In 1976 it had the premiere “Network. An implacable world” of Sidney Lumet. The movie turned out to be visionary in several aspects. On the one hand, it was advancing already the voracity of the means to catch viewers beyond any ethical consideration. In her we can see the transition of the informative programs towards a media version of the events and of the spectacle, observing the profitability of the delirium and the extravagancy.
In the select fragment, the veteran presenter Howard Beale, in that it foresees that it will be his last appearance in the means, realizes a speech on the indignation contained of the citizens, demanding to visualize his discomfort thereby to make it tangible. The spread live message for several televisions manages to deceive the censorship. Nevertheless, and there it is where the cynical dimension of the television appears, the producers soon see that this alteration of the masses can turn out to be commercial profitable, with what they leave space the presenter in order that it continues with his angry appearances.
It turns out interesting to state the power of suggestion of the television way that in this case manages to canalize the ire of the citizen infuriated in a collective act expressed in the public space. A public space that is moving increasingly to a virtual scene, which Zygmunt Bauman would name as
“the conversion of the social life in an electronic life”.1
The presenter manages to recover the urban as average scene of expression, though there is felt that it is a question of the chronicle of an advanced death. The act of penetrating the limits of the home (the opening of the windows) to provide with a public dimension to the protest turns out to be eloquent. The union produced by the screen gives a jump towards the conscience of group materialized in a physical common scene. The street, in few moments, happens to be understood as a flow of shouts and echoes. The power of the media was already present in the city, waiting for Facebook and Twitter, which were still for coming.
Ignacio Grávalos – Patrizia Di Monte. Architects (estonoesunsolar)
Zaragoza-Venezia. december 2016.
1 BAUMAN, Zygmunt. Vida de consumo. Fondo de Cultura Económica. Madrid, 2007.