RTV Theory and Practice - Special Issue

when it is interesting and exciting (Yugoslavia - Greece 1972!), basketball has a cybernetic, electro-mosaic, intellectually elegant, vibrant flickering, which represents the immanent telegenity of the MEPS. In the field of our interest, the presentation of scientific contents on TV, per analogiam, will also have its conditionai and immanent telegenic aspects. A speaker, for istance, who attracts by his good looks, charm, way of presentation - very subject which is so new, so unusual, so infinitely captivating, enriching with new and unexpected discoveries, which advances us to a higher degree, - will be comparable to an interesting and exciting football match, and апу intervention of the medium itself may be left out to a certain extent ог altogether. However, the conditional telegenity is evident in this case. A similar simulation of the telegenic is being aceomplished by perfectionistic use of the expressive means of other non-electronic media, most often the mechanical media of the film art, whose attributions аге - uniform, continuous and sequential, where the editing, cuts, camera movements, the composition of the moving image, play the same role as conditional telegenity. So that the ”real television” would usually be replaced by a number of mechanical impulses of different shots, something that would eventually resemble electric fiery shocks, but all of it is far from the real attribution of telegenity. Such simulations regularly lead to an erroneous engagement of television production into a specific "decadence” of the television expression. l Just as in the scope of other media, painting for istance, something developed that was later taken over by film, similarly, within the mechanical medium of film art a seed was born that will fertilize and essentially define the television immanence.

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