RTV Theory and Practice - Special Issue

120

the text or is he engaged in it? All that he says is accepted in the same way s as the things stated and shown. It draws just part of the viewers attention. The statements which he hears arTso sirmlar to those which he has already heard, that he dows not concratrate upon them at all. It is quite clear that only the first of P th?2d mPreSSlon 15 remembered - meantime, iticulation of the hidden message must occur. If television cannot show a meetmg by deeper motives, if it cannot present a meeting bv visual structure, then Itis better that the news is read by an £ unportance is to be given to the provisions from a meeting, then it is vvatchinćf a K SIV6S SOme COmments - 111 Ље °PPOMte case, by watchmg a film from a meetmg, we become witnesses of the ' impre ssi ° ns which those present at the meeting get personally. This, mg visual matenal, has Uttle m common with the problems which are trymg to solve. АсШаИу, television, wishing to inform the viewer that a meetmg has been held during which such and such S^S ere ?: CUSSed ; bythe StrUCtUre ° f Ље messa 8 e talks about tnvial facts what was the situation at the meeting like? This is an unconiroUed message. In general practice it becomes double and acqmres a meanmg as a part of social awareness. V П е structure of the audio-visual message implicitely contains its own message; the meaning of the audio-visual structure in the given context, as a new factor in television communication A few years ago, on RepubUc day, The TV News started in a very teshve mocid. This programme was sent out from a common studio; we shaU chscuss this example in more detaU. A close-up shows water lalhng and foaming. Llke steam, white mist is spreading around the watenaU. The picture shows a panoramic view of the tOwn which Ues above the waterfaU, This picture is very weU-known. It shows the town m which the new Vugoslavia was born. Before the projection, m the first TV shooting plan, the editor gives a review of the history through the perspectives of the sociahst community which is celebrating its thirtieth anniversary. The speeches аге enthusiastic, luU of determination, the results are repeated and analysed. That moment is very impressive and unusual. Behind it, there is a weU-known scene, in motion, which can be defmed as a iconographic sign. This audio-visual structure armounced a strong TV message, committed and solemn like a hymn. The programme . goes on, everything is the same, the comments аге long, but the message is changed, metamorphosed. Irony could be read from the 5 screen which transforms the message into poUtical nonsense. The formal speech transformed from dignity to self-praise: its new global meamng swung the conviction of the speech. It was very strange in the poUtical context of the day, as every word and gesture shown ih j