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

2 – Confrontation;
3 – Resolution/Conclusion.
Here, we can observe the historic belief that there’s a
need to convey emotion and a sense of familiarity and real
time happenings. Stephen Quinn believes that this issue grows
in the television scenarios because of its visual reality and due
to the fact that it represents chronologically and “it can convey
a lot of information in a small amount of time” (Id., 2005:89).
Regarding this issue, we can observe that Ken Dancyger calls
this a chronological issue a representation the “Dramatic Arc”
and the true representation the commercial side of television
and movie industries (Dancyger, 2003:238). This belief is due
to the fact that this author believes that in this type of movie
includes: “a direct invitation for the audience to identify itself
with the actions portrayed by the main actor” (Id., 2003:238) vii .
Because this type of narrative “acts” through established
genre, the main actor will carry “the audience through the
dramatic arc” (Dancyger, Rush, 2006:155-156) viii .
We can also observe that the part portrayed by the
Narrator is believed to be crucial to linear television content.
Classically, this aspect is due to the fact that: “this function is
based on telling a story” (Adam, apud Penafria, 2007:69). So,
we could say that this function has the role of a “Chaperon”
that will guide through a personal vision of a video or movie
reality. Bill Nichols classifies the Narrators actions as: “thirdperson
observing (…) a formal way of telling stories” (Id.,
2001:91).
During the development of television, we’ve assisted to
various changes to “how” the Narrator is included in the genre:
“Documentary”. Regarding this scenario and according to Ken
Dancyger we can observe that these changes are based on
the following realities (Id., 2003:346-352):
1 - Narrator as an Observer – here his mission in the
story is to let the public accompany him in a mission (it
can be a person, a place or an idea);
338