Yo soy betty la fea telemundo
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The strategy followed since the 2000s by the U.S. media conglomerates to increase their production output for the Hispanic and Latin American markets has been felt in the region, challenging a long standing three tier media order described in the 1990s by Roncagliolo 5 in which there were net exporters (Brazil and Mexico), new exporters (Venezuela, and Argentina followed distantly by Colombia, Peru and Chile) and net importers (all the other countries in the region).
#Yo soy betty la fea telemundo series
ABC/Disney, Sony Pictures, and MTV/Viacom have also ventured in a series of co-productions with Latin American partners across the hemisphere, such as Vista Productions in Colombia, Polka Productions in Argentina, and TV Azteca in Mexico among many others.Ĭhanges in the television flows within the region Hispanic television network, MundoFox in 2012. The success of these partnerships resulted in the in the launch of a new U.S. Following the steps of Telemundo, NewsCorp/Fox, saw in Colombian as a good place to locate their production, bought the independent house production Telecolombia and stroke agreements of distribution with the television network RCN. the network has reinforced its production infrastructure in Miami, becoming a national and regional production leader in the last ten years. It also cultivated a co-production strategy with Brazilian TV Globo for the adaptation of successful fictional formats.
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Telemundo also incorporated the Mexican house producer Argos as a partner to keep the Mexican flavor of some of their productions. As a result Telemundo sought partnerships with RTI and Caracol TV, resulting in the rise of production made in Colombia. Due to the success of the Yo soy Betty, la fea across the different Hispanic audiences in the U.S., and the composition of the Colombian industry, the South American country was seen as a valuable programming source and as potential site for production with regional and global appeal. As a result, the networks looked for other alternatives. television networks to find a source of Mexican television programming appealing to their potential audiences. However, the duopolistic conditions under which Televisa and TV Azteca have operated in the Mexican market and their links to Univision and Azteca America respectively made it harder for other U.S. Hispanic television market due to the demographic composition of the Latino population with 65 percent of Mexican descent 4. Mexican production has been historically relevant to the U.S.
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Taking advantage of what Miller and Leger 3 describe as runaway production, Telemundo pursued partnerships in Mexico, Colombia and Brazil to tap into the cultural resources of professionals in these countries, while finding competitive prices due to the different conditions of labor between the U.S. Hispanic audience as well as Latino audiences across the hemisphere. Since that time, NBC-Telemundo deployed a production strategy that sought to attract the U.S. Hispanic media and Latina/o popular culture for Latin America 2. corporations and media conglomerates in which the push for original production resulted in the rise of Miami as new hub for U.S. However, since the 2000s, the rise of the Hispanic market as a magnet for media production piqued the interest of U.S. television market through Spanish-language television networks. Media counter flows were best represented by the conspicuous presence of Latin American telenovelas in the U.S. The rise of regional players such as Mexican Televisa, Brazilian TV Globo and Venezuelan Venevision was hailed as proof that cultural proximity drives audiences’ decisions in spite of the overwhelming presence of U.S.
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The Latin American television industry caught the attention of scholars worldwide given the rising visibility of a media counter flow resulting from the increasing presence of telenovelas in the world television market place. La Reina del Sur (Telemundo – USA Hispanic), Soy tu Dueña (Televisa – Mexico) and Pablo Escobar el Patrón del Mal (Caracol TV – Colombia)