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TV Drama, Representation and Engagement

An Analysis Through the Lenses of the Audiovisual Design

  • Conference paper
  • First Online:
Applications and Usability of Interactive TV (jAUTI 2018)

Part of the book series: Communications in Computer and Information Science ((CCIS,volume 1004))

Abstract

This paper comments on the status of TV drama productions in the Iberian-American scenario, with a special focus on Brazil. According to descriptions of transmedia strategies presented on the last Obitel annual reports, most of the workpieces place the spectators within high levels of inertia, being a real challenge to TV producers to promote the action of the audiences. One probable cause is the rooted values of TV, normally strong enough to legitimate the passive fruition of content. In the special case of Brazil, the stories have been formed around matters of a construed national identity, public and personal affairs, and social issues, topics that draws attention from the audience. This always generated strong ties between the stations and viewers, who identify themselves within the narratives and feel represented. Today, the distribution of content through other platforms is changing the scenario, with other forms of representation taking place. This article observes Iberian-American productions through the lenses of the Audiovisual Design, a theoretical-methodological model developed to afford the creation and analysis of complex audiovisual systems, including television content, interfaces based on software and considering the variable behaviour of the audience. The study proposes that TV stations are still tied to old triggers of audience engagement, instead of seeking new forms of interaction to complement, through the experience with the content, the identity ties that characterise the regular TV production.

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Notes

  1. 1.

    Of course, the new platforms are not comfortable with this business model. Our remark here only shows that the in-house production is not essential – at least until now – to their existence. When the business model of this type of platform requires more investments – such as the current case of Netflix – the tendency is that the other formula will be more efficiently implemented.

  2. 2.

    We are considering affordances as the characteristics of the objects and environment that exist regardless of agents, and that can be planned to be perceived, understood and correctly used to allow actions (and interactions) of actors among themselves and with the elements composing the environment [19].

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Author information

Authors and Affiliations

  1. Postgraduate Program in Audiovisual Media and Processes, School of Communications and Arts (PPGMPA), University of São Paulo, São Paulo, Brazil

    Daniel Gambaro

  2. Communication School, Anhembi Morumbi University, São Paulo, Brazil

    Thais Saraiva Ramos

  3. Postgraduate Program in Computer Science, Communication and Arts (PPGCCA), Informatics Centre, Federal University of Paraiba, João Pessoa, Brazil

    Valdecir Becker

Authors
  1. Daniel Gambaro
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  2. Thais Saraiva Ramos
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  3. Valdecir Becker
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Corresponding author

Correspondence to Valdecir Becker .

Editor information

Editors and Affiliations

  1. CICPBA - III-LIDI, National University of La Plata, La Plata, Argentina

    María José Abásolo

  2. Department of Communication and Art, University of Aveiro, Aveiro, Portugal

    Telmo Silva

  3. Department of Social Sciences, National University of Quilmes , Buenos Aires, Argentina

    Nestor D. González

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Gambaro, D., Ramos, T.S., Becker, V. (2019). TV Drama, Representation and Engagement. In: Abásolo, M., Silva, T., González, N. (eds) Applications and Usability of Interactive TV. jAUTI 2018. Communications in Computer and Information Science, vol 1004. Springer, Cham. https://doi.org/10.1007/978-3-030-23862-9_4

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  • DOI: https://doi.org/10.1007/978-3-030-23862-9_4

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  • Publisher Name: Springer, Cham

  • Print ISBN: 978-3-030-23861-2

  • Online ISBN: 978-3-030-23862-9

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