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Mexican Telenovela

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Mexican Telenovela
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

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References: and the Production of Markets and Representations of Transnational Identities." Television & New Media 6.4 (2005): 423-444. Mayer, Vicki. "Living Telenovelas/Telenovelizing Life: Mexican American Girls; Identities and Transnational Telenovelas." Journal of Communication 53.3 (2003): 479-495. 135 McAnany, Emile G., and Antonio C. La Pastina.. "Telenovela Audiences: A Review and Methodological Critique of Latin America Research." Communication Research 21.6 (1994): 828. Mehta, Stephanie N., and Jenny Mero. "Univision is Ready for Its Closeup." Fortune 153.4 (2006): 53-56. Modleski, Tania. “The Search for Tomorrow in Today’s Soap Opera.” Feminist Television Criticism: A Reader. Ed. Charles Brundson, Julie D’Acci, and Lynne Spigel. Oxford: Oxford University Press, 1997. Morrissey, Marietta. "Tres Mujeres: Reclaiming National Culture in the Post-Colonial Telenovela." Studies in Latin American Popular Culture 21 (2002): 221-232. Mumford, Laura S. Love and Ideology in the Afternoon. Blomington: Indiana University Press, 1995. Neal, Steve. “Studying Genre.” Television Genre Book. Ed. Glen Creeber. London: British Film Institute, 2001. Paz, Octavio. The Labyrinth of Solitude. Trans.Lysander Kemp, Yara Milos, and Rachel Phillips Belash. New York: Grove Press, Inc., 1985. Pearson, Rosalind C. "Fact or Fiction?: Narrative and Reality in the Mexican Telenovela." Television & New Media 6.4 (2005): 400-406. Peña, Leticia. “The Global Allure of Telenovelas; Millions are hooked on Latin America’s most popular export.” Colorlines. 7.1 (2004): 37-39. Propp, Vladimir. Morphology of the Folktale. Trans. Laurence Scott. 2nd ed. Austin: The University of Texas Press, 1968. 136 Propp, Vladimir. “Structure and History in the Study of the Fairy Tale.” Theories of Myth: Structuralism in Myth. Ed. Robert E. Segal. New York and London: Garland Publishing Inc, 1996. Ramirez Berg, Charles. Cinema of Solitude: A Critical Study of Mexican Film: 1967-1983. Austin: Univeristy of Texas Press, 1992. Rios, Diana I. "U.S. Latino Audiences of 'Telenovelas." Journal of Latinos & Education 2.1 (2003): 59. Riding, Alan. Distant Neighbors: A Portrait of the Mexicans. New York: Vintage Books, 1989. Slade, Christina, and Annabel Beckenham.. "Telenovelas and Soap Operas: Negotiating Reality." Television & New Media 6.4 (2005): 337-341. Starr, Michael. ‘“Guiding Light’ Cancelled.”New York Post Online. 1 Apr. 2009 . Steimberg, O. “Contemporary Style and Narrative Disarticulation (New Presents, New Pasts of the Telenovela)”. World Communication, 24(3/4) (1995): 101-105. Stevens, Eveyln P. “Marianism: The Other Face of Machismo.” Confronting Change. Callening Tradition: Women in Latin American History. Ed. Getrude M. Yeager. Wilimington: Scholarly Research Inc, 1994. Tate, Julee. "The Good and Bad Women of Telenovelas: How to Tell Them Apart Using a Simple Maternity Test." Studies in Latin American Popular Culture 26 (2007): 97-111. Williams, Carol Traynor. “ It’s Time for My Story”: Soap Opera Sources, Structure, and Response. Ed. J. Fred MacDonald. London: Praeger Publishers, 1992. Wollen, Peter. “The Auteur theory.” Theories of Authorship. Ed. John Caughie. London: Routledge, 1981. 137 Wright, Will. Six Guns & Society: A Structural Study of the Western. Berkley: The University of California Press, 1975. 138

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