The Four Elements Of Telenovela Industry

ELA-Literacy.RL.6.3: Describe how a particular story’s or drama’s plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves towards a resolution.

In Tania Modleski’s “The Search for Tomorrow in Today’s Soap Operas” she introduces that the rare appearance and function of soap opera in two ways. The first being the viewer’s ability to occupy the text’s recommendation of the viewers position of ‘the good mother’, and the second using the stereotype ‘villainess’ to displace one’s own bottled up anger and powerlessness. I will analyze these two functions by using Modleski’s perspectives on the positions of soap operas, how a new genre of reality television programs that are featured today function in a similar way.

pg 18,l. 81-82). Each story comes with an idea, but algebra is what makes story be read by readers. There is an“ implicate framework that must underlie a story” (C. pg.18,l.85-86). The implicate frame work in algebraic, the arc that holds the story together. The arc has five key components called the exposition, rising action, climax, Falling action and then the denouement. The exposition set’s up the plot and characters. Then comes the rising action where there is a conflict, that will get the reader’s attention. The climax is where we can see the end of the conflict, but it is not solved yet. The falling action is where the conflict is finally solved, but can sometimes have a little bit of drama at the end. The denouement is the final component in the arc, it is where the story is ending with a sigh of relief. The fire and algebra while hold the story and be read by reader’s.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

John Jurgensen’s article asks us an interesting question: how many TV series can our brains take? As television series expand to grandiose levels, it gets harder to follow what is happening: who people are, and what their place in the overall story is hard to follow for a large number of viewers. Jurgensen attempts to address this within his article, and it has some interesting points.

ELAGSE7RL3: Analyze how particular elements of a story or drama interact (e.g., how settings shape the characters or plot).

A plot is driven by a conflict or a struggle between two opposing forces. In the book, Esperanza Rising, the central character faces a myriad of conflicts initiated after the death of her father. Esperanza Ortega was born into a wealthy family with an adoring mother and a doting father. One day, after waiting for hours for her father to return home, she notices a wagon approaching her home. “Esperanza could see a body in back, completely covered with a blanket.” (Ryan, 2000) Papa and his vaqueros had been ambushed and killed while mending a fence. (Ryan, p.24, 2000) This horrible event propels the plot and creates conflicts for Esperanza and her family.

The dance piece was composed of several story lines and plots. There was a piece in which it there was a guy and a girl who with their dance movements expressed hate and love. Other dances expressed the path to finding freedom, loneliness, and time.

Johnson shows the reader another chart for “the most ambitious show on TV to date, The Sopranos,” which “routinely follows up to a dozen distinct threads over the course of an episode” (Johnson). By providing these charts, Johnson shows his readers a portrait of the Sleeper Curve over the past thirty years in popular television. Before Hill Street Blues, the golden rule among television executives was that audiences were not comfortable following more than three plots in each episode, but within just three decades shows like The Sopranos have become popular because of the multi-threaded plot lines. Johnson believes that because of this burst in narrative threads, the amount of “flashing arrows”, inserting something in the script that reduces the amount of analytic work on the viewer, have greatly decreased. He says

The first literary term to discuss is setting. Setting is where and when a story takes place. In The Most Dangerous Game, the setting is a very important piece of this story. It takes place on an island, if the setting were different the story would not have the same effect. Another term is theme. Theme is the central message or overall idea of a story. In The Cask of Amontillado, the theme is revenge because Montresor is trying to find revenge on Fortunato because he has wronged him many times.

For Writing Project Three, I transformed Breaking Bad, a television series, into a news article. Specifically, I focused on the last episode of the series, Felina. Since I am a fan of dramas and I also enjoy to read the news frequently, I decided to combine my two interests for this assignment. Originally, I planned on transforming the drama, Mad Men, but that series is not as dynamic or familiar to most audiences as the critically acclaimed Breaking Bad.

In this Evaluation assignment, I will scrutinize a Television series called “Gossip Girl”. I will be examining the “Gossip Girl” series based on the following criteria, I believe “Gossip Girl” is one of the best shows that has ever existed. I have my reasons for that, “Gossip Girl” consecutively earned awards for the time they were on air, the inflamous cast and how teenagers can relate to the way that characters in the series deal with drama and romance situations in high school and college.

Looking back to these three popular shows, we are able to discuss the central genre of teen drama. However, when examining the three teen drama television shows, there are many focal points that must be considered. As chandler mentioned before, genre is known to be a distinctive type of “text.” However, there are a number of things that must be considered when analyzing a genre. Not only do we study the text, but also the creators and producers of the text, the effect the text has

I have chosen to look at and analyse a television text. It is a TV drama aimed at a teenage audience called Skins. I chose this particular text as it focuses upon many different characters and scenarios in regards to sexuality and this forms a basis for analysis and evaluation. Skins also focuses upon Teenage sexuality, specifically, which I believe is a broad and interesting subject to analyse with many opportunities to elaborate.

The 1980s saw a shift in the presentational style of television. John Caldwell termed this new style televisuality. Televisuality presents a type of television that flaunts style rather than just using it to communicate ideas and content (Caldwell, 5). There is more value placed in the excessive style of television programs. Through televisuality, many shows have come to establish signature production styles that set them apart from other programming on the air. Changes in the television industry brought about this new style of television.