In the first history of Spanish-language television in the United States, Craig Allen traces the development of two prominent yet little-studied powerhouses, Univision and Telemundo. Allen tells the inside story of how these networks fought enormous odds to rise as giants of mass communication, questioning monolingual and Anglo-centered versions of U.S. television history.

The first history of Spanish-language television in the United States In the most comprehensive history of Spanish-language television in the United States to date, Craig Allen traces the development of two prominent yet little-studied powerhouses, Univision and Telemundo. Allen tells the inside story of how these networks fought enormous odds to rise as giants of mass communication within an English-dominated society. The book begins in San Antonio, Texas, in 1961 with the launch of the first Spanish-language station in the country. From it rose the Spanish International Network (SIN), which would later become Univision. Conceived by Mexican broadcasting mogul Emilio Azcárraga Vidaurreta and created by unsung American television pioneers, Unvision grew to provide a vast amount of international programming, including popular telenovelas, and was the first U.S. network delivered by satellite. After Telemundo was founded in the 1980s by Saul Steinberg and Harry Silverman, the two networks battled over audiences and saw dramatic changes in leadership. Today, Univision and Telemundo are multibillion-dollar television providers that equal ABC, CBS, NBC, and Fox in scale and stature. While Univision remains a beacon of U.S. television’s internationalization, Telemundo—owned by NBC—is a worldwide leader in producing Spanish-language programs. Using archival sources and original interviews to reconstruct power struggles and behind-the-scenes intrigue, Allen uses this exciting narrative to question monolingual and Anglo-centered versions of U.S. television history. He demonstrates the endurance, innovation, and popularity of Spanish-language television, arguing that its story is essential to understanding the Latinx history of contemporary America. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez

Since its introduction in the early 1960s, Spanish-language television in the United States has grown in step with the Hispanic population. Industry and demographic projections forecast rising influence through the 21st century. This book traces U.S. Spanish-language television’s development from the 1960s to 2013, illustrating how business, regulation, politics, demographics and technological change have interwoven during a half century of remarkable change for electronic media. Spanish-language media play key social, political and economic roles in U.S. society, connecting many Hispanics to their cultures of origin, each other, and broader U.S. society. Yet despite the population’s increasing impact on U.S. culture, in elections and through an estimated $1.3 trillion in spending power in 2014, this is the first comprehensive academic source dedicated to the medium and its history. The book combines information drawn from the business press and trade journals with industry reports and academic research to provide a balanced perspective on the origins, maturation and accelerated growth of a significant ethnic-oriented medium.

This completely researched history of U.S. Spanish-language television traces the rise of two foremost, if widely unrecognized, modern American enterprises - the Spanish-language networks Univision and Telemundo. It is a standard scholarly history constructed from archives, original interviews, reportage, and other public materials.

"This book surveys the history of Latina and Latino depictions, narratives, and authorship in U.S. English-language television since the 1950s, with a focus on the navigations and impact of Latina/o series writers and creators as they have been able to enter the industrial landscape in recent decades. Based on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of available episodes and promotional materials, and analysis of news media coverage, the chapters examine Latina/o representation in children's television Westerns in the 1950s, in Chicana/o and Puerto Rican activist-led public affairs series in the 1970s, in sitcoms from the 1970s through the 2010s, including many considered "failed," and in Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. These series and their creators and writers are explored in relation to the social and political contexts of these junctures in U.S. and Latina/o history and to the evolving industry with respect to whether Latina/o creatives were allowed entrée and to the cultural climate for writers and other creative professionals working in television development and production. As such, it also highlights how television has been key to both the marginalization and to the incremental growth of Latina/o cultural citizenship in the United States, as well as how Latina/o creative professionals are gaining numbers and agency within the television industry and are continuing to push to be able to produce and share their stories"--

Customers in the USA and Canada ONLY can purchase the book from here: https: //bit.ly/2nm5ZkR Television Drama in Spain and Latin America addresses two major topics within current cultural, media, and television studies: the question of fictional genres and that of transnational circulation. While much research has been carried out on both TV formats and remakes in the English-speaking world, almost nothing has been published on the huge and dynamic Spanish-speaking sector. This book discusses and analyses series since 2000 from Spain (in both Spanish and Catalan), Mexico, Venezuela, and (to a lesser extent) the US, employing both empirical research on production and distribution and textual analysis of content. The three genres examined are horror, biographical series, and sports-themed dramas; the three examples of format remakes are of a period mystery (Spain, Mexico), a romantic comedy (Venezuela, US), and a historical epic (Catalonia, Spain). Paul Julian Smith is Distinguished Professor at the Graduate Center, City University of New York. He was previously Professor of Spanish at the University of Cambridge. He is the author of twenty books and one hundred academic articles.

A new ethnic identity is being constructed in the United States: the Hispanic nation. Overcoming age-old racial, regional, and political differences, Americans of Mexican, Puerto Rican, Cuban, and other Spanish-language origins are beginning to imagine themselves as a single ethnic community - which by the turn of the century may become the United States' largest and most influential minority. Only in recent years have great numbers of Hispanics begun to consider themselves as related within a single culture. Hispanics are redefining their own images and agendas, shaping a population, and paving wider pathways to power. In the process, they are changing both themselves and the culture, government, and urban habits of the communities around them. In this ground-breaking book, Geoffrey Fox shows how and why Hispanics are changing the United States. Based on interviews, observations, and extensive research, Hispanic Nation examines why such diverse people are imagining themselves as one; the politics of turning a statistical fiction into a social reality; the impact of the Spanish-language media on Hispanics' self-images; ethnic consciousness and political movements (Cesar Chavez and the farm workers movement, the Young Lords and La Raza Unida, Puerto Rican and Mexican encounters in the Midwest); controversies surrounding "high" and popular Hispanic/Latino art, music, and literature; and the institutionalization of the movement everywhere - from local school boards to the U.S. Congress.

On 8 September 2003 the Federal Communications Commission approved the merger of Univision Communications, Inc., the dominant Spanish language media company in the US (which owns the leading Spanish language broadcast television network, cable television network, television station group, music recording and publishing company, and Internet site) and Hispanic Broadcasting Corporation (HBC), the largest Spanish language radio operator in the US. The Commission explicitly rejected the argument that there is something unique about the needs of the Spanish speaking population in the US or about the financing, production, or distribution of Spanish language programming for US household, that requires a distinction to be made between Spanish language media outlet and other media outlets. The Hispanic community is the largest minority community in the US, but it is not linguistically homogeneous. Although most Hispanics speak English well, almost 8 million Hispanics speak English either 'not at all' or 'not well'. Survey data indicate that Latino household tend to watch television as a family, rather than as individuals; when family members have varying levels of English proficiency, the family is likely to watch Spanish language programming -- particularly for news -- to accommodate those with limited understanding of English. As a result, more than half of all bilingual (Spanish-English) Latino adults prefer to watch primarily Spanish-language news programming on television. This book provides detailed tables of demographic, viewing, and market information on the Spanish-speaking population as well as detailed analysis of public policy issues.

Recovering the U.S. Hispanic Literary Project is a national project to locate, identify, preserve and make accessible the literary contributions of U.S. Hispanics from colonial times through 1960 in what today comprises the fifty states of the United States.