Preamble Narratives and Social Memory - Universidade do Minho

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Criminal violence in Brazilian moving images in 2010Juliana Cunha Costaall publicity in the country” (Codoner, 2010, p. 10). It implies that this company has a largesum of money to invest in advanced recording equipment, television studios and the productionof programs, especially Brazilian-made telenovelas and television news programs.Rede Record occupies the second position in the Brazilian television market, behindonly Rede Globo, which considers Record as the main competitor and responsible for its slowaudience declination. This television network was acquired by the Church of the UniversalReign of God (Igreja Universal do Reino de Deus) - the largest evangelical church in Brazil - in1989 by paying US$ 45 million. This channel has a populist television programming: “[…]often sensationalist variety shows, talk and reality shows, which gained a consistent secondplace in the rating” (Straubhaar, 2004, p. 91).In this paper, broadcast television programs will be exemplified by TV annualreviews of the two large private national television networks - Retrospectiva Rede Globo andRetrospectiva Rede Record, in the year of 2010. These year-end-reviews in both channels area prime-time journalist program that broadcast in the last week of December the key newsevents of the year. Frequently, the events are organized in several segments, which cover“everything” from celebrities to crimes, with the duration of about five minutes each. Alltogether compose a single narrative with an average length of one and a half hour includingcommercial breaks. It is worth to point out that the producers of the TV annual reviewin Rede Record attempt to reproduce the same pattern, developed by Rede Globo, in orderto establish an audiovisual identity and draw viewers’ attention to it. This issue representsnumerous similarities among above mentioned news programs; for example, through thepresence of two anchors of different genders, similar average content length and similarvisual content selection of topics as well as the title of the program.The TV annual reviews collect the most important events of the year, by selecting recognizablemoving images, close to the collective memory of their viewers (Halbwachs, 1950, 1992).These Key Visuals 4 “[…] are always embedded in multi-sensuous experiences and cultures, theycannot be learned in full by ordinary citizens; visual communication needs a condensed repertoryof those visuals, which can easily be learned aside from other activities” (Ludes, 2008, p. 112).However, television annual reviews, elaborated through post-production technologiesallow widening the dimension of audio-visual events. The composition, editionand transmission of the audio-visual manipulation of programs and reviews of thelargest TV stations in the world excite collective culture-specific, trans-cultural andin a few instances (e.g. major wars, terrorist attacks or sport events, especially theOlympic Games) collective audio-visual memories, which usually are generationandstrata-specific, transform over time (Boccia & Ludes, 2009, p. 160).A previous Brazilian academic study on the collective memory of television annualreviews demonstrated that in a period of ten years (1996 to 2005), there was an occurrence ofsimilar events, repeated over the years in the Brazilian year-end-reviews. Therefore, constanttopics broadcasted yearly were categorized as: Science & Technology, State of Economy, Warbetween Countries, Natural Disaster, Violence & Crime, and Obituaries (França, 2007). In 2010,4Key Visuals are functional equivalents to keywords, mainly to headings in print media […] they condense the essences ofimage sequences to about 6 to 14 seconds […] may originate from very diverse fields like journalism, entertainment, science,politics, art, technology, or popular culture […] are an essential element of all kinds of individual, group, and collectiveaudio-visual memories. Therefore, they must be interpreted in the respective culture-specific and trans-cultural contexts, i.e.networks of culture (Ludes & Kramer, 2010, p. 17).Narratives and social memory: theoretical and methodological approaches206
Criminal violence in Brazilian moving images in 2010Juliana Cunha Costatopics as natural disasters, the FIFA World Cup-2010, Brazilian presidential elections, crimesand drug trafficking in Rio de Janeiro were taking up most of the screen time. Nevertheless,the last topic, which focused on criminal violence in slums of Rio de Janeiro, represented7,44% of the total runtime in Rede Globo and 5.79% in Rede Record, as illustrated in Figure1 and Figure 2. The statistical data can reinforce the assumption that Brazilian news reportsselect the topic of “criminal violence” as a key event of important significance. Finally, it seemsnecessary to advance one step more; looking forward for a discussion on what is violence?What is considered criminal violence? And what defines an action as violent or nonviolent.Figure 1: Topics on TV Annual Reviews – Rede Globo 2010Total Length: 01:14:57 (100%);Selected Length: 00:19:14-00:24:20 (00:04:52 – 7, 44%)Figure 2: Topics on TV Annual Review – Rede Record 2010Total Length: 01:21:53 (100%);Selected Length: 00:00:00-00:04:23 (00:04:23 – 5, 79%)Narratives and social memory: theoretical and methodological approaches207
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Cinematic Landscape and Social Memo
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comprises both remembering and forg
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include important questions related
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Part ICognitive and Emotional Proce
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Narratives and Social Memory from t
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The Lay Historian: How Ordinary Peo
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Cabecinhas, R. & Abadia, L. (eds.)
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Emotional Processes in Elaborating
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Transitional Justice Processes, Sha
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The Past and the Present (re)Visite
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Part IIMedia(ted) Narrativesand Pub
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Hard News Cognitive Shift: from Fac
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Narratives of Death: Journalism and
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Researching Identity Narratives in
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Journalistic Narrative: a Story of
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The Works of Sísifo: Memories and
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Colonial Missions in the North Amer
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Part VSocietal Issues, Collective A
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Collective Mobilization and the Soc
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Narratives as Prison ‘Escapes’:
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Drawings and Narrative: the Inmates
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Comissões Unitárias de Mulheres d
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Adozinda Goes to the Feminine Readi
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