Da polêmica à espetacularização: a construção de um estilo do telejornalismo policial na região Nordeste

Abstract

This research aims to propose a recategorization of television style (Butler, 2010) with a focus on police journalism. We seek to analyze the existence of a television style in this type of program, which is generally characterized by the constant use of controversy, sensationalism, and spectacle (Debord, 1995). Additionally, we studied the posture and performance of the presenters, investigating how they construct their personas (Jung, 1990; Goffman, 1985) and shape the program's presentation according to a personal style. Our research object consists of analyzing the main news programs in each northeastern state, specifically local police news programs broadcast in the northeastern capitals and transmitted to their respective metropolitan regions, namely: Alagoas (Fique Alerta / TV Pajuçara and Plantão Alagoas / TV Ponta Verde), Bahia (Balanço Geral - BA / TV Itapoan), Ceará (Balanço Geral - CE / TV Metropolitana and Cidade 190 / TV Cidade), Maranhão (Balanço Geral - MA / TV Cidade and Hora D / TV Difusora), Paraíba (Cidade em Ação / TV Arapuan and Correio Verdade / TV Correio), Pernambuco (Por aqui / TV Jornal, Bora Pernambuco / TV Tribuna and Balanço Geral - PE / TV Clube), Piauí (Balanço Geral - PI / TV Antena 10 and Bora Piauí / TV Bandeirantes Piauí), Rio Grande do Norte (Balanço Geral - RN / TV Tropical and Patrulha da Cidade / TV Ponta Negra), Sergipe (Balanço Geral - SE and Tolerância Zero / TV Atalaia). Therefore, this research was conducted on police journalism programs produced and broadcast in the Northeast region, which mainly influence the local sphere. The research seeks to answer the following question: how do spectacle, controversy, and sensationalism permeate the environment of police journalism, creating a specific television style? Considering that television stands out as a means of connection, keeping people informed, entertained, and engaged. Even before the popularization of social media, it sought to engage viewers in its programming, adapting to meet different media demands. For a long time, a conception of television genres and formats was built and consolidated (Souza, 2004; Fechine, 2001). However, proposals, suggestions, and even impositions were made to the public, who, at some point, witnessed the capitalist logic being reversed, ceasing to be passive consumers and becoming active consumers with rights and opinions about the products (Canclini, 1995). In the field of communication, we recognize that as technologies advance and new communicative tools emerge, society discusses the end of previously used technologies. However, despite these changes, television continues to play a significant role, offering the public experiences and possibilities for media interaction. In conclusion, it was observed that, through the various possibilities enabled by new technologies and the multiplication of communication platforms for the production and transmission of police news programs, these programs found a unique way to produce their reports and communicate with their audience. We refer to this as the televisual style of police journalism, characterized by the use of controversy, sensationalism, and spectacle, which meet the informational demands generated by social dynamics.