1 Toby Miller and Marie C. Leger, “Runaway Production, Runaway Consumption, Runaway Citizenship: The New International Division of Cultural Labor,” Emergences 11.1 (2001): 89–115.
2 David Hesmondhalgh, Cultural Industries, 2nd ed. (Los Angeles, CA: Sage, 2006).
3 In the last five years there has been a reformulation of telecommunication laws in the main domestic markets across the region with respect to quotas on the distribution of national and independently produced content with economic incentives for independent productions; however, the results of such legislation are uneven.
4 Toby Miller, chapter 2 in this volume.
5 Michael Curtin and Kevin Sanson, chapter 1 in this volume.
6 Petr Szczepanik, chapter 7 in this volume.
7 Michael Keane, chapter 16 in this volume.
8 Joseph Straubhaar, “Beyond Media Imperialism: Asymmetrical Interdependency and Cultural Proximity,” Critical Studies in Mass Communication 8 (1991): 39–59.
9 Among the most visible indies are Argos, Adicta Films, El Mall, Lemon, and Canana Film, Blind Spot in Mexico; RTI, Teleset, Vista Producciones, FoxTelecolombia, Laberinto Producciones, BETV in Colombia; Cuatro Cabezas, Underground, Ideas del Sur, RGB, Chris Morena, Pol-ka, and Endemol in Argentina; Del Barrio Producciones, Imizu, Teatro Libre, and Sol Entertainment Producciones in Perú; and Bueno Puerto Producciones, Valcine Producciones, Wood Producciones, and My Friend Entertainment Producciones in Chile. Conspiração Filmes, HBO O2 Filmes, and Mixer Brazil represent the most visible examples of a much larger group of indies.
10 The recognition of the Latin American television context is the product of years of research as part of the Ibero-American Observatory of Television Fiction (Obitel); but this chapter is based on ethnographic work done at NATPE in summer 2012, and a handful of interviews done in Fall 2014 with high executives and above-the-line creative personnel from independent production houses: Blind Spot and Argos (Mexico), Laberinto Producciones (Colombia), Del Barrio Producciones (Peru), and MicroTime (Uruguay). The pool of interviewees from independent production houses is composed of six top executives. Their shared characteristics are active involvement in the production of television programming for television networks in their countries as well as involvement in coproduction or commissioned productions, particularly fiction, with a U.S. or global media conglomerate.
11 Jesús Martín-Barbero, “Memory and Form in the Latin American Soap Opera,” in The Television Studies Reader, ed. Robert Allen & Annette Hill (London: Routledge, 2004).
12 James Schwoch, The American Radio Industry and Its Latin American Activities, 1900–1939 (Urbana: University of Illinois Press, 1990).
13 Noreene Janus, “Advertising and the Mass Media in the Era of the Global Corporation,” in Communication and Social Structure: Critical Studies in Mass Media Research, ed. Emile McAnany, Jorge Schnitman, and Noreene Janus (New York: Praeger, 1981).
14 John Sinclair and Joseph Straubhaar, Latin American Television Industries (London: British Film Institute, 2013).
15 Elizabeth Fox, Latin American Broadcasting: From Tango to Telenovela (Bedfordshire: University of Luton and John Libbey Media, 1997); Elizabeth Fox and Silvio Waisbord, eds., Latin Politics, Global Media (Austin: University of Texas Press, 2002).
16 Joseph Straubhaar, World Television from Global to Local (Los Angeles: Sage, 2007).
17 Joseph Straubhaar, “Beyond Media Imperialism: Asymmetrical Interdependency and Cultural Proximity,” Critical Studies in Mass Communication 8 (1991): 39–59.
18 Guillermo Orozco, ed., Historias de la televisión en América Latina (Barcelona: Gedisa, 2003).
19 Ibid.
20 Nora Mazziotti, La industria de la telenovela: La producción de ficción en América Latina (Buenos Aires: Paidós, 1996).
21 Raúl Trejo, “Muchos medios en pocas manos: Concentración televisiva y democracia en América Latina,” Revista Brasileira de ciencias da comunicacao 33.1 (2010): 17–51.
22 For instance in Mexico, TV Azteca sued Alan Tatcher for working with indie Nostromo in a new reality show for Telemundo in 2006; TV Azteca also sued talent working with indie Argos in a series for Cadena Tres in 2013.
23 There were five in Argentina, six in Brazil, seven in Chile, five in Colombia, seven in Ecuador, five in Mexico, six in Peru, four in Uruguay and fourteen in Venezuela. Guillermo Orozco and María I. Vasallo, eds., Transmedia Production Strategies in Television Fiction (Porto Alegre, Brazil: Globo Comunicação e Participações and Sulina Editora, 2014).
24 In Mexico, Televisa and TV Azteca hold 95 percent of the audience share; in Colombia, RCN and Caracol TV hold 97 percent; in Venezuela, Venevision and Televen 81 percent; in Brazil, TV Globo holds 40 percent; in Argentina, El Trece and Telefe hold 60 percent; in Peru, America TV, ATV and Frecuencia Latina hold 86 percent; and in Chile Canal 13, Chilevision, and TVN hold 70 percent of the audience share. Ibid.
25 LAMAC, “Penetracion de TV de paga,” Latin American Multichannel Advertising Council, www.lamac.org/.
26 Interview with executive producer from Laberinto Producciones, Colombia, November 25, 2014.
27 Interview with executive producer from Argos, Mexico, January 29, 2013.
28 Interview with artistic director from Del Barrio Producciones, Peru, November 27, 2014.
29 Interview with executive producer from Blind Spot, Mexico, November 19, 2014.
30 Telemundo kept the distribution rights in the United States, Canada, and Puerto Rico. Mary Sutter, “Telemundo, Argos to Link,” Variety, October 13, 2000, http://variety.com/2000/tv/news/tele...nk-1117787691/.
31 Joe Flint, “Productora Mexicana dará telenovelas a Telemundo,” Mural, October 2000, 5.
32 Interview with screenwriter for Argos, Telemundo, TV Azteca, HBO, Cadena Tres, August 22, 2006.
33 Nikolas Maksymiv, “Imagen y Argos Anuncian una Alianza,” Noticias financieras (Miami), January 21, 2010, ProQuest (466639295).
34 Interview with screenwriter for Argos, Telemundo, TV Azteca, HBO, and Cadena Tres, November 26, 2014.
35 Interview with executive producer from Argos, Mexico, January 29, 2013.
36 Juan Piñón, “Reglocalization and the Rise of the Network Cities System in Producing Telenovelas for Hemispheric Audiences,” Journal of International Cultural Studies 17.6 (2014): 655–671.
37 Sara Bibel, “Telemundo’s ‘El Señor de los Cielos’ Wins First-Ever International Emmy for Non-English Language U.S. Primetime Program,” TVbythenumbers, November 25, 2014, http://tvbythenumbers.zap2it.com/201...rogram/332190/.
38 Hernán Casciari, “HBO con acento latinos,” El país, February 2009, http://blogs.elpais.com/espoiler/200...to-latino.html.
39 Interview with screenwriter for Argos, Telemundo, TV Azteca, HBO, and Cadena Tres, November 26, 2014.
40 Ibid.
41 Marie A. De la Fuente, “Sony Will Sell Telenovelas at Mip,” Variety, March 29, 2009, http://variety.com/2009/film/news/so...ip-1118001742/.
42 Interview with executive producer from Laberinto Producciones, Colombia, November 25, 2014.
43 Interview with artistic director from Del Barrio Producciones, Peru, November 27, 2014.
44 Interview with executive producer from Microtime, Uruguay, December 1, 2014.
45 Interview with screenwriter for Argos, Telemundo, TV Azteca, HBO, and Cadena Tres, November 26, 2014.
46 Interview with artistic director from Del Barrio Producciones, Peru, November 27, 2014.
47 Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press, 1993).
