RTV Theory and Practice - Special Issue

literary-theatrical and stage-musical origin) but transmitted by television »in vivo«, that is, from the studio in vivo (point 4). Finally, a hybrid and a combination of the exposed points will be represented by the presence of television to an authentic, non-arranged event but fflmed for a later emitting, from some reason ог the other (programme, political, etc.) 5 which would close the circle »in vivo« and »from the tape«. Thus the subjected wffl be represented or set i.e. imposted and established. Thus the directive to the TV author wffl be to саггу out, by the electronical-electrical instrumentaria, by the electrifjdng way and through electricity, the self-insertion-in-the-event. Let us conclude: the electrifying is the attribution of the telegenic; the tactile is the attribution of the electrifying; the electrifying is the attribution of the tactile.

5) А history in small of this is registered by the development of the French Television (ORTF), where one can follow the initial period of absolute television, filled with emissions of direct inclusion in the events, a period to which Averti belongs. This period of total television stops with De Gaulle coming to power and is connected to degauheism and the censorship he demanded and introduced. In this second period, the television switches to films made for the television and to fllmed television. This opened the way to the third period which pushed out the prevous!y creative authors and left the work over to editors bureaucrats whose strongest characteristic was their attachment to the regime.

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