Musalsalat em transição: entre o (trans)nacionalismo árabe e a narrativa complexa

Autores

  • Fadi George Haddad Mohammed Bin Rashid School for Communication

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2025.235318

Palavras-chave:

Musalsalat, televisão árabe, narrativa complexa, transnacionalismo, indústria televisiva

Resumo

Este artigo analisa a evolução das séries árabes (musalsalat), explorando como influências transnacionais moldam as práticas contemporâneas de storytelling. O estudo examina a transição dos dramas tradicionais do Ramadã para séries mais curtas, orientadas para as plataformas de streaming que abrangem estilos narrativos complexos. Através da análise de processos de desenvolvimento de roteiro, o artigo sublinha a reciprocidade entre identidade cultural, trends globais e dinâmicas da indústria televisiva, revelando como dramas pan-árabes contribuem para a construção de identidades dentro do panorama de rápida globalização midiática.

Downloads

Os dados de download ainda não estão disponíveis.

Biografia do Autor

  • Fadi George Haddad, Mohammed Bin Rashid School for Communication

    Escola Mohammed Bin Rashid de Comunicação (MBRSC), Dubai – Emirados Árabes Unidos. Professor especializado em roteiro, produção cinematográfica e televisiva e estudos sobre os meios de comunicação árabes.

Referências

ABU-LUGHOD, L. Dramas of nationhood: the politics of television in Egypt. Chicago: The University of Chicago Press, 2008.

ANDERSON, B. Imagined communities. London: Verso, 2006.

AYISH, M. I. Arab world television in the age of globalisation: an analysis of emerging political, economic, cultural and technological patterns. [S. l.]: Deutsches Orient-Institut, 2003.

AYISH, M. I. Television broadcasting in the Arab world: political democratization and cultural revivalism. In: Arab media: globalisation and emerging media industries. [S. l.: s. n.], 2011. p. 85–102.

BANKS, M.; HESMONDHALGH, D. Looking for work in creative industries policy. International journal of cultural policy, v. 15, n. 4, p. 415-430, 2009.

BILLIG, M. Banal nationalism. London: Sage, 1995.

BLAIR, H. Winning and losing in flexible labour markets: the formation and operation of networks of interdependence in the UK film industry. Sociology, [S. l.], v. 37, n. 4, p. 677–694, 2003. DOI: 10.1177/00380385030374003.

BLANDFORD, S. BBC drama at the margins: the contrasting fortunes of Northern Irish, Scottish and Welsh television drama in the 1990s. In: Popular television drama. Manchester: Manchester University Press, 2017. p. 166–182. DOI: 10.7765/9781526125392.00020.

BLOORE, P. The screenplay business: managing creativity and script development in the film industry. [S. l.]: Routledge, 2014.

BORDWELL, D. On the history of film style. [S. l.]: Harvard University Press, 1997.

BOURDIEU, P. The social space and the genesis of groups. Social Science Information, [S. l.], v. 24, n. 2, p. 195–220, 1985. DOI: 10.1177/053901885024002001.

BOYD, D. A. Broadcasting in the Arab world: a survey of the electronic media in the Middle East. Ames: Iowa State University Press, 1999.

BUCCIANTI, A. Dubbed Turkish soap operas conquering the Arab world: social liberation or cultural alienation? Arab Media & Society, [S. l.], v. 10, p. 4–28, 2010.

BUONANNO, M. Seriality: development and disruption in the contemporary medial and cultural environment. Critical Studies in Television, [S. l.], v. 14, n. 2, p. 187–203, 2019. DOI: 10.1177/1749602019834667.

CHALABY, J. K. Transnational television in Europe: the role of pan-European channels. European Journal of Communication, [S. l.], v. 17, n. 2, p. 183–203, 2002. DOI: 10.1177/0267323102017002692.

CHAMBERLAIN, D.; RUSTON, S. 24 and twenty-first century quality television In: Reading 24: TV Against the Clock. New York: I.B. Tauris, 2007.

CONOR, B. E. Everybody’s a writer: theorizing screenwriting as creative labour. Journal of screenwriting, v. 1, n. 1, p. 27–43, 2010.

CONOR, B. Screenwriting: creative labour and professional practice. London: Routledge, 2014.

DAJANI, N. H. Television in the Arab East. In: A companion to television. [S. l.: s. n.], 2005. p. 580–601.

DUNLEAVY, T. Complex serial drama and multiplatform television. London: Routledge, 2017.

DWYER, T. Media convergence. United Kingdom: McGraw-Hill Education, 2010.

ELLIS, J. Seeing things: television in the age of uncertainty. London: I.B. Tauris, 2000.

EL-SEEWI, T. A. Egypt is mother of the world: transnational television and national identity. 2010. 288 f. Thesis (Doctor of Philosophy) – University of Texas at Austin, Austin, 2010.

FEUER, J. Melodrama, serial form and television today. Screen, [S. l.], v. 25, n. 1, p. 4–17, 1984. DOI: 10.1093/screen/25.1.4.

FISKE, J. Television culture: popular pleasures and politics. London: Routledge, 1987.

GRAY, J.; LOTZ, A. Television: a short introduction. Malden: Wiley-Blackwell, 2012.

GERAGHTY, C. The continuous serial: a definition. In: DYER, R. Coronation Street. Londres: BFI, 1981. p. 9–26.

HADDAD, F. G. Influences on story development in transnational pan-Arab dramas: a case study of the series 04. Journal of Screenwriting, [S. l.], v. 10, n. 2, p. 179–94, 2019. DOI: 10.1386/josc.10.2.179_1.

HADDAD, F. G.; DHOEST, A. Netflix speaks Arabic, Arabs speak Netflix: how SVOD is transforming Arabic series screenwriting. Journal of Arab & Muslim Media Research, [S. l.], v. 14, n. 2, p. 261–280, 2021. DOI: 10.1386/jammr_00034_1.

HARROD, M.; LIZ, M.; TIMOSHKINA, A. The europeanness of european cinema: identity, meaning, globalization. [S. l.]: Bloomsbury, 2014.

HAYAT, A. Putting the serial in context: comparing the storytelling processes of contemporary primetime Kuwaiti television dramas with American network dramas. Series – International Journal of TV Serial Narratives, [S. l.], v. 6, n. 2, 2020. DOI: 10.6092/issn.2421-454X/11240.

HILL, A. Push-pull dynamics: producer and audience practices for television drama format The Bridge. Television and New Media, [S. l.], v. 17, n. 8, p. 754–768, 2016. DOI: 10.1177/1527476416658131.

HOSKINS C.; MIRUS R. Reasons for the US dominance of the international trade in television programmes. Media, Culture & Society, [S. l.], v. 10, n. 4, p. 499–515, 1988. DOI: 10.1177/016344388010004006.

JANCOVICH, M.; LYONS, J. (ed.). Quality popular television: cult TV, the industry and fans. London: British Film Institute, 2003.

JARRAR, A. F. Radio and Television in Jordan. Publications of the Jordan History Committee, 1999.

JENKINS, H. Convergence culture: where old and new media collide. New York: NYU Press, 2006.

JOHNSON, C. Tele-branding in TVIII: the network as brand and the programme as brand. New review of film and television studies, [S. l.], v. 5, n. 1, p. 5–24, 2007.

JOUBIN, R. The politics of love and desire in post-uprising Syrian television drama. The Arab Studies Journal, [S. l.], v. 24, n. 2, p. 148–174, 2016.

KELLNER, D. Media culture: cultural studies, identity and politics between the modern and the post-modern. London: Routledge, 2003.

KHALIL, J. F. “The mass wants this!”: how politics, religion, and media industries shape discourses about audiences in the Arab world. In: BUTSCH, R.; LIVINGSTONE, S. (ed.). Meanings of audiences. London: Routledge, 2013. p. 123–134.

KHALIL, J. F. Arab television industries: enduring players and emerging alternatives. In: SHIMPACH, S. The Routledge companion to global television. Nova York: Routledge, 2019. p. 401–410.

KHALIL, J. F. Television in the Arab region: history, structure, and transformations. In: WASKO, J.; MEEHAN, E. R. (ed.). A companion to television. 2. ed. [S. l.]: Wiley Blackwell, 2020. p. 439–458. DOI: 10.1002/9781119269465.ch22Digital Object Identifier

KIPNIS, L. Film in crisis: the anxiety of changing technologies. In. HILL, J.; GIBSON, P. C. (ed.). The oxford guide to film studies. Oxford: Oxford University Press, 1998.

KOLFAT, M. F. ‘Thawra dramiyya fi maser’ [TV drama revolution in Egypt]. Mada masr, 12 jan. 2018. Available from: https://bit.ly/3FMtD2U. Accessed on: 19 oct. 2022.

KRAIDY, M. M.; KHALIL, J. F. Arab television industries. [S. l.]: Palgrave Macmillan, 2009.

KRAIDY, M. M. Media industries in revolutionary times. Media industries, [S. l.], v. 1, n. 2, 2014.

LA PASTINA, A. C.; STRAUBHAAR, J. D. Multiple proximities between television genres and audiences: the schism between telenovelas’ global distribution and local consumption. Gazette: The International Journal of Communication Studies, [S. l.], v. 67, n. 3, p. 271–288, 2005. DOI: 10.1177/0016549205052231.

LEVERETTE, M.; OTT, B. L.; BUCKLEY, C. L. It’s not TV: watching HBO in the post-television era. New York: Routledge, 2008.

LOTZ, A. D. The television will be revolutionized. Nova York: NYU Press, 2014.

MACDONALD, I. W. Disentangling the screen idea. Journal of Media Practice, [S. l.], v. 5, n. 2, p. 89–99, 2004. DOI: 10.1386/jmpr.5.2.89/0.

MACDONALD, I. W. Screenwriting poetics and the screen idea. [S. l.]: Palgrave Macmillan, 2013.

MCCABE, J.; AKASS, K. Quality TV: contemporary American television and beyond. London: Bloomsbury Publishing, 2007.

MITTELL, J. Complex TV: the poetics of contemporary television storytelling. Nova York: New York University Press, 2015.

MITTELL, J. Narrative complexity in contemporary American television. The Velvet Light Trap, [S. l.], v. 58, n. 1, p. 29–40, 2006.

NELSON, R. HBO premium: channelling distinction through TVIII. New review of film and television studies, [S. l.], v. 5, n. 1, p. 25–40, 2007.

NEWMAN, M. Z.; LEVINE, E. Legitimating television: media convergence and cultural status. [S. l.]: Routledge, 2012.

NEWMAN, M. Z. Quality TV as liberal TV. Western humanities review, [S. l.], v. 70, n. 3, 2016.

REDVALL, E. N. Writing and producing television drama in Denmark: From the kingdom to the lilling. [S. l.]: Springer, 2013.

SAKR, N. Arab television today. [S. l.]: Bloomsbury Publishing, 2007.

SAKR, N.; SKOVGAARD-PETERSEN, J.; DELLA RATTA, D. Arab media moguls. Londres: I.B. Tauris, 2015.

SALAMANDRA, C. Arab television drama production and the Islamic public sphere. In: GRUBER, C.; HAUGBOLLE, S. (ed.). Visual culture in the modern Middle East: rhetoric of the image. [S. l.]: Indiana University Press, 2013. p. 261–274.

SALAMANDRA, C. Creative compromise: Syrian television makers between secularism and Islamism. Contemporary Islam, [S. l.], v. 2, n. 3, p. 177–189, 2008. DOI: 10.1007/s11562-008-0060-0.

SALAMANDRA, C. Spotlight on the Bashār al-Asad Era: the television drama outpouring. Middle East Critique, [S. l.], v. 20, n. 2, p. 157–167, 2011. DOI: 10.1080/19436149.2011.572412.

SALAMANDRA, C. Syria’s drama outpouring: between complicity and critique. In: SALAMANDRA, C.; STENBERG, L. (ed.). Syria from reform to revolt: culture, society, and religion. Syracuse: Syracuse University Press, 2015. v. 2, p. 36–52.

SANTO, A. Para-television and discourses of distinction: the culture of production at HBO. In: LEVERETTE, M.; OTT, B. L.; BUCKLEY, C. L. (ed.). It’s not TV: watching HBO in the post-television era. New York: Routledge, 2008, p. 31–57.

SCHLÜTZ, D. M. Contemporary quality TV: the entertainment experience of complex serial narratives. Annals of the ICA, [S. l.], v. 40, n. 1, p. 95–124, 2016. DOI: 10.1080/23808985.2015.11735257.

SEITER, E.; WILSON, M. J. Soap opera survival tactics. In: EDGERTON, G. R.; ROSE, B. G. (ed.). Thinking outside the box: a contemporary television genre reader. Lexington: University Press of Kentucky, 2005, p. 136–155.

SMITH, A. D. The rites of nations: elites, masses and the re-enactment of the ‘national past’. In: The cultural politics of nationalism and nation-building. [S. l.]: Routledge, 2013. p. 33–49.

SMITH, A. N. TV or not TV? The Sopranos and contemporary episode architecture in US network and premium cable drama. Critical Studies in Television, [S. l.], v. 6, n. 1, p. 36–51, 2011. DOI: 10.7227/CST.6.1.5.

TAWIL-SOURI, H. Arab television in academic scholarship. Sociology Compass, [S. l.], v. 2, n. 5, p. 1400–1415, 2008. DOI: 10.1111/j.1751-9020.2008.00155.x.

THORNHAM, S.; PURVIS, T. Television Drama: theories and identities. [S. l.] New York: Palgrave Macmillan. 2005.

TRYON, C. TV got better: Netflix’s original programming strategies and binge viewing. Media Industries Journal, [S. l.], v. 2, n. 2, 2015. DOI: 10.3998/mij.15031809.0002.206.

Publicado

31-12-2025

Como Citar

Haddad, F. G. (2025). Musalsalat em transição: entre o (trans)nacionalismo árabe e a narrativa complexa. Significação: Revista De Cultura Audiovisual, 52, e025014. https://doi.org/10.11606/issn.2316-7114.sig.2025.235318