RTV Theory and Practice - Special Issue

n N o a s«.r hen the f CiaJ ? Uation is not P° larised - when there аге f f mmds 0n the screen who instinctively feel that thev т t0 the trian gular »sudden, polarising echo« principle then arufical nteans must be used and skilful programme preparato to шаке the language condensed and lapidary. I £ is hackbreaking and creative work changing conversational, narrative speech into a molecular series of laconic sentences which ш style, remind us of proverbs. Therefore, television, as a language platform, is not merely the jumpmg-off board for 30-second linguistic »kaleidoscope patterns« where there would be a constant need to replace them with different and unexpected faces, countries and events. Television also wellcomes mto its electronic space the propagators of coherent hterary, pohtical, and philosophical ideas. But here two rules should be ohserved. Firstly, if the ideas involved are not of world-shattering 'u 1^0 ! 1 } 300 . 6 ’ 1^ еП they should he communicated elsewhere; they s ould either be committed to paper ог given out in a lecture-hall And secondly, if they must be presented оп TV in spite of their »un-world-shattermg and undramatic substance«, then they should not go out hve, but should be adapted. This processing of mformation m recorded TV broadcasts means a creative struggle to achieve a proverbiai language, a »quiz« language if you will forgive the expression, which among its other characteristics must be concise.

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