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Items 1 - 10 Original Research Article; Pages ; Maria Luisa Sotgiu, Maurizio Valente, Riccardo Storchi. Maria Luiza Priolli Pdf. 1 message • Page 1 sur 1. Maria. Maria Luiza Priolli Pdf. Documents · jose maria jose maria Description . Escalas maiores e menores - de Maria Luiza Priolli - Teoria musical vol

At the same time, each genre is also interconnected with other fields, establishing hierarchical relations with them which may vary in different contexts. As Dutch communication researcher Nico Vink —44 rightly pointed out, the political context of the military regime had an important but non-exclusive influence on the structural conditions under which the Downloaded from mcs.

The specific set of rules and dispositions of each field or genre diversely influenced the strategic choices of these cultural agents vis-a-vis the oppressive situation they faced.

From the mid s and on up to the present, Brazilian television in general, and its globally acclaimed telenovela industry in particular, have attracted the attention of aca- demic researchers, journalists and political activists within and outside Brazil Katz and Shinar, ; Mattelart and Mattelart, ; Ortiz et al.

The meteoric rise of Globo Network, and the alleged cooperation between leading Brazilian mass media and the authoritarian regime are among the most frequently mentioned aspects of that period Beyond Citizen Kane, ; Herz, ; Mattos, From the late s until the end of the military rule, theater playwrights famous for their critical views and left-wing ideology worked for Globo Network as telenovela writ- ers.

The time that has elapsed since the demise of the military and civilian coalition, and the opening of the archives of the Public Entertainment Censor Department DCDP and the National Intelligence Service SNI in Brasilia and Rio de Janeiro, served as strong stimuli for researchers to explore various aspects of that period, which could not be fully examined before.

A historical analysis of Brazilian television is certainly a challenging task. The attempt to collect audiovisual materials from the past proved to be a tough barrier to cross. At the time, television programs were not considered a valuable product to be preserved for posterity, and the conservation of tapes and films was not a high priority for Brazilian TV stations.

In addition, Globo Network imposes many obstacles and preconditions, which make accessing the existing Downloaded from mcs. Instead of the almost perfect harmony between the military regime and the tele- vision industry as represented by Brazilian communication giant Globo Network Capparelli, ; Katz and Shinar, ; Mattos, , the present analysis focuses on some of the tensions, the subtle struggles and the spaces of relative autonomy within the telenovela field during the period of authoritarian rule in Brazil.

Telenovela writers: submission, subversion and cultural affinities In spite of the early arrival of television in Brazil , it was only during the mid s that the telenovela industry began to make its first steps in Brazilian television Mattos, Despite the proximity of the success of the first daily telenovela and the rise of the military regime, there is still no evidence of a direct connection between the two events, as hinted at by a former Brazilian TV director and communication scholar Moya, According to former radionovela directors and writers who later turned to the television industry, the success of telenovelas was not surprising, since radionovelas, the forebear of the TV format, had already enjoyed great popularity two decades before TV, and established listening habits that were smoothly and rapidly trans- ferred to the small screen Avancini, —40; Dias Gomes, According to some Brazilian TV producers and scholars, the arrival of videotape gave great momen- tum to the genre because it allowed for the creation of a semi-industrialized mode of production to sustain the delivery of six episodes a week Ortiz et al.

According to anthropologist Esther Hamburguer 85 , with Beto Rockefeller Brazilian telenovelas became more realistic, transforming themselves into a space of dialog about Brazilian national identity.

As communication scholar Thomas Tufte 5 rightly pointed out, the discourse of telenovelas is mediated by the dominant Downloaded from mcs. Even though Brazilian telenovelas incorporated some elements of everyday urban life, such as colloquial language and some references to the economic hardships experienced by the Brazilian middle class, Beto Rockefeller completely neglected other major aspects of the Brazilian experience, such as the struggle against the military regime and the oppression of political opposition.

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Globo executives took notice of the enormous success of Beto Rockefeller and intro- duced many changes in the telenovela production department. Despite the fact that there is no single decisive answer to this question, it is possible to suggest several partial explanations that together may yield a satisfactory answer. Since the mid s, the theater had been an important arena of political agitation in favor of a more egalitarian social and economic order in Brazil.

During the first years after the coup, and until the recrudescence of the military regime in , Brazilian the- ater played an active role in denouncing the authoritarian regime Napolitano, The direct contact between spectators and actors, and the sometimes spontaneous performances and public reactions were a constant cause for concern for the military authorities Garcia, — As a result, from the early s on, many popular variety programs went off air, returning to television only during the transition period towards a democratic regime.

Numerous documents of the military regime period indicate that, despite the political and ideological confrontation, some regime authorities viewed the arrival of renowned cultural figures to the small screen favorably.

It contained erotic scenes that were highly controversial in those days, provoking protests from conservative sectors of Brazilian society. Act No. Censor chiefs and technicians worked under a lot of pressure from opposing forces — regime factions, TV stations, printed press and viewers — and their considerations undoubtedly included the unpopularity of their deci- sions as well as their economic impact on TV companies.

Censor documents regarding telenovelas broadcast by Globo during the authoritarian period shed some light on the diverse strategies and attitudes adopted by the network in dealing with systematic censorship.

The DCDP archives, stored within the National Archives located in Brasilia, hold folders for each telenovela broadcast dur- ing the military regime. Each folder contains the synopsis and episode scripts submitted by the TV stations, and an annotated analysis by the censors, along with their decisions. In addition, the folders contain abundant correspondence exchanged between DCDP directors and Globo top executives and scriptwriters.

Alfredo Dias Gomes was one of the most interesting television agents from that period. Dias Gomes was the most prominent theater playwright and telenovela writer who worked for Globo Network during the military regime.

In both his personal biogra- phy and his works he represents the multiple transformations and contradictions that shaped the Brazilian telenovela industry during the s. Publicly known for his left-wing ideology, his theatrical work was affected by the rise of the military regime and the political and economic restrictions it imposed on theatrical activity in Brazil Dias Gomes, ; Kehl, Although he had previous experience as a radionovela writer, his transition to TV, and to the Globo network in particular, was not always well received by his colleagues in the cultural and political fields Dias Gomes, —5.

He admitted that he felt he had no choice but to take the TV job because his theatrical endeavors were thwarted, but declared that he had consciously used the small screen to spread subversive messages to a widespread public Dias Gomes, — Many of the scripts written for television during the military regime period were adaptations of previous works and topics developed for the theater, although, for obvious reasons, this was often done in a disguised way Borelli and Priolli, The Well-Beloved takes place in a fictional town by the name of Sucupira, on the coast of the State of Bahia.

He is also known jokingly Downloaded from mcs. Colonel Odorico is elected mayor on his promise to build a cemetery, but things get complicated when he is unable to find an opportunity to inaugurate the new public site he had built, since no one in the town dies.

The excellent medical services of a young doctor, who has recently arrived in town, rob the Colonel of the pleasure of publicly boasting about what he regards as the flagship of his term in office, making the young doctor his bitter enemy.

Odorico hastens to announce that all burial expenses will be paid by the municipality, and commands the local orchestra to rehearse for the occasion. But he is disappointed once again when Liborio is found unconscious, with a small cut on his head as a result of falling when the rope he tried to hang himself with snapped. There are three common explanations for the fact that the censor authorized for televi- sion broadcast content that was previously banned for the theater.

The first two comple- mentary explanations are evident in some way or another in statements made by telenovela writers, suggesting their resentment of their almost daily and exhausting struggle against censorship. First, censor technicians lacked the skills to perceive their stratagem; second, the tactics elaborated by the writers were sophisticated enough to hoodwink official censorship in most cases.

Principios Basicos Da Musica Para Juventude Maria Luiza de Matos Priolli

Notwithstanding the fact that during the first years of military regime some censor technicians did lack the skills to fulfill their functions, towards the beginning of the s the Censor Division was reorganized, incorporating a new group of more educated and skilled professionals Fico, The third explanation, which prevailed dur- ing the s, employs cooption terms, arguing that the intellectuals who worked for Globo during that period were in fact coopted by the regime in order to neutralize them as oppositional forces Kehl, —20; Ridenti, —7.

From the end of the s, three, and sometimes four, daily telenovelas were being churned out simultaneously by the Globo machine. Telenovelas had an aver- age of chapters each, with each chapter holding an average of 25 pages. According to Brazilian historian Carlos Fico, censor technicians kept complaining to their chief about their heavy workload and poor working conditions — One should ask why Dias Gomes was almost never punished for his constant attempts to cross the boundaries.

The first reason is undoubtedly related to the fact that the regime authorities, for their own purposes, decided to stick to the bureaucratic procedures they had previously established.

A third reason is that the most famous and successful writers had the staunch support of their TV station managers and owner, Roberto Marinho Clark and Priolli, —7. This was so not because they were courageous fighters defending freedom of expression in a totalitarian regime, but because telenovela writers, unlike other workers in that field who were quite dispensable, were an irreplaceable cog in the telenovela industry machine, the most prof- itable genre in Brazilian television Borelli and Priolli, He was inexperienced, and a direct contact with the almighty network owner was unthinkable for an employee of his rank.

He admitted that at first he consid- ered quitting from Globo, but the economic difficulties he was facing and the fact that his wife was expecting a baby convinced him not to do so Prata, The gap in public and professional status between veteran and successful telenovela writers and new and younger ones explains why the latter had much more difficulty in evading both official censorship and pressures from within the network. During the s other popular telenovela writers without a political left- wing background, who came from more popular forms of entertainment, such as commercial radio, such as Janete Clair Xexeo, , also tried, without much success, to introduce critical views in their scripts.

Janete Clair is widely considered the most popular and prolific telenovela writer during this period. Her telenovelas were aired on prime time and received the highest ratings ever registered on Brazilian television Fernandes, —8.

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In the original script submitted to the DCDP, Clair located the plot in a coal mine in southern Brazil, and the main char- acter was a mysterious man called Cyro Valdes, an obvious allusion to the figure of Christ, who rebels against the racial discrimination and the social conditions of the work- ers. Conclusions The analysis of the telenovela genre during the military rule in Brazil offers us an out- standing opportunity to examine the complex relations of entertainment media produc- tion under an authoritarian regime.

Contrary to the all-embracing typologies of mass media under political regimes Hallin and Mancini, ; Siebert et al.

The study of the internal dynamics of the telenovela genre, its relation with other television genres and other cultural fields, and its particular relations with the political and economical spheres, has taught us about a per- manent intersection and influence between the entertainment media production and the fields of power, and at the same time, a constant struggle within the genre led by its own internal rationale.

There is no single reason for the relative autonomy achieved by telenovela writers during Brazilian authoritarian regime. Their status within the cultural field was without a doubt one of the main reasons for the relative liberty they enjoyed in comparison with other creative workers from other television genres, i. The rejection felt by critics and military officers towards the popular variety shows aired in those years, with their charismatic hosts, bizarre contests and dancers in highly revealing costumes, contributed greatly to the privileged position of telenovela writers.

Despite their ideological rivalry, the military leadership tolerated the presence of critical writers Downloaded from mcs. The surprising tolerance towards left-wing cultural creative agents on the small screen in a period of harder impediments to their activity in more restricted production areas could be explained by the vertical structuring of television genres.

While the political sphere exerted enormous influence on entertainment television dur- ing this period through its various surveillance agencies, its officials were still operating according to a previous structuring of the cultural production, which consecrated cul- tural producers who came from a restricted field of production theater and despised others who came from the more popular and massive-appeal fields.

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Review by Hickey, James H. Straubhaar JD Brazilian television: the decline of American influence. Rio de Janeiro: Editora Senac, — Globo executives took notice of the enormous success of Beto Rockefeller and intro- duced many changes in the telenovela production department.

It was discovered that a small percentage of these particles were deflected through much larger angles than was predicted using Thomson's plum pudding model. Each folder contains the synopsis and episode scripts submitted by the TV stations, and an annotated analysis by the censors, along with their decisions.

This actually happened most of the time, but a few particles, 1 in , bounced back towards the source. Astolfi, piano; Phillip Schroeder, synthesizer.

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