El siglo XX terminó en 2016: en política, murió Fidel Castro; en periodismo, no logró contar el mundo. La gran ruina que vive el periodismo es que ha dejado de narrar la democracia, de hacer sentido de nuestra contemporaneidad, de contar las realidades de la gente común, de controlar al poder. Así, el oficio periodístico es una especie en vías de extinción en los grandes medios de referencia que han decidido convertirse en actores políticos que hacen lobby para intereses empresariales y han convertido a la información en sensacionalismo o farándula. Así, hemos llegado a un mundo donde el valor de la información periodística es bajo y la legitimidad y credibilidad mediática está arruinada. En este ensayo se argumenta que es necesario y urgente reinventar al periodismo y se plantean algunos atisbos de por dónde hacerlo.
This article discusses the role of media and communications in contributing to social progress, as elaborated in a landmark international project-the International Panel on Social Progress. First, it analyses how media and digital platforms have contributed to global inequality by examining media access and infrastructure across world regions. Second, it looks at media governance and the different mechanisms of corporatized control over media platforms, algorithms, and contents. Third, the article examines how the democratization of media is a key element in the struggle for social justice. It argues that effective media access-in terms of distribution of media resources, even relations between spaces of connection and the design and operation of spaces that foster dialogue, free speech and respectful cultural exchange-is a core component of social progress.
her huge support in managing the drafting process and bringing together the final version (with her skill and professionalism, the task would have been impossible!); Guy Berger of UNESCO and Anita Gurumurthy of ITforChange for their excellent comments on an earlier draft, as well as all those who contributed through IPSP's public comments process; and Emma Christina Montaña for her excellent work on the Spanish translation of the chapter.
RESUMOOs discursos e as agendas do século XX já não são úteis para explicar as mudanças da nossa época. Torna-se difícil explicar essa sociedade zombie -de vivos mortos no consumo, distantes da política e do humanismo -; com meios de comunicação desconectados das pessoas e convertidos em atores políticos; um capitalismo que premia a injustiça social e o cinismo; um sistema de justiça que é cada vez mais de direita e segue o deus moral do capital. Para esse novo mundo, precisamos levantar diferentes discursos e conceitos. É disso que trata o artigo: encontrar caminhos a partir dos quais a comunicação tem sido pensada na América Latina, olhar novamente os mapas noturnos de Martín-Barbero, desenvolver ideias sobre a mutação da comunicação. Palavras-chave: Comunicação, cultura, América Latina, Martín-Barbero, mutações ABSTRACTThe discourses and agendas of the twentieth century are no longer useful in explaining the changes of our time. It is difficult to explain this zombie society -of living dead people in consumption, far from politics and humanism; with media disconnected from the people and converted into political actors; a capitalism that rewards social injustice and cynicism; a system of justice that is increasingly right-wing and follows the god of capital. For this new world, we need to raise different discourses and concepts. This is what the article is about: finding ways from which communication has been thought in Latin America, looking again at Martín-Barbero's nighttime maps, developing ideas about the mutation of communication.
Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media with people in charge of breaking with the thematic and political homogeneity of the media, market and development machines. This essay will argue in favor of television as a space for expression by unstable identities, narrative experiments and unknown possibilities for audiovisual creation…only if «it takes the form» of women, indigenous peoples, African races, the environment, other sexualities…and plays on YouTube and new screens that are community-based and cellular. The most important thing is for television to move away from an obsession with content towards aesthetic and narrative explorations of other identities and into narratives that are more «collaboractive», with the possibility that they become the stories we want them to be.La televisión generalista e industrial es un viaje al pasado, al vacío de sentido y al aburrimiento por su conservadurismo moral, su pereza creativa, su ausencia de pensamiento y su pobre modo de entender el entretenimiento. Pero el monopolio televisivo de la pantalla pública se acabó, pues ahora todo ciudadano puede ser un productor, narrador audiovisual y tener pantalla. Así aparecen nuevas televisiones y otras pantallas que se atreven a contar distinto: un periodismo más subjetivo, testimonial y pensado desde las imágenes; una telenovela hiperrealista que se atreve a intervenir el melodrama desde la comedia, el documental y las culturas locales; unos medios de abajo y con la gente que se hacen para romper con la homogeneidad temática y política de las máquinas mediática, del mercado y del desarrollo. En este ensayo se argumenta a favor de la televisión como lugar de expresión de identidades inestables, experimentos narrativos y posibilidades inéditas para la creación audiovisual… solo si «toma la forma» de mujer, de lo indígena, afro, medio ambiental, otras sexualidades… y juega en nuevas pantallas como Youtube, lo comunitario y el celular. Lo más urgente es que la televisión pase de la obsesión por los contenidos a las exploraciones estéticas y narrativas desde las identidades otras y en narrativas más «colaboractivas» porque existe la posibilidad de ser los relatos que queremos ser.
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