Studying of an audience of modern media says that the TV at its present stage has lost trust of the audience, allowing there is no time to name it a reality mirror. However it is possible to tell with confidence, that in sector of cultural-educational programs this degree of trust if has reeled in the certainty has not disappeared at all.

kulturnoprosvetitelskie transfers show today possibilities of the weighed, intelligent, aesthetically verified approach to display of the facts of the validity. In many respects it speaks a narration subject - about what the journalist in telecasts of such type tells, inevitably forces the author to mobilise all creative resources accessible to it and to try to rise over the ordinary, having made fascinating travel to the culture and art world and having invited in this travel of the spectator.

That it became possible, to the author of programs kulturnoprosvetitelskoj subjects should be considered, on the one hand, the field of the narration - that is to lean against those processes which occur today in sotsiokultunoj to sphere, on the other hand - to search for adequate language of conversation with the spectator, the thinking and which way of perception are extraordinary changeable today, and from the third party, to involve as much as possible wide arsenal of expressive means of the screen for creation of unique teleproduct.

In the characteristic of a present media stream visible effect of a postmodernism on television practice. Postmodernism principles were reflected in character and structure of television programs and documentary films. Differently on the screen are embodied: hyperrealism, intertekstualnost, game, tsitatnost, a fragmentariness, an installation principle, irony, parodijnost. Those processes which proceed at culture level as a whole, find a concrete embodiment in formation receptions

Audiovisual image. So, the abundance intertekstualnyh communications, characteristic for a present stage of development of culture, is openly embodied in direct citing of screen characters, in raised dialogichnosti

Telecasts of a cultural-educational orientation and, at last, in formation of interactive sector of TV. The hyperrealism finds itself in "obytovlenii" a screen image, in aspiration to embody an instant, and at level of receptions - in effect use reportazhnoj chambers, in eksperimentirovanii with foreshortenings of shootings, in following for the hero. Game is most openly shown in infotejmente, widely

Extended hardly probable not in all formats of transfers of cultural - educational subjects. The deconstruction is found out in a narration fragmentariness, in the frequent reference to clip installation, in portsionnosti givings of the information, the multiseries and modular form of construction of screen product. And the hedonistic component is actively realised in rekreativnom a component of cultural-educational programs.

Mixture of genres peculiar to modern culture, combinations high and low are reflected in a television aether both in level of diffusion of genres, and at level of washing out of border between mass and elite. Traditionally cultural-educational transfers could be carried to "high" journalism. Not having lost as a whole this position, modern transfers of analyzed sector nevertheless obviously gravitate to massovizatsii.

We find out in them displays of all levels of a mass culture - kich-cultures, mid-cultures, art cultures, - with prevalence of last.

Does not raise the doubts that fact, that, being close to culture and art sphere, the cultural-educational sector of TV as much as possible sharply and most operatively reacts to changes proceeding in its bowels. Along with it, we mark also return influence of TV on culture sphere. It is not becomes simple today the compiler spiritual

Values, but also some kind of the founder of senses. Physical properties of TV allow to address not only to different channels of spectator perception, but also to involve a mass audience in judgement of social and cultural processes. The TV can not only strengthen traditional values, but also displace valuable accents, and enter new aksiologicheskie units - especially in sector of cultural-educational transfers. So, today transfers of this type address to such base human values, as love, a family, career, health more often. However if to address to the analysis of a content of these programs, it is possible to note with ease two opposite directed tendencies: a number of transfers is directed to

To preservation of traditional treatments of values, other transfers form essentially new relation to them. The audience in this case, making a choice, is guided not only on substantial, but also by the formal party of transfer. That is why the question on a palette of expressive means which the modern TV reporter uses, becomes especially significant.

Expressive means used by TV are extremely wide and include immanently connected two levels - verbal and nonverbal.

Following the basic tendencies of a postmodernism, at verbal level game brightly proves: the pun, transformation, paronomazija Is etc. marked quantitative change of phraseological units, semantic transformations. Screen language considerably gravitates to eksperimentirovaniju and gives rise to new interesting images. Among the most widespread verbal means it is possible to name use of set phrases in names and the offscreen text of programs of cultural-educational character. However distribution of provoking character of the telestatement, a narration fragmentariness, unification of style and maintenance simplification became a disturbing sign of television language of today. The last is especially notable at verbal level of products as the process of visualisation characterising a today's coil of development of culture, allows the journalist to translate actively the basic accent from the text on a visual number of product.

Thus nonverbal expressive means - an abundance of large shots, dynamical shooting, foreshortenings with dynamical object in a shot, sharp installation with straight lines sklejkami - are used to the full. From most often applied audialnyh expressive means - the musical substrate creating corresponding mood. It is possible to ascertain activization of work of the modern teledocumentation officer in sphere of the visual creativity, in many respects explained and tehniko-technological break of last time.

Variatizatsija expressive means of the screen leads to a variety of a genre palette of transfers of cultural-educational subjects. At modern audiovisual media a wide spectrum of genre possibilities of participation in sotsiokulturnom process: from information plots to documentary programs and films. Because of availability of the form (malozatratnye and legkovosproizvodimye) the big segment kulturnoprosvetitelskih programs is represented by dialogue genres on TV: conversation, a round table, a talk show. A sketch, a sketch and a documentary film - also often used genres of an embodiment of creative problems of modern writers of the cultural environment. Such genres as an essay, the comment and a lampoon extremely seldom meet in a teleether of a cultural-educational orientation.

The palette of forms of documentary films is extremely various and includes sobytijnuju the chronicle, videoletopis, information video fixing, a telesketch, a teleshort story, journalistic investigation. As a rule, the most part of documentary films of cultural-educational subjects is expedient for carrying to author's journalism (not casually hardly probable not everything resulted in research examples, confirming conclusions of the researcher, possess quality of authorship - we well know names of their founders). Last on a target orientation can be divided conditionally on thematic and problem. Thematic means detailed and deep coverage of the topic, and problem - the analysis serious sotsiokulturnogo a question of the disputed maintenance. In the tideway of transfers kulturnoprosvetitelskoj orientations the border between these types is conditional. A rich thematic palette of programs (art, a science, household culture etc.) Allows to address to discussion of eternal themes, arhetipicheskih plots and common cultural problems.

New, experimental genres are formed more often in following directions:

- On a joint of game and not game cinema;

- By combination of several genres teledokumentalistiki;

- At crossing of genres cinema, literary, theatrical and musical;

- At a combination of genres of journalism, a science and education.

It demands from the journalist of change of the approach to teleproduct creation. That is why transformation of style of work of the journalist recently is marked, concrete receptions and activity forms, professional the competence change. It, along with transformation of tehniko-technological approaches to product creation (reflected most brightly in network video activity) allows to appeal to the modern spectator and to talk to it in one language at preservation of traditions and norms of such dialogue.

The spectator perceives documentary programs not as the independent television product far from a context of daily occurrence, and as set of the real facts of the validity. And in this sense the TV becomes hardly probable not the key factor legitimizatsii sotsiokulturnyh processes.

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