Description

« After spending a lot of effort on ideological analysis,
scholars have begun to ask themselves if the meanings
and enchantments these stories offer to the populace, as
more than strategies of ideology and the inertia of
cultural formats, might be the product of a profound
dynamic of memory and imaginaries. What activates
these memories and makes them permeable to the
modern urban imaginaries is not the order of their
content or even their codes, but the order of their
cultural matrices. Semiological tools break down when
we begin analyzing the imbrication of times and
untimeliness with which the narrative of a telenovela is
woven. To speak of matrices is not to evoke the archaic
but to make explicit the present, to explore not what
survives from that past when the popular stories and
gestures were authentic, but what makes certain
narrative and visual matrices operative today, secretly
connected to the lives, fears, and hopes of the people.»