On Saturday, November 4th, Brazil bid a heartfelt farewell to Lolita Rodrigues, a true pioneer of Brazilian television. Her presence on the screen and her pivotal role on September 18th, 1950, a historic date that marked the birth of television transmission in Brazil, remain etched in our collective memory. As we celebrate her life, her memorable characters, and her significant contributions, we also reflect on the changing landscape of television in a world where traditional broadcasting faces increasing challenges from the ever-expanding realm of the internet and streaming platforms. Yet, it's undeniable that this enduring medium still holds a cherished place in Latin American culture, with deep roots embedded in the captivating world of telenovelas.
Telenovela has its etymological origins in Spanish; it is a fusion of the words 'tele' (from television) and 'novela' (from novel). Brazil was the country that pioneered this audiovisual genre, drawing inspiration from the radionovela, and today, it serves as a model followed by many countries. The trailblazer telenovela was 'Sua Vida Me Pertence' in 1951, written by Walter Foster for TV Tupi, which was the first Brazilian commercial terrestrial television network in South America. It was popular between the 1950s and 1960s until its closure in the 1970s due to the military dictatorship’s censorship. The introduction of television significantly shaped the country's culture, influenced people's behaviour, and had a profound impact on the entertainment industry. Moreover, TV played a crucial role in disseminating information, education, and shaping public opinion.
‘Sua Vida Me Pertence’ received a positive reception from the population, marking the beginning of many other telenovelas on the same channel and inspiring others to adapt to this format in the 1950s. Brazilian telenovelas have transcended national borders and are recognized globally by other countries. At that time, telenovelas were broadcast live on just two days a week, with limited funding, not in prime time, and featured a Latin American melodramatic style.
Starting from the 1960s, the fashion, language, and ideas discussed on TV screens during prime time by fictional characters who were credible enough for a significant portion of the public to relate to them in an almost personal way would set a standard to be followed or challenged by many Brazilians. Throughout the decade, the number of TV sets in Brazilian homes increased, as did the number of broadcasters. This growth led to increased funds allocated to advertising in the new medium, resulting in greater budgetary availability for broadcasters. The decade also marked the development of a distinctive TV language. Telenovelas and newscasts became the flagships of a medium that soon became integrated into the daily life and imagination of Brazilians, guiding political discussions, societal changes, fashion, consumption and language.
In 1963, videotape technology developed, making it possible to record chapters to be shown later, and so soap operas became daily. Following this change, broadcasters increased the number of soap operas, and these entered the culture of Brazilian society once and for all. In 1968, “Beto Rockfeller”, from TV Tupi, transformed the narrative style and innovated the language of telenovelas, getting rid of Latin American dramaturgy, and bringing an updated format, and a modern aesthetic, with a relaxed story, which took place in São Paulo, then emerging a Brazilian pattern of making telenovelas. Besides that, this telenovela featured believable characters, ordinary people living in a contemporary Brazilian city, with a realistic plot. And this approach to their audience and the lives they lived became one of the keys to the success of Brazilian soap operas from that moment on and especially in the following decade.
In 1963, the development of videotape technology allowed for the recording of telenovela chapters, enabling them to be shown on a daily basis. This marked a significant shift, and as a result, broadcasters increased the number of telenovelas. They became an integral part of Brazilian society.
In 1968, 'Beto Rockfeller' on TV Tupi revolutionized the narrative style and language of telenovelas. It departed from Latin American dramaturgy and introduced an updated format with a modern aesthetic and a more relaxed storyline with Brazilian signature. It was set in São Paulo and featured believable characters – ordinary people living in a contemporary Brazilian city – with a realistic plot. This approach to storytelling and the relatability of the characters became key factors in the success of Brazilian telenovelas from that point onward, especially in the following decade.
'Irmãos Coragem', created by Janete Clair, achieved immense success in 1970. It featured a dynamic plot and compelling characters that embodied the traditional model of masculinity widely accepted by Brazilians. This contributed to attracting a significant male audience. Despite its setting in the interior of Goiás, it addressed dilemmas and issues realistically, making it appealing to a broad audience. However, its depiction of these matters also drew the attention of censors during the time of the military regime.
The telenovela also delved into themes such as the struggle against oppression, the influence of powerful mining interests, and the dynamics between left-wing and right-wing politicians, which were sources of concern for the government. This marked a significant shift in the themes explored by telenovelas, expanding the range of topics and formal styles (whether rural or urban, folkloric or realistic, humorous or dramatic, period or contemporary). This expansion enjoyed widespread public support while also undergoing close scrutiny by censorship authorities.
In the 1970s, as television in Brazil became more established, Rede Globo assumed a dominant position in the realm of telenovelas. In Brazil, this variety began to be forged in the 1970s, when executives realized that the audience didn't want to suffer and cry, but to have fun in front of the screen. Thus, the 6 o'clock telenovela was created, which is milder and usually period dramas, the 7 o'clock telenovela, with a more comedic content, the 8 o'clock telenovela, with more general themes, and the 10 o'clock telenovela, with alternative or cultural content. Meanwhile, the pioneering TV Tupi ultimately closed its operations in the 1980s due to financial crises, and TV Excelsior faced bankruptcy in 1970. Telenovelas became subject to intense surveillance, not only when politically sensitive themes related to the military dictatorship were involved, but also concerning moral issues related to romantic relationships, divorce (the divorce law was only enacted in Brazil in 1977), premarital sex, corruption, and even negative portrayals of family relationships or pessimistic attitudes toward life. These aspects were closely monitored by censorship authorities.
Broadcasters were striving to keep up with the significant changes taking place in Brazilian society, encompassing shifts in consumption patterns, behaviour, and expectations. The Federal Censorship sought to curb content they considered transgressive in telenovelas. Censors often imposed restrictions by blocking specific words and expressions for political or moral reasons, resulting in narrative inconsistencies and incongruities. While the tolerance of censors increased over the years, especially after the end of the Brazilian military dictatorship in 1985, these restrictions would only definitively vanish with the enactment of the 1988 Constitution.
In telenovelas, it's common to highlight essential issues of our daily lives. However, telenovelas serve primarily as a platform for addressing social problems. They shouldn't be viewed as a vehicle for in-depth debates since they tend to adopt a more superficial and one-dimensional approach. Telenovelas are cultural products with significant influence on Brazilian society. They possess the power to address critical themes that resonate with people's lives, encouraging reflection to some extent. This influence is particularly pronounced when telenovelas are broadcast on open television channels, providing access to diverse social groups within the constantly divided political and socio-economic landscape of Brazilian society. Telenovelas connect demographics and generations, and proper representation within them is of paramount importance, as it provides identity to different groups and ensures that they feel heard. Representation matters because it helps create a more inclusive, diverse, and equitable society. It empowers individuals, fosters empathy, and contributes to social progress.
Telenovelas' impact goes beyond the aforementioned aspects. For example, there is a connection between telenovelas and demographic changes. Between the 1970s and 1980s, the number of children per woman decreased, even in the absence of specific birth control or family planning policies. This can be attributed to the fact that the primary target audience of telenovelas during that era were housewives. Telenovelas played a role in raising awareness and contributing to the regulation of careers in acting. Moreover, telenovelas influence the publicity strategy to ensure that the social issues portrayed in their plots are reflected in other programs and news broadcasts on the networks.
Whether one embraces them or not, telenovelas are an integral part of Brazil's cultural heritage. Brazilians' passion for them was solidified in the 1970s, a period when the military government's uneven and dependent modernization project was at its height. It was during this era that a new urban middle class emerged, aspiring to be cosmopolitan, while coexisting with the more traditional and conservative middle class rooted in deep-seated traditions. This transition gave rise to new patterns of consumption and behaviour, which were influenced by external sources, born within Brazilian society itself, or reimagined and incorporated by television.
Today, the legacy of those pioneering TV broadcasts is evident in the proliferation of television channels, the diversity of programming available, and the continuous evolution of television technology. Television remains a vital source of entertainment and information for millions of Brazilians, even as it competes with new forms of media such as online streaming and social platforms. Additionally, television plays a fundamental role in journalistic coverage, broadcasting live events, promoting culture, and strengthening regional identity. Through television, people gain access to a wide array of content and the opportunity to connect with diverse realities and perspectives, a source of information and communication with a nation. As well as their programmation as a clock of people's routine.
Yet, telenovelas, despite their popularity, have faced discrimination regarding their significance. Brazil is a country that has grappled with aporophobia, while telenovelas, as a popular product, have often reflected the worldviews of a specific class. It's important to note that over the years, poverty in Brazil has taken on various forms, with many minority groups being excluded from telenovelas or subject to offensive prejudices and stereotypes. Although diversity is now a prominent demand from the audience and over the years were exceptions. Another common critique of them is how predictable, in terms of plot and the star personas. However, as mentioned earlier, the importance of telenovelas is immeasurable, extending to their economic impact, which forms the foundation of the largest media conglomerate, Rede Globo.
Over the pandemic, during its restrictions, many creatives experiment. This is when the telenovelas gained a new shape through social media feeds by content creators. On social media, Brazilians had contact with the foreign telenovelas, ironically the format that Brazil is prestige abroad. This only highlights the importance of that cultural patrimony from Brazil.
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