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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