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The telenovela conquered its place as a mass medium, able to mobilize
a sizable audience, with the very successful broadcasting of “O
Direito de Nascer" (The Right to Be Born). Requested by a cosmetic
company, it was the product of a contract between an advertising
agency and TV Tupi. The first episode aired on December 7, 1964,
at the nine-thirty p.m. time slot. The final episode on August 13,
1965 was celebrated by a huge crowd that filled a soccer stadium
in Rio de Janeiro to share this moment with the characters of the
soap. Instead of the usual soccer chanting, people cried for their
favorite characters and chanted their names. It was the proof that
advertisers and TV executives needed to establish the soap as a
cornerstone of TV programming. After such success, TV stations started
to show three to four novelas daily (Fernandes, 1994).
Tufte (1995) explains that telenovelas are part of Brazilian culture,
to the extent that “most Brazilians have been born with novelas
as part of their everyday life” (p.30). In his analysis of
telenovelas in Brazil he reports:
In 6-8 consecutive months a telenovela is screened daily, six
days a week. Three, four or even five telenovelas are screened everyday,
just on TV Globo, the largest TV network in Brazil. Average ratings
are 50-55, often reaching peaks of 60, 70 and even more. If the
multitude of secondary media texts in radio, TV and print media,
telenovela constitute a genre that has a popularity, a presence
and an influence on everyday life, that must be difficult to find
likewise any other place in the world.
Since the mid 1960s-1970s telenovelas in Brazil began taking distinct
characteristics and flavor. Researchers agree that the landmark
of a new mode of creating and performing soaps, the Brazilian way,
was a telenovela produced and launched by TV Tupi called "Beto
Rockfeller", which aired for one year from 1968-1969 (Hippolyte-Ortega,
1998; Távola, 1996; Mattelart & Mattellart 1990; Straubhaar,
1982; Fernandes, 1994). "Beto Rockfeller" (Luis Gustavo)
was a charming young man who worked in a shoe store, but through
his socialite girlfriend could infiltrate into the upper class,
passing as a millionaire. The name was no coincidence. Beto was
the representation of a working class individual, while Rockfeller,
meant the sophisticated, smooth player. His heart was divided between
two female characters, Cida (Ana Rosa) who is his girlfriend from
the neighborhood, and Lu (Débora Duarte) the rich girl (Fernandes,
1994). Bráulio Pedroso, the telenovela's author, brought
the colloquial adventures of an urban anti-hero to the small screen.
The author implemented many innovations, beginning with the choice
of protagonist. Instead of the courageous, above all evil hero of
past melodramatic productions, Beto was a cheating, manipulative,
but adorable character who used many tricks to infiltrate Rio's
high society. The style of the novela was as close to reality as
possible, unlike the more pompous and erudite style of previous
telenovela work. The director, Lima Duarte, gave the actors more
freedom to interpret their characters. He allowed more room for
improvisation, more use of outdoor locations, and a faster narrative.
(Ortiz et al., 1991; Fernandes, 1994; Mattelart & Mattelart,
1990).
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