During the summer, TV is the audiovisual media that generates the most opinions, requests, longings and dissatisfactions. It is difficult to encompass the familiarity generated by the so-called small screen, where good ideas, resources and entertainment should never be lacking. But are these “needs” met by fulfilling the specification of aesthetic quality in certain spaces, channels and times?
We open the segment to reflect together on the experience of being a television viewer in the twenty-first century. Technological development establishes new dominant discourses. Culture and communication do not always reign as key concepts in the complex contemporary universe saturated with hybridizations and different ways of seeing and interpreting.
July passed on Cuban television and, apparently, the telefilms released by Cubavisión, every Saturday, at 2:00 pm, on the magazine One street, a thousand roads They continue to generate questions, reflections, and even moods in diverse audiences. Content inspired by harsh realities activates the popular imagination.
Precisely, this incisive look, perhaps discovering what exists and we never see, is the greatest success of productions conceived by young and established directors. No two are alike in terms of dramaturgy, tempo, cast, stage conception. It is necessary to see them without prejudice or silence. Yes, see them in the dimension of the broad concept, this implies visuality, dramaturgy, dialogues, treatments of photography direction, the acting level; in short, everything related to an audiovisual narrative that generates content that is not at all complacent.
We do not intend to encompass such a wide, complex and dynamic universe. We only, barely, meditate on spaces that may seduce, but are not innocent. Some carry violence, special effects or light stories and ensure easily digestible consumption. Foreign series have within them these loads of meaning. For this reason, each spectator must be aware of signs, codes, alerts and urgencies. All passions do not have the same temporality. It is a dramaturgical truth revealed by the Turkish production. Family secrets. The essential thing in it is not the secrets, but how actions are configured by conceiving a complex mediation of communicative instances and propositions to the viewer during the processes of looking, knowing, becoming passionate, becoming upset that are inscribed in the forms of iconic and linguistic texts. Let us think about this.
