A exportação da Indústria Cultural da América Latina: o fenômeno Yo Soy Betty, La Fea
There has been an increasingly use of Adorno and Horkheimer’s concept of cultural industry in the post-modern globalize world. This paper, based on the Frankfurt school of critical theory, analyses the Latin-American television show ‘Yo soy Betty, la fea’ (In Brazil, ‘Bela, a feia’). This soap-opera...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo publishedVersion Pesquisa acadêmica Descripción |
| Lenguaje: | Portugués |
| Publicado: |
Universidade de São Paulo. Escola de Comunicações e Artes
2010
|
| Materias: | |
| Acceso en línea: | http://www.revistas.usp.br/extraprensa/article/view/77162 http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=br/br-065&d=article77162oai |
| Aporte de: |
| Sumario: | There has been an increasingly use of Adorno and Horkheimer’s concept of cultural industry in the post-modern globalize world. This paper, based on the Frankfurt school of critical theory, analyses the Latin-American television show ‘Yo soy Betty, la fea’ (In Brazil, ‘Bela, a feia’). This soap-opera is from Colombia and its plot and story has been exported around the World and locally recreated in Mexico, United States, Brazil and some European countries such as Croatia and Poland. From a semiological standpoint of the characteristics of the main character and through the dialogue with Muniz Sodré and Edgar Morin the author concludes that Betty’s non-standard aesthetics and the issues she faces in the corporate place manage to establish massive identification with the character. This massive identification takes Betty to the status of World Pop Star of the beginning of the 21st century. |
|---|