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“ESTAMOS AO VIVO”: estratégias discursivas em uma transmissão direta na televisão 


Major news event. Chapecoense. Information media discourse. Live coverage. Globo News.

GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Letras

In this thesis, we investigated the discursive strategies in live television broadcasts of major news events in situations of tragedy. We based our studies on the epistemological assumptions of French Discourse Analysis, specifically the one that assumes a discourse perspective, as Patrick Charaudeau did and still does. Our empirical object was the “live” coverage that the channel Globo News carried out on the airplane crash involving members of the soccer team Associação Chapecoense de Futebol, media professionals and crew of LaMia company, which occurred on November 29, 2016, near to Medellín, Colombia. The fact that the major news event is “live” and not pre-planned makes it a unique genre within Language Studies, making it a compelling corpus of research. It induces a more authentic discursive realization compared to what normally occurs in other TV genres, whether recorded or “live”, because it is a text in act, enunciation. In this sense, we first sought to identify characteristic elements of live television, in order to separate them from other technical systems of representation, to later analyze the diegetic process instituted by the broadcaster, considering the discursive strategies implemented and how the syntactic-discursive cadence of the broadcast takes place. We performed bibliographical research and systematically observed the live broadcast by Globo News, analyzing its programming, subjects (anchor, reporter / correspondent, commentator and interviewee) and the scenic devices (scenery / studio, plans /cuts and syntactic elements) belonging to the media and social spaces of “live” coverage in order to delve into the whole narrative diegesis. Among the results, we found that the choice for the YOU-addressee is not only in the journalistic publications, but also in the advertising presented there. The major news event was characterized by mobilizing a large number of possible thematic frameworks. The anchor was the true pivot of the game proposed by the production instance, as he/she used the discursive modes, mediated (or even led) the relation between the viewer and her/his access to the major news event and granted speech shifts during the “live” coverage. The participation of reporters and / or commentators was a discursive strategy based, at the same time, on a credibility aim (visee), but, above all, on capture, since much of the information they brought could be said by the anchor. The commentator, even though using mainly the mode of argumentative organization, or of the “commented event”, was defined by the lack of rigor of his statements, being another strategy of capture by Globo News channel and filling the “gaps” of the coverage, moments when there was no new information about the great news event. The specialist used a distanced engagement, expressing his opinion from an expertise, but being prudent, through an
argument based on the hypothesis and suspicion. His participation was connected to the event, not to the commented event, as in the case of the commentator. The interviewee ranged from an authority, a witness or a member of the family of the victims and their participation was by a strategy of credibility (authority and witness) or by a strategy of capture (family of victims), having a more distanced engagement (authority and witness) or a more evident and pathetic engagement (family of victims). The scenographic composition alternated among selfreferential, decorative and modular in the media space, and hyper-real, authenticated and simulated in social space. The most recurrent plan was the medium, in which the subjects are framed from the waist up, and the first plane, from the bust up, denoting a social distance between the broadcaster and the viewer. The camera movement was rare, but it took its place in certain transmissions, as in Estúdio I, because of its less formal “tone”, or when a pathetic effect was sought, as in the interview with relatives of victims, in which the pain was highlighted. The crawl had the following characteristics: modular operation (text blocks), binary (syntactic), circular (repeats itself) and, in some cases, thematic, but, discursively, showed a discursive strategy of capture and competition with other scenical devices. As a result, we concluded that the “live” coverage performed by Globo News on November 29, 2016, due to its discursive strategies (especially capture and mea-culpa), was eager to provide new information (using a variety of sources) along with the presence of subjects to support the emptiness of non-novelty (commentators and specialists) and the use of infrequent materialities in the media discourse of information (telephone interview, low-quality photos and images) performed a syntactic-discursive cadence that we named “media roundabout” in order to build its narrative diegese.

Externo à Instituição - SIMONE DE PAULA DOS SANTOS - UFVJM
Externo à Instituição - WILIANE VIRIATO ROLIM - IFPB
Notícia cadastrada em: 28/03/2019 13:56
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