Environmental journalism on
TV: what has changed in the twenty-first century?
Periodismo ambiental en la televisión: ¿Qué ha cambiado en el siglo XXI?
Edson Capoano.
University Presbiteriana Mackenzie
/Upper School of propaganda
and marketing (ESPM). São Paulo, Brazil.
Abstract: The Master Essay “Globo Reporter: veiled images
of nature” written between 2004 and 2006[1], was about the cultural discourses
generated by culture and TV when talking about Brazilian nature. From TV
Globo’s Network, this program seemed to be an ideal object of study about
environmental journalism. It has four decades of existence, because it is
produced by the largest Brazilian broadcaster and because it has very specific
television formats, which seem to echo in the Brazilian imagination what is
nature. After 10 completed years of the original research, this article will
rethink its contemporary cultural discourses on nature, thru environmental
images to GR, whether cultural content; and will discuss what has changed in
communication and environmentalism since then, updating what has happened in
the world, in Brazil and in communication.
Keywords: Globo Repórter; TV; culture; communication; environment
Resumen: El ensayo "Globo
Reporter: imágenes veladas de la naturaleza", escrito entre 2004 y
2006, trata sobre los discursos culturales generados por la cultura y la
televisión al hablar de la naturaleza brasileña. Programa de la gigante Red
Globo de TV que parecía ser un objeto
ideal de estudio sobre el periodismo ambiental, por sus cuatro décadas de
existencia, es producido por la mayor emisora brasileña y porque tiene formatos
de televisión muy específicos, que tienen eco en el imaginario brasileño sobre
lo que es la naturaleza. Después de 10 años completos de la investigación original,
este artículo repensará sus discursos culturales contemporáneos sobre la
naturaleza, a través de imágenes ambientales a GR, ya sea contenido cultural; y
discutirá lo que ha cambiado en comunicación y ambientalismo desde entonces,
actualizando lo que ha sucedido en el mundo, en Brasil y en la comunicación.
Palabras clave: Globo Repórter; TV; cultura; comunicación; medio
ambiente
Introduction
"In a world where human experience is
limited by the speed and the duties of the pace of contemporary life, we
increasingly turn attention to havens of peace and perfection." This is the opening of the
introduction of the dissertation thesis on environmental journalism on TV,
focused on Globo Reporter, a program on the largest television station in
Brazil.
The episode
selected to analyze the nature of the images produced by Globo Reporter is Serra da Bodoquena - A fascinating journey
through the virgin forests of Serra da Bodoquena at Serra da Bodoquena, in Mato
Grosso do Sul, from 01/10/2004. This production was chosen because it
shows qualities and contradictions that reveal how complex environmental
journalism production is: GR shows
human performance to preserve nature, it interviews field biologists in study
centers and captures beautiful images of Mato Grosso do Sul. We will see,
however, that the smoothly vision of the environment, of biology and of
biodiversity is simplified by only one nature,
beautiful but only accessible by scientists and the television itself. And
it also enchants the viewers as something beautiful rather something that
raises their environmental awareness, or promotes learning about the
environment and its living beings. The good journalistic work that guided
the scientific research for stories for the program loses criticism before the beauty that the program needs to
convey. The news content becomes hostage to the images of nature and the
audience who will probably stick with its easier content. This impression
is reiterated in the making of text from Francisco José, the reporter
responsible for the episode Serra da
Bodoquena.
We will see
that the emphasis on images of animals and beautiful places using adjectives
and superlative expressions such as the
biggest, the longest, for the first time, a show, many and many reveals the
need of the production to call attention to the simplest aspects of the report,
not the complexity that the theme carries. As it is the intention of this
masters, we aim to find out how the image of nature in Globe reporter consists of a
tripod: by its origin, its own natural world; by our imagination and
culture that understands nature in different ways; and by television
techniques that exhibit, reiterate, artificial and distort. We will try to
answer: Do we see and get information effectively from natural elements or from
poor abstractions imagery of nature?
The first
section of the original Master tried to seek the origins of the program, from
its origin in the period of the Brazilian military dictatorship (1964-1984),
with its vainglorious roots and experimentalist format. Next, and as the
main focus of this dissertation, a GR especial episode about Pantanal in Mato
Grosso was analyzed. Pantanal is an
especially rich biome for research and images, which has led to several speeches
about nature. This piece looks into the episode’s construction as an
audiovisual product and reflects about the cultural texts it was based on.
The second
chapter of the paper addresses three related cultural discourses. The first
concept portrayed, comes from modernity, which influenced the contemporary way
of understanding nature. The following subsection portrays environmental
movements from the end of the twentieth century, their ideological aspects and
their origins in Brazil. The last, showed the revaluation of nature as a
vital element for men. Government resolutions and subsequent environmental
agreements, such as Agenda 21, redirected
today's societies to start mediating with the new environment. Such
cultural productions create images of nature that certainly influence the
conceptions of television journalists and viewers.
The third
chapter of this work was dedicated to the study of theories on culture that
analyze the symbolic construction of nature, without any electronic audiovisual
communication support. The first subsection deals with the autonomy of
ideas and symbols in nature and the scheme of things. The second part
addresses the structuring of signs and texts about culture. The third
subsection considered inner images of nature, speeches of man without any
journalistic intervention. And the last part of this chapter reflects on
overlapping views. One, detached from nature, when man uses reason and
culture for freedom; the other, emotional, when he searches for the enchantment
of the world and humanity reconnecting with nature.
Thus, the
fourth part of this master uses all the previously addressed concepts, but
deepens the theories of media and their authors, reflecting on the importance
of electronic mediations for linking individuals among themselves and also
linking them to the environment they live in. It was highlighted the
processes disconnection from what is real from the abandonment of human
experience and the rise of the simulation images. The hypertrophy of
images of nature and the consequent detachment between television viewers and
the environment were other hypothesis to be proven.
The cultural view of nature
The
program Globo Reporter uses
a cultural and scientific discourse to confirm that conveys images of nature: a
perfect and beautiful environment, but still suffers human
interference. Unlike predatory action, that especially
mediation, with the medium which is recorded by the TV lens would
enlightening nature in order to promote the use sustainable use of natural
resources. At the same time, the GR abuses of emotional images, who deny
such reasoning. But why the program has cultural texts about nature as
many?
The thought
developed from Agenda 21 - Agenda
21 remains the global benchmark for the development of projects, initiatives
and new agreements for environmental preservation – was disseminated by the
centers of excellence environmental, academic and information is essential to
understand which images environment we currently have in our imagination and in
the media. If for one side are forged in modern thought, whose development
depends on image the dissolution of the present and past, including this
material and cultural bases, on the other we are starved by the warranty. Albeit
through culture and its images. Maintenance a world and sustainable
society conversely, the act is
contemporary yet devouring and predatory. But think contemporary urban social seems to direct the
sustainable attitudes, according to the concepts of Agenda 21.
There are
external cultural texts to the man who came by environmental agreements or
images pasteurized TV, building the real world and influencing our
vision. They are true windows, intimate and personal conceptions of nature
produced in our minds - the direct relationship with the environment - and are
much more considered binding as the pictures produced industrially on
television
Autonomy of the world of ideas
The parallel
and independent functioning of the ideas and images of nature becomes
increasingly clear. From real elements such as animals and vegetation,
rivers and mountains captured by a TV crew, for example, you can create other
natural worlds, according to criteria editing, sound and image production.
Even before
all the technological paraphernalia contribute to the reconstruction of the
imagery real, human beings have dealt with such skill. The ideas that
human beings may have created existence and proper and independent functioning
of the natural world. However, for materialize, they need to connect to
other spheres of human existence, such as culture social and natural elements
to take them substrate, content and stay alive. Edgar Morin shows
different levels where it forms the culture:
It is necessary to articulate the noosphere in anthropo-social world
according to a complex Trinity: psychosphere, sociosphere, noosphere. The
psychosphere is the sphere of spirits / brains individual. It is the
source of the representations, imagination, dreams, thought. The minds /
brains give substance and reality to their representations, myths, dreams,
beliefs. They elaborate spiritual substance that will form the seres of
mind. But achievement of myths, gods, ideas, doctrines is possible only in and
through sociosphere: culture, produced by interactions between spirits-brains,
contains the language, knowledge, logical and paradigmatic rules that will
allow myths, gods, ideas, doctrines, access to truly be. These, once
formed, suck substance, organization, life, psychosphere and sociosphere (Morin, 1998: 109).
There are
other realities, so that combine the
world of individual and human ideas to the world collective and
social. Our world of ideas, individual, only materializes in the social
environment when faced with the rules of languages, imaginary holders that each
culture adopts:
The mind / brain and the culture
condition, eco-organize, limit, release the noosphere, the which conditions,
eco-organizes limits, frees the mind / brain and culture. Each of these
instances is both ecosystem of the other two, which then will get food, energy,
organization, life (Morin, 1998: 109).
We
understand therefore that a cultural product binds to other areas, not only
does to stay true to the natural world. But carries out such a move to
stay alive and independent of that. In this interplay of ideas, you can not
know for sure what is a thought individual or social, a particular demand or by
collective ideas we use. Or what of them have more power to influence the
course of action on the world of things:
Societies domesticate individuals by
myths and ideas that, in turn, domesticate societies, but individuals could
reciprocally domesticate their ideas and their myths. In the complex game
(complementary antagonist, uncertain) of subjection operation, mutual
parasitism between the three instances (individual-society-noosphere), there is
possibility, greater or lesser, of a symbiotic / liberating demand (Morin, 1998: 109).
And with
regard to a television product, which uses culturing processes of constitution to
mount up as text, we see a complex parasitism game between the world of ideas
of television producers, with techniques, concepts and approaches of the
natural world; and of viewers, who have their symbolic universe that
dialogue, accepts or subverts the order established by a television
program. In the case of this monograph, we believe that such clash, though
healthy, it is unfair from the point of view of what is announced as a product
media (environmental program) and what actually is (and detached representation
natural). And perhaps for that reason the Globe Reporter is the second largest network of hearing Globo
television: not work with natural, but with the noosfera which refers Edgar
Morin, the world of ideas from the
natural, but not dependent on this; a world of ideas that fit into our
understanding. To give up the complexity of ecology and up even the
ideologies. And the fascinating way in silk eyes and the soul.
Indoor and outdoor images
The
discussion on images of nature should be redirected, so for what we we understand about Earth's natural
world, from the signs, texts and culture We assimilate and produce from the
material and objective plan. Likewise a TV producer should be concerned
about the accuracy of the facts found (the environment external ) and how to put together the script, the text and
images so that the public understands (Factors internal of the television process). We must think about
external environmental images to us, the world around them, while the nature of
images that are already within we, our imagination about them. Dialogue
between these two .mundos., The result images of what we mean by natural
images. Such information, organized, can form a worldview apart, with
rules and operating own. According to Edgar Morin: Knowledge of an individual feeds on biological memory and cultural
memory, which are associated in its own memory; it conforms to several
reference bodies which are present in it otherwise (MORIN, 1985: 18).
Human knowledge
is made up of elements of the natural world. internal and external to your
constitution. and cultural. In the human brain, so there is no
drastic separation between these two worlds. This will be useful to
understand the reflections of theorists of Media this work because we will see
what is consumed by the TV sounds like true, whatever object approached,
external to the television structure. therefore the natural real world.,
are the symbolic constructions on the screen.
We see that
the duality of nature and culture holds the world as it is and our vision world
about it. We also see the clash between these two poles, the result can
hypercomplexity be socio-cultural, ie the ability to progress through the human
uncertainties and human errors. Therefore, this study aims to question
whether the program Globe reporter reproduces
primordial visions of nature - to exalt beauty and perfection – or
independently produces another
reality , television, which in turn shapes the notion of viewer about
the natural world. One way or another, the program has the possibility of
forming a collective image of nature that addresses. In 2005, GR was 51.3% Audience in households
with television on the large São Paulo 59. That is, each two people
with the TV on, one watched the images GR. Hard
not influence the thinking of a population.
When the culture conquers nature
Culture
helps the production of real, be it concrete or symbolic, individual or
collective. But what is the advantage to take off of the primary references of
the human being. Five senses in contact with the medium - to the detriment
of our own representations, our world produced by culture? To impose
itself on nature, beat -la become autonomous of uncertainties in the
world. That was the inspiration of human evolution always in both Modernity
devouring as the Contemporary.
By artificiais ways, ''culturais',
the men walk haughty towards a destination they themselves designed. For
mysterious ways, 'naturais' [...]. However, such distinction between
paths . 'culturais' and 'artificiais' suggests at first sight,
concept entirely unsatisfactory to 'art' and 'cultura' – 'cultura 'would,
according to this criterion, the deliberate imposition of a human meaning to
the insignificant number of 'natureza', and 'arte 'would be the method by which
the human spirit is imposed on nature (Flusser, 1979: 14-15).
Thus, the
human being has its constitution shaped by natural elements that created and
the cultural made for her. These constituents also serve as tools and
create other for individuals constitute the world around them. The
culture 61 serves mediation between human beings and the
environment. Is materially in construction tools that change the world, is
symbolically by means of ideas that seem insignificant, but actually shape our
conception of the world.
Then we see
how the seemingly superfluous elements of culture can serve us essential
functional tasks for practical life. And beyond these, not just envision
material solutions, reach heights of other resolutions on human life, such as
symbolic, rational and immaterial. So also work for our survival
psychic. Seeing nature of images in totally uncompromising reality TV,
this can go unnoticed. But we have assimilated this information as something
True, since such images are the only references we have the facts, regions and
species. The uncompromising content becomes only discourse and, therefore,
truth within our minds. And if we can not prove other images from other
realities, innocent representations of the world become true. The
communication between man and nature is also done through the devices that used
to receive and send the information. If we have the classroom experience,
our perception will be of a kind; if only visual, it will be otherwise further
from the real one. The point is that within our reasoning, as we have seen
with the above authors, not clearly notice the difference between the two
images, giving values similar for both types of communication.
Interference of electronic mediation culture
Television
programs such as Globo Reporter dialogue with subjective images emotional
nature to create links with the viewer. In our pictures interiors, the
beauty and the purity of pristine environments or slightly altered by man persist. Paradoxically,
we, spectators, we seek the flora and fauna untouched on a cultural production,
so human.
In fact, we
do not cling to earthly elements, physical, material and living
beings. But we link in with the cultural symbols that are on the natural and refer us to
beauty and perfection, to victory over the mistake and death. We cling on
television, the images of
nature. The entrance doors of human information, the five senses, can
supply with symbolic experiences of the TV, including the symbolic
confrontation with the natural world.
Through
images that simulate the encounter with nature, we can supply the lack of
nature, which is symbolic in our most primitive mental constitution
without we risk or home leave. Initially, this phenomenon is not negative. If
we adopt these attitudes to the world, we can get it symbolically acquire it,
giving soul to the foregoing without sense to us. Psychologically and
symbolically, we can achieve environmental preservation within us. To
reframe our conceptions of nature and the world around us, we can do it and
collect it symbolically by media companies, whose interest is to attract
attention the public without re-signify anything. But if the relationship lasts
only for the image, the display in place of experience, it will cost us
dearly. If we cling mostly to virtualized sensations nature on TV, stemmed
beauty or emotion of the images, for example, admit we do not need the reality
or the natural environment to have sensations of nature. We choose only the
symbols of nature (the images) and its electronic support (the television
show).
Nature and culture, today
The Master
Essay “Globo Reporter: veiled images of nature” written between 2004 and 2006,
was about the cultural discourses generated by culture and TV when talking
about Brazilian nature. However, a lot has changed in communication and
environmentalism since then. After 10 years of this research, it is
necessary to update what has happened in the world, in Brazil and in
communication.
It had been
only four years after Rio + 10, the global conference on environmentalism in
Johannesburg for updating the large Eco92 in Rio de Janeiro. Nevertheless,
the conference was settled before it began, considering the difficulty of
consensus among the major economic powers. The US, producing 25% of all
smog in the planet, were more concerned with Al Qaeda, Iraq and
Afghanistan. Since the attack on the WTC towers in 2001, terrorism was the
great global issue, leaving environmentalism on the background. China,
however, focused on becoming the second world power, turned a blind eye to any
initiative that would break its economic growth of 10% a year.
In Brazil,
the minimum income program: Bolsa Familia, elevated millions of people to
middle class since 2004 and, therefore, also lifted its consumer
market. The purchase of vehicles, the number of residential buildings and
waste production grew exponentially. In 2008, Marina Silva, the Minister
of Environment resigned after losing to the Rural Caucus, in the cases of commercial
release of transgenic foods and deforestation control, and also to the federal choice for
developmentalism rather than environmentalism, in the case of construction of
dams on the Madeira River, by approval of the Chief Minister of Staff, Dilma
Rousseff.
The western,
capitalist and urban world seems to have accelerated even more since
then. Information technology was integrated to the human experience,
increasing it". 3D glasses and smartphones offer information not only
to replace reality, but also about it This is due to technologies like
augmented reality.
Vilém
Flusser (1920-1991), Czech philosopher naturalized Brazilian, would probably
write new books if he saw young people photographing and posting everything
they do on all networks when experimenting with tactile and heat sensors to
offer information on every step we take in the real world. He would
highlight the phrase "reality increased", because of the claim of human culture to try to make
what is real bigger and better than reality.
For these
and other phenomena, the master’s dissertation "Globo Reporter: veiled
images of nature" seems to remain updated. If in the 2000s nature was
an oasis on analyzed TV shows. Today, televisions with high definition cameras
and sound display a degree of high fidelity impossible to be reached by
nature. We will soon probably be able to touch a jaguar’s hair and smell
wildflowers, but still sitting on the couch, who will probably shake in 4D, 5D,
6D...
Capturing,
recording and editing techniques have also improved. If in 2006 Globo
Reporter mixed emotional attachment with environmental information, today we
have real dramatic productions with the flora and fauna as settings and
protagonists.
Tricks on
plan and counterplan, super zoom, slow motion and drone cameras were improved,
getting the environment even closer to the lenses, screens and our eyes.
As to the
symbolic retreat that the pseudo environmentalist programs from then became,
today it is a market of billions of dollars, led by communication giants such
as National Geographic, BBC and the Discovery Channel. The exotic distant
places that were registered become ever more magical due to the technical
quality of recording, and even natural environments which are common to the
viewer become fantastic, given that the way to present them is
improved. Television sees the environment better than our eyes and shares
this look with us. That is, as long as we sit in front of it.
Marketing is
not far behind. "Eco", "sustainable" and
"conscious" have been established as keywords for selling from banks
to real estate, from fashion to cultural events. Today, it is almost a
social obligation to make use of products and information that are
environmentally correct. The fear of extinction has generated a variety of
narratives. Two of them will be highlighted here. The primordial one,
archetypal and mythological, is a great source of fantastic stories for
sensationalist reporting. In 2008, there as a misinterpretation of the
Aztec Sun Stone, or the Mayan Calendar, which
indicated the end of cycles or eras, not the end of the world. Press and
infotainment did not worry about this and produced tons of content on the end
of the world such as the single-program History Channel did.
In
journalism itself, the fear of extinction has become a fact portrayed in
headlines. Temperatures are more extreme, losses in agriculture gigantic,
the water shortage affects regions where there used to be abundance of it.
Weekly, extinction of some species in the planet is portrayed as a threat or
literally. Indeed, the world is in the end, at least the world as we knew it
to be.
The images
of nature held by men are therefore schizophrenic. For one thing, society
still overestimates images of nature as something full, eternal and
untouchable. On the other hand, it's as if we admitted the end of it and
chose culture as a substitute for the natural. This is irrational, but
ongoing.
Flusser,
with his work "Natural:mind: multiple accesses to the meaning of
nature" (1979), shows how humans created culture to become independent
from nature and, then, he shows cultural texts on nature, about how to
manipulate, control and overcome it. Real nature has always been altered
by the way we see it.
Culture
helps to produce what is real, be it concrete or symbolic, individual or
collective. But what is the advantage of us depriving of our primal
references, the five senses in contact with the medium, in favor of our
representations, our world produced by culture? To impose ourselves over
nature, win it, get rid of the uncertainties of the world. This has always
been the inspiration for human evolution, both in Consuming Modernism and in
contemporaneity. In the introduction of the
Masters from 2006 it was stated that nature when portrayed on TV is fractional,
shredded and altered by mediators, this phenomenon has become more evident,
both by communication and information technologies and by the contemporary
society, who lives schizophrenically within nature and outside of it. The
primary images of nature, however, will continue to exist, whether in the real
environment, or in the millions of screens that proliferate in the XXI century,
in order to maintain our sanity and also the ratings and page views. For this,
Globo Reporter remains to be one of the flagships of TV Globo
Network. However the 50% audience from 2000, fell to around 20% in 2010.
This was due to the profusion of tablets and smartphones, the increased
competition from open and cable channels, aging of the traditional audience not
being replaced by youth, and the improvement of the economic status of many
Brazilians, who can go out on Friday night instead of watching the world on TV.
One thing is
certain, Globo Reporter will, once a month, invest in the magical and
unreachable nature as a mixture of information and entertainment. The
program continues to be the window of culture and natural images from Brazil on
television. It continues to attend to its original proposal, with refined,
cinematic visual language, vainglorious and optimistic narrative, in a simple
and engaging recipe for giving out information. Thanks to the program, at
some point, we will be faced with the new last virgin beaches, the new last
animal ever recorded to be seen, the new last plant or fruit with medicinal
healing powers.
Conclusions
We seek to
understand the images of nature that make up a large program hearing in order
to find out which television, journalistic and cultural formats such
productions - that address the environment and are widely accepted by the
public - use.
The chosen
object of study was the news program Globo Reporter, whose episode it approached
one of his most recurrent themes, Brazilian nature. We sought one
journalistic product to conduct a popular and comprehensive environmental
discourse, and we believe the GR, if not is as ecology specialist program is
well considered by the population. assumption made because of its audience
- as a correct mediator of Brazilian environmental reality. Other more
specialized and television products complexes such as the Ecology Globo, Globo
Rural or Eco Reporter, lack the repercussion that the GR reach its depiction of
nature for half of the connected homes on TV Friday night.
The GR was
created with vainglorious direction and national integration as well as the TV
Globo journalism throughout the period of military dictatorship. But,
paradoxically, it opened space to the left of directors and filmmakers in the
60s and 70. Such references in made it possible to understand the ambiguous
function of the currently program: account refinement of the editing and the
high standard script and combines the ease of the thematic stereotyped, easily
accepted and little thought. This enabled him to fall to the national
taste from birth, but today is their main ties for innovation and daring
content.
About
analyzed episode, Serra da
Bodoquena , our hypothesis was that there would be a greater appeal to
the beauty of natural elements portrayed in the context of the issues
environmental. We understand that the GR tries to balance the two
speeches, emotional and rational, although lean toward the first content, more
aesthetic nature. That is, through the attachment to beauty speech and the
fear of losing the elements that GR keeps the linked public. We understand
that rational discourse, existing in the program is in the background, due to
the efficiency of audio-visual production. We understand that such
discourse, an ambiguity between nature and science, will suit that was later
explained in the dissertation as a very common and ancient cultural text
format, easy understanding and assimilation. We assume therefore that the
RG is promoted as program environmental information, but is linked to the
population by archaic formats cultural texts. Such reasoning was proven by the
perfection of the environment created by the images of GR. This approach
to nature culminates, according to our interpretation, in the sense of
perpetuation of the natural images, by maintaining images of nature, and not
the nature itself. The public nature preserves, the source of his
fascination and awe, through eyes.
By literature
searches, we understand that cultural texts that depict the nature They are
constantly at a distance, by means of human representations that duplicate the
Nature often distanced from reality, such as Eden. The fascination
and fear. We are in our minds, keeping us both near and far from
nature. Like this also are the sensations produced by television and by
GR: the viewer lives the world for receiving incoming signs and not by
experimentation. The notion of real-world distance and his trial by
addiction the culture we were required to understand the reasons for the nature
of the spectacle by GR images. The portrayed environmental elements and
altered by issues and sound reinforcement and off informative but with emotional reporter background, among
other techniques television, make the GR becoming detached from reality it
portrays. And so it creates another,
The
television cultural text detaches from nature, to the point that you no longer
need to maintain this connection with the audience. Consequently, no It is
known whether the public either needs more of nature or is offered a text
cultural as fascinating in its place.
We find
ourselves with the efficiency of cultural texts to replace the nature, analyze
the stretch that fish are electrocuted for the purpose of research. We
become connive while hearing by seeing mistreatment to animals in full said
program environmental, because we accept a speech to justify such
violence. We saw here that nature hosts to human culture, and what we seek
in GR ourselves and our stories about nature. Since culture justifies what
we do with playthings natural, we will continue watching to environmental
programs, however contradictory and ambiguous they are. After all, we
were conquered by the
beauty and perpetuation of flora and fauna made by TV images. When this
speech is reversed, however, through shock images in fish or shooting and
fainting ounce Elisa, scientific reason overlaps in off and on keeps watching the GR. In another ambiguous
process, now we hope for nature as we do in a soap opera, returning to the
emotional appeal.
Such is the
independence of the GR - as well as any other text - about the nature We are
witnesses (only eye) the symbolic resurrection, through TV tricks of an animal
now extinct. This is the greatest metaphor of GR that fascinates and
scares: life does not It is the natural elements, but in reconstruction in
these media standards. That essay questions, so if there is no imbalance
between nature and its images. We consider the environmental preservation
of ideology can be mistaken for GR, such expertise who stops to recreate the
natural through the virtual.
We endow the
TV, GR and the importance of images, not the nature and our interaction with
this that can save her. Next, we seek the understanding of the global
environmental movement and Brazil in order to assume as would be the
imagination of viewers, societies and vehicle communication in relation to
nature.
The
environmental movement was born of political and social demands in the 60s, so
until today carries the sense of preserving the natural environment and man
built into it. Already ecology focuses on the preservation of
environmental resources, with minimal human interference. These two currents
founded the preservation movement of the recent conditions in Brazil, which had
influence of leftist movements. From the Brazilian democratization of 80,
Brazil professionalized its environmental discussion mechanisms to the point
host the Eco-92 and be inserted in most treaties and global conservation agreements
nature. We also saw that environmental issues sprayed up in Brazilian
society, phenomenon that can be recorded in various NGOs that deal with the
subject. We have seen how the concept of nature is malleable to different
directions, from interests of producers of this crop. This article worked
in production concepts culture, and we see how this is the mediator between the
environment and man. Modernity, for example, carried with it a host of cultural
options that have changed the use of concepts of nature, justifying the
unsustainable consumption patterns and contemporary destruction. We
understand the nature and its relationship with man can be an entirely
subjective phenomenon. And we emphasize that today, the cultural product
on nature more accepted by contemporary societies is the Agenda 21, a letter of
intentions aimed at the sustainable development of the planet. All these
images permeate the imagery of the GR and the audience, adapting to phenomena
of electronic mediation of reality. We have seen that the cult value to
images, more emotional than rational, easy consumption programs and surface
production therefore.
All these
phenomena are possible because the environmental and televised speech lies based
images, cultural texts, carrying immortality objects represent. So
allow image worship as sacred because they are permanent. The images of
environment, in man, make instincts and senses asleep on TV . At the same
time, the exaggeration of the environmental image display as well as the
sameness of guidelines portrayed hypertrophy our minds to new images of
nature. Excess images can create environmental disgust. Like this,
hypothesized that excessive environmental images produced by the TV causes,
first of all, the opposite function of the images: a function
anti-windows between man and his environment.
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[1] “Globo Repórter: veiled
images of nature” (2006). Available in https://sapientia.pucsp.br/handle/handle/4783
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