La significación cultural

1- Disfruta el siguiente video:



2- Complementándolo con  lo trabajado en clase , reflexiona  :

a -¿Qué relación encuentras entre la significación de los gestos en una cultura y el proceso de socialización.

b-En relación al mismo, y desde la importancia del valor que se le atribuye  a un mismo gesto o una misma palabra, en  culturas distintas,¿ podrías dar dos instancias en que  una persona  adopta pautas de socializacion nuevas ?

c-  ¿Y dos instancias en las que nos adaptamos a pautas de socializacion nuevas ,pero en nuestro mismo lugar originario?

3- Averigua :
Tres gestos que hayan sido ´´heredados´´´de otras culturas y adoptados por la nuestra.

ORGANIGRAMA

 

Preguntas con Scanning y Skimming

Preguntas sobre el Texto: "Mediación de Seguridad en Programas de Entretenimiento"

1.   Escribe  4 palabras claves que identifique el artículo elegido

2.  ¿ De que se trata el artículo?

MEDIACIÓN DE SEGURIDAD EN LOS PROGRAMAS DE ENTRETENIMIENTO

Inner Security in Media from the perspective of social science and media studies

Oliver Bidlo, Carina Jasmin Englert

Universität Duisburg-Essen

Fachbereich Geisteswissenschaften - Kommunikationswissenschaft

Abstract:

Security and entertainment are moving closer together. The term Securitainment

expresses in this context, the mediation of security through entertainment formats. This will

open a new space for Internal Security, which includes its own actors and patterns of

interpretation. This space is portrayed in the media and follows the logic of media for attention

but is also part of the process of social control. The mass media are therefore an instance of the design of internal security, social control and an interpretation producer. Mass media become actors of the internal security. They provide a symbolic representation of security.

Keywords: Internal Security, sociology of knowledge, Media, Securitainment, Entertainment,

Television, Actor.

3. Entertainment as a Total Social Phenomenon

Entertainment in the mass media is a ubiquitous part of contemporary society, with television

very much taking the lead role. Consequently, entertainment has attracted the interest not only

of psychology, literary, media and communication sciences, but has also increasingly become an established part of other scientific disciplines such as politology and criminology. In this way,

entertainment has evolved into a “soziales Totalphänomen” (cf. Saxer 2007: 19) (“total social

phenomenon”), and not only in the everyday sense. But what is entertainment? Here it is

understood more as ‘transience’, ‘time-killing’ or ‘distraction’ than as an exchange of thoughts,

and in these contexts it can have various manifestations. It is about practising values and not

least about emotionally reinforcing certain views of the world (cf. Schicha, Brosda 2002: 10).

Schicha and Brosda make a further distinction between formal categories of entertaining

presentation and entertaining content. While the former call to mind comfort, stimulation,

respite and relaxation, the latter have associations with escapism from the real world, banality,

vacuity and triviality (cf. Schicha, Brosda 2002: 10f). Yet this does not answer the question of

how entertainment or “Entertainization” (Saxer 2007: 21) are combined with information in

television formats and what role entertainment actually plays in the process. So far, it has only

become clear that sciences previously dedicated to “serious issues”, like politology or

criminology, can no longer ignore the topic of ‘entertainment’ in connection with the media.

This is confirmed by Kamps, who explains that ‘entertainization’ is shifting the orientation

towards entertaining formats for communication purposes, and original (television) formats are

switching from information to entertainment mode (cf. Kamps 2007: 149). Television formats

tagged as documentary or news programmes already enhance their information content with

dramatic images and ‘stage’ eventful stories (cf. Englert/Roslon Chapter XY in this edition).

Increasingly, the “Hybridformen (Hickethier 2007: 176) (“hybrid forms”) and the hybrid genres

of television, such as semi-documentary or semi-fictional programmes, are attracting the interest of the viewing public (cf. Schicha, Brodsa 2002: 7), as the rise of reality TV programmes in German television alone can testify (cf. also Reichertz Chapter XY in this edition). The “mediale Erlebnisgesellschaft” (Dörner 2001: 40) (“media experience society”) or the “Fernsehgeneration” (Peiser 1996) (“TV generation”) increasingly wants information packaged in a gripping format, and increasing numbers of viewers are placing entertainment value over information value (cf. Corsa 2005). Yet it is not the case here that information and entertainment are mutually exclusive, but rather that they come together in hybrid television formats. This is another indication of the ongoing entertainization and “Boulevardisierung”2 (Kleiner, Nieland 2004) (“tabloidization”) of information, resulting in increased “fictionalization” of information culture or what Leder also defines as “Infotainisierung” (Leder 1996: 92) (“infotainization”).

Other terms include “Infotainment” (Wittwen 1995), “Politainment” (Dörner 2001) and

“Edutainment” (Mangold 2004). The feel good factor, in other words the presentation of

information in an attractive format, takes top priority, as the example of the semi-documentary

formats surrounding the subject of internal security (e.g. Schneller als die Polizei erlaubt or

Recht & Ordnung) goes to show. This can be attributed to the fact that entertainment is an

emotional event that leads to various gratifications (cf. Saxer 2007: 19). It is not without reason

that viewing figures climb as TV content becomes more personalized, emotional and dramatic,

particularly if it is presented as closely as possible to the viewer (cf. Englert/Roslon in Chapter

2 “Boulevardisierung zeichnet sich durch einen allgemeinen Verfall journalistischer Standards (etwa Objektivität, umfassende Recherche, Wahrung ethischer Grundsätze etc.) aus; durch einen Rückgang räsonierender (z.B. Politik und Wirtschaft) und einen gleichzeitigen Anstieg unterhaltender Themen (u.a. Skandale, Sensationsmeldungen, Sex, Lifestyle), durch die der Massengeschmack bedient werden soll; eine Zunahme von Serviceleistungen; starke Personalisierungen und Emotionalisierungen sowie zynische und ironisierende Kommentare, die eine bestimmte Diskurs-Hippness unterstreichen wollen. Diese inhaltlichen Boulevardisierungstendenzen werden zudem sprachlich und optisch unterstützt, etwa durch die Annäherung an die Umgangssprache, Verwendung vieler Photos, vergrößerte Überschriften sowie plakative Aufmacher und Eye-Catcher.” (Kleiner, Nieland 2004: 2). (“Features of ‘Boulevardisierung’ (tabloidization) are a general decline in journalistic standards (such as objectivity, detailed research, observing ethical principles, etc.) resulting from a reduced number of serious subjects (e.g. politics and economics) and simultaneous rise in entertaining ones (including scandals, sensationalized stories, sex, lifestyle) geared to appeal to the masses; an increase in services; strong personalization and emotionalization and cynical and ironic commentary, which are aimed at underscoring a certain discourse hipness. These tendencies towards dumbing down or tabloidizing content are also supported linguistically and visually, for example by the use of slang and photos, oversized headlines, striking openers and eyecatchers.”XY of this edition).

The trend towards ‘staging’ informative content is nothing new. In 2002, Thomas Meyer and

Christian Schicha described the trend towards staging politics on the television and its

increasing relevance (cf. Meyer, Schicha 2002: 53). Further, Erika Fischer-Lichte points out that nothing in the world is entirely free of ‘stage management’, making it an inherent part of our

world (cf. Fischer-Lichte 1998: 88f). Fischer-Lichte defines the term ‘Inszenierung’ (‘staging’,

‘stage management’, ‘scene setting’) in its theatrical sense as a creative process to connect the imaginary and fictitious with the real and empirical (cf. Fischer-Lichte 1998: 88). Meyer and

Schicha reinforce Fischer-Lichte’s thinking and explain that “Infotainment […] in hohem Maße

informieren [kann und dass] [p]rinzipiell […] alle Inszenierungsformen und Inszenierungsgrade

für der Sache angemessene Informationen offen [sind]” (Meyer, Schicha 2002: 57)

(“Infotainment [… can] be highly informative [and that] in principle […] all forms and degrees

of stage management are open to information that is appropriate to the subject matter”). The

important question is therefore how and to what extent elements of the fictional-imaginary and

the real-empirical are used to stage a situation and its intended purpose (cf. Meyer, Schicha

2002: 53).

The example of fictional series relating to internal security shows that elements of staging and

theatricality are usually quite evident in the use of scripted characters, action scenes or coherent action sequences. The question is, however, how documentary or semi-documentary formats go about reproducing uncontrived, or unstaged, reality. On the surface, accompanying the highway police as they inspect truck drivers on the German-Czech border may not seem that interesting.

However, as soon as a truck driver refuses a fine that he feels is unjustified, the action becomes much more interesting. If the apparently ‘boring’ scenes involving uneventful spot checks on various truck drivers are cut from the actual programme, and music or voice-overs are used to imply certain interpretations, the entertainment factor begins to rise. Clearly, there is a difference between the portrayal of a highway police officer who is going about his work,

catches an exhausted truck driver at the wheel and, according to the off-screen voice ‘quite

rightly, given the potential danger of an overtired driver’, takes him off the road, and the

portrayal of a highway police officer encountering the same situation but with background

circus music and a voice-over commenting that he ‘is overreacting; the truck drivers are only

doing their job after all’. If the camera perspective is switched from long to full shot allowing

television viewers to feel that they are live on the scene and can empathize, the work of the

highway police is transformed into an entertaining format for late evening viewing. All this falls

under the term Inszenierung, which means employing theatrical elements and quite literally

setting a scene (cf. Hickethier, Bleicher 1998: 369).

If this concept extends to the technical media, the effect becomes twofold (doppelte

Inszenierung): the characters in front of the camera and the technical modifications, editing,

montage and the narrator’s voice combine to produce an electronic version or a final staged

product (cf. Hickethier, Bleicher 1998: 369). It can be taken even further in connection with

hyper-ritualization as defined by Goffman (Goffman 1981: 328). Beyond the scene set in front

of, that is, for the camera, the actors are also portraying themselves. They are members of

society who play a particular role in their everyday lives and are now playing another role

within that role before the camera. As the example of the highway officers shows, they are keen

to portray themselves and their work as correct and legitimate. This portrayal then enters a third

stage and another level of production when the recorded scenes are edited and given a narrative structure. In many cases, this leads to increased standardization, exaggeration and simplification of rituals (cf. Goffman 1981). According to Goffman’s definition, rituals are heavily emphasized or over-emphasized actions or behaviours and have little to do with the everyday ceremonial meaning. This raises the question of whether it would be possible to talk about

‘Hyperinszenierung’ (‘hyper-staging’) in this context. Here we see that what we encounter on a

daily basis in reality often appears out of focus and ambivalent, and it is only staging by the

media that makes an event clearly structured and easy to understand (cf. Hickethier, Bleicher

1998: 369). Relationships and connections quickly become apparent and comprehensible,

without the need for further explanation of the facts. In this way, a new order, a beautiful new

world, is created which strives to - and actually does - appear real (cf. Thomas’ theory). This

world is constructed by ‘incorporated actors’ (cf. also the article by Englert/Roslon Chapter XY

of this edition) according to certain socially valid ideals. In this context, Siegfried Kracauer

talks about the “Errettung der äußeren Wirklichkeit” (“redemption of physical reality”) and the

“Affinität zur ungestellten Realität” (“affinity for unstaged reality”) (Kracauer 2003: 95ff). That

television content virtually never achieves these goals is clear from the first American

documentary film of any length, Nanook of the North, by Robert Flaherty in 1922. The film

attempts to stage reality almost to perfection, with the result that the audience automatically

becomes distanced from unstaged reality (cf. Hickethier, Bleicher 1998: 370). This is also true

of almost all documentary formats on the subject of internal security today. This process of

staging reality has a critical effect on contemporary social culture (cf. Fischer-Lichte 2000: 11),

since the way an officer’s work is staged by the media conveys to viewers a specific picture and an understanding of what internal security is all about.

This development forms the basis for terms like the aforementioned ‘Infotainment’ (Wittwen

1995), ‘Politainment’ (Dörner 2001) or ‘Edutainment’ (Mangold 2004), which attempt to

capture the entirely new circumstances associated with ongoing entertainization. It has, in fact,

prompted the emergence of a whole ‘family’ of ‘…-tainments’ (cf. Mattusch 1997: 124).

While infotainment refers to a genre in which all knowledge transfer is interwoven with entertaining and often emotional elements, and imparting knowledge and integrity thereby become secondary (cf. Mangold 2004: 536), edutainment sets out to reinforce learning motivation and success with elements of fun and entertainment (cf. ebd.). Another new term may seem superfluous to requirements under these circumstances, yet closer inspection shows that securitainment belongs neither to infotainment nor edutainment, and certainly not politainment (given its thematic focus on politics). Firstly, knowledge transfer cannot be said to play a secondary role from the very beginning in securitainment, as is the case in infotainment. Even in everyday situations – traffic for example – many followers of securitainment series will recall the last episode of Schneller als die Polizei erlaubt and remember that speeding is not worth the risk of a fine and points on your driving license. Equally, it is not easier to class securitainment as edutainment, since that would require the programmes to be clearly geared towards successful teaching and learning on the part of the programme makers. This is not generally the case in securitainment, where the success of a programme is much more likely to be judged by the viewing figures. The fact that a programme ultimately has an effect on the viewers’ understanding of internal security does not necessarily mean that that was the original intention of the TV programme (including the ‘incorporated actors’ such as the producers and series scriptwriters). In the end, it is the viewing figures and the associated interest in certain content and its application that determine the success or failure of knowledge transfer or modulation. In other words, the recipients’ interpretation of Schneller als die Polizei erlaubt or Recht & Ordnung and what they do with this knowledge in everyday interactions plays a decisive role in building their understanding of internal security. It is not dictated solely by the incorporated actors’ intention and goal, if in fact there is one at all. This is how a medium (intentionally or unintentionally) itself becomes an actor in the social construction of internal security (cf. Feltes 2008: 105). Even though we do not obtain all our knowledge through the media (cf. Reichertz 2007: 17), it is nevertheless true that “Kommunikation und Medien haben die Welt verändert und werden sie auch weiterhin verändern” (Reichertz 2007: 11) (“communication and media have changed the world and will go on changing it”), which also applies to the discourse on internal security in Germany.

PENSANDO SOBRE EL BULLYING

REALIZA LA SIGUIENTE SOPA DE LETRAS EN FUNCIÓN DEL TEXTO GRÁFICO ANTERIOR...

La Multiculturalidad: un asunto de todos...

Lee las siguientes imágenes, y responde:

1-¿Crees posible que lo transmitido en esta  imagen pueda darse en la realidad?

2- ¿Desde tu cotidianeidad, como podrías contribuir a que se consolide este tipo de convivencia?

 

3-¿Qué crees que puede significar para una sociedad, el hecho de que existan diferentes miradas ante una misma realidad?

4-¿Qué se construye a partir de esas miradas?

WEBQUEST SOBRE CULTURA

ACTIVIDADES

1   Lectura

Hacer click  aquí y lea el texto correspondiente

2   Responde

a. Qué hecho histórico mundial se menciona en la lectura como punto de quiebre para adoptar una    concepción diferente al "relativismo cultural".

b. Fundamente si la  cultura mencionada  es o no afectada en su dignidad humana.

c. ¿ Se debe respetar la diversidad cultural? . ¿Por qué?

d.  Plantee una conclusión sobre la situación planteada.

3- Analiza el siguiente  Video , y  relacionándolo con la lectura del punto 1 ,   elabora  un texto argumentativo, que de cuenta de tu posición personal sobre el tema de la multiculturalidad en nuestro mundo posmoderno.

4- Lee la siguiente frase de Galeano y a modo de reflexión:
¿Qué aspectos deberíamos valorizar y tener en cuenta a la hora de observar una cultura diferente a la nuestra?