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Análisis De La Narración De Tve En Las Retransmisiones De Gimnasia Artística Femenina (Gaf) Entre 1978 Y 2019

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Análisis De La Narración De Tve En Las Retransmisiones De Gimnasia Artística Femenina (Gaf) Entre 1978 Y 2019 TRABAJO FIN DE MÁSTER FACULTAD DE CIENCIAS SOCIALES Y DE LA COMUNICACIÓN Máster Online en Periodismo Deportivo ANÁLISIS DE LA NARRACIÓN DE TVE EN LAS RETRANSMISIONES DE GIMNASIA ARTÍSTICA FEMENINA (GAF) ENTRE 1978 Y 2019. PROPUESTAS PARA LA MEJORA EN SU CALIDAD PERIODÍSTICA. Autora Cristina Martínez Jiménez Pontevedra, diciembre de 2019 TRABAJO FIN DE MÁSTER FACULTAD DE CIENCIAS SOCIALES Y DE LA COMUNICACIÓN Máster Online en Periodismo Deportivo ANÁLISIS DE LA NARRACIÓN DE TVE EN LAS RETRANSMISIONES DE GIMNASIA ARTÍSTICA FEMENINA (GAF) ENTRE 1978 Y 2019. PROPUESTAS PARA LA MEJORA EN SU CALIDAD PERIODÍSTICA. Autora Cristina Martínez Jiménez Pontevedra, diciembre de 2019 AGRADECIMIENTOS A todas las personas que de algún modo u otro han contribuido a la realización de este trabajo fin de máster, sobre todo a aquellas que comparten conmigo el aprecio por la gimnasia artística y el deseo de que su práctica deportiva y su seguimiento como afición puedan considerarse siempre actividades sanas y edificantes. «Gymnastics coverage doesn't have to be stupid». (Dvora Meyers, escritora). ÍNDICE 1 Introducción..............................................................................................................11 1.1 Hipótesis.........................................................................................................12 1.2 Objetivo general.............................................................................................12 1.3 Objetivos específicos.....................................................................................12 2 Marco teórico............................................................................................................13 2.1 El deporte de la gimnasia artística.................................................................13 2.2 Algunos riesgos de las disfunciones en el comentario deportivo..................14 2.3 Funciones y disfunciones de los medios de comunicación de masas..........15 2.4 Papel de la televisión.....................................................................................16 3 Metodología..............................................................................................................18 3.1 Sondeo...........................................................................................................18 3.2 Criterios de análisis........................................................................................22 3.2.1 Transcripción fonológica..................................................................................................23 3.2.2 Otras cuestiones..............................................................................................................23 3.3 Muestra...........................................................................................................24 4 Análisis. Detección de disfunciones.........................................................................26 4.1 Finales por aparatos del Campeonatos del Mundo de gimnasia artística femenina de Estrasburgo 1978..............................................................................26 4.2 Final de la Copa del Mundo de Zagreb 1982.................................................28 4.3 Ejercicios libres de los Juegos Olímpicos de Los Ángeles 1984 (Subdivisión de España)..................................................................................................................30 4.4 Ejercicios libres por equipos de los Campeonatos del Mundo de Róterdam 1987........................................................................................................................32 4.5 Campeonato de España de Las Rozas 1990................................................34 4.6 Finales por aparatos de los Juegos Olímpicos de Barcelona 1992..............36 4.7 Ejercicios libres por equipos del Campeonato del Mundo de Sabae 1995...38 4.8 Final del concurso completo individual de los Juegos Universitarios (Universiada) de Palma 1999.................................................................................40 4.9 Final del concurso completo individual de los Campeonatos del Mundo de Anaheim 2003........................................................................................................41 4.10 Final por equipos de los Juegos Olímpicos de Pekín 2008.........................44 4.11 Final por equipos de los Campeonatos de Europa de Sofía 2014..............46 4.12 Final por equipos de los Juegos Olímpicos de Río de Janeiro 2016..........48 4.13 Final del concurso completo individual de los Campeonatos del Mundo de Doha 2018..............................................................................................................50 4.14 Final del concurso completo individual de los Campeonatos de Europa de Szeczin 2019..........................................................................................................52 5 Conclusiones............................................................................................................54 6 Propuestas para la mejora de la calidad..................................................................63 6.1 Pronunciación de los nombres ......................................................................63 6.2 Aspectos estadísticos e históricos.................................................................64 6.3 Aspectos técnicos..........................................................................................65 6.4 Comentarios sobre la apariencia y sexismo en el lenguaje..........................66 7 Colofón......................................................................................................................68 8 Anexo.........................................................................................................................68 9 Referencias bibliográficas.........................................................................................69 1 INTRODUCCIÓN La gimnasia artística es un deporte considerado minoritario en España. Por su número de practicantes con licencia federativa nacional, en efecto, no es de los más populares, pero cuenta con un número importante de personas que la siguen y suele ser uno de los deportes con más audiencia televisiva durante los Juegos Olímpicos1. En países como Estados Unidos o Japón es un fenómeno de masas desde hace décadas, y tanto su versión bajo código FIG (Federación Internacional de Gimnasia, la que se ve en los Juegos Olímpicos) como con códigos adaptados (gimnasia universitaria, por ejemplo) se retransmiten con frecuencia por televisión en horarios de máxima audiencia y sin escatimar en medios2. Se trata, por otra parte, de uno de los deportes en los que la versión practicada por mujeres (más que dos categorías dentro del mismo deporte, podría decirse que la gimnasia artística masculina y la gimnasia artística femenina son disciplinas diferentes) tiene más practicantes y público que la de hombres3. No obstante, es uno de los deportes más castigados por los grandes medios de comunicación en España, empezando ya por su habitual confusión con la gimnasia rítmica4, que es una disciplina completamente diferente con competiciones aparte. 1 Fernández, J. M.. (2016, 15 de agosto). ¿Qué es lo más visto de los Juegos Olímpicos de Río hasta ahora? Bluper-El Español. Recuperado el 11 de agosto de 2019 de https://www.elespanol.com/bluper/noticias/deportes-mas-vistos-juegos-olimpicos-rio-janeiro 2 Brooks, A. (2019, 17 de abril). New Championship Format, Surround Coverage Highlights ESPN’s Presentation of 2019 NCAA Women’s Gymnastics Championship. ESPN Press Room. Recuperado el 11 de agosto de 2019 de https://espnpressroom.com/us/press- releases/2019/04/new-championship-format-surround-coverage-highlights-espns- presentation-of-2019-ncaa-womens-gymnastics-championship/ 3 D. Stanley Eitzen (2006). Fair and Foul: Beyond the Myths and Paradoxes of Sport. Rowman & Littlefield. p. 26. ISBN 978-0-7425-4562-5. 4 Medios generalistas importantes o incluso los especializados en deportes siguen incurriendo en este error. Un ejemplo reciente en AS (noticia sobre Simone Biles etiquetada como “gimnasia rítmica”): https://as.com/masdeporte/2019/08/09/videos/1565339825_549431.html Otro ejemplo del verano de 2019: el propio Olympic Channel confundió rítmica y artística durante los Juegos Africanos usando una fotografía de gimnasia rítmica (disciplina que no estaba incluida en esos Juegos) para ilustrar un resumen diario de una jornada en la que había competiciones de artística: https://www.olympicchannel.com/es/video/detail/resumen-del-10o-dia-juegos-africanos- rabat/ 11 Además, la gimnasia artística es de los deportes cuyos comentaristas de televisión incurren con frecuencia en disfunciones periodísticas (rompiendo códigos éticos y fallando en su labor informativa). Las más graves, por sus consecuencias, son infantilizar a deportistas, valorar los cuerpos y las decisiones estéticas de deportistas y caer en cierta desidia por comentar los aspectos técnicos o estadísticos del deporte, incluso por aprenderse los nombres y nacionalidad de quienes participan en la competición, centrándose en su lugar en la anécdota. Esta falta de rigor periodístico es algo de lo que se han quejado practicantes y afición de este deporte en muchas partes del mundo, y España no es una excepción. Si bien Televisión Española es probablemente el ente de nuestro país que más apoya a los deportes considerados minoritarios (Oliveros, 2019) y más trabaja por evitar la minorización, incurre en disfunciones éticas e informativas en sus narraciones
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