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Brazil: Streaming, All Together and Mixed

Currently Brazil is struggling to overcome the effects of economic contraction cycle from 2014 to 2016, when process of social mobility that was been conducted for a decade was interrupted. The result was increased inequality and poverty. By 2018,
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  Maria Immacolata Vassallo de LopesGuillermo Orozco Gómez General Coordinators Charo LacalleSara Narvaiza Editors Gustavo Aprea, Fernando Aranguren, Catarina Burnay, Borys Bustamante, Giuliana Cassano, James Dettleff, Francisco Fernández, Gabriela Gómez, Pablo Julio, Mónica Kirchheimer, Charo Lacalle, Ligia Prezia Lemos, Pedro Lopes, Guillermo Orozco Gómez, Juan Piñón, Rosario Sánchez, Maria Immacolata Vassallo de Lopes National Coordinators I BERO -A MERICAN   OBSERVATORY   OF  T ELEVISION  F ICTION O BITEL  2019T ELEVISION   DISTRIBUTION   MODELS   BY   THE   INTERNET : ACTORS , TECHNOLOGIES , STRATEGIES  T269 Television distribution models by the internet: actors, technologies, strate- gies / general coordinators: Maria Immacolata Vassallo de Lopes and Guillermo Orozco Gómez. -- Porto Alegre: Sulina, 2019. 377 p.; 14x21 cm. ISBN: 978-85-205-0849-7 1. Television – internet. 2. Communication and technology – Ibero- -American television. 3. Television shows – Distribution – Internet. 4. Ibero- -American television. 5. Social media. 6. Social communication I. Lopes, Maria Immacolata Vassallo de. III. Gómez, Guillermo Orozco. CDU: 654.19 659.3 CDD: 301.161 791.445 Edição digital disponível em Bibliotecária responsável: Denise Mari de Andrade Souza – CRB 10/960 © Globo Comunicação e Participações S.A., 2019 Capa:  Letícia Lampert  Projeto gráfico e editoração:  Niura Fernanda Souza Produção editorial: Felícia Xavier Volkweis Revisão do português: Felícia Xavier Volkweis Revisão do espanhol:  Naila Freitas Revisão gráfica:  Niura Fernanda Souza Editores:  Luis Antônio Paim Gomes, Juan Manuel Guadelis Crisafulli Foto de capa:  Louie Psihoyos – High-definition televisions in the information era Rua Leopoldo Bier, 644, 4º andar – SantanaCep: 90620-100 – Porto Alegre/RSFone: (0xx51) Agosto/2019 Direitos desta edição adquiridos por Globo Comunicação e Participações S.A. Editora Meridional Ltda.  2  B RAZIL : STREAMING , ALL   TOGETHER    AND   MIXED 1  Authors : Maria Immacolata Vassallo de Lopes, Ligia Prezia Lemos Team :Larissa Leda Rocha, Lucas Martins Néia, Mariana Lima, Tissiana Pereira, Andreza Almeida Santos, Daniela Ortega 1. Brazil’s audiovisual context in 2018 Data 2  show that the country is struggling to overcome the ef-fects of the 2014-2016 economic contraction cycle. This period has interrupted a process of expressive social ascension of almost a de-cade, and the amount of poor people increased in Brazil from 2016 to 2017. Although the long and acute recession had already ended, growth was slim in 2018. These factors, among others (corruption, security, etc.), are intimately linked to the political changes that fol-lowed.Following the world political scenario of ascension of the far right, the Brazilian year was marked by an electoral campaign of great polarization, which culminated with the election of Jair Bol-sonaro, representative of this current. Given this context, paradoxi-cally, we have verified important advances in the audiovisual in-dustry, with the accelerated and permanent incorporation of digital communication. Regarding television serial fiction, these advances vary in the way it is produced and even perceived and distributed. This new order should be studied and analyzed in detail aiming at 1  Obitel Brazil thanks Kantar Ibope Media, which provided information to make it pos-sible to carry out the presented analyses. 2  IBGE. Síntese de indicadores sociais . Dec. 2018.  70 | Obitel 2019 understanding its multiple meanings, considering the possible im-provements as well as future problems. There is one certainty: the digital transformation is in full force in Brazil, in television series and films, communication and regulation policies, changes in the audience, narratives of fiction and social media – in an efferves-cence in which, “all together and mixed”, a new configuration seeks to organize itself, still poorly visible.   1.1. Open television in Brazil The Brazilian television system consists of seven national net-works, of which five are private and two public. RedeTV! and Band did not produce new national fiction in the year, but the latter issued a series co-produced by Colombia, the United States and Mexico. Chart 1. National open television stations in Brazil Private stations (5)Public stations (5) GloboRecord TVSBTBandRedeTV!TV BrasilTV Cultura Total stations = 7  Source: Obitel Brazil As for public broadcasters, TV Brasil and TV Cultura pre-miered, together, 12 national titles, a higher number than SBT and Record TV, with three and five productions respectively. We high-light TV Brasil, which exhibited ten fictions, broadcasting non-ha-bitual regions in the television scene, such as the states of Bahia, Goiás, Maranhão and Acre 3 , and addressing topics such as gov-ernmental policies, issues of class, gender, black representativity, sustainability, and minority rights in productions set in peripheries 3  The initiative, as we highlighted in the last yearbook, is the result of the program Brasil de Todas as Telas, which aims to expand the production of public TV.  Brazil: streaming, all together and mixed | 71 and  favelas . TV Cultura, in turn, decreased from six to two national productions in 2018, bringing a fictional African country as central scenario of  África da Sorte  and the protests of June 2013 in Brazil in  Mostra Tua Cara!.  In addition, the network presented two seasons of the Colombian telenovela Eu Sou Franky  (Nickelodeon Latin America, 2015). Graph 1. Audience and TV share by station in 2018 StationHome audienceShare (TCT) Globo13.2937.62SBT5.5515.69Record TV5.1714.62Band1.203.40RedeTV!0.521.48TV Brasil0.230.66Others 4 0.130.38Paid chan-nels6.7719.14OOC 5 1.614.55 TOTAL34.47- Source: Kantar Ibope Media – Media Workstation – 15 markets 45 The national home audience suffered a slight drop compared to 2017, from 35.80 to 35.34. Globo continued to lead, despite drop-ping 0.59 points of audience (from 13.88 to 13.29), followed by SBT, which grew 0.28 points (from 5.27 to 5.55), and Record, which increased 0.05 points (from 5.12 to 5.17). In fourth place, Band had a drop of 0.26 points compared to the previous year (from 1.46 to 1.20). On the other hand, RedeTV! had an increase of 0.11 points (from 0.41 to 0.52), and TV Brasil, of 0.07 (from 0.16 to 0.23). The data show a stable situation in the open TV audience, where there was a fall of 0.46 in total. However, the rounding remains stable at 28 points. 4  Others: data from Record News, TV Câmara, TV Justiça and TV Senado. 5  OOC – other open channels: open stations that have no audience published individually. GloboSBTRecordBandRedeTV!TV Brasil Home audienceShare (TCT)Others
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