RTV Theory and Practice - Special Issue

interpretation of reality is imavoidably the essence of each TV programme. Practically, it is not enough to bring the cameras on the spot, invite the people who have something to say to the TV studio or place a TV Newsreel joumahst in front of the TV cameras, with some important information, in order to enable a viewer to see an event. Whether we want it ог not, as the essence of the TV act which he sees, »invisible« manipulation reaches him: a reply to the choice, which imphcatively discovers the message. At last, it can be said that the choice is the message. That is the domain of TV dramaturgy. II Overcoming language, television discovers new communication possibilities in the audio-visucal medium We аге today already sated up with the primary values of the audio-visual medium, i. e. with »pictures which move and talk«, with an ever present еаг and movable еуе. We have approached a new stage in the development of this communication. Being released from the ргипагу audio-visual influence, due to the fact that we are used to it, we discover new contents and meanings in the depth of the media. This is a natural and spontaneous process of maturation. Its characteristic is a change of sensibility. So far, these contents, although present, were not noticed, Attention was spontaneously drawn to the contents and meanings which were transposed by the ргипагу value of the media. Suitable codes were determined, being the carriers of the messages. Permeating the рптагу values of the media and the code structure, made the code »invisible« and the сатег of the message, too: The hidden message went out of the audio-visual structure. Television now started a process of decay of the up-to-date audio-visual system. Due to constant repetition of the message construction and lasting usage, the message was separated from the code. The code was noticed as a constant and the message as the superstructure of the manipulation. It does not act as the truth апу more; it acts as an expression of particular commitment and purpose. Such a message is not the message which was expected during its development. It is something different, being hidden within the possible purpose to do something with it An example can give us a clearer picture. During the first years of оиг television, as a rule, reporters began their reports at formal meetings, receptions, etc. The first shooting plan usually showed Ughts, crystal chandeUers, and then the room where the meeting ог reception was held. That was the code. The message was that the meeting was formal, luxurious, of a high standard. The procedure was noticed as the time went on due to frequent repetition. The shooting plan-message have not original meaning апу тоге. They have a new meaning. It does not matter at аИ

117