The need to listen to stories is inherent to man. From the cave, the history of man is the desire and the need to listen and discover the lives of others, the emotions of other people, the need to know how it finire.Questo master of the lives of others, the deep desires of others is simply that shape our culture. It is formed and enriched by the stories of people, the novels we read, movies we watch.
There have been stories written and oral histories. There are intellectuals (especially stories written) and ordinary people (users of oral histories. Over the years, television has been 'need for ordinary people to "know how it ends." The golden age of drama, in the 60 and 70 was a way to acculturate the masses but also, more simply, the answer to this need for story.
In the past quarter-century culture has partly broken Berlusconi these needs by creating new ones. It 'exploded in the 80's cravings fun, escape, to withdraw. The television commercial was married in the middle of this new demand (or it has the same clay, no one can say which of the two hypotheses is more sensible). The state television has quickly adapted to this new trend in television and the story has lost enamel and especially space. E 'remained the only fiction that fact over the last decade is the part of television's most successful. The rest is pure disengagement, syncopated rhythms, pills show, sketch quick. And so the TV has ceased to think. But that desire
primordial tale remained. We all want to know "how it will end," and we are beginning to understand that just want to take away this desire. The most sensitive part of the television has received, perhaps, these nebulae cravings in the air and ran for cover. In recent months, we see small signs of change in the trend: the desire of stories, the need to tell you once again. Here is a small list of signs by which this occurs return to the desire of storytelling: The monologues of Saviano, what else are they but stories with a beginning and a middle in the end we want to know? Big brother (one of the few "old" programs to resist) is more alive than ever as he recounts stories of emotions, most complex characters (the nomadic life troubled by Ferdinand, who won the last edition, for example). The account of policy making in his Mentana tg else is if you do not want to understand how it ends? It tells the parable of the politician Berlusconi who, as a story of a man, a real interest in the country. And then the great fiction, when they tell stories that speak of lives of men, have always notable successes. And the case Scazzi? Aside from the macabre to the true story, is it not the desire to know and understand what happens in families, even in those strange families in the fund could also be ours? And the perennial success of those who saw it, I think it's only interest in the story of real life stories. Other examples could be done.
I do not know if the age of the pupae and nerds, sketch of hit and run, speed mistaken for rhythm, inculturation, is actually falling. But I do know that the desire to listen, watch, read and understand the emotions of the human race is not dead, far from it: in this period a revival. E ' culture that does not want to die in this country has felt threatened and is raising its head.
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