Manchester University Press
4 The phenomenon of biblical telenovelas in Brazil and Latin America
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Abstract
This chapter seeks to contribute with theoretical and empirical reflections on the recent phenomenon of biblical telenovelas produced in Brazil. Since the consolidation of television in the 1960s telenovelas have become the main cultural product in Brazil and Latin America – especially those from Globo Corporation, which attract all the prime-time audience. But during recent years another channel, Record TV, has been receiving some attention for trying a different strategy in producing biblical telenovelas. Since 2010, Record TV has produced telenovelas and series focused on biblical narratives to attract a new audience. Within that context we aim to analyse these narratives in relation to: (1) the focus on a niche audience; (2) the fact that the network Record is owned by representatives from the ‘Universal Church of the Kingdom of God’; (3) the rise of a more conservative audience; and (4) the biblical narrative as a rising genre.
Abstract
This chapter seeks to contribute with theoretical and empirical reflections on the recent phenomenon of biblical telenovelas produced in Brazil. Since the consolidation of television in the 1960s telenovelas have become the main cultural product in Brazil and Latin America – especially those from Globo Corporation, which attract all the prime-time audience. But during recent years another channel, Record TV, has been receiving some attention for trying a different strategy in producing biblical telenovelas. Since 2010, Record TV has produced telenovelas and series focused on biblical narratives to attract a new audience. Within that context we aim to analyse these narratives in relation to: (1) the focus on a niche audience; (2) the fact that the network Record is owned by representatives from the ‘Universal Church of the Kingdom of God’; (3) the rise of a more conservative audience; and (4) the biblical narrative as a rising genre.
Chapters in this book
- Front matter i
- Dedication v
- Contents vii
- List of figures ix
- List of contributors xi
- Preface by Adele Reinhartz xv
- Acknowledgements xix
- Introduction 1
- 1 Battles over the biblical epic 23
- 2 Depicting ‘biblical’ narratives 36
- 3 Special effects and CGI in the biblical epic fi lm 50
- 4 The phenomenon of biblical telenovelas in Brazil and Latin America 68
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Part II Modern narratives and contexts in adapting the Bible
- 5 Mythic cinema and the contemporary biblical epic 87
- 6 The Nativity reborn 102
- 7 Convince me 122
- 8 Controversy and the ‘Culture War’ 143
- 9 ‘Can anything good come out of Southern California?’* (*hyperlink to John 1:46) 161
- 10 Examining the digital religion paradigm 174
- 11 The devil and the Culture Wars 193
- 12 Ben-Her(?) 214
- 13 The biblical-trial film 230
- 14 ‘Squint against the grandeur’ 247
- Filmography 265
- Index 270
Chapters in this book
- Front matter i
- Dedication v
- Contents vii
- List of figures ix
- List of contributors xi
- Preface by Adele Reinhartz xv
- Acknowledgements xix
- Introduction 1
- 1 Battles over the biblical epic 23
- 2 Depicting ‘biblical’ narratives 36
- 3 Special effects and CGI in the biblical epic fi lm 50
- 4 The phenomenon of biblical telenovelas in Brazil and Latin America 68
-
Part II Modern narratives and contexts in adapting the Bible
- 5 Mythic cinema and the contemporary biblical epic 87
- 6 The Nativity reborn 102
- 7 Convince me 122
- 8 Controversy and the ‘Culture War’ 143
- 9 ‘Can anything good come out of Southern California?’* (*hyperlink to John 1:46) 161
- 10 Examining the digital religion paradigm 174
- 11 The devil and the Culture Wars 193
- 12 Ben-Her(?) 214
- 13 The biblical-trial film 230
- 14 ‘Squint against the grandeur’ 247
- Filmography 265
- Index 270
