Televisão e ficção televisiva em Portugal (1974-1992) : do advento da democracia à liberalização da atividade televisiva
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2019
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Os estudos sobre a ficção televisiva no período entre a implantação da democracia e
o surgimento das televisões privadas, ou seja, o período em que a televisão portuguesa
viveu em democracia, mas em regime de monopólio, são raros. Os estudos sobre a
ficção televisiva em Portugal iniciam-se com a investigação sobre as telenovelas, e, com
maior destaque, depois de 92 com o aparecimento das estações privadas que vão dar
grande importância à produção deste género que se reflete no número e qualidade dos
estudos académicos a partir de então publicados em Portugal.
Mas é nesse tempo e com a ficção filmada que se tenta consolidar uma forma de ser
da televisão em Portugal. Com s revolução que teve lugar em Portugal a 25 de abril de
1974 e o imediato alinhamento da televisão pela nova ordem, inicia-se o processo de
modernização e de alinhamento pelas televisões estrangeiras, que deveria conduzir a
capacidade objetiva de produzir, em Portugal, conteúdos de ficção filmada de
qualidade. Na apresentação do mapa-tipo de programas da RTP para 1978/1979, o seu
diretor de programas Vasco Graça Moura anuncia:
“aguarda-se a conclusão de duas séries portuguesas, “Amor de Perdição”, o romance de
Camilo Castelo Branco realizado por Manoel de Oliveira em seis episódios e “O Homem que
matou o diabo”, adaptação do romance de Aquilino Ribeiro, produzida pelos Estúdios do Porto
e realizada por António Faria, em oito episódios.”
A produção de seriados baseados em textos de autores portugueses fazia parte das
tarefas atribuídas à RTP no esforço de valorização cultural do povo português proposta
pelo Movimento das Forças Armadas, pelo que foi continuada com outros textos, mas
sempre numa configuração de suporte e processos cinematográficos. Sem experiência,
com meios técnicos diminutos e orçamentos escassos, esta produção portuguesa
produzida nesse período, nunca conseguiu equipara-se com a outra vinda da América,
seja a América do Norte seja do Brasil. E, por isso, foi sendo abandonada a favor de um
outro género – a telenovela.
Num tempo em que reinou uma grande liberdade criativa, na escolha dos textos, nos
processos de realização, e sem a pressa da emissão, este período poderá caracterizar-se
pela influência tutelar do cinema, por uma procura insistente numa forma artística na produção de conteúdos, pela oferta aos espectadores de uma televisão que pratique
uma democracia cultural, como proposto pelo diretor de programas na apresentação
dos programas para os anos de 1978/79.
Mas essa televisão, como se veio a demonstrar mais tarde, não tem lugar no
tempo da neo-tv, da concorrência e no tempo da luta pelas audiências em que a
própria estação de serviço público também se envolveu.
There are not many studies about the production of fiction in television in the period between the implementation of the democracy and the emergence of the private television networks, that is, the period in which Portuguese television lived in democracy, but in a monopoly regime. The studies about fiction in television in Portugal begin with the analysis of soap operas and, with a bigger focus, after 92, with the emergence of the private television networks, which will give a great importance to the production of this genre, reflecting on the quantity and the quality of the academic studies published in the country, from then on. However, it is in that period, and with the filmed fiction, that the television in Portugal tries to strengthen a certain way of being. With the revolution that occurred in April 25th, 1974, and the instant alignment of television with the new political order, the process of modernization and alignment with foreign television begins, which should lead the objective ability to produce, in Portugal, contents of filmed fiction with some quality. During the presentation of RTP's typical map of programs to 1978/1979, his programs production manager, Vasco Graça Moura, claims: «we are waiting for the conclusion of two Portuguese series, Amor de Perdição, Camilo Castelo Branco's novel, directed by Manoel de Oliveira in six episodes, and O Homem que matou o diabo, an adaptation of Aquilino Ribeiro's novel, produced by Estúdios do Porto and directed by António Faria, in eight episodes.» The production of television series based on texts of Portuguese authors was a part of the tasks given to RTP in an effort to obtain the cultural appreciation of the people, proposed by the Armed Forces Movement. In this way, it was continued with other texts, but always in an outline of support and cinematographic processes. With no experience, with limited technical means and scarce budgets, the Portuguese production of that period has never managed to equal the one which came from America, either North America or Brazil. And this is why it was progressively abandoned, giving place to another genre: the soap opera. When a big creative freedom reigned, in the choice of the texts and in the directing processes, and without the rush of the broadcast, this period could be defined by the tutorship influence of cinema, by a continuous search for an artistic form in the production of contents, by the offer to the viewers of a television that can practice a cultural democracy, as it was suggested by the programs production manager in the presentation of the programs grid for 1978/79. But that kind of television, as it was proven later, doesn't have a place in the era of the neo-tv, of the economic competition and in a time of struggle for shares in which the public network itself got involved.
There are not many studies about the production of fiction in television in the period between the implementation of the democracy and the emergence of the private television networks, that is, the period in which Portuguese television lived in democracy, but in a monopoly regime. The studies about fiction in television in Portugal begin with the analysis of soap operas and, with a bigger focus, after 92, with the emergence of the private television networks, which will give a great importance to the production of this genre, reflecting on the quantity and the quality of the academic studies published in the country, from then on. However, it is in that period, and with the filmed fiction, that the television in Portugal tries to strengthen a certain way of being. With the revolution that occurred in April 25th, 1974, and the instant alignment of television with the new political order, the process of modernization and alignment with foreign television begins, which should lead the objective ability to produce, in Portugal, contents of filmed fiction with some quality. During the presentation of RTP's typical map of programs to 1978/1979, his programs production manager, Vasco Graça Moura, claims: «we are waiting for the conclusion of two Portuguese series, Amor de Perdição, Camilo Castelo Branco's novel, directed by Manoel de Oliveira in six episodes, and O Homem que matou o diabo, an adaptation of Aquilino Ribeiro's novel, produced by Estúdios do Porto and directed by António Faria, in eight episodes.» The production of television series based on texts of Portuguese authors was a part of the tasks given to RTP in an effort to obtain the cultural appreciation of the people, proposed by the Armed Forces Movement. In this way, it was continued with other texts, but always in an outline of support and cinematographic processes. With no experience, with limited technical means and scarce budgets, the Portuguese production of that period has never managed to equal the one which came from America, either North America or Brazil. And this is why it was progressively abandoned, giving place to another genre: the soap opera. When a big creative freedom reigned, in the choice of the texts and in the directing processes, and without the rush of the broadcast, this period could be defined by the tutorship influence of cinema, by a continuous search for an artistic form in the production of contents, by the offer to the viewers of a television that can practice a cultural democracy, as it was suggested by the programs production manager in the presentation of the programs grid for 1978/79. But that kind of television, as it was proven later, doesn't have a place in the era of the neo-tv, of the economic competition and in a time of struggle for shares in which the public network itself got involved.
Descrição
Orientação:António Manuel João Preto
Palavras-chave
DOUTORAMENTO EM ARTE DOS MEDIA, TELEVISÃO, SÉRIES TELEVISIVAS, ESPETÁCULOS, INDÚSTRIA CULTURAL, HISTÓRIA DA TELEVISÃO, FICÇÃO TELEVISIVA, QUALIDADE EM TELEVISÃO, TELEVISION, TELEVISION SERIES, SHOWS, CULTURAL INDUSTRY, HISTORY OF TELEVISION, TELEVISION QUALITY