Mexican Telenovela

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TOMORROW IS FOREVER: EXAMINING NARRATIVE STRUCTURE AND CULTURAL ARCHETYPES IN THREE MEXICAN TELENOVELAS

CONTENTS

ABSTRACT ................................................................................................ ii DEDICATION ........................................................................................... iv ACKNOWLEDGMENTS ...........................................................................v LIST OF TABLES ................................................................................... viii LIST OF FIGURES ................................................................................... ix 1. INTRODUCTION ...................................................................................1 2. LITERATURE REVIEW ........................................................................5 a. Genre Theory ...........................................................................................6 b. The Soap Opera and Telenovela Genre ...................................................8 c. Narrative Structure .................................................................................12 d. Analyzing Title Sequences ....................................................................21 e. Cultural Identity and Gender ..................................................................24 3. DECONSTRUCTING THE NARRATIVE STRUCTURE ..................36 a. Telenovela Time.....................................................................................37 b. Functions ................................................................................................44 4. DICHOTOMIZING CHARACTER ARCHETYPES ...........................68 a. La Virgen de Guadalupe vs. La Malinche .............................................70 b. Marianismo vs. Machismo .....................................................................84 c. Poor vs. Rich ..........................................................................................91 vi

5. JUDGING TELENOVELAS BY THEIR TITLE SEQUENCES .........96 a. Title Sequences—Microcosms of Narrative Elements ..........................97 b. Title Sequences as Promotional Tools .................................................111 6. CONCLUSION ....................................................................................121 NOTES .....................................................................................................127 REFERENCES ........................................................................................132

vii

LIST OF TABLES

3.1 The Segmentation of Scenes in Three Telenovelas .............................39 3.2 Timing of Telenovela Acts and Episodes ............................................40 3.3 Telenovela Narrative Functions ...........................................................47

viii

LIST OF FIGURES

4.1 La Virgen de Guadalupe and Juan Diego ............................................71 4.2 Candy tries to save her institute for women.........................................74 4.3 Soledad becomes a martyr ...................................................................75 4.4 Soledad becomes a martyr ...................................................................75 4.5 Soledad dies like a martyr ....................................................................76 4.6 Michelangelo’s Pietà ...........................................................................76 4.7 Purita prays to the Virgin Mary ...........................................................77 4.8 Marichuy brings roses to La Virgen.....................................................78 4.9 Cuidado con Marichuy ........................................................................78 4.10 Candelaria comforts Marichuy ..........................................................80 4.11 Mariana teaches Mayita .....................................................................80 4.12 Bárbara receiving orders from Artemio...
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