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42 Enrique Martínez-Salanova '2011 para Comunicar Comunicar, 36, XVIII, 2011 © ISSN: 1134-3478 • e-ISSN: 1988-3293
D O S S I E R l Omar Rincón Bogotá (Colombia) Solicitado: 14-12-2010 / Recibido: 16-09-2010 Aceptado: 19-11-2010 / Publicado: 01-03-2011 DOI:10.3916/C36-2011-02-04 Nuevas narrativas televisivas: relajar, entre - tener, contar, ciudadanizar, experimentar New Television Narratives: Entertainment, Telling, Citizenship, Experimental RESUMEN La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser. ABSTRACT Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be. PALABRAS CLAVE / KEYWORDS Televisión, narrativa, estética, entretenimiento, identidades, ciudadanía, nuevos medios, sensibilidades. Television, narrative, aesthetic, entertainment, identities, citizenships, new media, sensibilities. v Omar Rincón Rodríguez es Profesor y Director de Posgrado en el Centro de Estudios en Periodismo (CEPER) de la Universidad de los Andes en Bogotá (Colombia) (orincon@uniandes.edu.co). Comunicar, nº 36, v. XVIII, 2011, Revista Científica de Educomunicación; ISSN: 1134-3478; páginas 43-50 www.revistacomunicar.com
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