RTV Theory and Practice - Special Issue

Throughout, the sensory-analogue bond between TV event and iiving event remains, of course, the primary relationship established by the TV presentation. But it is insufficient for a deeper grasp of the living reality which is the subject of television transcription by a TV production. To illustrate these affirmations we can use the direct 'Г. transmission of апу event in public affairs which has elements of entertainment in its own structure. This category of events includes public meetings, politicai demonstrations, cultural manifestations, sports events, official ceremonies, etc. Апу of these can serve to test the possibilities of a TV presentation at the communicative levels we have discmsed. If what we want is the factual level of a TV presentation, then itwill come by keeping the camera trained on the event as if it were foilowing, blindly, the movements of the ball in a soccer-football match. The camera simply ”follows” what goes on. There is virtually no creative intervention on the part of the director at this level of TV presentation and communication. The camera is strictly subordinated to the facts as they occur on the field, whether political or athletic; the camera is no more than the means of simultaneous electronic duplication of an event ог thing. The job of the TV picture is to register data, and its expressive possibilities аге reduced to the minimum. The TV presentation is the TV picture, the reproduction of reality by analogue, An event is transferred electronicallv from one place to another simultaneouslv with its occurrence; there is transference in space with time held constant The time dimension in the case of a strictiy factual TV communication remains without sufficient impact The condensation of time and experience in a TV presentation can heighten meaningfulness only if the presentation is structured b\ taking advantage of the features TV as a communicacion medium makes available for coordinating al! the elements which define a production. The show production in addition to its informative component has acquired the component essential for the emotiona!

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