“I Know I Can’t Wait to See My Name in Lights”

IF 0.7 Q3 COMMUNICATION Feminist Media Histories Pub Date : 2021-10-01 DOI:10.1525/fmh.2021.7.4.7
Jillian M. Báez
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引用次数: 1

Abstract

This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved the way for contemporary representations of Latina girlhood in mainstream broadcast, cable, and streaming television. Taina is rarely cited in the history of Latina/o television or children’s television. This essay re-centers Taina as a critical intervention into children’s television and as a leading forerunner in Latina television production. I also highlight the labor of fans in shedding light on Taina’s obscured history, creating new ways of engagement with television of the past, and demanding new representations of Latinas.
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“我知道我迫不及待地想看到我的名字在灯光下”
本文探讨了Nickelodeon情景喜剧《Taina》(2000-01)的制作、内容和接受情况。由有线电视的拉丁裔先驱玛丽亚·佩雷斯-布朗(Maria Perez-Brown)创作的《泰纳》(Taina)播出了两季,以纽约市一所表演艺术高中的波多黎各少女为主角。在交叉女权主义媒体研究分析的指导下,我认为Taina预示着有线电视上少女青少年节目的兴起,并为主流广播、有线和流媒体电视对拉丁女孩时代的当代表现铺平了道路。泰纳在拉丁美洲电视或儿童电视的历史上很少被提及。本文将泰纳重新定位为儿童电视的关键干预者,并将其作为拉丁电视制作的领先先驱。我还强调了粉丝们的努力,他们揭示了泰纳被掩盖的历史,创造了与过去电视互动的新方式,并要求对拉丁美洲人进行新的表现。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Feminist Media Histories
Feminist Media Histories Arts and Humanities-History
CiteScore
0.70
自引率
0.00%
发文量
18
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