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Diálogo e Comunicação Intercultural. A Educação com as - Inicio ...

Diálogo e Comunicação Intercultural. A Educação com as - Inicio ...

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Generation) and Alvin Toffler (Pro-sumer) Gilmour tells us we<br />

can conclude like MIT’s Henry Jenkins that besides some<br />

contradictions: “these forces (…) are pushing both toward<br />

cultural diversity, toward diversity and toward homogenization<br />

(…) and toward gr<strong>as</strong>sroots cultural production” (Id., 2001:93).<br />

2 - Lights, Camera Action!<br />

A) Lights<br />

Henri Alekan – the famous French light director – tells<br />

us that a correct light calibration is essential because, since<br />

the beginning of the storytelling, this h<strong>as</strong> been a main issue in<br />

artificial and natural scenarios. According to this historic<br />

cinema professional, this dilemma is due to the fact that the<br />

light’s convergent ore differential rate affects the public’s<br />

perception of the message intended by the light director<br />

(Alekan, 1996: 09).<br />

As a starting point for this article, we believe that we<br />

mustn’t forget that: “besides any development of functional<br />

<strong>as</strong>pects, Television is, and will always be, b<strong>as</strong>ed on two b<strong>as</strong>ic<br />

<strong>as</strong>pects: “Narrative and Visual Structure” (Block, 2001:173).<br />

Here, we can also see that two thousand years ago Aristotle<br />

said: “There can be no words without images” and Plato<br />

considered that: “Seeing is the only sense in witch we can<br />

really trust” (Aristotle and Plato, apud Sanders, 2002:144).”<br />

However, we must remember that what: “people read, watch<br />

and listen (…) always consists of some kind of storytelling”<br />

(Deuze, 2004).<br />

On an empirical point of view, we can observe the<br />

belief that there’s a usage of ancestral technologies that <strong>com</strong>e<br />

from the cl<strong>as</strong>sical photography specifications. Gorham Kindem<br />

and Robert Musburger consider that: “lighting <strong>as</strong> painting with<br />

light” (Id., 2001: 181). B<strong>as</strong>ically, lighting techniques have the<br />

intention to emph<strong>as</strong>ize and dramatize an object – or issue – by<br />

placing into sharp relief or contr<strong>as</strong>t (Id.,) i . Bruce Block tells us<br />

that when we talk about Television Production we mustn’t<br />

forget that it’s b<strong>as</strong>ed on: “contr<strong>as</strong>t and affinity” (Block, 2002).<br />

Technically, the video lighting process is b<strong>as</strong>ed on:<br />

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