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Programas Educativos De Televisão Para Crianças Brasileiras: Critérios De Planejamento Propostos a Partir Das Análises De Vila Sésamo E Rá Tim Bum

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Programas Educativos De Televisão Para Crianças Brasileiras: Critérios De Planejamento Propostos a Partir Das Análises De Vila Sésamo E Rá Tim Bum ADRIANA MARICATO DE SOUZA Programas educativos de televisão para crianças brasileiras: critérios de planejamento propostos a partir das análises de Vila Sésamo e Rá Tim Bum Dissertação apresentada ao Departamento de Cinema, Rádio e Televisão da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para a obtenção do título de Mestre em Ciências da Comunicação, sob orientação do Prof. Dr. Angelo Pedro Piovesan Neto São Paulo, SP - Brasil Junho de 2000 ADRIANA MARICATO DE SOUZA Programas educativos de televisão para crianças brasileiras: critérios de planejamento propostos a partir das análises de Vila Sésamo e Rá Tim Bum Dissertação apresentada ao Departamento de Cinema, Rádio e Televisão da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para a obtenção do título de Mestre em Ciências da Comunicação, sob orientação do Prof. Dr. Angelo Pedro Piovesan Neto São Paulo, SP - Brasil Junho de 2000 Comissão Julgadora: Prof. Dr. Ângelo Pedro Piovesan (CTR/ECA/USP) Prof. Dr. Edmir Perrotti (CBD/ECA/USP) Profa. Dra. Heloísa Dupas Penteado (FE/USP) À minha mãe, Sonia À minha avó, Yolanda, pela presença, generosidade e bom humor. Aos futuros netos e bisnetos delas. Agradecimentos À Fapesp, por viabilizar parte importante da investigação. Ao Prof. Dr. Angelo Pedro Piovesan Neto, pela liberdade e autonomia proporcionadas na orientação. Ao Prof. Dr. Edmir Perrotti, cujo belo trabalho nos laboratórios do Programa de Serviços de Informação em Educação (Proesi) inspirou o projeto de pesquisa original, que incluía o tema ‘incentivo à leitura’. Ao amigo Kai Ullmann, por ter me recebido nos Estados Unidos, me ensinado a programar o vídeo cassete e resgatado a personagem sueca Pippi Longstocking do limbo da minha memória. A Susan McCann Brown, Assistant Director of Research da Sesame Workshop, pela atenção, pelo envio de material e pela localização do arquivo sobre Vila Sésamo. A Thomas Connors, Curator, e Karen King, Assistant Curator do National Public Broadcasting Archives – University of Maryland, pelo envio da documentação completa sobre o Vila Sésamo. A todos os entrevistados, pelo tempo encontrado em suas agendas. A Ângela Pimentel, Ari Lima, Sylvia Leite, Ermínia Maricato e Márcio Yonamine, pelo apoio em aspectos estratégicos do trabalho. A Vera Vieira e Walter Del Picchia, pela leitura dos originais e sugestões. Ao meu pai, Manoel Reinaldo, pelo apoio no final da pesquisa. Resumo A história de dois programas infantis de grande repercussão no Brasil, Vila Sésamo (TV Cultura-TV Globo/1972) e Rá Tim Bum (TV Cultura/1990), indica quais são as características da produção educativa brasileira. Eles apresentam um conflito estrutural entre o método de planejamento educacional, de origem norte-americana, e o repertório cultural dos produtores e do público-alvo. A representação deslocada de infância, relações sociais e Educação dos programas educativos comprometeriam seu impacto sobre o público-alvo. Buscando estabelecer quais os critérios mais adequados para programas educativos nacionais, sugere-se a incorporação da perspectiva de Paulo Freire sobre Comunicação e Educação pelas produções brasileiras. Para Freire, o processo educativo se desenvolve a partir do repertório cultural do educando e o estimula a transformar seu ambiente. Num momento de consolidação da democracia na América Latina, entende-se educar através da televisão como construção simbólica e prática da cidadania, onde produtores e receptores dialogam e se reconhecem como sujeitos do mesmo processo social. Planejar programas com estes propósitos requer a criação de parâmetros a partir da prática da produção cultural no país e da realidade objetiva do público-alvo. Este trabalho sugere critérios básicos para futuras produções de produtos educativos dirigidos às crianças brasileiras, em contraposição ao condicionamento para o consumo proposto pelos programas importados, tidos equivocadamente como educativos. Palavras-chave: Programas Educativos Brasileiros, Televisão, Crianças Brasileiras, Vila Sésamo, Rá Tim Bum Abstract The history of two children programs of strong impact in Brazil, Vila Sésamo (TV Cultura- TV Globo/1972) and Rá Tim Bum (TV Cultura/1990), points out what the Brazilian educational production characteristics are. They show a structural conflict between the educational planning method of Northern American origin and the producers’ and target audience’s cultural background. Aimed at establishing the most adequate criteria for national educational programs, it is suggested that Paulo Freire’s perspective on Communication and Education by the Brazilian productions be incorporated. To Freire, the educational process starts from the learner’s cultural background and it stimulates him/her to transform his/her environment. At a democracy consolidation moment in Latin America, education through television is understood as symbolic and practical construction of citizenship, where producers and viewers dialogue and recognize themselves as agents in the same social process. Planning programs for educational purposes requires the creation of parameters departing from the country’s cultural production practice and from the target audience’s objective reality. This dissertation suggests basic criteria for making future educational products aimed at Brazilian children, which are opposed to the consumerism conditioned by imported programs mistaken as educational. Key words: Brazilian Educational Programs, Television, Brazilian Children, Vila Sésamo, Rá Tim Bum “Tell us about the children in the northern land you come from”, said Momo to the freckled face. “They love pluttification”, said Pippi. “It’s called multiplication”, said Annika. “And besides”, she said somewhat miffed, “no one can say that we love it.” “Northern children love pluttification,” Pippi insisted stubbornly. “Northern children become frantic if northern children don’t everyday get a large dose of pluttification.” “Bah!” said Tommy and Annika. (...) Momo didn’t quite understand what pluttification was and wanted to have a more detailed explanation. Tommy was just about to explain it, but Pippi got in ahead of him. “Yes, you see, it’s like this – seven times seven equals a hundred and two. Fun, eh” “it most certainly is not one hundred and two,” said Annika. “No, because seven times seven is forty-nine,” said Tommy. “Remember that we’re on Kurrekurredutt Island now,” said Pippi. “Here we have an entirely different and much more flourishing climate, so seven times seven gets much more here.” “Bah!” said Tommy and Annika again. Astrid Lindgren, Pippi in the South Seas1 1 “Conte-nos sobre as crianças do norte, de onde vocês vêm”, disse Momo à (criança) sardenta. “Eles adoram plutificação”, disse Pippi. “Chama-se multiplicação”, disse Annika. “Além do mais”, disse meio amuada, “ninguém pode dizer que nós amamos isso”. “Crianças do norte adoram plutificação”, Pippi insistiu teimosa. “Crianças do norte ficam atordoadas se não tomam uma grande dose de plutificação todo dia”. “Bah!” disseram Tommy e Annika. (...) Momo não entendeu direito o que era plutificação e quis uma explicação mais detalhada. Tommy ia começar a explicar, mas Pippi se adiantou a ele. “É, você veja, é mais ou menos isso – sete vezes sete igual a cento e dois. Engraçado, eh” “Certamente não é cento e dois”, disse Annika. “Não, porque sete vezes sete é quarenta e nove”, disse Tommy. “Lembrem-se que nós estamos na Ilha de Kurrekurredutt”, disse Pippi. “Aqui nós temos um clima completamente diferente e muito mais próspero, então aqui sete vezes sete é muito mais”. “Bah!” disseram Tommy e Annika de novo. Astrid Lindgren, Pippi nos Mares do Sul (tradução da autora) Sumário I – Introdução Resgate da história, resgate da identidade............................................................................... 13 Padrões internos de subordinação cultural.............................................................................. 19 II – Metodologia de Pesquisa Objeto...................................................................................................................................... 25 Produção de programas de televisão....................................................................................... 25 Procedimentos e Instrumentos Metodológicos....................................................................... 28 Referencial proposto pelo modelo de “Planejamento, Realização, Avaliação e Revisão de Produtos Educacionais” por Dick&Carey............................................................................... 28 Pesquisa Bibliográfica............................................................................................................. 32 Pesquisa Videográfica............................................................................................................. 34 Entrevistas............................................................................................................................... 35 Roteiro básico para entrevista................................................................................................. 36 Lista de entrevistados.............................................................................................................. 37 Análise de programas.............................................................................................................. 38 Sistematização escrita contínua............................................................................................... 39 III – Cultura Mediática
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