FYOS - Telenovelas 2022

Showing posts from February, 2022

Posts

Censorship in Telenovelas

Posted by Kaitlyn Doyle on February 24, 2022

The contribution of music to the plot in Rosario Tijeras

Posted by Bettina Lin on February 23, 2022

The strength of Teresa Mendoza

Posted by Lily Cho on February 23, 2022

Remakes and It's Purpose

Posted by Nicole Montes de Oca on February 23, 2022

Sexism in Monarca

Posted by Brynn Wacter on February 23, 2022

Why La Reina Del Sur has such high production values

Posted by Priya Nayak on February 23, 2022

Crescendo That Matters

Posted by Amy Zureich on February 23, 2022

Love and Death in "Quien Mato a Sara"

Posted by Kaya G on February 23, 2022

The Language of the Soul

Posted by Haley Whitehead on February 23, 2022

How Music affects Telenovelas: Specifically in Ingobernable

Posted by Sofia Mears on February 23, 2022

Typology and La Reina del Sur

Posted by Rebecca Coffee on February 21, 2022

Male Superiority Complex in Telenovelas

Posted by Zoey Phillips on February 18, 2022

Brave Writers Impacting the World

Posted by Kaitlyn Doyle on February 12, 2022

Typology and "Cinderella" in Rosario Tijeras

Posted by Bettina Lin on February 09, 2022

Love Triangles In Telenovelas

Posted by Amy Zureich on February 09, 2022

Why I Picked a Narconovela as my Telenovela

Posted by Brynn Wacter on February 09, 2022

How characters in "La Reina Del Sur" are portrayed in society

Posted by Priya Nayak on February 09, 2022

Production and the Impact on Actors

Posted by Nicole Montes de Oca on February 09, 2022

Queer Representation in Quién Mató a Sara

Posted by Kaya G on February 09, 2022

The enticement of the viewer

Posted by Lily Cho on February 09, 2022

The Role of Violence in the Telenovela

Posted by Sofia Mears on February 09, 2022

Sin Senos Si Hay Paraíso

Posted by Haley Whitehead on February 09, 2022

Music Effecting the Scenes in a Telenovela

Posted by Zoey Phillips on February 07, 2022