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

female and/or riches)”(Id.). But we mustn’t, forget that besides
all the issues regarding Hollywood and Show Biz, according to
Campbell myths are “the projection of a culture's dreams onto
a large screen” (Campbell, 2004).
When it comes to the act of representation visual
stories follow classical rhetorical aspects: “Logos”, “Pathos”
and “Ethos”(Comparato, 1992:16-17). Regarding this issue, we
can see that the first topic is related to the “speech
organization”; the second defines the “events that affect the
course of people’s action in the story” and the last aspect is
related to “what is said” (Id.,).
In television reality its believed that it includes: “theatre,
cinema, radio, video and TV” Syd Field classifies it as: “a story
that is told through: images, lines (oral), description and these
issues are all contextualized in a dramatic structure” (Field,
apud Comparato, 1992:16). Here, regarding this issue, we can
see the concept of “Genre” – Type. Or in practical terms the
categorization of a story in formats. Comedy, Epic, News,
Soap Operas, Action… are some of the groupings for the
productions of television and cinema. “Genre (…) can mean
‘category’ or ‘class’ (…) marked for commercial consumption”
(Neale apud Creeber, 2001:3). Due to this scenario, at this
point of our chapter we can remember the main differences
between linear and non – linear narrative.
2 - Linear and Non Linear Narratives
2.1 – From a Straight Line to Participatory
Storytelling
Traditional entertainment, especially material that is story
based, is almost always linear. In other words, one event
follows another in a logical, fixed, and progressive sequence.
The structural path is a single straight line (Miller, 2004:11).
Through Syd Field’s work we can see that traditionally in
TV and Cinema there’s a division of the story in three basic
“linear” aspects – (Id., 2002:37):
1 – Presentation;
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