Brazilian television

This article discusses the audience migration between Brazilian television and digital media. Since 2000, Brazilian free-to-air TV audience dropped by 28%. In the same period, Internet access increased 400%, and digital paid TV, more than 500%. The phenomenon accentuated after 2006, when pay TV had begun to grow on average 30% per year, and the Internet, 26%. A statistical comparison between this fall of audience with the increase of pay TV subscribers and growth of broadband Internet access shows that there is a migration of free-to-air TV audience towards these two media. Nowadays, one third of Brazilian population has access to pay TV and more than half use the Internet. Through empirical investigation and statistical analysis, this paper investigates the implications for such decrease and the motivation of audience migration. The most important consequences are: a partial reformulation of television schedule, programme focus and targets; transmedia productions, including new web narratives; focus on mobile applications, with interactivity and public participation; and new approaches on newscasts, which are becoming more informal, focused on opinion and local news.

RESUMO O objetivo central desse artigo é pensar minimamente como as dinâmicas de representação asiática funcionam e são estruturadas na televisão brasileira. A negritude aqui aparece como um guia para se pensar branquitude e este artigo acrescenta a problemática enfrentada por asiáticos no Brasil. A premissa central é que a discriminação contra o asiático seja sustentada por redes da branquitude brasileira que atua de forma narcisista e em constante rivalidade com não-brancos.

Tout en voulant inclure la fiction télévisuelle brésilienne parmi les fictions de qualité, cette recherche analyse l’émergence et l’évolution du concept de qualité dans le panorama télévisuel brésilien. Examinant l’histoire de la télédramaturgie au Brésil, depuis les téléthéâtres jusqu’aux microséries réalisées par Luiz Fernando Carvalho, en particulier la microsérie Capitu (2008), nous suggérons que la production fictionnelle brésilienne a atteint un niveau de qualité sophistiquée et avant-gardiste qui illustre une alternative au style préconisé par la formule des séries télévisées américaines qui se regroupent sous l’étiquette de la Quality TV. De plus, le raffinement  de la microsérie contribue à la légitimation de la valeur artistique de la télévision à partir de caractéristiques télévisuelles, contrairement à la production fictionnelle américaine dont l’esthétique plutôt cinématographique finit par discréditer davantage le petit écran. Finalement, nous souhaitons démontrer l’importance des innovations esthétiques que cette microsérie a apportées au sein d’une sphère médiatique qui semble se diriger progressivement et rapidement vers l’uniformisation du langage télévisuel et de son contenu.

Mots-clés : qualité télévisuelle, Capitu, telenovela, esthétique télévisuelle, Quality TV

Em 2013, acabou a experiência da MTV Brasil, que deu lugar a uma nova MTV, rompendo radicalmente com o modelo anterior e aproximando-se do canal norte-americano. A partir de uma análise do canal extinto, pretende-se discutir neste artigo como a MTV Brasil evidencia questões teóricas da televisão, em especial a noção de fluxo de Raymond Williams e as teorias de paleo e neotelevisão. Nesse contexto, seria a MTV, em seu início, a emissora que mais se aproximaria das propostas de fluxo teorizadas, tornando-se uma flow television.

Co-viewing refers to the practice of sitting together in front of a TV set, watching and making meaning from television content. New media amplifies the possibilities for co-viewing, by allowing people to do it virtually. This study explores the reflexive perception of media realism that emerged when Facebook users engaged in connected co-viewing in two unofficial Facebook groups dedicated to the Brazilian prime-time telenovela Babilônia. The series’ controversial plot led to political discussions and prompted debate where viewers frequently used their perceptions of realism to counter the notion of media effects.

Brazilian television miniseries tend to be proper spaces for experimentation. In spite of that, their production as much as their subjects are focused in the southeast area of the country and its urban centers, revealing a conservative point of view. The main problem is the difficulty to regionalize the TV production, essential to constitute a quality television in Brazil. From the singularities of Brazilian miniseries O Canto da sereia [The mermaid’s melody], Natália and A pedra do reino [The stone of the kingdom], this paper intends to debate, as a backdrop, the urge for Brazilian TV miniseries regionalization, which would result in a real reconstruction of identity, reflecting the country plurality instead of solely the southeast region as it would make possible a multilateral production and reception.

Considerando que a serialidade e uma caracteristica importante da televisao enquanto forma cultural e, alem disso, uma forte matriz cultural das narrativas populares da cultura de massa, este artigo argumenta que a construcao da linguagem dos programas telejornalisticos se apoia nos modos de construcao da narrativa televisiva e obedece tambem aos padroes de apresentacao fragmentada e serial. Assim, destacamos que a ausencia de literatura sobre serialidade nos programas telejornalisticos revela duas disputas importantes na configuracao do jornalismo como instituicao – uma disputa conceitual entre jornalismo e ficcao, e uma disputa pela distincao entre jornalismo e entretenimento. Palavras-chave: Serialidade. Telejornalismo. Discurso.

This article analyzes the debate in the Brazilian mainstream press about the agreement signed between Rede Globo and midia conglomerate Time-Life in 1962. It seeks to illuminate the position of the main newspapers within the complex political configuration created by the military coup in 1964. The debate originated in the Rio de Janeiro that year revolved around the unconstitutionality of foreign investments in national media companies. Carlos Lacerda, then governor of Guanabara, carried out a real public campaign of denunciation considering the agreement antinational and in violation of the Constitution (which prohibited foreign groups from owning or investing in media companies). In 1966, the public discussion had expanded to São Paulo, and the pressure exerted by the press had the Parliament forced to formally investigate the agreement. In March 1967, the federal government declared the allegations unfounded, closing the inquiry. The article contributes to the debate about the historicization of the political process developed in those first three years of government and the complex place the press had in it.
Keywords: History of the press; Brazilian military dictatorship; Rede Globo/Time-Life agreement; History of Rede Globo.

Based on an analysis of open television in the South, which is the second largest broadcasting market in Brazil, this article shows a discussion on regional media and the regionalization
of the programming. We assessed the presence of public TV networks and of TV Record (a commercial broadcaster of a religious group) and identified barriers for the democratization of communications in the three states, evidenced by the dominance of political and religious groups over the TV concessions. The study found a minor insertion of local content in the commercial and public TVs.
KeywoRds: COmmeRCiAl TeleViSiOn; eduCATiOnAl TeleViSiOn; RegiOnAl mediA; SOuTh RegiOn.

Resumo: Tomando a produção televisiva brasileira realizada após o advento do vídeoteipe (utilizado oficialmente no Brasil a partir de 1961) como objeto de estudo, este trabalho, recorta da teledramaturgia as transposições televisivas da obra de Nelson Rodrigues. Através de um levantamento histórico que localiza e contextualiza as produções feitas a partir de textos de Nelson Rodrigues, o presente artigo objetiva chamar a atenção para a relevância do legado deste grande dramaturgo dentre a história da teleficção. Esse levantamento, de natureza quantitativa, inclui tanto produções feitas exclusivamente para a televisão, quanto produções originalmente destinadas à exibição em cinemas, no entanto, exibidas mais tarde

sob formatos abrigados pelo gênero teledramaturgia. A metodologia adotada ocupou-se de revisão de literatura e da organização dos dados recolhidos através de bibliografia acadêmica e periódicos de circulação nacional, em diálogo com o histórico da mídia televisiva no país. Ao final do levantamento, percebe-se que a presença de obras adaptadas de Nelson Rodrigues na televisão são tão numerosas quanto as adaptações de Jorge Amado ou José de Alencar,1 porém, a dispersão das obras rodriguenas dentre diversos gêneros e formatos transmite a falsa impressão da presença diáfana do dramaturgo na história da teleficção.

Abstract: Taking the Brazilian television production put into effect after the breakthrough of the videotape (officially used in Brazil since 1961) as our object of study, this assignment outlines the teledrama as well as the television transpositions in Nelson Rodrigues' work pieces. By means of historical research that places and contextualizes productions from Nelson Rodrigues' texts, this article aims at drawing attention to the relevance of this great dramatist's legacy within telefiction history. This quantitative research includes both televisionscope productions and cinemascope ones, although some of the latter eventually exibited in other formats taken as teledrama genre. The adopted methodology occupies with literature review as well as with organizing the collected data through academic bibliography and national circulation journals on dialogue with our country's television media history. Towards the end of the research, it is noticeable that the presence of adapted pieces by Nelson Rodrigues on television is as big as the one of Jorge Amado's or José de Alencar's (respectively 11 and 10 teledrama transpositions each), although the diffusion of the rodriguean pieces among the range of genres may convey the false impression of a diaphanous presence of the dramatist's in telefiction history.

Link: http://seer.uscs.edu.br/index.php/revista_comunicacao_inovacao/article/view/651

Minisséries de televisão no Brasil tendem a ser espaços mais abertos à experimentação. Ainda assim, tanto sua produção quanto suas temáticas focam preferencialmente no sudeste e nos espaços urbanos, expondo um lado conservador. A raiz desse problema é a dificuldade em regionalizar a produção, algo que é essencial para pensar uma televisão de qualidade no Brasil. A partir das singularidades das minisséries O canto da sereia, Natália e A pedra do reino, pretende-se discutir, neste artigo, como pano de fundo, a necessidade de se regionalizar a produção de minisséries brasileiras para que haja uma reconstituição identitária real, que reflita a pluralidade brasileira e não apenas a da região sudeste, e para que seja possível uma produção e recepção multilateral.