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La Espectacularización De Las Guerras Televisadas

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La Espectacularización De Las Guerras Televisadas Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicación Departamento de Ciencias de la Comunicación I LA ESPECTACULARIZACIÓN DE LAS GUERRAS TELEVISADAS. Un análisis comparativo: Guerra del Golfo -Guerra de Irak en los informativos de TVE. Tesis doctoral presentada por María José Castillo Girón Director: Dr. Juan Jesús Menor Sendra Diciembre 2013 A Rebeca, por las horas robadas. Nadie me ha enseñado tanto. Nada me ha hecho crecer más. A las risas de Alejandra y Lucia porque nos dan la vida. A Santi por caminar conmigo, siempre… A mis padres; Ella, porque me dejó aprender de sus pasiones, esperanzas y desilusiones. Él hace tiempo puso en “mí sus complacencias” y desde entonces ha sido él origen, el empuje y el motor de ésta aventura. A mis hermanos por los juegos y carreras escondidos en los rincones de nuestra infan- cia. Y a Javier, Elena y Juan Carlos por sentirse hermanos. A mis sobrinos Patricia, Marcos, Javier (mi súper ahijado), Lucas, Bárbara, Celia y Marcos (nube) por recordarme lo que fui. Y a las tías Castillo, por ser nuestra memoria. A mis reinas Concha, Rosa, Julia y May, por los tacones gastados y los sueños compartidos. A Magdalena por poner mi cabeza en orden y calzarse mis zapatos cuando lo necesito. A Mercedes, Esther, Paco, Antonio y Jesús, por los buenos ratos entre ricas “paellas”. A Lourdes y Sandor, por compartir conmigo las estrellas de Águilas. A mis amigos, compañeros y maestros de Inter de Antena 3, Emilio, Corina, Chus, Paz, Jesús, Carlos, Koldo, Paco y Julia por vivir el periodismo en voz alta, por compartir sus temores y por enseñarme en- tre copa y copa el principio de éste camino. A Seño por su fuerza, su valentía, su entereza y su dignidad. A Malagón, por esa estupenda sonrisa cómplice que siempre estuvo ahí. A todos los que se acaban de incorporar a mi gran mochila de amigos/compañeros/ maestros en estos últimos años, Gema Pastor, Yolanda Ortiz de Guinea, Diana Fernández, José Luis Martín, Raúl Are- ces y Antonio García por poner la luz imprescindible para moverme en terrenos desconocidos. Y a Juan Menor, por arrojar los botes salvavidas necesarios cuando me ahogaba en mis mares de dudas. A los dos Ricardos de ésta, mi historia… porque desde allá donde estén, han guiado mis pasos. A Paloma Hidalgo y a todo el equipo de documentación de los servicios informativos de Televisión Española por su ayuda imprescindible y por permitirme “robarles” su espacio, “su magneto “y su tiem- po. A José Antonio Guardiola, Miguel Ángel de la Fuente Carlos Días Olivan, por ser la voz de los reporte- ros de guerra de Televisión Española en este trabajo. A los alumnos de la Universidad de Mayores de la URJC, porque hace 22 años, tenían (más o menos) 30 años y han podido poner palabras a la memoria común. Y finalmente a Cristina, mi Ángel de la guarda, solo ella sabe ayudarme a encontrar la sonrisa y la fuerza necesarias para seguir andando cuando el camino se complica. A todos. Gracias. “… El periodismo de guerra sigue consistiendo en lo mismo que en la guerra de Crimea, aunque la tecnología haya evolucionado. Hay que ir al sitio, ver lo que pasa y contarlo. No puedes obtener esa información sin estar ahí, en el lugar donde tirotean a la gente y donde pueden matarte…” Marie Colvin. Reportera. The Sunday Time. ÍNDICE 1. Introducción. 19 1.1. Planteamiento del problema 23 1.2. Objeto de estudio 25 1.3. Hipótesis de trabajo 29 1.4. Metodología 31 1.4.1. Diseño del método de análisis 32 1.4.1.1. Génesis del diseño de investigación. 36 1.4.1.2. Diseño análisis de contenido 38 1.4.1.2.1. Definición del corpus de investigación. Muestra 39 1.4.1.2.1.1. Fechas analizadas 39 1.4.1.2.1.2. Telediarios analizados 40 1.4.1.2.2. Unidades de recogida de datos y de análisis 41 1.4.1.2.2.1. Unidades de recogida de datos 41 1.4.1.2.2.2. Unidades de recogida de análisis 42 1.4.1.2.3. Matriz de análisis 43 1.4.1.2.3.1. Variables de las unidades de recogida de datos 44 1.4.1.2.3.2. Variables de las unidades de recogida de análisis 47 1.4.1.3. Entrevistas abiertas o en profundidad 50 1.4.1.4. Grupos de discusión 52 1.4.1.4.1. Fase de campo 53 1.4.1.4.2. Dinámica de grupo 54 I. MARCO TEÓRICO 2. Televisión e Información 60 2.1. Introducción. Características del discurso informativo de Televisión 61 2.1.1. El periodista en la construcción del relato informativo 63 2.1.2. Influencia del proceso de producción el discurso audiovisual 66 2.1.2.1. Las imposiciones del formato 69 2.1.3. La eficacia comunicativa del informador. Captar y mantener la atención 75 2.2. La mediación tecnológica en la representación de la realidad 78 2.2.1. Evolución de la tecnología de televisión 80 2.2.2. Acortar el tiempo y el espacio. el directo 87 2.2.2.1. El tiempo. El directo y la inmediatez 88 2.2.2.2. El espacio. El directo y la cercanía 92 2.2.3. La noticia en directo o el fin del periodismo 96 3. La guerra y la información en televisión 99 3.1. Introducción 101 3.2. Guerra e información 102 3.2.1. Información y propaganda 103 3.3. Información de guerra en Televisión 107 3.3.1. “en mi lenguaje”. La televisión ante la información de guerra. 113 3.4. Del infoentretenimiento al Espectáculo 116 3.4.1. Televisión, información y espectáculo 122 4. Contexto histórico. De la guerra del Golfo a la de Irak. 127 4.1. Guerra del Golfo. (1991) Antecedentes. 129 4.1.1. Invasión de Kuwait 130 4.1.2. Inicio de la guerra 134 4.1.3. España y su participación en la guerra del golfo 136 4.1.4. Panorama televisivo español en 1990. Los servicios informativos 139 4.2. Guerra de Irak o segunda guerra del Golfo. (2003) 142 4.2.1. Antecedentes 142 4.2.1.1. Periodo de inspecciones. de 1991 a 1998 142 4.2.1.2. Periodo de 1998 a 2003 145 4.2.2. España y su participación en la guerra de Irak 148 4.2.3. Panorama televisivo español en 2003. Los servicios Informativos de TVE. 152 II. ANÁLISIS 5. Análisis de contenido. Matriz de análisis. 157 5.1. Justificación de variables 160 5.1.1. Variables que evalúan el proceso de producción del medio 160 5.1.1.1. Equipos desplazados. Enviados especiales y corresponsales. 161 5.1.1.1.1. Tipo de transmisión de equipos desplazados. 162 5.1.1.2. Emplazamiento de enviados especiales o lugar de de conexión en directo. 167 5.1.1.3. Lugar de elaboración de la pieza informativa 168 5.1.2. Labor del reportero en la construcción del relato 168 5.1.2.1. Géneros periodísticos empleados 169 5.1.2.2. Elementos del discurso informativo 171 5.1.3. Aspectos relacionados con el formato televisivo 172 5.1.3.1. Conexiones en directo 172 5.1.3.2. Efectos visuales y sonoros 173 5.1.3.3. Duración de la pieza informativa 174 5.1.3.4. Orden de la pieza informativa 175 5.1.3.5. Procedencia de las imágenes 175 5.1.3.6. Tipo de apertura del informativo 176 5.1.3.7. Tema de imagen 178 5.1.3.8. Tema de contenido 179 5.2. Diseño de la matriz e interpretación de los datos. 184 6. Análisis de contenido de los telediarios emitidos durante la guerra del golfo e Irak. 185 6.1. Telediarios analizados durante las guerras del golfo e Irak 187 6.2. Proceso de producción 188 6.2.1. Despliegue de equipos desplazados. Enviados especiales y corresponsales. 189 6.2.1.1. Emplazamiento e intervenciones de los enviados especiales y corresponsales en la guerra del golfo 190 6.2.1.1.1. Distribución en escaleta del emplazamiento e intervenciones de enviados especiales y corresponsales durante la guerra del golfo 190 6.2.1.2. Tipo de transmisión realizada por el equipo desplazado en la guerra del golfo. 193 6.2.1.2.1. Distribución en escaleta del tipo de transmisión del equipo desplazado en la guerra del golfo 195 6.2.1.3. Emplazamiento e intervenciones del enviado especial y del corresponsal durante la guerra de Irak 196 6.2.1.3.1. Distribución en escaleta del emplazamiento del enviado especial y corresponsal durante la guerra de Irak 198 6.2.1.4. Tipo de transmisión realizada por el equipo desplazado en la guerra de Irak 199 6.2.1.4.1. Distribución en escaleta del tipo de transmisión realizada por el equipo desplazado a Irak. 202 6.2.1.5. Comparación de emplazamientos y tipo de transmisión de los equipos desplazados entre ambas coberturas 203 6.2.2. Lugar de elaboración de la pieza informativa 205 6.2.2.1. Lugar de elaboración de la pieza informativa durante la guerra del golfo 206 6.2.2.2. Lugar de elaboración de la pieza informativa durante la guerra de Irak 207 6.2.2.3. Comparación del lugar de elaboración de la pieza informativa en ambas coberturas. 209 6.3. Labor del periodista en la construcción del relato. 210 6.3.1. Géneros utilizados en la guerra del golfo 210 6.3.2.
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