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Abstract(s)
Em 2022, o produto rei do horário nobre português, a telenovela, assinala números
redondos no que concerne à sua existência e exibição: celebram-se 45 anos da transmissão
da primeira telenovela em Portugal, “Gabriela, Cravo e Canela” (1977), e comemoram-se
40 anos de ficção feita em língua portuguesa (“Vila Faia”: 1982).
Em quatro décadas foram impostos vários desafios, primeiro à “caixinha mágica” e, depois
à própria telenovela. O streaming desviou a audiência e potenciou a criação de conteúdos
mais personalizados e individualizados. A digitalização tomou o lugar dos formatos de
receção tradicionais e fomentou o fim do consumo familiar de produções telenovelisticas.
Por inerência, provocou um abismo na reflexão conjunta, no debate coletivo e na
socialização: cada um vê o que quer, quando quer e no dispositivo que mais o cativa.
Todavia, se esta é uma realidade que se enfrenta, também é verdade que tem sido
superada com eficácia. As telenovelas continuam a ser o conteúdo mais consumido na
televisão portuguesa. As massas, tidas como homogéneas e indistintas, continuam a
querer ver o seu reflexo no ecrã. Embora seja definida como um género televisivo
pertencente à indústria cultural, a telenovela tem como objetivos, desde sempre e como
pedra de toque, a transmissão de uma mensagem, o agitar das consciências e a
representação, não só do que é aceite, familiar e conhecido, mas também do que fica
distante e daquilo que só se conhece superficialmente. As telenovelas visam representar as
diferentes identidades, reforçando o sentimento de identificação com a audiência e
abrindo horizontes para existências dissemelhantes. Os teóricos dizem que é inevitável a
construção de imagens mentais simplificadas sobre determinados grupos e que essa é,
inevitavelmente, uma característica vertida na ficção.
Em Portugal já foram produzidas dezenas de telenovelas. Contudo, nos últimos anos,
verifica-se uma maior representação de temas como: o interior, a vida em zonas menos
urbanas e as aldeias do Portugal profundo. Neste sentido, a problemática desta
investigação visa analisar a forma como o interior de Portugal é representado em duas
telenovelas nacionais, produzidas com alguns anos de diferença, pela mesma produtora, a
SP Televisão. O principal objetivo desta dissertação é analisar se, de facto, em “A Serra”
(SIC) e em “Bem-Vindos a Beirais” (RTP1) se recorreu a estereótipos para representar as
zonas de baixa densidade populacional em Portugal. Por conseguinte, é decisivo
compreender se a apresentação que é feita da interioridade, corresponde ou não ao real, se
é pejorativa ou benevolente ou se é atual. Para responder à problemática desta pesquisa, realizou-se, numa primeira fase, um
enquadramento teórico. Aqui, procedeu-se a uma delimitação do conceito de interior de
Portugal, a uma reflexão sobre a história, evolução e desafios associados à televisão e a
uma cogitação acerca das telenovelas, desde a sua origem no folhetim até aos contributos
sociais que acarreta. Sobre o produto “nobre” da televisão portuguesa, estudou-se, ainda, o
seu trajeto em Portugal, os seus objetivos e a sua proximidade com a audiência. Também
na Parte I desta investigação, discorreu-se sobre o tema dos estereótipos e avaliou-se a sua
presença na televisão, em geral, e nas telenovelas, em particular. A análise dos projetos
telenovelisticos que representam o interior do país também não foi esquecida.
Na parte empírica desta pesquisa, para além de se apresentarem as técnicas utilizadas
para a recolha de dados e se expressarem os motivos que justificam a escolha de métodos
qualitativos, procedeu-se à observação e contraposição dos resultados obtidos.
Os dados recolhidos permitem inferir que a telenovela continua a ser o produto mais
valioso da televisão portuguesa, gerando a adesão e fidelização da audiência diariamente.
As telenovelas são uma maratona para quem escreve e uma distração e ensinamento para
quem as acompanha. As representações que são feitas de determinadas realidades não
condicionam, na maioria dos casos, o consumo de “A Serra” e de “Bem-Vindos a Beirais”.
In 2022, the main product of Portuguese prime time, the soap opera, reaches round numbers regarding to its existence and exhibition: the transmission of the first soap opera in Portugal celebrates 45 years, "Gabriela, Cravo e Canela" (1977), and it’s also celebrated the 40 years of Portuguese language fiction (with "Vila Faia": 1982). In four decades, several challenges were imposed, first to the "magic box" and then to the soap opera itself. Streaming diverted the audience and enhanced the creation of more personalized and individualized content. Digitisation took the place of traditional reception formats and fostered the end of family consumption of soap opera productions. As a consequence, it provoked an abyss in plural reflection, collective debate and socialization: each one can watch what wants, when wants and in the device that seduces him/her the most. However, even if this is the context that is faced, it is also true that this situation has been overcome effectively. Soap operas keep being the most consumed content on Portuguese television. The masses, seen as homogeneous and indistinct, still want to watch their reflection on the screen. Although it is defined as a television genre belonging to the cultural industry, the soap opera has always had its specific goals: the transmission of a message, the stir of consciences and the representation, not only of what is accepted, familiar and known, but also of what is distant and of what is only known superficially. Soap operas aim to represent the different identities, reinforcing the feeling of identification with the audience and opening horizons for dissimilar existences. Theorists say that it is inevitable to construct simplified mental images on certain groups and that this is an inevitably feature in fiction. In Portugal, dozens of soap operas have been produced. However, in recent years, there has been a greater representation of themes such as: the countryside environments, life in less urban areas like villages of the so called “deep” Portugal. In this sense, the problem of this research aims to analyse the way that the countryside of Portugal is represented in two national soap operas, produced with few years of difference by the same producer, SP Televisão. The main purpose of this dissertation is to analyse whether, in fact, in "A Serra" (SIC) and in "Bem-Vindos a Beirais" (RTP1) stereotypes were used to represent the areas of low population density in Portugal. It is therefore crucial to understand whether the presentation of interiority, matches or not to reality, whether it is pejorative or benevolent or even actual. To answer the problem of this research, a theoretical framework was carried out in a first phase. Here, a delimitation of the concept of “countryside of Portugal”, a reflection on the history, evolution and challenges associated with television and a cogitation about soap operas, from their origin as a broadsheet to the social contributions it entails, was done. As the "noble" product of the Portuguese television, it was also studied its journey in Portugal, its purposes and its proximity to the audience. Still in Part I of this investigation work, there is a reflection about stereotypes and an evaluation of their presence in television, in general, and in soap operas in particular. The analysis of soap opera projects representing the countryside of the Portugal is not also forgotten. In the empirical part of this research, in addition to presenting the techniques used for data collection and expressing the reasons that justify the choice of qualitative methods, an observation and opposition of the results obtained were undertook. The data collected allowed us to infer that the soap opera remains the most valuable product of Portuguese television, generating the support and loyalty of a daily audience. Soap operas are a marathon for those who write it and an amusement and a way of learning for those who watch them. The representations of certain realities made in soap operas do not condition, in most cases, the consumption of "A Serra" and "Bem-Vindos a Beirais".
In 2022, the main product of Portuguese prime time, the soap opera, reaches round numbers regarding to its existence and exhibition: the transmission of the first soap opera in Portugal celebrates 45 years, "Gabriela, Cravo e Canela" (1977), and it’s also celebrated the 40 years of Portuguese language fiction (with "Vila Faia": 1982). In four decades, several challenges were imposed, first to the "magic box" and then to the soap opera itself. Streaming diverted the audience and enhanced the creation of more personalized and individualized content. Digitisation took the place of traditional reception formats and fostered the end of family consumption of soap opera productions. As a consequence, it provoked an abyss in plural reflection, collective debate and socialization: each one can watch what wants, when wants and in the device that seduces him/her the most. However, even if this is the context that is faced, it is also true that this situation has been overcome effectively. Soap operas keep being the most consumed content on Portuguese television. The masses, seen as homogeneous and indistinct, still want to watch their reflection on the screen. Although it is defined as a television genre belonging to the cultural industry, the soap opera has always had its specific goals: the transmission of a message, the stir of consciences and the representation, not only of what is accepted, familiar and known, but also of what is distant and of what is only known superficially. Soap operas aim to represent the different identities, reinforcing the feeling of identification with the audience and opening horizons for dissimilar existences. Theorists say that it is inevitable to construct simplified mental images on certain groups and that this is an inevitably feature in fiction. In Portugal, dozens of soap operas have been produced. However, in recent years, there has been a greater representation of themes such as: the countryside environments, life in less urban areas like villages of the so called “deep” Portugal. In this sense, the problem of this research aims to analyse the way that the countryside of Portugal is represented in two national soap operas, produced with few years of difference by the same producer, SP Televisão. The main purpose of this dissertation is to analyse whether, in fact, in "A Serra" (SIC) and in "Bem-Vindos a Beirais" (RTP1) stereotypes were used to represent the areas of low population density in Portugal. It is therefore crucial to understand whether the presentation of interiority, matches or not to reality, whether it is pejorative or benevolent or even actual. To answer the problem of this research, a theoretical framework was carried out in a first phase. Here, a delimitation of the concept of “countryside of Portugal”, a reflection on the history, evolution and challenges associated with television and a cogitation about soap operas, from their origin as a broadsheet to the social contributions it entails, was done. As the "noble" product of the Portuguese television, it was also studied its journey in Portugal, its purposes and its proximity to the audience. Still in Part I of this investigation work, there is a reflection about stereotypes and an evaluation of their presence in television, in general, and in soap operas in particular. The analysis of soap opera projects representing the countryside of the Portugal is not also forgotten. In the empirical part of this research, in addition to presenting the techniques used for data collection and expressing the reasons that justify the choice of qualitative methods, an observation and opposition of the results obtained were undertook. The data collected allowed us to infer that the soap opera remains the most valuable product of Portuguese television, generating the support and loyalty of a daily audience. Soap operas are a marathon for those who write it and an amusement and a way of learning for those who watch them. The representations of certain realities made in soap operas do not condition, in most cases, the consumption of "A Serra" and "Bem-Vindos a Beirais".
Description
Keywords
“a Serra” “Bem-Vindos a Beirais” Audiência Estereótipos Interior de Portugal Produto Representação Telenovelas Televisão