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The Flow of Television Programs
From United states To Latin America:
A Comparative Survey of Two Weeks' Television

Schedules in 1973 and in 1983

BY

Sheuan-Ling Chen

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

Master of Arts

Department of Telecommunication

1987

ABSTRACT
The Flow of Television Programs From United States to
Latin America: A Comparative Survey of two weeks'
Television Schedules in 1973 and in 1983
BY
Sheuan-Ling Chen

This thesis attempts to study over 10 years the
trend and developments in what had been seen as the one-
way flow of television programs from the United States
to Latin America. This study is done through a
comparative survey of two weeks' television schedules
from 16 Latin American countries in 1973 and in 1983.

The study concluded that the simple cultural
dependency model or national protectionism model can
not generally explain the various degree of discrepancy
between Latin American countries. We should study the
role of TV in the society not only from the one-sided
ideological context, but we also need to consider the
reality of the current situations in Latin America
countries. Besides, the governments of Latin America
maintain crucial roles in the flow of TV programs from
0.8. to Latin America. The degree and nature of
government intervention in broadcast policies vary
widely in Latin America. The larger countries, like
Cuba, Brazil, or Argentina have decreased a larger
percentage of imported TV programs than the smaller

countries, like Paraguay, Bolivia, or El Salvador.

Accepted by the faculty of the Department of
Telecommunication, College of Communication Arts and
Science, Michigan States University, in partial
fulfillment of the requirements for the Master of Arts

degree.

 

Director of Thesis

To my dear parents and lovely fiance:
Mr. sheu-Huei Chen (my father)
Mrs. Thia-Uien Lin (my mother)

Mr. Tsang-Ling Sheu (my fiance)

mike fl» 6. :3]
reaffifill
*MW $113 ‘5 tad:
fiatkd’fi‘54uL

ii

ACKNOWLEDGMENTS

It is my pleasure to present this thesis to my
parents and Mr. Sheu who gave me important financial and
spiritual support. Also, I very much appreciate Dr.
Straubhaar's helpful guides and correcting my writing.
Without his academic suggestions, it would have been
more difficult for me to complete this thesis. Finally,
I sincerely appreciate the foreign students and their
spouses of Michigan State University who came from Latin
American countries. Their helpness and opinions were

very useful for my research.

iii

TABLE OF CONTENTS

Rage

Dedication -------------------------------------------- ii
Acknowledgments --------------------------------------- iii
Table of Contents ------------------------------------- iv
List of Tables ---------------------------------------- v
List of Figures --------------------------------------- xi
Chapter I: Introduction ---------------------------- 1
Chapter II: Previous Literatures and

Theoretical Framework ------------------- 5
Chapter III: The Historical Background of

Television Systems In Latin America ----- 17
Chapter IV: The Hypotheses of This Research --------- 23
Chapter V: Research Method ------------------------- 35
Chapter VI: Summary of Findings --------------------- 42
Chapter VII: Conclusion and Future Direction --------- 57
References -------------------------------------------- 113

iv

Table

Table

Table

Table

Table

Table

Table

Table

4:

5:

LIST OF TABLES

Percentage of total broadcast minutes for
imported and domestic television
programs in 1973 and 1983. -------------------- 64
Percentage of total broadcast minutes on
weekdays for imported and domestic
television programs in 1973 and 1983. --------- 65
Percentage of total broadcast minutes on

prime time for imported and domestic
television programs in 1973 and 1983. --------- 66
Percentage of total broadcast minutes on
weekends for imported and domestic

television programs in 1973 and 1983. --------- 67
Percentage of weekday, prime time and

weekend television programs in Argentina

in 1973 and 1983. ----------------------------- 68
Percentage of weekday, prime time and

weekend television programs in Bolivia

in 1983. -------------------------------------- 69
Percentage of weekday, prime time and

weekend television programs in Brazil in

1973 and 1983. -------------------------------- 70

Percentage of weekday, prime time and

V

Table

Table

Table

Table

Table

Table

Table

Table

weekend television programs in Chile in

1973 and 1983. -------------------------------- 7l
9: Percentage of weekday, prime time and

weekend television programs in Colombia

in 1973 and 1983. ----------------------------- 72
10:Percentage of weekday, prime time and

weekend television programs in Costa Rica

in 1973 and 1983. ----------------------------- 73
11:Percentage of weekday, prime time and

weekend television programs in Cuba in

1973 and 1983. -------------------------------- 74
12:Percentage of weekday, prime time and

weekend televison programs in Dom. Rep.

in 1973 and 1983. ----------------------------- 75
13:Percentage of weekday, prime time and

weekend television programs in Ecuador

in 1973 and 1983. ----------------------------- 76
14:Percentage of weekday, prime time and

weekend television programs in El

Salvador in 1973 and 1983. -------------------- 77
15:Percentage of weekday, prime time and

weekend television programs in Guatemala

in 1973. -------------------------------------- 78
16:Percentage of weekday, prime time and

weekend television programs in Mexico in

1973 and 1983. -------------------------------- 79

vi

Table 17:Percentage of weekday, prime time and

weekend television programs in Nicaragua

in 1983. -------------------------------------- 80
Table 18:Percentage of weekday, prime time and

weekend television programs in Paraguay

in 1973 and 1983. ----------------------------- 81
Table 19:Percentage of weekday, prime time and

weekend television programs in Puerto

Rico in 1973 and 1983. ------------------------ 82
Table 20:Percentage of weekday, prime time and

weekend television programs in Uruguay

in 1973 and 1983. ----------------------------- 83
Table 21:The percentage change in imported and

domestic broadcast time (comparing total

broadcast time in 1973 and 1983). ------------- 84
Table 22:Percentage of broadcast minutes for

'imported and domestic 'television

programs in Argentina in 1973 and 1983. ------- 85
Table 23:Percentage of broadcast minutes for

imported and domestic television

programs in Bolivia in 1983. ------------------ 86
Table 24:Percentage of broadcast minutes for

imported and domestic television programs

in Brazil in 1973 and 1983.- ------------------ 87
Table 25:Percentage of broadcast minutes for

imported and domestic television programs

vii

Table

Table

Table

Table

Table

Table

Table

Table

Table

in Chile in 1973 and 1983. -------------------- 88
26:Percentage of broadcast minutes for

imported and domestic television programs

in Colombia in 1973 and 1983. ----------------- 89
27:Percentage of broadcast minutes for

imported and domestic television programs

in Costa Rica in 1973 and 1983. --------------- 9o
28:Percentage of broadcast minutes for

imported and domestic television programs

in Cuba in 1973 and 1983. --------------------- 91
29:Percentage of broadcast minutes for

imported and domestic television programs

in Dom Rep.in 1973 and 1983. ------------------ 92
30:Percentage of broadcast minutes for

imported and domestic television programs

in Ecuador in 1973 and 1983. ------------------ 93
31:Percentage of broadcast minutes for

imported and domestic television programs

in El Salvador in 1973 and 1983. -------------- 94
32:Percentage of broadcast minutes for

imported and domestic television programs

in Guatemala in 1973. ------------------------- 95
33:Percentage of broadcast minutes for

imported and domestic television programs

in Hexico in 1973 and 1983. ------------------- 96

34:Percentage of broadcast minutes for
viii

Table

Table

Table

Table

Table

Table

Table

Table

imported and domestic television programs

in Nicaragua in 1983. ------------------------- 97
35:Percentage of broadcast minutes for

imported and domestic television programs

in Paraguay in 1973 and 1983 ------------------ 98
36:Percentage of broadcast minutes for

imported and domestic television programs

in Puerto Rico in 1973 and 1983. -------------- 99
37:Percentage of broadcast minutes for

imported and domestic television programs

in Uruguay in 1973.------------—------~ ------- 100
38:Percentage of broadcast minutes for the

imported and domestic tglgngyelas in

1973 and 1983. -------------------------------- lOl
39:Percentage of broadcast minutes for the

imported tglgngygla ir 1973 by country

of production. -------------------------------- 102
40:Percentage of broadcast minutes for the i

imported tglgngygla in 1983 by country

of production. -------------------------------- 103
41:Percentage of broadcast minutes for

tglgngygla by country of production in

1973 and 1983. -------------------------------- 104
42:Broadcast minutes of imported and

domestic children's programs in 1973 by

country of production. ------------------------ 105

ix

Table 43:Broadcast minutes of imported and

domestic children's programs in 1983 by

country of production. ------------------------ 106
Table 44:Broadcast minutes of imported and

domestic series programs in 1973 by

country of production. ------------------------ 107
Table 45:Broadcast minutes of imported and

domestic series programs in 1983 by

country of production. ------------------------ 108
Table 46:Broadcast minutes of imported and

domestic movie programs in 1973 by

country of production. ------------------------ 109
Table 47:Broadcast minutes of imported and

domestic movie programs in 1983 by

country of production. ------------------------ 110
Table 48:Percentage of total broadcast minutes

for the entertainment television

programs in weekday, prime time and

weekend in 1973. ------------------------------ 111
Table 49:Percentage of total broadcast minutes

for the' entertainment television

programs in weekday, prime time and

weekend in 1983. ------------------------------ 112

X

LIST OF FIGURES

EASE
Figure 1: The titles, published places and years of

Latin American local newspapers collected.---37

Figure 2: The analyzed channels of Latin American

nations in 1973 and 1983. -------------------- 38

xi

CHAPTER I

INTRODUCTION

Television has been looked as one aspect of
culture or one form of social life (Proano, 1984;
Acosta, 1986; Corella, 1985). Most of all, television
programs are creative products between realities and
human ideologies. As Corella (1985) said that
television plays a major role in the day-to-day re-
creation of hegemony through its various forms and
messages. It "educates" the dominated classes (the main
stream culture) by communicating beliefs, values and
ways of understanding social reality. These ideas and
feelings about the world and life promote the acritical
acceptance of a way of life imposed on a social group by
another. Passive approval and consensus of the
dominated are prerequisites to the smooth operation of a
social formation characterized by economic, political,
social and cultural inequality. Television constitutes
an excellent vehicle for the transmission of ideological
messages which, wrapped in the form of entertainment,
propose rational explanations for the existing social

order (Corella, 1985).

Although independent from Spain and Portugal in the

early 19th century, Latin America entered rapidly into

2
an economic dependency upon Britain and the U.S. and
into a political sphere of influence dominated by the
U.S. (Straubhaar, 1986). Additionally, Latin America is
the southern neighbour of the United States, accompanied
with the deficient sources of television programs
(producing techniques and financial support) and the
need to fill the prolonged television broadcast
schedules, they have imported a large percentage of
American television programs, particularly the
entertainment television programs (Varis,l984; Schiller,
1969; Lee, 1980; Read, 1976; Tunstall, 1977; Mattelart,
1977; McNelly, 1979: Beltran and Fox,1977; Antola and

Rogers, 1984).

In other words, the television culture of Latin
America heavily depends on the imported television
culture of the United States. As Schement and Rogers
said (1984) although it is widely accepted that American‘
television dominated culture everywhere, American
programs appeal quite differentially to audience in
Latin American countries. Since each country has its
own class structure and, of course, its own set of
cultural values, it's worthy of concern how the "alien"
television cultures of the United States affects the

native culture in Latin America.

3
Until now, several questions have been raised about
the transfer of television programs from North-America
to Latin America. They include how it effects
socialization, human interaction relationships,
modernization, national development, consumer economy

and social structures in the recipient culture.

As Peter Gould said (1984:75), "It is simply that
many Third World countries are like baby birds with
gaping beaks asking to be fed, cheaply and continuously,
in order to fill that awful blank hole in the schedule
two weeks from now. And what you are planning
television broadcasting under those circumstances, under
a mandate to fill that air time-~or lose your job--your
first worry is not Culture Imperialism, violence on TV,
or whether traditional cultural values of the young
generation are going to hell in a basket, pushed by the
sights and sounds of a Hollywood America--or a Britain,.
or a France, or an Austrialia. Your first worry and
task is to fill that air time, and thank heavens for all
those cheap serials that help you take some of the
pressure off". His description is a little exaggerated;
but true! When the local program planners in Latin
America can not get sufficient local programs, the only
thing they can do is reach up on the shelf for I Love

Lucy, Kojak, Tarsan, Dynasty, Dallas, Hawaii 5-0, Hart

to Hart, or any of the others. But, on the other hand,
he may rise in estimation the deciding power of the
local program planners and fall in estimation the degree
of development in Latin American countries. Obviously,
for the larger countries of Latin America, like Mexico,
Brazil, Venezuela, Argentina, and Cuba, they have
increased the capacity of producing local television
programs (Straubhaar, 1983; Rota, 1985; Mahan, 1983;

Mattos, 1982).

The variety of the theories in explaining the flow
of television programs from the United States to Latin
America indicates that adequate explanations of the one-
way flow of television programs from U.S. to Latin
America deserves renewed attention today by
telecommunication or communication scholars. An
adequate explanation of the flow of television programs
from the United States to Latin America must include
empirical observation as well as a theoretical

foundation.

CHAPTER II

PREVIOUS LITERATURES AND THEORETICAL FRAMEWORK

Three main theories are often emphasized by the
Telecommunication and Communication scholars in
analyzing the worldwide flow of television programs: (1)
Cultural Dependency and American Imperialism: (2)
National and Local Protectionism; and (3) Free Flow of

Information.
A. Cultural Dependency and.AIerican Imperialism:

From the beginning, I have already cited that many
communication scholars began to look at television
as an important cultural expression of the society and
tried to place it in the cultural context in order to
gain a meaningful interpretation. But there still are~
different viewpoints about the cultural role of
television in the society between the U.S. scholars and

Latin American crital writers.

First of all, we can trace out the root of
controversy from Michael Tracey's article (1985). He
begins with admission that there is a very skewed

distribution of television programs world-wide and that,

5

indeed, many Third World countries import significant
proportions of entertainment fare from the U.S. After
he cited Nancy George's article (1981) of the ill
effects of Jamaica's largely imported television menu,
he also admits that in some cases that television can
pose a potential threat to a culture's values, self
image etc. (McAnany, 1986). But ironically, he says
elsewhere, "What we do know, is that it (TV) is one
small influence among many that mold and move and shape
human emotion and intellect and therefore affect
society, but there is no evidence even in developed
countries of its all-powerful effect, so why believe it
for the Third World." (Tracey, 1985:17-56) The root of
controversy between the U.S. researchers and Latin
American scholars is the different viewpoints about the

cultural role of television in the society.

As McAnany points out, most Latin American writers
come out of a strong Marxist intellectual tradition in
universities. As Straubhaar (1986) said in most
formulations, the Concept of dependency begins with
IMarxfls ideas about class conflict, dialectical
opposition and historical meterialism. Marxist cultural
‘theory has often been simplified into a crude extension
of the so-called' "base-superstructure" notion, that

rumman consciousness and cultural activity are a

superstructure which reflects an economic foundation
(Lunn, 1982). In reacting against the deterioration of
Marxist theory into a simple kind of "economic
determinism", the Frankfurt School began to stress the
"totality" model that they look a society like the

"structural interconnection" as a whole. (Zoltan, 1977).

While we try to generalize the "Dependency theory"
to all Latin American countries, we shall recognize that
the degree of development possible within the dependency
theory clearly varies with the national situation and
the historical moment. (Cardoso, 1973, 1979: Straubhaar,
1986). The various degrees of development within Latin
American countries have led some scholars, like Marini
(1978) to elaborate the concept of sub-imperialism.
This extends the center-periphery analysis to consider
the larger nations, like Brazil, Mexico or Argentina, as
subcenters, which extend economic, cultural and
political influence to smaller nations, like Bolivia,
Paraguay and El salvador. This sub-imperialism model
may be seen as corresponding somewhat to the
interregional imports of television programs within
Latin American region. (Varis, 1984; Straubhaar, 1986).
This sub-imperialism model is consistent with the 4
stages in the developments of Latin American countries

cited by McAnany (1986: 8-18). The 4 stages from the

first one to the last stage are: Desagrollismo
(development decade) and the American influence;
Cultural imperialism and National communication
policies; Alternative communication and participation;
and Culture pgpula; (popular culture) as resistance and
incorporation. From the first two stages, 'we can see
that the life-cycle of cultural dependency and cultural
imperialism existing in Latin America. The latter two
stages appear that possible alternates selected by the
various nations and diversified tastes of the mass

audience within Latin America.

As Straubhaar (1986) said, one of the major issues
which bears directly on the role of media in the
dependency and which varies widely in Latin America is
the degree and nature of government intervention in
industrial and cultural communication policy. In other
words, the various roles of governments and diversified‘
communication policies basically act as a filter, either

allowing or inhibiting the flow of television programs.

In Latin America, discussion of communication and
dependency has centered on the concepts of cultural
dependency, cultural imperialism and popular culture.
As Straubhaar (1986) said, culture in cultural

imperialism plays a role is creating and reinforcing

attitudes among various classes conducive to their role
in a system of economic imperialism and dependency.
Also, Lee (1980) defined media imperialism in terms of
foreign ownerships, cross-border content flows, copying
of foreign models and absorbtion of foreign values.
Besides, Latin American cultural dependency theorists
nearly all start with domestic and internation economic
forces but differ in the degree to which they see
economic relations as determining culture (Straubhaar,

1986).

Assuming the audience takes an active role in
responding to the mass media, Canclini (1982) looks at
popular culture as a potential form of resistance of
foreign cultural influence. Also, Canclini challenges
writers on cultura___pgpular to demonstrate the
possibility that the dominant media may satisfy the
basic interests of popular classes not only within but
also against mass, culture (McAnany, 1986). Sodre
(1972:22-23) gave an interesting, comprehensive
framework for analysis foreign and domestic forces in
popular culture: "Mass culture has to be understood as a
complex system which includes the following: a) consumer
metivations oriented through advertising by the
interests of domestic and foreign companies; b)

government interests; c) a mythic level remnant and

10

reincorporation of oral culture; d) the dilution and
continuing recreation with high culture; and e) the
effect of the old mechanisms of the collective national
conscience through which the powers of the communication

structure project their own elite ideas and training."

When applied to the case of media flows, dependency
theorists have looked for economic and cultural
dependence created by the sale of media products to
Latin America (Schement et al., 1984). In Schiller's
book, Mass Communications and Anarican Emniza (1969), he
argued that the existing global communication system
could be viewed as a power pyramid with the United
States at the top, and the recently independent Third
World nations (particularly the Latin American
countries) at the bottom. Shiller identified the
relationships among U.S.‘ mass communication structures,
businesses, and military interests as the sources of
U.S. imperialism, manifested through control of the
world's communication system (Barnett and Muller, 1974;

Hamelink, 1977; Schement et al., 1984).

Those concerned about maintaining the cultural
integrity of developed countries also fear the power of

American culture to sway opinions and dominate values.

As French Minister of Culture, Jacques Lang, in 1982

 

11

declared that American imperialism as served by its
television industry "no longer grabs territory or
rarity, but grabs consciousness, ways of thinking, ways
of living" (Dionne, 1982). This fear of cultural
domination and destruction of local values by outside

(American) interests is shared by moderates as well.

From Martin & Corella's research (1983:206), "E1
impacto educativo de la television comercial en los
estudientes del sistema national de telesecundaria" (The
educational impact of the commercial television on
students in the Mexican national system for secondary
education by television), we can gain insight into the
potential internal problems of cultural dependency.
While we consider the bulk of television programming
that in some way portrays United States forms and life
styles, ‘perhaps police serials constitute one of the
most powerful. These programs enjoy high popularity
among Mexican Youth and, therefore, appear daily on the
local screens. For this reason, television police
serials such as "Kojak, Hawaii 5-0, Starsky and Hutch",
are believed to be making a significant contribution as
far as eroding nationalistic identity among Mexican
population notwithstanding other effects on aggressive

and violent behavior (Martin & Corella, 1983).

12

They had two findings about the presence of foreign
personality models in Telesecundaria students: (1) The
Telesecundaria students manifest a desire to be like an
American hero rather than a Mexican one; (2) The place
where most (61 percent) of these adolescents desire to
live is an American city (New York or Los Angeles) over
a Mexican one (Mexico City and Queretaro). Their
results are briefly consistent with television's role in
society in helping social reproduction of inequality,
through the following means: stimulating the audience to
buy and desire American merchandise (American
consumerism), misinforming people about their own social
problems; making the audience unable to fully understand
these problems and hopefully to undertake organized
actions to solve them; eroding national identity by
motivating desires to leave Mexico. Therefore, we can
assume that television is one form of social culture.
It can improve the social development or cause social

disorder.
B. national and Local Protectionism:

The rapid and widespread penetration of American
programs in so many foreign markets and their possible
_ influence on local production standards also generate

heated political controversy in these countries. In

13

some cases, this leads to protective legislation and
disputes over regulation, such as the Brazilian
government has been the major advertising agency for
investigating the mass media industry; Mexican
government owns the legislative right in censoring the
contents of TV programs and Colombian government
regulates the percentage of broadcast time for the

imported TV programs.

Cantor & Cantor interviewed some of U.S.
distributers in 1984 and 1985. They said none of the
' U.S. distributers "owned" any foreign market. Those
U.S. distributers did not see their willingness to sell
programs at reduced prices in certain markets as a cut-
throat business tactic to prevent local production from
getting started. Rather they would argue that their low
prices actually foster and subsidize local production in
two ways: (1) It frees up otherwise limited funds for
local production; and (2) By buying these inexpensive
programs, local stations can afford to start
broadcasting and create the market for advertising
income that could then be used to buy or make local
programs. The local stations know that they eventually
would have to air local productions because in all
countries there seems to be a demand for daytime and

night-time drama based on their own cultures and comedy

14

and variety shows with local talent. In almost all
countries, locally produced programs consistently showed
higher ratings than imported programs (Cantor & Cantor,

1986).

A review of studies on the flow of television
across borders (Schement et al., 1984) also questions
whether in view of language and cultural differences any
single nation,even the United States, is still capable
of worldwide cultural dominance. They cite Mexico and
Brazil as examples of nations that, breaking their
television dependency on the United States, went on to
set up their own zones of influence: Brazil in Central
and South America, and Mexico through its export
(satellite) channel Spanish International Network (SIN),
with Hispanics throughout the United States (Straubhaar,

1984).

C. Free Flow of Information:

The ideological roots of the free flow paradigm can
be traced to the years immediately following World War
II. They are articulated in the United Nations
Declaration on Freedom of Information (1946) and in the
United Nations Universal Declaration of Human Rights

(1948) known as United Nations General Assembly

15

Resolution 59 (Schement, 1984).

There is controversy between the "free flow of
information" principle and the protection of "national
sovereignty". Since little scientific analysis is
available, the controversy between the free flow of
information principle and the protection of "national
sovereignity" is primarily observed through political

debate.

One of the libertarian laissez-fair scholars, Pool
argues that the free flow of information should be
unqualified and unrestrained, because the free
marketplace of ideas and information has a self-
correcting mechanism and will be beneficial to all

parties in the long run (Pool, 1977).

As Pool and other libertarians quote approvingly
.Article 19 of the Universal Declaration of Human Rights
adopted by the U.N. General Assenbly in 1948, Ploman
(1979) reminds us that it should not be quoted without
reference to Article 29. While Article 19 declared the
:freedom of information as a fundamental human right, it
was formulated from abstract, vague and absolute
"natural law" concepts and thus had to be accompanied by

a catalog of limitations and restrictions. In this

16

light Article 29 can be veiwed as imposing collective
limitations on the individual rights implied in Article

19.

The right of individuals to see, impart and receive
information must be qualified by (1) respect for the
rights and freedom of others and (2) morality, public
order and the general welfare of society. Ploman argues
that "freedom" is a relative, not absolute, concept open
to subjective and self-serving interpretations. Gross
(1979) argues that Article 19 of the Universal
Declaration was intended as the first stage in the
process of formulating an obligatory international bill
of rights. It resulted in the adoption of two
instruments in 1966: the International Covenant on
Economic, Social and Cultural Rights and the
International Covenant on Civil and Political Rights.
The right to freedom of information has now become a
legally binding treaty for the nations that have or will
become parties to these convenants (Nordenstreng &

Schiller, 1979; Lee, 1984).

CHAPTER III
THE HISTORICAL BACKGROUND OF TELEVISION SYSTEMS

IN LATIN AMERICA:

As Schiment & Rogers cited (1984), television
systems in Latin America currently reach about 50% of
the total population of 400 million. There are 45
million television sets in households averaging about

4.4 persons each.

U.S.-style commercial television broadcasting has
been adopted thoughout Latin America: most television
systems are privately-owned, commercially-operated, and
mainly geared to providing entertainment programming to
attract the largest possible audience which is sold to
advertisers (Schement & Rogers, 1984; Corella, 1985).
An important turning point occurred early in the history
of television broadcasting in Latin America when
President Miguel Aleman of Mexico in 1947 appointed a
government commission to investigate whether Mexico
should have a U.S.-type of commercial television or a
British Broadcasting Corporation-type of public
television (Sanchez-Tuiz, 1983:182). Despite the
commission's recommendation, President Aleman chose the

CBS model over the BBC approach, and in 1949 issued the

17

18

first commercial television license in Latin America.
In fact, Miguel Aleman is now a principal co-owner in
Televisa (the monopolistic organization in Mexican
broadcasting industry). In the early days of Mexican
television, many stations affiliated with CBS or ABC.
Thus the commercial direction of Latin American
television was determined. The television systems in
Latin America have come a long way in the past 35 years
since Mexico launched the first commercial station in

1949 and Brazil's in 1950.

Many Latin American television stations and
networks were started in association with one the three
U.S. television networks: ABC invested in CATVN (Central
American Television Network) and LATINO (Latin American
Television International Network Organization) in
Central and South America; NBC provided technical and
financial assistance to stations in Argentina, Mexico,
Peru, and Venezuela; and CBS and Time-Life Corporation
invested in television systems in Argentina, Peru,
Venezuela, and Brazil (Schement & Rogers, 1984:306;

Read, 1985; Tunsta11,1977; Beltran and Fox, 1977).

Since Mexican and Brazilian television systems have
two crucial roles in the history of television

broadcasting in Latin America, we should focus on the

19

development of television systems in these two countries
in order to completely understand the whole television

structure in Latin America.

Although the Mexican Government issued the first
commercial television license in 1949, Channel 4 started
broadcasting in 1950; Channel 2 and 5 were launched in
1952. Channel 4 was established by the O'Farriel
family, owners of newspapers; Channel 2 by the Azcarraga
family who owned radio stations and night clubs; and
Channel 5 by a Mexican engineer, Enrique Gonzalez
Camarena, a developer of color television who was
eventually bought out. The three channels merged in
1955, forming a new corporation, then called Telesistema
Mexicano (Mexican Telesystem). The first potentially
serious competition for Telesistema came in 1968 when
channel 8 was licensed in Mexico City. The owner of
channel 8 (or TIM, Independent Television of Mexico) was,
one of Mexico's most powerful private industrial and
financial groups, Groupo Alfa (Alfa Group), based in the
nothern industrial" city of Monterrey. In exchange for
25 percent of the stock of the company that would be
formed, they merged TIM (Channel 8) with Telesistema
Mexico. Thus, Televisa was born (Arriaga, 1980).
Later, after the debt crisis of 1982, Groupo Alfa sold

its 25 percent of the stock in Televisa (Rota, 1985:200-

201). In Mexico, private television can be fairly
termed monopolistic, with Televisa, controlling 72
percent of the total number of television stations

(Cambell, 1983; Buck, 1986; Rota, 1985).

The monopolistic pattern exists not only in Mexico,
but also in on other Latin American countries, like
Brazil or El Salvador. Buck (1986) also confirms this
point, he says that in Latin America, where family
dynasties often dominate politics and business, the
Azcarragas of Mexico and the Marinhos of Brazil have

long reigned in media.

The television industry was established in Brazil
in 1950 and was based directly on the U.S. commercial
model (Mattos, 1984; Straubhaar, 1984). Mattos' article
cited that the growth of Brazilian television can be
measured through the number of households equipped with
television receivers. The 1980 Brazilian Census found
that 55% (of a total of 26.4 million households) had
television sets. The growth in the number of households
with television sets between 1960 and 1980 was 1272%J
As the census of 1980, About 68% of the Brazilian
population lives in urban areas, and 73% of urban

residences are equipped with television sets.

21

During the last three decades, Brazilian television
underwent different phases of development. During the
19505, Brazilian television was an elite medium, and
considered a luxury that only the rich could afford.
During the 1960s, television was considered a proof of
modernity; imported programs were cheaper than locally
produced programs, and a great deal of U.S. television
programs arrived in Brazil. During the 19705, Brazilian
television started to produce programs locally, and
subsequently to export them. Today TV Globo is
producing from 70% to 95% of its prime time television
programming in Brazil, and exports its programs to 90
countries (Buck, 1986; Mattos, 1982). In the history of
Brazilian broadcasting development, there are 5
television networks,TV Excelsior, TV Tupi, TV Rio, TV
Record, and TV Globo, and we should concentrate our

attentidn upon them.

TV Tupi had the first formal organization as a
network dating from 1950s as part of the Diarios
.Associados group. TV Excelsior did much to develop the
(galangyala. However, the post-1964 military government
Ibroke up the parent group of TV Excelsior for political
reasons, and the network dwindled financially and went

Ibankrupt in 1968 (Briefing, 1980:37). TV Rio did
innovative programming in comedy and anag__aa__ana1taria

F»)
[\J

while TV Record did the same in music (Straubhaar,
1984). The owner of TV Globo, Roberto Marinho, took
over the newspapers his father formed, 0 Globo, and
turned it into Brazil's largest daily. He moved into
radio in 1944 and formed the TV operation Rede Globo in
1965. During the period of 1962-1971, TV Globo
cooperated with U.S. Time-Life Corporation. Now, TV
Globo is the dominant force in Brazilian television

industry.

Briefly speaking, reviewing the historical
development of Mexican and Brazilian broadcasting
industries, we can figure out the long-term process of
American private, commerial broadcasting structure
transfering to Latin American countries, except the
communist broadcasting system existing in Cuba. .The
significant difference between the U.S. and some of
Latin America countries, like Mexico, Brazil or El
Salvador in the broadcasting industries is that the
.American broadcasting structure is an oligopoly-model
'while Latin American broadcasting system is monopoly-
type which is the heritage of the typical Latin American
social structure (Mahan,1985; Buck, 1986), for example,
Televisa in Mexico; TV Globo in Brazil; Boris Eserski

Idominates the broadcast industry in El Salvador.

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CHAPTERIV

THE HYPOTHESES OF THIS RESEARCH

Even though some Communication scholars have done
much research in the flow of television programs from
the United States to Latin America, like Varis (1984)
and Antola & Rogers (1984), but basically their
researchs solely focus on the percentage change of
imported television programs, not the percentage change
for local television programs. Furthermore, their more
attention in larger countries rather than the smaller
countries will easily get bias without considering all
the Latin American broadcast industries as a whole

structure.

Considering the flow of television programs as a
process, and the television industry as a whole
structure, we should also try to understand the relative.
components of this structure. The relative components
of the television industry are internal structures and
external structures; the former is formed by financial,
technological, personal or administrative
infrastructures; the latter is combined with the

jpolitical, and socio-cultural superstructures.

Irnternal Structures:

23

IO
45

A. Financial Infrastructure:

First of all, television programs imported from
other countries are supported financially. In other
words, the development of the television industry is
accompanied with the economic development. There is one
common phenomenon around the world that every country
tries to prolong the broadcasting schedule in order to
present the national development. Nowadays, the
television culture is becoming the popular culture
(popular entertainment) of social-economic structure.
The number of television sets is rapidly increasing and
the need of the audience is more varied and more
difficult to satisfy than before. As many communication
scholars who support the American Imperialism theory
have noted, the establishment of international channels
of distribution by U.S. transnational corporations‘
helped to ensure that American television programs would
dominate imports in Third World countries eager to fill
their daily broadcaSting time (Schiller, 1969:109-115;
:Read,1976; Mattelart, 1977; McNelly, 1979). They said
‘that under the premise of deficient local programs and‘
prolonged air time, the Third World nations have to
.meort the cheaper serials to fill that awful blank hole

iJ1 the broadcasting schedule. But recently, under the

be!

A

25

gale of National Protectionism, those Latin American
countries, particularly Mexico, Brazil, Argentina and
Venezuela, have produced their own Ialanovelas (Latin
American soap opera), variety and comedy shows replacing
American television programs. They try to export to the
other countries via multinational enterprises
(Straubhaar, 1983; Rota, 1985; Mahan, 1983; Mattos,

1982).

Furthermore, American Imperialism implies that the
percentage of imported television programs in Latin
America will linearly increase while National
Protectionism predicts that accompanied with the
"dependent development", the percentage of domestic
television programs in Latin America will largely
increase and further replace the imported ones year

after year.

About the controversy between the American
Imperialism and the National Protectionism, the first
hypothesis of this research is that although the Latin
.American nations have tried to produce more local
;programs in order to protect nationalism or cultural
'values, the premise of extending the broadcasting
schedules and the insufficiency of broadcast

circumstances (financial, market force or techinical

factors) will continuously push them to import a great
deal of foreign programs. In other words, the local
programs and the imported programs would simultaneously
increase based on the expansion of broadcast day and the
increasing number of television channels, at least in

the decade of 1973 to 1983.
B. Technological Infrastructure:

As Schement said (1984) that the technological
capability of U.S. companies to produce television
programs to reproduce them and to distribute them
resulted in relatively lower costs. Lower prices for
the programs in the international marketplace gave the
United States a comparative advantage which resulted in
the one-way flow of television programs from U.S. to
Latin America. This context also provided a basis for
.American involvelment in the development of Latin‘
.American nations. The introduction of .communication
'technologies and infrastructures were conceived as
[energizing modernization and development (Lerner, 1957;

Schramm, 1964) .

Recent technological variations in television such
as cable, video cassettes, and direct broadcasting

satellites provide new environments for the

27

international flow of television programs. These new
environments may extend the imported dependence or
decrease the gap between developed countries and
developing countries. . The outcome depends on the
possible reactions adopted by the policy-makers in Latin

American countries.

The hypothesis of this research is that from the
beginning the U.S. communication technological
foundation transfering to Latin American countries would
later "push" Latin America to import more U{S.
television programs than those of the other countries

(British, Japanese, or Spanish types).
c. Personal or Administrative Infrastructure:

The successful penetration of U.S. television
jprograms around the world should contribute to the well-
organized, bureaucratic, efficient, multinational
corporations. This American industrial success forced
ILatin American countries to organize their broadcasting
industries like the multinational corporations, such as
Mexico's Televisa and Brazil's TV Globo. The personal
or administrative dimension of these broadcasting
bureaucracies can affect the flow of imported television

programs. For example, Mexican television. officials

H‘
'5

hr.
co:
on
th:

na';

28

will not buy a television series unless it is dubbed in
a "neutral" Mexican accent with few indentifiable
regional idioms; otherwise, it is claimed Mexican
audiences will not watch the program (Rogers & Antola,

1985).

The hypothesis of this research is that since the
U.S. and Latin American multinational corporations focus
on the tastes of mass audience under the socioeconomic
situations, they may largely extend the entertainment
broadcast time in order to attract mass audiences and
catch up the main-stream popular culture. Therefore, I
predict that the Latin American countries not only
import television programs, but also import the
broadcast administrative bureaucracy from the U.S.
Honestly speaking, based on the limitation of my
research, I can only test the first part of this
hypothesis , which is to assume that the Latin American
countries may extend the entertainment broadcast time in
order to attract mass audiences. The latter part of
this hypothesis might be indirectly tested from the

natures of broadcasting organizations in Latin America..

External Structures:

A. Political Superstructure:

or
spa
soc
ul‘.

thl

cc
go
we

90‘

Bra

29

Katz and Wedell in atoaagasting in the Tnitd Wotla

discuss the important role of government in resisting or
allowing the importation of television programs (Katz &
Wedell, 1977:164-165). In the flow of television
programs from U.S. to Latin America, a national
government basically acts as a filter, either allowing
or inhibiting the flow of television programs. For
example, the Mexican government has established
mechanisms for monitoring programming, and requires that
a good portion of state-supplied messages be
disseminated free of charge to assure that broadcasting
serves the state's view of the public good. In other
words, Mexican broadcast regulatory goals deal
specifically with program content and its presumed
social impact, not the distribution of stations. The
ultimate goal of broadcast regulation is to assure that
the public interest is served by requiring that
programming supports cultural and linguistic values and
contribute to the realization of national development
goals (Mahan, 1984). The Mexican government exercises a
much stricter control over broadcast than does the U.S.

government (Mahan, 1984).

The strongest political influence on the growth of

Brazilian television occurred in 1964 when' President

30

Joao Goulart was overthrown by a coup d'etat. The
political system and the socioeconomic situation of
Brazil were modified totally by the adoption of a model
of economic growth, fed by rapid industrialization based
on foreign technology and foreign capital. This aided
the growth of Brazilian television as the principle
advertisers of domestically produced goods. Post-1964
Brazilian governments promoted rapid economic growth
based on what they identified as the tripod of the
Brazilian economy: State-owned enterprises, private
national companies, and multination corporations. Post-
1964 governments affected the broadcasting industry with

their protectionist policies (Mattos, 1984).

Another example of the political factors
investigating in the broadcasting industry is Chile. In
Chile, only one hour of foreign television from Mexico,
Brazil, or Venezuela can be shown per channel per day,
but the hours of U.S. programming are unlimited (Rogers

& Antola, 1985).

The hypothesis of this research is that the
governments of Latin America countries maintain crucial
roles in the flow of television programs from U.S. to
Latin America. Since the larger countries have the

advantages of the bigger sizes of their internal markets

at!

mum
saw.
I

Para!

3. SI

31

and the stronger-bureaucracies of governments, they have
more efforts in encouraging the broadcasting industry to
produce local programs and decrease the percentage of
imported programs than the smaller countries. I can
assume that the larger countries, like Mexico, Brazil,
or Argentina, may decrease a larger percentage of
imported TV programs than the smaller countries, like

Paraguay or Bolivia or El Salvador.
B. Socio-Cultural Superstructure:

Some scholars concluded that according to their
research, in almost all countries of Latin America,
locally produced programs consistently showed higher
ratings than imported programs. For example,
talangyalaa dominate prime-time evening hours on Latin
American television, attracting huge audiences (Cantor,
1986; Schement & Rogers, 1984; Straubhaar, 1984). In
Pool's article (1977), he cited the reasons why the
audience preferred local programs are that the local
(programs are protected by the barriers of social
supports. Much of the enjoyment of media is discussing
it with.one's friends. Top television shows or movies
provide the gist for conversation the next day, and that
is much of their drawing power. A good television

program should present the social values, social norms,

32

social order and social interaction of human

relationships.

Although Spanish control vanished long before
broadcasting emerged, its influence lingers in social
structures and language. That shared heritage turns
most of Central and South America into a huge common
market for television programs (Head, 1985). People
would rather see a film made in their own idiom than one
with subtitles or even one that is dubbed. The audience
should prefer the domestic programs, because the local
programs are protected by barriers of culture. Domestic
programs portray characters eating the foods the people
eat, wearing the clothes they wear, celebrating the
events they celebrate, and gossiping about the
celebrities they follow. Foreign programs have jokes
that are harder to get or stereotypes that do not apply.
They are not situations that come from daily life in.

Latin America.

Therefore, the hypothesis of this research is that
since the audience prefers local programs based on the
socio-cultural relationships, domestic television
:programs would dominate the prime-time schedule and
attract a much greater audience than imported programs.

.Also, the percentage of domestic television programs

33

would increase over the years.
Push vs. Pull Theory:

I would like to quote the "push vs. pull" theory of
Glenn Firebaugh (1979) in explaining the urban-rural
migration to telecommunication field. I believe that
there shall be some inner factors (such as insufficient
financial resources, technological shortage, a blank
television schedule, or national development
policies...etc.) within the Latin American countries to
"push" them to import the foreign programs. In
contrast, there are some external factors (such as low
production cost, developed technology, sufficient
programs, well-organized multinational
bureucracies...etc.) in the developed countries to

"pull" the Third World nations' dependence.

I believe that the process of the television
programming flow from U.S. to Latin America is formed by
4 stages: (1) Every'year U.S. TV producers hold a major
screening session in Los Angeles for two weeks in May;
(2) The ”big” purchasers of Latin American countries,
such as Mexico, Brazil, Argentina, and Venezuela can
Idecide whether or not to buy a U.S. television program;

(3) The purchased U.S. television programs may be

sele:

fiarac

.e.

(1'
o
r f

,3?

i)
L!

34

selected by the smaller countries, like Bolivia,
Paraguay or El Salvador, from the big nations within
Latin America, and (4) The TV programs that are produced
by the big countries, like Mexico, Brazil, Venezuela or
Argentina, may export to the small countries, like
Guatemala, Bolivia, Paraguay, or El Salvador. The third
and forth stages can be indirectly confirmed from Varis'
research in 1973 and 1983. He cited that within Latin
American countries, the interregional imports is around

ten percent.

1116

he:

a:
19':
en:
sch

2.2

and

PM

RESEARCH METHOD

Tapio Varis' researchs in 1973 and in 1983 about the
international flow of television programs, gave me the

ideas to continue and complete the survey in Latin

America.

A UNESCO study of the the international flow of
television programs and news in 1972-1973 found two
clear trends: that there is a one-way flow from the big
exporting countries to the rest of the world, and that
entertainment material dominates~ the flow (Varis,
1974:102-109). In Varis' research, he found that
entertainment programming dominated the television
schedules of all the analyzed countries, accounting for
approximately half of the total transmission time (about
a third in Cuba). He also found the United States is
the main source of the imported materials about three-
quarters. Thirdly, he found there is around ten percent
of interregional imports among Latin American countries,
and finally that the "North-South gap" (a familiar term
in the discussion of international economic, political,

and ndlitary relations). holds true for television

program.flow as well.

35

36

The research method uses content analysis. The
television program is the object of this study. Content
analysis is especially useful in historical research,
because it provides a way for the researcher to
systematically organize and summarize data. Content
analysis has the advantage of being unobstrusive,
because the researcher has no effect on the material
being studied. But content analysis has two major
disadvantages: (1) It is difficult to make perfect
content standards or categories. As we have known, the
categories of television programs have been argued for a
long time; (2) It is difficult to develop coding methods
that will produce valid findings (Babbie, 1979). In
order to solve the second disadvantage, the researcher
prefers using more than two coders for each country of
Latin America, then under the objective comparison

getting the better coding results.

Television programming was sampled for a two-week
period, from January 31 to February 13, in 1973 and
1983, including weekends in Central and South Latin
America. In order. to make valuable comparison, the
researcher selected the local television schedules from
those capitals of Latin American countries. Figure 1
indicates the titles of newspapers, published places

(capitals of Latin American nations), and the years that

37

the researcher collected.

Figure 2 shows the analyzed

channels of Latin American nations in 1973 and 1983.

Figure 1: The titles, published places and years of

9.92.3.2:
Argentina
Bolivia

Brazil

Chile
Colombia
Costa Rica
Cuba

Dom. Rep.
Ecuador

El Salvador

Guatemala
Mexico
Nicaragua
Paraguay*
Puerto Rico

‘Uruguay

it e
La Prensa
El Diario
O'Estado de
Sao Paulo
El Mercurio
El Tiempo
La Nation
La Habana
El Caribe
El Comerdio
El Diario
de Hoy
Prensa Libre
La Prensa
La Prensa
La Tribuna
The San Juan
Star

El Pais

Place
Buenos Aires
La Paz

Sao Paulo

Santiago
Bogota
San Jose
Granma
Trujillo
Quito

San Salvador

Quetemala City
Mexico City
Managua
Asuncion

San Juan

Monterideo

Latin American local newspapers collected:

1211
'73 8 '83
1983
'73 8 '83
'73 8 '83
'73 8 '83
'73 8 '83
'73 8 '83
'73 8 '83
'73 8 '83
'73 8 '83.
1973
'73 8 '83
1983
'73 8 '83
'73 8 '83
1973

38

(*note: the researcher could not find the Sunday TV

schedule of Paraguay in 1983).

Figure 2: The analyzed channels of Latin American

nations in 1973 and 1983:

1973 1983
QQBDLIY um e Channel_uumhsr
Argentina 2,7,9,11,13 2,7,9,11,13
Bolivia ----------- 7,13
Brazil 4,5,7,ll,13 2,4,5,7,ll,l3
Chile 4,7,9,l3 5,7,11,13
Colombia 11,local & national 7,9,11
Costa Rica 4,6,7,ll 2,4,6,7,ll,13
Cuba 2,6 6,Tele-rebelde
Dom. Rep. 4,7,9 2,4,7,9,11
Ecuador 6,8,10 4,8,10,13
El Salvador 2,4 2,4,6
Guatemala 7,11 -----------
Mexico 2,4,5,8 2,4,5,8,l3
Nicaragua ------------ 2,6
Puerto Rico 2,4,6,7,11 2,4,7
Paraguay 9 9,13
Uruguay 4,5,10,12 -----------

39

The categories of analyzed television programs were
based on UNESCO's recommendations concerning the
international standardization of statistics on radio and
television (Varis, 1974) and combined with the
researcher's own judgement. According to this research,
the categories of analysis for the types of programming

are the following:

(1) Entertainment Programs:
a. Ialangyalaa (including U.S. soap opera)
b. Series
c. Variety
d. Comedy
e. Mbvies
f. Game
g. Sports
h. Music

(2) Information Programs: include news bulletins, news
commentaries, informative interviews and sports
news. 5

(3) Women Programs: These are programs whose content
consisted of housing keeping works, cooking
shows,and women events.

(4) Children Programs: include children's serials and

40

cartoon.

(5) Education Programs: They include educational
programs related to a specific curriculum (schools,
university, etc.) and telecourses.

(6) Culture Programs: include cultural performances or
activities, such as fine art, folk art and historical
documentary.

(7) Religion Programs: include religious services, misas
or religious information.

(8) Government Programs: include Government announcement,
political debates, political interview, and military
information.

(9) unclassified Programs.

Simultaneously, the researcher separates the
analysis of television schedules into three parts:
Weekday, Prime Time, and Weekend television time. Then,
according to the television schedules that the‘
researcher has collected from the capitals of Latin
American nations, the researcher codes each television
program into content categories and 3 different
broadcasting schedules. Then, the researcher calculates
the broadcasting minutes for each television program
(the unit is the minute). There are 5 stages while the
researcher analyzes and codes one program: (1) Is it

domestic or imported program? (2) If it is imported,

41

then which country has it been exported from? (3) Which
content category does it belong to? (4) In which time
schedule has it been broadcast? ( Weekday? Prime Time?

or Weekend?) (5) How many minutes has it been broadcast?

CHAPTER VI

SUMMARY OF FINDINGS

A. The trend of imported and domestic television

programs over the 10 years in Latin America:

Generally speaking, there is an increase in the
percentage of imported television programs from 1973 to
1983 among Latin American countries, except Argentina,
Brazil, Costa Rica, Cuba, and Puerto Rico (Table 1).
The decreases in the percentage of imported television
programs from 1973 to 1983 among Argentina, Brazil,

Costa Rica, Cuba, and Puerto Rico are as follows:

Country 1973 1983 decreasing %
Argentina 50.4% 40.0% 10.4%
Brazil 36.4% 33.7% 2.7%
Costa Rica 66.8% 61.8% 5.0%
Cuba 38.7% 15.0% 23.7%
Puerto Rico 55.3% 43.4% 11.9%

Cuba had become a communist country since the 1959
Castro revolution. Castro took over the broadcasting
system then, and converted it into a government system
modeled on that of USSR. Studying the trend of imported
television programs over 10 years in Cuba, we find there

is a decrease in the percentage of imported television

42

43

programs and there are new sources (particularly the
communist party) of imported production. ‘ In other
words, Cuba has largely increasing the percentage of
local programs and currently imports television programs
from the communist countries. Also, Cuba did not
increase the number of television stations from 1973 to
1983 based on political considerations, not economic
factors. Since Puerto Rico had two cable systems in
1983 (the cable signals are transfered directly from the
U.S.), the local television network has been forced to
change to increased domestic television programs in
order to attract different types of audiences from those
of cable networks. Since Argentina, Brazil and Costa
Rica have increased their financial and technological
capacity in producing domestic programs (Straubhaar,
1984; Pool, 1977) such as talanagalaa, variety, and
comedy shows, they have decreased the percentage of
imported television programs. Here my first hypothesis,'
that Latin America would import a great deal of foreign
programs, can not be proven in these five countries, but
can be proven in the rest of Latin America. Also, Table
1 shows that the total broadcast time of domestic TV
programs in 1973 is 202,717 minutes (3378.6 hours)
comparing to 237,505 minutes (3958.4 hours) in 1983
while the total broadcast time of imported television

programs is 212,471 minutes (3544.5 hours) comparing to

44

261,160 minutes (4352.7 hours) in 1983. This finding
supports my hypothesis that the local programs and the
imported programs would simultaneously increase based on
the expansion of broadcast day and the increasing

numbers of television channels.

Also, the cases of Argentina, Brazil, and Cuba can
prove my hypothesis. The larger countries may decrease
a larger percentage of imported television programs than
the smaller countries based on the bigger market sizes

and the stronger bureaucracies of governments.

B. The percentage of broadcast time in weekday, prime
time and.weekend periods over the 10 year period in

Latin.America.

After I separated the whole of television air time
into weekday, prime time and weekend schedules, the more'
detailed results. appeared. In the weekday period,
Argentina, Brazil, Colombia, Cuba, Mexico and Puerto
Rico broadcast more than 60% of domestic television
programs in 1983, while the other nations largely put
imported programs on the air (Table 2). In the prime
time period, there is an unusual phenomenon. Argentina,
Brazil, Colombia, Cuba and Puerto Rico have increased

considerably the percentage of domestic programs on the

45

air in 1983 compared to 1973; while the other nations
largely broadcast imported programs (Table 3). My
previous hypothesis assumes that since the audience
prefers the local programs based on socio-cultural
relationships, domestic television programs would
dominate the prime time schedule. But this finding tells
me to amend my previous hypothesis. Obviously, my
hypothesis only can be applied in the larger countries,
like Argentina, Brazil, and Cuba, but it's unsuitable
for the smaller countries. In contrast, the smaller
countries put many more imported television programs in
the prime time period than domestic programs. In the
weekend period, there is an increase in the percentage
of imported television programs on the air in 1983
compared to 1973, except in Cuba, Mexico, and Puerto
Rico. In other words, Cuba, Mexico and Puerto Rico have
decreased the percentage of imported programs during the

weekend in 1983 (Table 4).

Tables 5 through 20 show the. various television
programs broadcasted in the three different schedules
(weekday, prime time, and weekend) in Latin American
countries analyzed over the 10 year period. Those
tables show that there are not big .changes in putting
certain programs in particular schedules over the time

period. Looking at Latin America as a whole, they used

46

to put talengvela, series, movies, information, and
children's programs in weekday schedules; put

telanovalas, variety, comedy, series, and information
programs in prime time period; and put movie, series,
sports, variety, and children's programs in the weekend

period.

Table 21 shows that most Latin American countries
had increased both import and domestic broadcast time
over the 10 years except Chile, Cuba, Dom. Rep. and
Puerto Rico. Chile and Don. Rep. had decreased the
domestic broadcast time while they increased in the
imported schedule. Cuba had. largely decreased the
broadcast time of imported programs and had increased
extremely the broadcast time of domestic programs.
Puerto Rico had a negative development in both the
imported' and domestic broadcast time over the 10 years
probably based on the effects of cable networks.
Reviewing this table (Table 21), Brazil, Costa Rica, and
Cuba increased domestic broadcast time over the 10

years.

C. The increased broadcast time of both. imported and
domestic television programs over the 10 years in
Latin.America:

47

In Argentina (Table 22), the top 3 imported
programs were movie, series and children's television
programs in 1973 while the top 3 domestic programs were
variety, information and comedy shows. In 1983, the top
3 imported programs were series, movies and talanayata
while information, children's, movie and talanayala

programs were the top 4 domestic programs.

In Bolivia (Table 23), the top 3 imported programs
were movies, series and talanayalaa while information,
variety and sports programs were the top 3 domestic
television programs in 1983. Since television was
started in Bolivia in 1974, the researcher can't collect

the data in 1973.

In Brazil (Table 24), the top 3 imported programs
were movies, children's and series television programs
in 1973 while the top 3 domestic programs were‘
talangyala, information and education. In 1983, the top
3 imported programs were children's, movie and series
programs while variety, sports, and information programs

were the top 3 domestic programs.

In Chile (Table 25), the top 3 imported programs
were movies, series and children's television programs

in 1973 while the top 3 domestic programs were

48

information, variey and government programs. In 1983,
the top 3 imported programs were movies, series and
talangyala programs while information, variety, and

education programs were the top 3 domestic programs.

In Colombia (Table 26), the top 3 imported programs
were series, taiangyala and children's television
programs in 1973 while the top 3 domestic programs were
education, information and music programs. In 1983, the
top 3 imported programs were series, movies and
children's programs while information, culture,
talangyala and children's programs were the top 4

domestic programs.

In Costa Rica (Table 27), the top 3 imported
programs were series, talanayala and children's
television programs in 1973 while .the top 3 domestic
programs were information,children's and variety‘
programs. In 1983, the top 3. imported programs were
series, movies and talanayala programs while variety,
information, and children's programs were the top 3

domestic programs.

In Cuba (Table 28), the top 2 imported programs
were movies, and children's television programs in 1973

while the top 3 domestic programs were music, sports and

tuft-mat
gchrans
variety
12;} d
are not
televie

breadc

Vere

info
I983
and

and

49

information programs. In 1983, the top 2 imported
programs were movies, and children's programs while
variety, education, and information programs were the
top 3 domestic programs. (note: Cuba's "variety" shows
are not real entertainment shows. They are various
television programs packaged together at the same

broadcast schedule).

In the Dominican Republic (Table 29), the top 4
imported programs were series, telanovela, movies and
children's television programs in 1973 while the top 3
domestic programs were information, music and women's
programs. In 1983, the top 3 imported programs were
talangyala , movies and series programs while variety,
information, and comedy shows were the top 3 domestic

programs.

In Ecuador (Table 30), the top 3 imported programs.
were movies,series, and talangyala television programs
in 1973 while the top 4 domestic programs were
information, women's, sports and music programs. In
1983, the top 3 imported programs were series, movies
and children's programs while information, children's

and music programs were the top 3 domestic programs.

In El Salvador (Table 31), the top 3 imported

50

programs were talangya1a§,movies, and series television
programs in 1973 while the top 4 domestic programs were
information, religion, culture and women's programs. In
1983, the top 3 imported programs were movies,
children's, and talanagalaa programs while information,
sports and education programs were the top 3 domestic

programs.

In Guatemala (Table 32), the top 4 imported
programs were children's, talangyalas, movies and series
programs while culture, government and information
programs were the top 3 domestic television programs in

1973.

In Mexico (Table 33), the top 3 imported programs
were children's, series, and movies television programs
in 1973 while the top 4 domestic programs were
education, talangyalaa, information and movies programs.
In 1983, the top 3 imported programs were movies,
children's, series programs while movies, information
and sports programs ‘were the top 3 domestic programs.
Televisa owns Channel 2,4,5,8 in Mexico. There was a
"professional" broadcasting phenomenon in 1983 For
example, Channel 2 dominated in domestic telenovelas;
Channel 4 aired many more U.S. movies; Channel 5 put a

great deal of U.S. series on air; and Channel 8

51

broadcast mostly Mexican movies.

In Nicaragua (Table 34), the top 4 imported
programs were children's, movies, series and talenovelas
programs while information, music, sports and
information programs were the top 4 domestic television

programs in 1983.

In Paraguay (Table 35), the top 3 imported programs
were series, telengvalas and movies programs while
_information, education, and variety television programs
were the top 3 domestic programs in 1973. In 1983, the
top 3 imported programs were talangyalaa, series and
children's programs while information and music types

were the top 2 domestic programs.

In 'Puerto Rico (Table 36), the top 4 imported
programs were movies, series, talanayalaa and children's
programs in 1973 while the top 4 domestic programs were
variety, information, children's and education programs.
In 1983, the top 3 imported programs were talangyalaa,
movies and children's programs while information and
variety shows were the top 2 domestic television

programs in 1983.

In Uruguay (Table 37), the top 4 imported programs

52

were movies, series, talanayataa and children's types
while information, variety and music programs were the

top 3 domestic television categories in 1973.

As you can see, Tables 5 through 37 tell us that
for the larger countries of Latin America, like
Argentina, Brazil, and Mexico, the top 3 imported
television programs were series, movies, and children's
programs while the top 4 domestic television programs
were talanaxalaa, information, variety and comedy shows.
For the smaller countries, like Bolivia, Guatemala,
Paraguay, and El Salvador, the top 4 imported television
programs were series, movies, talanagalaa and children's
programs while the top 3 domestic were information,
education and variety programs. Here we can conclude
that the smaller countries imported talangyalaa from the
larger contries in Latin America. Furthermore, the
talangyalaa were very popular among Latin American‘

countries, except Cuba.

D. The trend for talangyalaa over 10 years in Latin
America:

Among Latin American countries, the 5 nations that
most often imported telenovelas were Puerto Rico, Costa

Rica, Dom. Rep., El Salvador and Guatemala in 1973,

53

while Brazil, Mexico and Argentina were the 3 nations
that aired a great deal of domestic telenovelas.
Dominican Republic, Ecuador, Costa Rica, Puerto Rico and
Paraguay were the top 5 countries that imported more
telenovelas than other countries while Brazil and
Argentian broadcast more domestic telenavalas in 1983
(Table 38). Reviewing Table 38, Latin American
countries gave more broadcast time to telanovelas in
1983 than they did in 1973, for example Latin America
gave 46,784 minutes (779.7 hours) to Talanayalaa in 1973

while they gave 53,733 minutes (895.6 hours) to
telenexelas in 1983-

Tables 39-41 show the main sources of telenovelas.
Mexico, Argentina and Venezuela were the top 3 exporting

nations of telenovelas over the 10 years.

E. The trend of children, series and movie programs over\

the 10 years in Latin.America:

Latin America extended the broadcast time of both
imported and domestic television programs in children's,
series and movies categories over the 10 years (Table
42-47). They also' broadcast many more imported
children's programs than domestic ones. Among the

imported children's programs in Latin American

54

countries, the United States is the main source. In
other words, the United States dominated the marketplace
of imported children's programs in Latin America over
the 10 years (more than 85% of all the imported
children's programs in Latin America). But, since
Japanese cartoons are becoming popular in Latin America,
there was a decreasing percentage of U.S. children's TV

programs in 1983 (Table 42-43).

Latin America imported more series and movies
programs than they produced over the 10 years. Among
these imported programs, the United States extremely
dominated the marketplace. More than 90% of the
imported series programs in Latin America in both 1973
and 1983 came from the U.S.(Table 444-47). Among the
domestic series programs, only Mexico and Argentina
produced many of their own in 1973 and Brazil produced
many of its own in 1983. Among the domestic movies
programs, Only Mexico produced many of its own in both

1973 and 1983.

At first, Tabels 5 through 37 show that the top 3
imported television programs were series, movies, and
children's television programs over the 10 years. Then,
tables 42-47 indicate that the United States is the main

source of these programs. Therefore, from these

55

findings, I can prove my hypothesis that Latin America
imported many more U.S. television programs than those
of other countries (British, Spanish, or Japanese
types), except in Cuba. Since Cuba is a communist
nation, its imported series, movies, and children's

television programs came from communist countries.

Entertainment programming dominated the television
schedules of all the Latin American countries analyzed,
accounting for more than half of the total broadcast
time. Also, there was an increase in the percentage of
the entertainment broadcast time over the 10 years in
Latin American nations, except in Chile, Costa Rica,

Cuba, El Salvador and Puerto Rico.

Latin America as a whole had increased the
entertainment broadcast time only slightly, from 63.6%
in 1973 to 64.2% in 1983. They used to put most~
entertainment broadcast time in the prime time schedule.
In 1973, the percentage of entertainment programs for
the total broadcast schedule in prime time was 80.1%
compared to 72.9% in 1983. Reviewing Table 48 and Table
49, Latin America as a whole increased entertainment
broadcast time in the weekday period, but decreased time
in the prime time and weekend schedules. Since the

findings of Table 48 and Table 49 show that Latin

56

America as a whole had increased only slightly. They
can not completely support my hypothesis that Latin
America extended the entertainment broadcast time in
order to attract mass audiences and catch the main-

stream popular culture.

CHAPTER VII

CONCDUSION AND FUTURE DIRECTION

First of all, I will list Varis' surveys (in 1973
and in 1983) and Antola 8 Rogers' research (in 1972 and
1982), alone with my Table 1 in order to compare the

results with the advanced researchers:

1. Tapio varis' summary table:
Percentage of imported television programs in 1973,

1983 and prime-time 1983 (measured in programming

hours) % of programming imported in
1211 1213. Walt:
Argentina/Channel 9 10 49 53
Brazil -- 30 23
Chile 55 -- --
Colombia 34 -- --
Cuba -- 24 9
Domican Republic so _- --
Ecuador -- 66 70
Guatemala ‘ 34 -- -_
Mexico 39 34 44
Uruguay 62 -- --
Venezuela -- 38 42

2. Antola 8 Rogers' summary table:

57

58

Percentage of imported television programs (in

broadcast-hours) in 1972 and 1982 for Six Latin

American Countries

Countries 1912. 1.9.8.;
Venezuela 50% 33%
Brazil 60% 39%
Argentina 20% 40%
Chile 56% 44%
Mexico 50% 50%
Peru 60% 70%

3.Table 1 of this research:

Percentage of total broadcast minutes for imported

and domestic television programs in 1973 and 1983

1973

1983

countries mm mm

Argentina
Bolivia
Brazil

Chile
Colombia
Costa Rica
Cuba
Dominican Rep.
Ecuador

El Salvador

50.4%
36.4%
55.7%
32.3%
66.8%
38.7%
46.2%
60.8%

83.5%

49.6%

40.0%
52.9%
33.7%
66.3%
38.8%
61.8%
15.0%
66.0%
78.2%

86.9%

60.0%_
47.1:
66.3%
33.7:
61.2%
38.2%
35.0:
34.0:
21.3:

13.1%

59

Guatemala 81.6% 18.4% ----------
Mexico 37.4% 62.6% 52.2% 47.8%
Nicaragua ---------- 65.8% 34.2%
Paraguay 51.7% 48.3% 68.8% 31.2%
Puerto Rico 55.3% 44.7% 43.4% 56.6%
Uruguay 59.1% 40.9% ----------
Total minutes 212471 202717 261160 237505

Comparing the above 3 tables, we can see that

there is a large consistency in the results, except in

Argentina and in Brazil. In Argentina, the difference

among the above 3 tables exists in the number of

channels analyzed. There was only one channel (Channel
9) be analyzed in Varis' research. In my research, I
analyzed 5 channels (Channel 2,7,9,11,13) in both 1973
and 1983. In Brazil, comparing Antola 8 Rogers' summary
table with my Table 1, there is big difference in the
percentages of imported TV programs in 1973. But there
are similar percentages of imported programs in 1983

among these 3 tables.

From the tables presented in Chapter VI, we can
state that Latin American countries as a whole have
increased both the broadcast time of imported and
' domestic television programs over the 10 year period.

This supports my hypothesis that although the Latin

60

American countries have tried to produce more local
programs in order to protect nationalism or cultural
values. The premise of extending the broadcast time and
their insufficient broadcast production circumstances,
such as financial, technical, and limited marketplaces,
will continuously push them to import a great deal of
foreign programs. Therefore, domestic programs and
imported programs have simultaneously increased.
according to the expansion of broadcast time and the
increased number of television channels. In other
words, the phenomena of cultural dependency and national
protectionism can "co-exist" in Latin America.
Alternative options based on the degree of development
possible within dependency clearly varies with the ,
national situation and the historical moment. The
simple cultural dependency model or national
protectionism model can not fully explain the various
degrees of discrepancy between Latin American countries.'
It seems that we need to analyze the diversity of
development within Latin American nations from the

complex stages of historical and socio-cultural context.

The summary of findings indicates that the United
States dominated among 80-95% of imported children's,
series and movies in Latin America. This supports my
hypothesis that from the beginning, the U.S.

61

communication technological foundation was transferred
to Latin American nations with more than half the total
broadcast time being devoted to entertainment programs.
This would later "push" Latin America to import more
U.S. television programs than those of other countries,
such as Britian, Spain, Frence, and Japan. Also, under
the pressure of "alienation" which came from foreign
cultures and MNC (multinational corporations) economic
forces, the popular culture in Latin America was
resistance to cultural dependency and cultural
imperialism. To meet the changing demands, the Latin
American broadcasters began to focus on the tastes of
their mass audiences by extending the broadcast of
talangyalaa by more than 115 hours (895.6 hours-779.7

hours) over the 10 year period.

The' other proven point is that the governments of
Latin America maintain crucial roles in the flow of‘
television programs from U.S. to Latin America. The
degree and nature of government. intervention in
broadcast policies- vary widely in Latin America. The
larger countries, like Brazil and Argentina have
decreased a larger percentage of imported television
programs than the smaller countries, like Paraguay,
Bolivia or El Salvador. In two special cases, the

governments of Cuba and Nicaragua played the roles of

62

centralized controllers in the broadcasting industries.
Since Cuba is seen as a mature communist country in
Latin America, it decreased 8 larger percentage of

imported programs than the others.

While we analyze the role of television in the
societies of Latin America from the historical and
cultural context, we predict that the audience will
prefer domestic television programs based on socio-
cultural relationships. Therefore, we assume that
domestic televsion programs would dominate prime time
schedules in Latin America in order to attract a larger
audience and catch the main stream popular culture.
From the findings, we determined that imported programs,
like series, movie and children's programs dominated the
prime time schedule alone with the top domestic
television programs, like talangyalaa, variety and.
comedy shows. The key point is that we should study the‘
role of television in society not only from the one-
sided ideological context, but we also need to consider
the reality of the current situation in the Latin
American countries. For example, from the viewpoint of
the ideological context, we easily recognize that the
audience prefers the domestic television programs based
on the socio-cultural relationships. But under the

current reality of social structures, like the various

63

degree of dependency and socio-economic situations, some
of the program planners in Latin America still put the

U.S. series and movie programs in prime time period.

For future study, we will focus on the systematic
analysis of the external and internal reasons of the
Latin American audiences' preferences. Furthermore, we
shall try to understand the trend and causes of popular
culture in Latin America. Also, in a future study, we
will be able to analyze the advancing development of
television programs in Latin American countries or be
able to completely collect the current data in order to

make a more thorough analysis.

64

Table lgPercentage of total broadcast minutes for

imported and domestic television programs in 1973

and 1983.
1973 1983
Imported Domestic Imported Domestic
Argentina 50.4% 49.6% 40.0% 60.0%
Bolivia -------- 52.9% 47.1%
Brazil 36.4% 63.6% 33.7% 66.3%
Chile 55.7% 44.3% 66.3% 33.7%
Colombia 32.3% 67.7% 38.8% 61.2%
Costa Rica 66.8% 33.2% 61.8% 38.2%
Cuba 38.7% 61.3% 15.0% 85.0%
Dom.Rep. 46.2% 53.8% 66.0% 34.0%
Ecuador 60.8% 39.2% 78.2% 21.8%
El Salvador* 83.5% 16.5% 86.9% 13.1%
Guatemala 81.6% 18.4% ----- -----
Mexico . 37.4% 62.6% 52.2% 47.8%
Nicaragua ---#- ----- 65.8% 34.2%
Paraguay 51.7% 48.3% 68.8% 31.2% .
Puerto Rico 55.3% 44.7% 43.4% 56.6%
Uruguay 59 . 1: 4o . 9: ---- -----

65

Table 2: Percentage of total broadcast minutes on
weekdays for imported and domestic television

programs in 1973 and 1983.

weekday 1973 ‘ 1983
Imported Domestic Imported Domestic

Argentina 28.6% 71.4% 30.0% 70.0%
Bolivia ---“ """ 61.2% 38.8%
Brazil 40.8% 59.2% 36.4% 63.6%
Chile 62.1% 37.9% 70.6% 29.4%
Colombia 23.9% 66.1% 30.0% 70.0%
Costa Rica 65.8% 34.2% 48.0% 52.0%
Cuba 55.3% 44.7% 13.2% 86.8%
Dom. Rep. 37.8% 62.2% 63.6% 36.4%
Ecuador 39.1% 60.9% 74.3% 25.7%
El Salvador 70.4% 29.6% 81.8% 18.2%
Guatemala 82.9% 17.1% ---- -‘-'-
Mexico 31.3% 68.7% 37.5% 62.5%
Nicaragua ---- ----- 69.4% 30.6%
Paraguay 55.8% 44.2% '68.4% 31.6%
mart-.6 Rico 56. 1: 43.9: 39.9: 60. 1:
Uruguay 51.7% 48.3% ----------

66

Table 3: Percentage of total broadcast minutes on prime
time for imported and domestic television

programs in 1973 and 1983.

Uruguay

66.1%

33.9%

Prime Time 1973 1983
Imported Domestic Imported Domestic
Argentina 27.6% 72.4% 37.1% 62.9%
Bolivia ---------- 43.6% 56.4%
Brazil 29.9% 70.1% 21.7% 78.3%
Chile 45.0% 55.0% 58.3% 41.7%
Colombia 35.6% 64.4% 14.3% 85.7%
Costa Rica. 79.0% 21.0% 86.8% 13.2%
Cuba ' 26.9: 73.1: 4.3: 95.7:
Dem. Rep. 80.7% 19.3%' 81.1% 18.9%
Ecuador 86.7% 13.3% 87.1% 12.9%
:1 Salvador 93.3: 6.7: 95.6% 4.4:
Guatemala 95.2% 4.8% ----------
uaxico 39.5% 60.5% 48.4% 51.6%
Nicaragua ----- ----- 65.2% 34.8%
Paraguay 60.6% 39.4% 61.1% 38.9%
Puerto Rico 53.8% 46.2% 45.8% 54.2%

67

Table 4: Percentage of total broadcast minutes on

weekends for imported and domestic television

programs in 1973 and 1983.

weekend 1973 1983
Imported Domestic Imported Domestic

Argentina 42.2% 57.8% 46.1% 53.9%
Bolivia ---------- 55.9% 44.1%
Brazil 33.2% 66.8% 34.0% 66.0%
Chile 55.1% 44.9% 64.8% 35.2%
Colombia 46.9% 53.2% 68.9% 31.1%
Costa Rica 58.8% 41.2% 64.7% 35.3%
Cuba 31.6% 68.4% 22.6% 77.4%
Dom. Rep. 41.6% 58.4% 62.1: 37.9:
Ecuador 65.8% 34.2% 79.0% 21.0%
El Salvador 89.8% 10.2% 86.3% 13.7%
Guatemala 68.2% 31.8% ----- -----
Mexico 48.8% 51.2% 36.8% 63.2%
Nicaragua """"""" 62.8% 37.2%
Paraguay 39.0: 61.0% 78.2% 21.8%
Puerto Rico 54.5% 45.5% 50.7% 49.3%
Uruguay 62.7% 37.3% ----------

68

Table 5: Percentage of weekday, prime time and weekend
television programs in Argentina in 1973 and 1983.

("*" represents the top 3 television categories)

Argentina
1973 1983

Weekday Prime Time Weekend Weekday Prime Time Weekend
Telenovela 9.0% 0.0% 6.7% 14.4% 0.8% 12.4%
Series *14.6% 5.0% 7.0% *19.6% *13.9% 820.5%
Variety *16.4% *26.3% 0.0: 0.0: use: 0.0:
Comedy 6.9: 4.3: «15.4: 3.6: 6.6: *17.7:
MOViaI 7.5% *31.3% *20.0% 14.9% *30.7% 16.6%
Game 0.0% 0.6% 2.5% 8.6% 0.8% 0.0%
Sports 0.6% * 7.8% 8.3% 0.0% 2.9% 6.7%
Music 2.8% 4.5% 3.3% 0.0% 4.5% 1.4%
Information*24.3% 3.6% *11.6% *16.0% 1.6% *17.0%
Women 0.0% 0.0% 0.0% 2.3% 2.5% 0.0%
Children 7.5% 3.0% 2.1% *15.2% 8.6% 0.0%
Education 3.3: 3.0: 0.0: 3.8% 4.1: i 0.0:
Culture 1.3% 3.3% 6.7% 1.6% 3.9% 3.5%
Religion 0.6% 1.9: 0.0: 0.0: 0.6% 0.0:
Government 0.8% 4.1% 6.7% 0.0% 3.3% 2.8%
Unclassif. 4.3% 1.2% 9.6% 0.0% 0.0% 0.0%
Total 100% 100% 100% 100% 100% 100%

69

Table: 6:
Percentage of weekday, prime time and weekend
television programs in Bolivia in 1983.

("*" represents the top 3 television categories)

Bolivia 1983

Weekday Prime Time Weekend
Telenovela 1.2% *22.0% 4.1%
Series *27.1% 5.3% 6.5%
variety 4.8% 2.3% *22.1%
Comedy 0.6: 4.3: 1.9:
Movies *17.5% 5.0% *19.3%
Game 0.0% 0.0% 0.0%
Sports 6.5% 11.8% 1.8%
MuSic 1.2% 0.6% 8.7%
Information 6-7% *21.3% 1.7%
women 0.0% 0.0% 3.8%
Children *18.0% 0.9% *21.2%
Education 5.0% ' 0.0% 0.0%
Culture 9.7% 5.5% 5.1%
Religion 0.5% 0.3% 3.7%
Government 1.2% *17.5% 0.0%
*Unclassif. 0.0% 3.2% 0.0%

70

Table 7: Percentage of weekday, prime time and weekend

television programs in Brazil in 1973 and 1983.

('0' represents the top 3 television categories)

Brazil 1973

Weekday

Telenovela 1.4%

Series 4.7%
Variety 0.0:
Comedy 3.8%
Movies *11.7%
Game 0.0%
Sports 4.1%
Music 1.4%
Information*13.1%
Women 5.9%
Children *31.6%

Education 9.9%
Culture 0.2%
Religion 0.0%
Government 0.0%

Unclassif. 0.0%

Prime Time Weekend

*20.6%
7.1:
6.3%

*13.1%

12.8%
1.2:
9.5:
7.1:

*13.6%
0.0:
1.0%
4.1:
3.7:
0.0:

I0.0:
0.0:

6.4%
3.8%
*17.6%
4.5%
*19.7%
0.0%
*15.1%
5.2%
5.9%
1.4%
8.0%
7.8%
3.5%
0.5%
0.0%
0.7%

1983

Weekday

6.2%
. 9.2:
*15.1:
2.5:
8.3%
0.0:
8.6%
0.0:
. 9.2:
9.1:
a22.0:
7.5:
0.6:
1.6:
0.2:
0.0:

Prime Time

11.0%
*16.0%
*20.3%

10.0%

10.4%

0.0%
*12.5%
7.5%
7.2%
0.0%
0.0%
1.0%
2.9%
0.0%
1.0%
0.0%

Weekend
2.8%
10.3%
*23.8%
2.5%
*14.5%
0.0%
10.5%
*12.2%
5.2%
0.1%
8.5%
4.2%
2.6%
2.8%
0.0%
0.0%

71

Table 8: Percentage of weekday, prime time and weekend
television programs in Chile in 1973 and 1983.

('t' represents the top 3 television categories)

Chile 1973 1983

Weekday Prime Time weekend Weekday Prime Time Weekend
Telenovela 11.2: *21.9: ' 0.0: 12.4: 6.0: 2.6%
Series *12.6% *17.8% *16.7% *16.9% 924.5: 10.5:
variety 0.7: 6.3: *18.2% 0.0: 0.0: *10.6%
Comedy 0.6: 6.3: 2.9: 3.3: 1.5: 0.0:
Movies 035.2: 3.4: *26.7% *18.9% 7.5: 919.3:
Game 0.0: 0.0: 0.0: 0.0: 0.0: 0.0:
Sport! 0.4: 2.2: 1.2: 0.4: 0.4: 5.3:
Music 3.5: 3.2: 2.8% 5.5: 3.8% 10.2:
Information 8.3% *18.9% 5.7: 10.7: *31.6% 8.3%
Women 4.3: 0.0: 0.0: 0.2: 2.6: 0.0:
Children 9.12.2: 6.6: 12.9: 221.0: 2 9.7: a12.7:
Education 3.7% 0.5% 3.2% 3.8% 8.5% 4.3%
Culture 2.3: 3.3: 2.6% 0.2: 3.9: 6.1%
Religion 1.4: 0.0: 1.0: 1.8% 0.0: 7.4:
Government 2.1: .8.6% 6.0: 0.0: 0.0: 2.9:
Unclassif. 1.1% 0.6% 0.0% 0.0% 0.0% 0.0%

Table

Colombia

72

9: Percentage of weekday, prime time and weekend

television programs in Colombia in 1973 and 1983.

('*” represents the top 3 television categories)

1973

Weekday

Telenovela 914.4%

Series
variety
Comedy
Movies
Game
Sports
Music

4.8%
1.2%
1.2%
0.0%
0.0%
0.0%
1.7%

Information 12.9%

Helen
Children
Education
Culture
Religion

Government

Uhclassif.

3.3%
*13.8%
*41.8%

4.3%

0.1%

0.6%

0.0%

Prime Time Weekend

*14.2%
*21.3%
10.0%
2.8%
1.4%
0.0%
1.4%
12.6%
*18.0%
0.0%
0.0%
6.9%
7.1%
0.0%
4.3%
0.0%

0.0:
913.7:
7.6:
6.3%
11.3:
7.6%
10.7:
914.5:
3.8%
0.0:
915.5:
1.3:
3.3:
1.3:
2.7:
0.0:

1983

Weekday

8.1%
7.3%
6.0%
4.7%
*11.1%
0.0%
'2.6%
3.9%
*18.8%
3.4%
*14.6%
8.4%
6.0%
0.0%
5.1%
0.0%

Prime Time Weekend

*10.7%
4.8%
4.8%
3.6%
7.1%
1.2%
3.6%
7.1%

*41.7%
0.0%
0.0%
2.4%

*10.7%
0.0%
2.4%
0.0%

3.6%
*37.1%
4.4%
* 9.5%
3.6%
3.6%
2.9%
6.6%
3.4%
0.0%
816.5%
0.7%
7.3%
0.7%
0.0%
0.0%

73

Table 10: Percentage of weekday, prime time and weekend
television programs in Costa Rica in 1973 and 1983.

("*” represents the top 3 television categories)

Costa Rica 1973 1983
Weekday Prime Time Weekend Weekday Prime Time Weekend
Telenovela *22.6% *20.9% 0.0% *14.8% *27.7% 0.0%
Series *19.9% *42.2% 1'19.7% 3.9% *29.1% *18.5%
Variety 4.1% 0.0% 8.8% *14.6% 2.6% 6.2%
Comedy 11.0% 6.3% 8.8% 2.8% 7.2% 2.1%
Hbviee 0.0% 9.6% *19.0% 5.4% *21.6% *18.9%
Game 0.0% 0.0% 3.9% 0.0% 0.0% 0.0%
Sports 1.0% 0.0% 5.8% 0.3% 0.0% *18.2%
music 0.0% 6.3% 8.8% 3.9% 1.3% 6.1%
Information 11.3% *13.9% 4.4% 13.8% 6.0% 3.1%
Wbmen 0.0% 0.0% 0.0% 1.6% 0.0% 0.0%
Children *30.1% 0.0% *11.3% *26.5% 0.0% 11.3%
Education 0.0% 0.0% 5.8% 4.7% 0.0% 6.2%
Culture 0.0% 0.0% 0.7% 3.1% 4.5% 4.1%
Religion 0.0% 0.0% 0.7% 4.7% 0.0% 5.4%
_ Government 0.0% . 0.9% 2.2% 0.0% 0.0% 0.0%
Unclassit. 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Table 11: Percentage of weekday, prime time and weekend
television programs in Cuba in 1973 and 1983.

(99- represents the top 3 television categories)

Cuba 1973
Weekday
Telenovela *12.9%
Seriel 0.0:
variety 6.5%
Comedy 0.0%
Movies 925.5:
Game 0.0%
Sports 2.5:
music 1.3%

Intonation 7 . 8%
Women 3 . 9%
Children *33.0%
Education 2.6%
Culture 3.9%
Religion 0.0%
Government 0.0%

Unclassit. 0.0%

Prime Time Weekend

5.0%
1.7%
0.0%
1.1%
*31.1%
0.0%
*18.5%
5.9%
*14.2%
0.0%
0.8%
10.7%
7.6%
0.0%
3.4%
0.0%

1.2%
0.0%
7.9%
0.0%
*24.9%
0.0%
*11.6%
*26.7%
7.5%
0.0%
9.7%
8.0%
1.2%
0.0%
1.2%

0.0%

1983

Weekday

3.1%
0.0%
*43.3%
0.0%
7.4%
0.0%
2.8%
3.1%
6.8%
0.0%
*14.7%
*18.0%
0.0%
0.0%
0.9%
0.0%

Prime Time Weekend

4.5%
0.0%
*19.1%
3.8%
4.8%
0.0%
10.5%
*17.3%
*23.1%
0.0%
0.0%
10.7%
6.3%
0.0%
0.0%
0.0%

5.0%
3.9%
*19.8%
0.8%

*10.4%

0.0%
*11.7%
8.8%
9.8%
0.8%
5.8%
7.5%
8.7%
0.0%
5.4%
1.5%

75

Table 12: Percentage of weekday, prime time and weekend
television programs in Dom. Rep. in 1973 and 1983.
('*' represents the top 3 television categories)

Dominican Republic 1973 1983

Weekday Prime Time Weekend weekday Prime Time Weekend
Telenovela *13.6% *17.7% 0.0% *22.2% *17.5% 4.8%
Series 2.9% p 1”38.5% *16.5% 4.2% *39.8% *11.8%
variety 0.0% 0.0% 7.8% *17.2% 0.0% 7.9%
Comedy 2.5: 0.0: 3.7: 5.9: 2.0: 4.9:
movies 6.5% *17.2% 8.1% 12.7% *16.2% *16.7%
Game 3.2% 1.0% 3.1% 0.0% 0.0% 1.7%
Sports 3.7% 4.2% 10.6% 0.7% 1.7% 11.7%
music 9.9% 12.5% 8.3% 0.8% 0.0% 8.2%
Information*22.2% 1.6% *12.3% 7.9% 13.6% 3.1%
Women 10.2% 0.0% 0.9% 4.4% 0.0% 0.0%
Children *15.7% 0.0% *11.3% *17.1% 0.0% *13.4%
Education 2.8% 0.0% 3.4% 0.1% 0.0% i 1.0%
Culture 2.8% 5.7% 5.9% 1.7% 4.1% 3.5%
Religion 0.0% 0.0% 0.9% 1.2% 0.0% 3.2%
Government 3.7% 0.0% 5.6% 1.2% 2.1% 7.0%
‘Unclssit. 0.0% 1.6% 1.2% 1.1% 3.1% 1.0%

Table
Ecuador 1973
Weekday
Telenovela 7.0%
Series 0.4:
variety 0.0:
Comedy 3.5%
Inviti 914.0:
Game 0.6%
Sport! 2.3:
nusic 7.4%
Information*25.1%
"Olen 917.0:
Children 10.4%
Education 3.5%
Culture 1.9%‘
Religion 0.2%
Government 2.3%
'Unclassit. 3.0%

13: Percentage of weekday, prime time and weekend

television programs in Ecuador in 1973 and 1983.

(”*" represents the top 3 television categories)

Prime Time Weekend

*24.9%
*28.2%
0.0%
9.8%
1'27.1%
0.5%
2.2%
2.2%
4.1%
0.0%
0.0%
0.0%
1.1%
0.0%
0.0%
0.0%

0.0%
*19.7%
4.7%
6.1%
*21.2%
0.0%
*12.0%
2.8%
6.2%
0.9%
10.3%
0.0%
9.7%
4.9%
0.0%
1.4%

1983

Weekday

*25.3%
*14.1%
0.0:
6.7%
9.2%
0.0%
0.7%
6.0%
12.2%
1.5%
*19.1%
0.0%
1.0%
0.0%
0.0%

4.3%

Prime Time Weekend

* 4.9%
*46.7%
0.0%
0.8%
*30.3%
2.3%
2.7%
1.5%
* 4.9%
0.0%
0.3%
0.0%
2.3%
0.0%
0.0%
3.4%

0.0:
921.0:
1.0:
11.0:
920.5:
1.0:
3.0:
7.1:
3.3:
0.0:

*11.9%

0.0%
5.7%
0.0%
0.0%
5.7%

77

Table 14: Percentage of weekday, prime time and weekend

television programs in El Salvador in 1973 and 1983.

('t' represents the top 3 television categories)

El Salvador

1973 1983

weekday Prime Time Weekend Weekday Prime Time Weekend
Telenovela *28.2% *47.9% 4.6% *19.4% *23.9% 0.0%
Series *18.2% *23.9% *12.2% 7.1% 1'23.2% 4.3%
variety 0.0% 0.0% 4.6% 0.0% 0.0% 2.8%
Comedy 2.3: 0.0: 2.9: 5.4: 5.2: 4.0:
levies 0.0% 1“19.9% *45.8% *19.8% *40.3% *30.8%
Gale 0.0% 0.0% 0.0% 0.0% 0.0% 0.7%
Sport- 0.0: 0.0: 5.3: 0.0: 1.5: 915.4:
uusic 5.7% 0.0%. 6.3% 2.2% 2.9% 8.2%
Information 2.8% 5.1% 1.9% 7.0% 2.2% 1.7%
Helen 6.3% 0.0% 0.0% 2.9% 0.0% 0.0%
Children 023.9% 0.0% *12.4% *32.7% 0.0% *23.5%
Education 0.0% 0.0% 0.0% 2.6% 0.0% 1.7%
Culture 5.7% 0.0% 0.7% 0.9% 0.7% 4.2%
Religion 6.8% 0.0% 1.2% 0.0% 0.0% 2.8%
Government 0.0% 1.6% 0.0% 0.0% 0.0% 0.0%
Unclassif. 0.0% 1.6% 1.6% 0.0% 0.0% 0.0%

Table 15: Percentage of weekday, prime time

78

and weekend television programs

Guatemala in 1973.

the top 3 television cataegories)

Guatemala

Telenovela
Series
Variety
hComedy
nevies
Game
Sports
Music
Information
Women
Children
Education
Culture
Religion
Government

Uhclassif.

1973

Weekday

*16.0%
*14.2%
0.0%
8.5%

0.0 %

0.0%
0.0%
3.6%
1.9%
0.0%
*44.2%
1.9%
4.7%
0.0%
5.0%
0.0%

Prime Time Weekend

*49.3%
*17.7%
0.0%
0.0%

'91s.5:

0.0%
0.0%
0.0%
3.7%
0.0%
0.0%
0.0%
6.6%
0.0%
1.1%
0.0%

2.2:
9 7.9:
5.3:
2.5:
935.4:
0.0:
9 7.9:
2.5:
3.5:
\
0.0:
913.7:
0.4:
7.1:
0.0:
4.9:
5.3:

in

("*" represents

Table 16: Percentage of weekday, prime time and weekend

television programs in Mexico in 1973 and 1983.

('9' represents the top 3 television categories)

nexico 1973
Weekday
Telenovela 917.8%
Series 1.7%
Variety 5.7%
Comedy 3.3%
HCViee 19.2%
Gale 1.3%
Sports 0.3%
Music 5.5%

Information 7.8%
Women 2.1%
Children *25.3%
Education 916.9%
Culture 4 0.5%
Religion 0.0%
Government 1.3%

Unclassif. 0.3%

Prime Time Weekend

4.2%
*30.4%
0.0%
*22.7%
*16.9%
3.0%
2.0%
2.5%
8.6%
0.0%
2.5%
0.0%
1.7%
0.0%
0.0%
5.5%

2.6%
11.4%
11.1%

2.1%

*18.7%

0.2%

*11.5%

4.8%

5.6%

1.1%

9.3%

5.4%

*13.6%

0.0%

2.1%

0.5%

1983

Weekday

5.0%
1.5%
7.7%
6.3%
*30.7%
1.1%
1.3%
2.2%
8.8%
3.3%
*16.8%
*10.3%
3.5%
0.0%
1.5%
0.0%

Prime Time Weekend

7.3%
*13.3%
0.0%
*12.0%
*44.4%
0.0%
2.7%
2.0%
10.9%
0.0%
1.3%
2.7%
2.8%
0.0%
0.7%
0.0%

0.0%
3.9%
1.5%
3.9%
*38.9%
0.4%
*23.8%
6.2%
* 9.9%
0.4%
6.0%
1.3%
3.2%
0.0%
0.6%
0.0%

80

Table 17:
Percentage of weekday, prime time and weekend

television programs in Nicaragua in 1383.

("*" represents the top 3 television categories)

Nicaragua 1983
Weekday Prime Time Weekend

Telenovela 919.4% 8.7% 2.8%
series 0.0: 924.3: 915.5:
Variety 0.0: 0.0: I 5.9:
Comedy 2.8% 0.0% 5.5%
Movies 0.0 % *32.2% 11.7%
Game 0.0% 0.0% 0.0%
Sports 1.4: 0.0: 919.3:
Music 1.4% 4.3% 9.7%
Information 1.4% 928.7% 4.1%
Women 0.0% 1.7% 0.0%
Children 951.4% 0.0% *15.2%
Education 911.1: 0.0: 1.4:
Culture 5.6% 0.0% 1.4%
Religion ' 0.0% 0.0% 0.0%
Government 5.6% 0.0% 5.5%
Unclassif. 0.0% 0.0% 0.0%

Table 13:

television programs in Paraguay in 1973 and 1983.

(959 represents the top 3 television categories)

Paraguay
1973

Weekday

Telenovela 923.9%

Series 7.1%
variety 2.7%
Comedy 0.0%
levies 10.6%
Game 0.0%
SPorts 2.7:
Music 5.3%
Information917.7%
Women 3.5%
Children 4.4%
Education *15.0%
Culture 5.3%
Religion 0.0%

Government 1.8%
Unclassif. 0.0%

Prime Time Weekend

0.0%
*43.3%
0.0%
7.2%
*10.0%
0.0%
3.3%
0.0%
*26.1%
0.0%
0.0%
0.0%

3.3:.

0.0%
6.7%
0.0%

81

7.8%
*20.8%
*18.2%

5.2%

7.8%

0.0%

0.0%

5.2%
*27.3%

0.0%

0.0%

7.8%

0.0%

0.0%

0.0%

0.0%

1983

Weekday

1'33.6%
* 8.9%
0.0%
5.0%
1.7%
0.0%
3.3%
7.2%
* 8.9%
5.5%
*24.8%
0.6%
0.6%
0.0%
0.0%
0.0%

Percentage of weekday, prime time and weekend

Prime Time

*23.4%
*36.0%
0.0%
3.4%
0.0%
0.0%
1.7%
0.0%
*34.1%
0.0%
0.0%
0.0%
1.4%
0.0%
0.0%
0.0%

Weekend
*17.3%
7.3%
3.6%
1.8%
*36.4%
0.0%
3.6%
9 9.1%
* 9.1%
0.0%
8.2%
0.0%
1.8%
0.0%
1.8%
0.0%

82

Table 19: Percentage of weekday, prime time and weekend
television programs in Puerto Rico in 1973 and 1983.
(“9" represents the top 3 television categories)
Puerto Rico
1973 1983

Weekday Prime Time Weekend Weekday Prime Time Weekend
Telenovela *17.2% 3.3% 0.0% *24.6% 10.4% 0.0%
Series 8.1% *19.9% 9.7% 5.2% 11.5% 10.1%
variety 11.4% 5.0% 3.7% 13.8% 1'24.0% 10.6%
Coeedy 1.0% *11.0% 6.9% 5.7% 5.2% 5.0%
levies *24.0% 1331.4% *22.4% 5.0% *22.9% *18.5%
Gale 0.4% 0.0% 4.9% 0.0% 0.0% 2.2%
Sports 0.7: 2.5: 914.5: 0.2: 1.0: 917.5:
lueio 0.7% 7.3%7 6.0% 0.0% 2.0% 2.2%
Intorlation 6.3% 10.0% 4.3% *21.6% *20.8% 12.6%
Women . 1.5: 0.0: 0.0: 2.3: 0.0: 0.0:
Children *20.6% 0.0% 1'12.0% *19.4% 0.0% 915.1%
Education ' 7.0% 3.8% 6.2% 0.6% 2.1% 1.7%
Culture 1.0% 4.5% 4.7% 0.5% 0.0% 0.0%
Religion 0.0% 0.0% 3.0% 1.1% 0.0% 4.2%
Government 0.2% -1.3% 0.0% 0.0% 0.0% 0.0%
Unclassif. 0.0: 0.0: 1.5: 0.0: 0.0: 0.0:

83

Table 20:

Percentage of weekday, prime time and weekend
television programs in Uruguay in 1973 and 1983.

("9" represents the top 3 television categories)

Uruguay 1973
Weekday Prime Time Weekend
Telenovela *16.0% 5.3% 0.0%
Series 7.7% 14.0% 4.8%
variety 5.5% 2.6% *19.1%
Comedy 0.0: 915.0: 1.0:
movies *19.5% *17.5% *39.4%
Game 0.6% 2.6% 0.0%
Sports 1.7: 3.5:' 7.5:
Music 6.3% 4.4% 7.6%
Information *20.5% 914.5% 6.9%
Women 6.1% 0.0% 0.0%
Children 7.6% 7.6% * 7.8%
Education 4.4% 0.0% 1.3%
Culture 4.1: 9.1: 1.9:
Religion 0.0: 0.0: 0.5:
Government 0.0% 3.1% 1.9%
Unclassif. 0.0% 0.0% 0.0%

84

Table 21: The percentage change in imported and domestic
broadcast time (comparing total broadcast time

in 1973 and 1983).

Nicaragua and Uruguay,

“QQQDSII IEEQILQQ ,DQEQEELQ
Argentina 24.4% 9.8%
Brazil 22.7% 38.3%
Chile 38.9% -25.0%
Colombia 73.0% 29.7%
Costa Rica 26.1% 57.2%
Cuba -42.1% 116.3%
Dom. Rep. 72.8% -5.2:
Ecuador 163.5% 13.5%
El Salvador 87.9% 43.3%
Mexico 30.3% 21.1%
Paraguay 213.0% 52.5%
Puerto Rico -42.2% -6.6%

Note: Since data incomplete are for Bolivia, Guatemala,

the researcher can't

calculate the percentage increase of imported

and domestic broadcast time in these nations.

85

Table 22: Percentage of broadcast minutes for imported
and domestic television programs in Argentina

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic

Telenovela 0.0% 8.4% 9 7.8% 11.4%
Series *27.8% 1.4% *47.6% 1.7%
Variety 0.0: 925.3: 0.0: 7.0:
Comedy 0.0: 911.2: 1.7: 9.8%
movies *50.2% 1.4% *35.0% *11.5%
Game 0.0% 0.9% 0.7% 7.2%
Sports 2.9% 5.0% 0.0% 3.1%
Music 0.0: 5.1: 0.7: 2.1:
Information 0.2: 922.7: 0.0: 913.7:
Women 0.0% 0.0% 0.0% 3.0%
Children 9 9.8% 2.8% 5.9% 913.3% 9
Education 0.0% 4.0% 0.7% 4.7%
Culture 0.0% 4.3% 0.0% 4.1%
Religion 0.0% 1.4% 0.0% 0.3%
Government 0.0% 4.3% 0.0% 2.3%
Unclassif. 9.0% 1.8% 0.0% 0.0%
Total 100% 100% 100% 100%
Minutes 14,277. 28,996. 17,760. 31,845.

86

Table 23:
Percentage of broadcast minutes for imported

and domestic television programs in Bolivia

in 1983. 1983
Imported Domestic

Telenovela *18.4% 0.0%
Series *20.4% 1.6%
variety 6.2% *15.1%
Comedy 4.6% 0.0%
movies *25.9% 0.0%
Game 0.0% 0.0%
Sports 0.0% '*14.1%
music 0.4% 7.7%
Information 0.0% 921.3%
Women 0.0% 3.0%
Children 18.0% 7.5%
Education 0.0% 2.8%
Culture 2.7% 10.7%
Religion 1.2% 2.2%
Government 0.0% 14.0%
Unclassif. 2.2% ,0.0%
Total 100% 100%
Minutes 4843 4311

87

Table 24: Percentage of broadcast minutes for imported

and domestic television programs in Brazil

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic
Telenovela 0.0% 919.3% 0.2% 8.8%
Series *12.7% 0.3% *25.4% 2.9%
Variety 0.0% 11.0% 0.0% *27.4%
Comedy 3.5: 3.9: 4.4: 3.1:
Movies *36.8% 1.9% *28.0% 1.2%
Game 0.0% 0.3% 0.0% 0.0%
Sports 5.1% 10.8% 0.8% *14.1%
Music 3.3% 3.8% 2.9% 5.1%
Information 0.0% 916.9% 0.0% 911.8%
Women 0.0% 5.4% 0.0% 8.1%
Children *31.8% 10.9% *37.5% 0.4%
Education 0.0% *12.9% 0.3% 8.4%
Culture _ 1.2% 2.3% 0.4% 2.0%
Religion 0.0: . 0.3: 0.0: 2.5:
Government 0.0% 0.0% 0.0% 0.4%
Unclassif. 0.6% 0.0% 0.0% 0.0%
Total 4 100% 100% 100% 100%
Minutes 22448 39168 27540 54170

88

Table 25: Percentage of broadcast minutes for imported
and domestic television programs in Chile

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic
Telenovela 10.7% 0.9% * 9.5% 6.3%
Series 925.0: 1.5: 924.5: 1.2:
variety 0.0% *17.6% 0.0% *11.0%
Comedy 2.4: 3.1: 2.9: 8.8%
HUVies *43.4% 1.1% *25.1% 0.0%
Game 0.0% 0.0% 0.0% 0.0%
Sports 0.0: 2.5: 0.7: 4.9:
music 0.7% 6.3% 8.5% 3.0%
Information 0.0% 922.5% 0.0% *32.1%
Women - 0.0% 4.1% 0.0% 2.2%
Children 913.8% 7.5% 8.5% 7.9%
Education 0.4% 5.7% 3.3% * 9.8%
Culture 1.1% 5.0% 3.0% 2.6%
Religion 0.0%' 2.0% 1.6% 7.1%
Government 0.0% 911.1% 0.0% 3.1%
Uhclassif. 0.6% 0.6% 0.0% 0.0%
Total 100% 100% 100% 100%
Minutes 16,369. 13,055. 22,740.- 9,785.

89

Table 26: Percentage of broadcast minutes for imported
and domestic television programs in Colombia

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic
Telenovela 927.4% 2.8% 5.7% * 8.3%
Series *31.1% 0.9% *39.1% 1.1%
Variety 2.0% 6.1% 1.7% 7.5%
Comedy 1.0% 3.7% 10.2% 3.2%
Mbvies 10.0% 0.0% *20.4% 0.4%
Game 0.0% 2.8% 0.0% 2.2%
Sports 3.9% 2.6% 0.0% 4.7%
music 0.0% *10.8% 1.7% 7.5%
Information 0.0% 917.4% 0.0% 930.1%
WOmen 0.0% 2.6% 0.0% 2.9%
Children *24.8% 4.6% *19.1% * 8.3%
Education 0.0: 935.3: 0.0: 0.1:
Culture 0.0: 7.1: 2.3: 910.4:
Religion 0.0% 0.5% 0.0% 0.4%
Government 0.0%3 2.9% 0.0% 5.0%
Unclassif. 0.0% 0.0% 0.0% 0.0%
Total 100% 100% 100% 100%
Minutes 6128 12872 10600 16690

90

Table 27: Percentage of broadcast minutes for imported

and domestic television programs in Costa

Rica in 1973 and 1983..

Telenovela
Series
Variety
Comedy
movies
Game
Sports
Music
Information
Women
Children
Education
Culture
Religion
Government
Unclassif.
Total

Minutes

1973

Imported

*23.8%
*37.3%
0.6%
8.0%
11.2%
0.0%
1.2%
1.5%
0.0%
0.0%
*15.8%
0.6%
0.0%
0.0%
0.0%
0.0%
100%
19725

Domestic

0.0%
0.0%
*12.3%
11.8%
0.0%
3.3%
4.0%
8.6%
*30.0%
0.0%
*22.7%
3.7%
0.6%
0.6%
2.5%
0.0%
100%
9790

Imported

*21.8%
*22.5%
0.7%
5.6%
*21.1%
0.0%
6.3%
2.7%
0.0%
0.0%
15.4%
0.5%
1.2%
2.2%
0.0%
0.0%
100%
24880

Domestic

0.0%
0.0%
*23.4%
0.4%
0.0%
0.0%
4.0%
6.0%
*23.4%
1.9%
*17.0%'
9.7%
7.8%
6.4%
0.0%
0.0%
100%
15385

91

Table 28: Percentage of broadcast minutes for imported

and domestic television programs in Cuba

in 1973 and 1983.

Cuba
1973 1983
Imported Domestic Imported Domestic

Telenovela 0.0% 10.4% 0.0% 4.7%
Series 0.0% 0.7% 0.0% 1.6%
Variety 0.0% 8.5% 0.0% *36.1%
Comedy 0.0% 0.5% 0.0% 0.8%
movies 955.0: 2.2: 950.7: 0.0:
Game 0.0% 0.0% 0.0% 0.0%
Sports 0.0% *16.7% 0.0% 8.4%
Music 0.6% *19.3% 3.8% 8.1%
Information 0.0% *15.3% 0.0% *12.4%
Women 0.0% 2.2% 0.0% 0.3%
Children 930.1% 6.7% *35.6% 4.6%‘
Education 0.0% 11.1% 0.0% *15.3%
Culture 3.5% 4.1% 4.1% 4.2%
Religion 0.0% 0.0%. 0.0% 0.0%
Government 0.0% 2.2% 0.0% 2.7%
Unclassif. 0.0% 0.0% 3.7% 0.0%
Total 100% 100% 100% 100%
Minutes 5085 8075 2942 17465

92

Table 29: Percentage of broadcast minutes for imported
and domestic television programs in Dom. Rep.

in 1973 and 1983.

1973 1983
Imported Domestic _Imported Domestic

Telenovela *22.7% 0.0% *27.4% 0.0%
Series 927.8% 0.0% *l9.8% 0.0%
Variety 0.0% 4.1% 0.2% *30.1%
Comedy 2.1% 2.8% 0.4% 913.6%
movies 919.0: 0.0: 923.5: 0.0:
Game 0.0% 5.3% 0.6% 0.3%
Sports 1.5% 9.4% 3.3% 4.7%
Music 0.8% *17.7% 1.8% 4.2%
Information 0.0% *29.5% 0.0% *19.2%
Women 0.0% *10.9% - 0.0% 6.3%
Children 18.9% 6.5% 16.1% '8.9% _
Education 0.0% 4.6% 0.0% 0.9%
Culture 6.8% 2.0% 2.3% 3.1%
Religion 0.0% 0.5% 2.2% 1.4%
Government 0.0% 6.8% 0.0% 7.5%
Unclassif. 1.3% 0.0% 2.3% 0.0%
Total 100% 100% 100% 100%
Hinutes 15,625. 18,220. 27,000. 17,270.

93

Table 30: Percentage of broadcast minutes for imported
and domestic television programs in Ecuador

in 1973 and 1983.

1973 ' 1903

Imported Domestic Imported Domestic
Telenovela 916.0% 0.0% *17.4% 0.0%
Series *23.4% 0.0% *28.7% 0.0%
Variety 0.0% 3.8% 0.0% 1.3%
Comedy 7.5% 3.8% 7.8% 3.4%
movies *33.3% 0.0% *24.6% 0.0%
Game 0.0% 1.0% 0.0% 3.4%
Sports 1.2% *11.7% 0.2% 8.8%
music 0.0% 11.5% 4.4% 9 9.4%
Information 0.0% 933.8% 0.0% 937.0%
WOmen 0.0% *19.1% 0.0% 3.4%
Children 12.3% 0.0% 10.8% 921.9%
Education 0.0% 3.6% 0.0% 0.0%
Culture 1.5% 8.3% 1.4% 7.4%
Religion 2.0% 1.1% 0.0% 0.0%
Government 0.0% 2.4% 0.0% 0.0%
Unclassif. 2.7% 0.0% 4.7% 4.0%
Total 100% 100% 100% 100%
Minutes 12,165. 7,850. 32,055. 8,910.

94

Table 31: Percentage of broadcast minutes for imported

and domestic television programs in El

Salvador in 1973 and 1983.

Telenovela
Series
Variety
Comedy
Movies
Game
Sports
Music

1973

Imported

*29.7%
*21.0%
0.0%
1.0%
*26.3%
0.0%
2.5%

2.7%

Information 0.0%

Women
Children
Education
Culture
Religion
Government
Unclassif.
Total

Minutes

0.0%
15.5%
0.0%

0.0%

0.0%.

0.0%
1.2%
100%

11,855.

Domestic

0.0%
0.0%
10.3%
6.4%
0.0%
0.0%
0.0%
12.8%
*l8.8%
14.1%
2.6%
0.0%
*14.3%
*18.0%
2.6%
0.0%

100%

2,335.

1983

Imported

*16.1%
11.9%
0.5%

4.8%

' 933.2:

0.3%
4.5%
4.1%
0.0%
0.0%
*22.7%
0.0%
1.3%
0.5%
0.0%
0.0%
100%

22,275.

Domestic

0.0%

0.0%

95

Table 32: Percentage of broadcast minutes for imported

and domestic television programs in Guatemala

in 1973.
1973-
Imported Domestic
Telenovela 924.0% 0.0%
Series 17.1% 0.0%
Variety 0.0% 7.9%
Comedy 6.2% 0.0%
Movies 917.2% 0.0%
Game 0.0% 0.0%
Sports 0.0: 11.0:
music 0.0% 13.7%
Information 0.0% 0.0%
Women 0.0% 0.0%
Children 932.1% 0.0%
Education 0.0% 5.9%
Culture 1.8% *23.6%
Religion 0.0% 0.0%
Government 0.0% *22.3%
Unclassif. 1.8% 0.0%
Total 100% 100%
Minutes 13565 3055

96

Table 33: Percentage of broadcast minutes for imported

and domestic television programs in Mexico

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic

Telenovela 6.9% 914.1% 3.5% 4.1%
Series 921.1% 2.0% 911.0% 0.0%
variety 0.0% 9.9% 1.2% 6.6%
Comedy 1.3% 9.3% 4.4% 7.9%
Movies *18.8% 10.5% *49.7% *26.5%
Game 0.0% 2.1% 0.0% 1.1%
Sports 0.0: 5.7: 4.2: 911.1:
Music 9.8% 1.8% 0.6% 5.2%
Information 0.0% 911.7% 0.0% 915.6%
WOmen 0.0% 2.4% 0.0% 3.0%
Children *32.4% 8.0% *21.9% 3.7% '
Education 0.4% 917.3% 1.0% 9.6%
Culture 6.1% 3.1% 2.6% 3.7%
Religion 0.0% 0.0% 0.0% 0.0%
Government 0.0% 2.1% 0.0% 1.8%
Unclassif. 3.2% 0.0% 0.0% 0.0%
Total 100% 100% 100% 100%
Minutes 15,740. 26,300. 20,515. 31,845.

97

Table 34:

Percentage of broadcast minutes for imported

and domestic television programs in Nicaragua

in 1983.
1983
Imported Domestic
Telenovela 15.8% 0.0%
Series 919.5% 0.0%
variety 2.3% 2.9%
Comedy _ 2.3% 4.3%
Movies *20.3% 0.0%
Game 0.0% 0.0%
Sports 4.5: '913.0:
Music 0.0% 915.2%
Information 0.0% *29.7%
women 0.0: 1.4:
Children 934.6% 2.9%
Education 0.0% *13.0%
Culture 0.8% 5.8%
Religion 0.0% 0.0%
Government 0.0% 11.6%
Uhclassif. 0.0% 0.0%
Total 100% 100%
Minutes 7980 4140

98

Table 35: Percentage of broadcast minutes for imported

and domestic television programs in Paraguay

in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic
Telenovela 925.5% 0.0% 941.5% 0.0%
Series *38.7% 0.0% *20.4% 0.0%
Variety 2.3: 911.5: 1.0: 0.0:
Comedy 4.9% 1.7% 5.4% 1.1%
movies *18.6% 0.0% 11.4% 0.0%
Game 0.0% 0.0% 0.0% 0.0%
Sports 0.0: 4.1: 0.0: 9.0:
music 4.6% 3.3% 1.0% *17.4%
Information 0.0% 947.0% 0.0% 944.7%
“Omen 0.0% 3.3% 0.0% *10.9%
Children 3.9% 0.0% *19.3% *10.9%
Education 0.0% *19.1% 0.0% 1.1%
Culture 1.5% 5.0% 0.0% 3.1%
Religion 0.0%, 0.0% 0.0% 0.0%
Government 0.0% 5.0% 0.0% 1.1%
Dnclassif. 0.0% 0.0% 0.0% 0.0%
Total 100% 100% 100% 100%
Minutes 3880 3620 12145 5520

99

Table 36: Percentage of broadcast minutes for imported
and domestic television programs in Puerto

Rico in 1973 and 1983.

1973 1983
Imported Domestic Imported Domestic
Telenovela 16.3% 3.2% *27.8% 7.9%
Series 918.5% 0.3% 15.8% 0.7%
Variety 0.4: 910.3: 1.0: 924.5:
Comedy 0.5: 0.5: 2.5: 7.7:
movies *38.0% 8.3% *24.9% 0.0%
Game 0.0% 3.4% 0.0% 1.0%
Sports 4.1: 5.4: 2.4: 5.4:
music. 1.7% 5.0% 1.3% 0.5%
Information 0.0% *14.1% 1.6% *32.8%
Women 0.0% 1.9% 0.0% 2.5%
Children *16.2% *13.7% *21.0% *11.6%
Education 1.6% 12.1% 0.0% 1.9%
Culture 1.5: 3.5: 0.0: 0.5:
Religion 0.3%. 1.4% 1.6% 1.9%
Government 0.0% 0.7% 0.0% 0.0%
Unclassif. 0.7% 0.0% 0.0% 0.0%
Total w100: 100: 100: 100:
Minutes 32130 25945 18570 24240

100

Table 37:
Percentage of broadcast minutes for imported

and domestic television programs in Uruguay

in 1973.
1973
Imported Domestic

Telenovela 13.2% _ 0.0%
Series *14.1% 0.0%
Variety 4 . 9: 915 . 0:
Comedy 5.2: 1.5:
Movies 943.7% 0.0%
Game 1.5% 0.0%
Sports 0.0% 10.2%
Music 2.3% *12.1%
Information 0.0% 935.0%
Women 0.0% 6.1% 7
Children 11.1% 2.7%
Education 0.0% 5.4%
Culture 3.1% 6.9%
Religion 0.0% 0.5%
Government 0.0% 3.5%
Unclassif. 0.0% 0.0%
Total 100% 100%
Minutes 15978 11056

101

Table 38: Percentage of broadcast minutes for the

telenovelas in 1973

imported and domestic

and 1983.
1973 1983
Imported Domestic Imported Domestic
Argentina 0.0% *14.3% 3.5% 925.1%
Bolivia -------- 2.3% 0.0%
Brazil 0.0% *44.7% 0.2% *33.1%
Chile 5.9% 7.1% 5.5% 4.3%
Colombia 5.6% 2.1% 1.5% 9.5%
Costa Rica 915.8% 0.0% *13.8% 0.0%
Cuba 0.0% 5.0% 0.0% 5.6%
Dom.Rep. 911.9% 0.0% 918.8% 0.0%
Ecuador 6.5% 0.0% *14.2% 0.0%
El Salvador 11.8% 0.0% 9.1% 0.0%
Guatemala 10.9% 0.0% ---------
Mexico 3.6% 921.9% 1.8% 9.1%
Nicaragua ----' ------ 3.2% 0.0%
Paraguay 3.3% 0.0% 12.8% 0.0%
Puerto Rico*17.6% 4.9% 13.1% *13.3%
Uruguay 7.1% 0.0% “““ ""'
Total 100% 100% 100% 100%
Minutes 29818 16966 39258 14475

102

Table 39: Percentage of broadcast minutes for the
imported tglgngyglg in 1973 by country of

production.
1973
Country Imported Country of production

Minutes Mexico Venezuela Argentina Brazil Others
Argentina 0 0.0% 0.0% ""’ 0.0% 0.0%
Brazil 0 0.0% 0.0% 0.0% --" 0.0%
Chile 1758 39.1% 0.0% 60.9% 0.0% 0.0%
Colombia 1680 53.6% 28.6% 0.0% 0.0% 17.8%
Costa Rica 4700 38.3% 12.8% 36.2% 0.0% 12.7%
Cuba 0 0.0% 0.0% 0.0% 0.0% 0.0%
Dom. Rep. 3540 66.1% 0.0% 0.0% 0.0% 33.9%
Ecuador 1950 64.6% 20.0% 0.0% 0.0% 15.4%
El Salvador 3525 100.0% 0.0% 0.0% 0.0% 0.0%
Guatemala; 3250 01. 5: 10. 5: 0.0: 0.0: 0.0:
Mexico 1000 ----- 0. 0: 55.7: 0. 0: 2 33.3:
Paraguay 990 0.0% 0.0% 60.6% 0.0% 39.4%
Puerto Rico 5235 33.2% 21.8% 10.3% 0.0% 34.7%
Uruguay 2110 .60.2% 0.0% 39.8% 0.0% 0.0%
Total 100% 54.2% 10.8% 18.3% 0.0% 16.7%
Minutes 29818 16173 3210 5470 0 4965.

103

Table 40: Percentage of broadcast minutes for the

imported ,tglgngyglg in 1983 by country of

production.

1983
Country Imported Country of production

Minutes Mexico Venezuela Argentina Brazil Others
Argentina 1380 43.5% 0.0% """ 0.0% 56.5%
Bolivia 093 45.9: 10.0: o. 0: 35.3: 0.0:
Brazil 60 0.0% 0.0% 0.0% ""‘ 100.0%
Chile 2170. 100.0% 0.0% 0.0% 0.0% 0.0%
Colombia 600 0.0% 50.0% 0.0% 0.0% 50.0%
Costa Rica 5420 39.3% 24.9% 0.0% 2.8% 33.0%
Cuba 0 0.0% 0.0% 0.0% 0.0% 0.0%
Dom. Rep. 7400 57.0% 3.6% 4.1% 8.1% 27.2%
Ecuador 5565 57.7% 22.9% 5.4% 0.0% 15.0%
El Salvador 3590 35.4% 0.0% 56.3% 8.3% 0.0%
Mexico 720 ----- 83.3% 0.0% 0.0% 16.7%
Nicaragua 1260 0.0% 23.8% 28.6% 9.5% 38.1%
Paraguay 5040 0. 0: 0. 0: 14 . 3: 10. 3: 75.4:
Puerto Rico 5160 .23.2% 64.0% 12.8% 0.0% 0.0%
Total 100% 38.7% 19.3% 11.1% 5.1% 25.7%
Minutes 39258 15210 7563 4360 2005 10120

104

Table 41:

Percentage of broadcast minutes for tglgnggglg
by country of production in 1973 and 1983.

.The Originating Countries of Telenovelas:

1973 i 1983

% Minutes % Minutes
U.S. 0.0% 0 ,4.2% 1660
Mexico 54.2% 16173 38.7% 15210
venezuela 10.8% 3210 19.3% 7563
Argentina 18.3% 5470 11.1% 4360
Brazil 0.0% 0 5.1% 2005
Others 16.7% 4965 21.5% 8460
Total 19818 100.0% 39258

100.0%

105

Table 42: Broadcast minutes of imported and domestic

Children's programs in 1973 by country of

production.
1973
Imported
Argentina 1,400.
Bolivia """
Brazil 7,132.
Chile 2,265.
Colombia 1,520.
costa Rica 3,110.
Cuba 1,530.
Dom. Rep. 2,005.
Ecuador 1,500.
El Salvador 1,840.
Guatemala 4,350.
Mexico 5,100.
Nicaragua ----*
Paraguay 150.
Puerto Rico 5,220.
Druguay 1,750.
Minutes 39,690.
Total % 70.5%

Domestic

810.
4,270.
980.
598.
2,220.
540.
1,190.

3,560.
300.

16,628.

29.5%

U.S.

150.
4,500.
1,588.

35,200.

88.7%

Country of Production

Others

30.
150.
240.

60.

106

Table 43: Broadcast minutes of imported and domestic

Children's programs in 1983 by country of

production.

1983 Country of production

Imported Domestic U.S. Others
Argentina 1,050. 4,245. 1,050. 0
Bolivia 873. 423. 628. 245.
Brazil 10,315. 2,150. 10,315. 0
Chile 4,775. 770. 4,775. 0
Colombia 2,020. 1,380. 1,720. 300.
Costa Rica 3,835. 2,610. 3,715. 120.
Cuba 1,048. 810. 0 1,048.
Dom. Rep. 4,345. 1,530. 2,160. 2,185.
Ecuador 3,470. 1,950. 2,070. 500.
El Salvador 5,060. 330. 4,235. 825.
Guatemala -“" """"""""
Mexico 4,490. 1,170. 3,950. 540.
Nicaragua 2,760. 120. 2,520. 240.
Paraguay 2,350.' 600. 2,170. 180.
Puerto Rico 3,900. 2,820. 2,820. 1,080.
Uruguay ""- ---------- ---"
Minutes 50,291. 20,809. 42,928. 7,363.
Total % 70.7% 29.3% 85.4% 14.6%

107

Table 44: Broadcast minutes of imported and domestic

series programs in 1973 by country of

production.
1973
Imported
Argentina 3,970.
Bolivia -----
Brazil 2,858.
Chile 4,259.
Colombia 1,908.
Costa Rica 7,350.
Cuba 0
Dom. Rep. 4,350.
Ecuador 2,850.
El Salvador 2,490.
Guatemala 2,315.
Mexico 3,320.
Nicaragua -----
Paraguay 1,500.
Puerto Rico 5,940.
Uruguay 2,250.
Minutes 45,360.
Total % 96.7%

Domestic

415.

120.
210.

120.

60.

90.

1,540.
3.3%

U.S.

1,930.

4,230.
2,310.
2,160.
2,205.
2,725.
1,500.
5,820.
2,010.

40,895.

90.2%

Country of production

Others

2,040.

120.
540.
330.
110.
595.

120.

240.

4,455.
9.8%

108

Table 45: Broadcast minutes of imported and domestic

series programs in 1983 by country of

production.
1983 Country of Production

Imported Domestic U.S. Others
Argentina 8,460. 540. 7,740. 720.
Bolivia 987. 70. 987. 0
Brazil 7,000. 1,555. 7,000. 0
Chile 5,575. 120. 5,020. 555.
Colombia 4,140. 180. 3,840. 300.
Costa Rica 5,610. 0 5,610. 09
Cuba 0 284. ‘0 0'
Dom. Rep. 5,350. 0 5,290. 60.
Ecuador 9,210. 0 8,850. 360.
El Salvador 2,655. 0 2,505. 150.
Guatemala ----- ............... '
Mexico 2,250. 0 2,070. 180.
Nicaragua 1,560. 0. 1,560. 0
Paraguay 2,475. 0 2,475. 0
Puerto Rico 2,940. 180. 2,820. 120.
Uruguay ----- ----- ----- -----
Minutes 58,212. 2,929. 55,767. 2,445.
Total % 95.2% 4.8% 95.8% 4.2%

109

Table 46: Broadcast minutes of imported and domestic

movie programs in 1973 by country of

P

Argentina
Bolivia
Brazil
Chile
Colombia
Costa Rica
Cuba

Dom. Rep.
Ecuador

El Salvador
Guatemala
Mexico
Nicaragua
Paraguay
Puerto Rico
Uruguay
Minutes

Total %

roduction.

1973
Imported

7,157.
8,262.
7,098.
600.
2,205.
3,345.
2,970.
4,050.
3,115.
2,330.
2,955.

720.'
12,210.
6,990.
64,017.

90.9%

Domestic

420.

730.

150.

2,750.

2,160.

5,400.

9.1%

U.S.

360.
9,300.
5,880.

53,702.

83.9%

Country of Production

Others

500.

360.
2,910.
1,110.

10,315.

16.1%

110

Table 47: Broadcast minutes of imported and domestic

movie programs in 1983 by country of

production.
1983 Country of Production

Imported Domestic U.S. Others
Argentina 6,210. 3,660. 6,210. 0
BOliVia 1,252. 0 936. 316.
Brazil 7,705. 670. 6,310. 1,395.
Chile 5,700. 0 5,275. 425.
Colombia '2,160. 60. 2,100. 60.
Costa Rica 5,260. 0 4,610. 650.
Cuba 1,492. 138. 347. 1,145.
Dom. Rep. 6,370. 0 5,210. 1,160.
Ecuador 7, 000. 0 7, 000. 0
El Salvador 7,400. 0 6,730. 670.
Guatemala ----- ----- ----- "“'
Mexico 10,190. 8,430. 10,010. 180.
Nicaragua 1,620. 0' 1,470. 150.
Paraguay 1,300.. 0 ' 550. 720.
Puerto Rico 4,620. 0 4,620. 0
Uruguay ----' ""- ""' ""-
Minutes 69,239. 12,958. 62,368. 6,871.
Total % 84.2% 15.8% 90.1% 9.9%

111

Table 48: Percentage of total broadcast minutes for the
entertainment television programs in weekday,
prime time and weekend in 1973.

1’73 entertainment
Weekday Prime Time Weekend Minutes Total Min. Total %

Argentina 43.7: 15.9: 40.4: 20511 43273 55.1:
Brazil 34.1: 22.9: 43.0: 35023 51515 55.0:
Chile 42.3: 22.0: 34.9: 19055 29333 55.0:
Colombia 27.5: 31.9: 40.5: 0420 19000 44.4:
Costa Rica 41.9: 20.0: 30.1: 20405 29515 59.2:
Cuba 20.0: 27.9: 44.1: 0090 13130 51.7:
Dom. Rep. 42.0: 20.1: 29.9: ‘10705 33047 55.2:
Ecuador 23.5: 42.3: 34.2: 12415 20015 52.0:
El Salvador 27.1: 32.7: 40.2: 10555 14190 74.5:
Guatemala 37.0: 32.4: 30.5: 9545 15520 50.5:
Mexico 45.5: 24.5: 29.0: 23590 42040 55.3:
Paraguay 40.0% 26.0% 34.0% 4420 7500 58.9%
Puerto Rico 54.5: 10.5: 25.9: 39135 50075 57.4:
Uruguay 34.5: 24.0: 40.7: 10130 27034 57.0:
Minutes 103055 53305 09077 255317

Total Min. 201333 79151 122504 403050

Total % 51.2% 30,1; 73.3‘ 63.6%

112

Table 49: Percentage of total broadcast minutes for the
entertainment television programs in weekday,

prime time and weekend in 1983.

1983

entertainment
Weekday Prime Time Weekend Minutee Total Min. Total 2

Argentina 48.2% 19.0% 32.8% 33690 49725 67.8%
Bolivia ' 26.8% 31.5% 41.7% 5334 9154 58.3%
Brazil 46.9% 19.8% 33.3% 51022 81710 62.5%
Chile 53.6% 16.0% 30.4% 19635‘ 34305 57.2%
colombia 43.2% 15.3% 41.5% 14160 27290 51.8%
Costa Rica 34.9% 32.8% 32.3% 25275 40265 62.8%
Cuba 47.6% 16.8% 35.6% .12226 20406 59.9%
DOD. Rep. 54.0% 18.6% 27.4% 29945 44270 67.6%
Ecuador 43.8% 24.3% 31.9% 28975 40965 70.8%
El Salwador 31.2% 36.6% 32.2% 17750 25620 69.3%
HBXiCO 43.4% 21.0}, 35.6% 35200' 52360 67.3%
Nicaragua 16.3% 36.2% 47.5% 6630 12120 54.7%
Paraguay 56.93 20.13 23.02 11355 17665 64.33
Puerto Rico 55.5% 17.1% 27.4% 25920 42810 51.2%
Minutes 144500 69461 10315 317117

Total nin. 249021 95319 1‘95" 493905

Total : 50.0: 72.9: 59.0: . 54.2:

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