RTV Theory and Practice - Special Issue

by a reconstruction - the factographic material would be gathered, the facts, the witnesses, the statements, the case history of the illness would be examined - all moments important for the process - and all of it registered in an imaginary sequence, liable to change according to suppositions, doubts, certain unclear possibilities, which reraained half-said, half-witnessed. All of this would then be released in one ог several alternative (a la Rashomon) directions to unwind itself. Details like: the patientwas transferred to the shock room in a serious state, was given oxygen and it ameliorated his condition, after that he felt a certain way (did he get morfium also?) - all of them leading to the coma (what was it like?...the treshold of losing consiousness is not an unimportant detail) in which the vital functions gave in, certain organs stopped functioning one by one, the heart, the pressure... Finally, was he in a coma? The supposition is that he died conscious but what happened in these moments, what did he say, what did it look like...These are data that have a selective character for the film i.e. alternative, one of the possible, supposed (construction of the parallelogram of forces). Second example: The comphcated murder of a well-known lawyer. His wife’s lover is a possible murderer (triangle). But the wife has a second lover, almost parallely, with which she emmigrates to a distant country at the end of the story. (It is not known whether

3 Let us mention here a conception which I \vould call ”TV - integralistic” and which generally comprises such views on television according to which all it transmits has the quality of an "authentic event” - whether !t is an important filra work, theatre show, concert, art e,xibition, sports, politics, animation etc., and the only problem lies in the choice and editing of the programme which should have, in spite of being "second hand" a certain quality of the authentic. We could also include here the super i.e. supra-integralistic conception which makes no ”specific” media difference, except the difference between ”good and bad”. So that all programmes differ only by the quality of the aesthetic phenomena (disregarding the genre: art, information, education) in certain works shown on television. While the first conception exclaims ”all is life - all is the eventi’ in which one can recognize the practice of raost of our contemporary televisions, the second one is more in the ambition of the ”most ambitious” yet still very rare lone wolves of the television.