CONTENTS
From the Author = 9
Acknowledgments = 11
Introduction = 13
Ⅰ. The Priority of Dramaturgy = 25
1. The essence of media thinking = 29
A. Dramaturgy - definition of the term and and its limitations = 29
B. The functioning of dramaturgy in television = 31
C. Making the concept pragmatic = 31
2. Plot and Suspense in the News = 34
A. Making the news "fresh" = 34
B. Journalistic practice, hard facts and "packaging" = 35
C. Audiovisual components of television and the experience of creative writing = 36
D. Infotainment and the standards of informing = 37
E. The boundaries of infotainment = 38
F. Defining and eliminating boredom = 39
G. The multiplication of the news = 40
3. The Quasi-Dramaturgy of Localness = 42
A. Determined by location = 42
B. Dearth of exciting events = 43
C. Fewer journalists - more mediocrity = 44
D. Faking it = 45
4. Between Sound and Picture = 46
A. The paradox of our visual and linguistic needs = 47
B. Making choices = 49
C. Sound as commentary to vision = 50
D. Sound vs picture = 51
E. Redundancy and necessity of words = 53
F. The status of the image = 54
G. Sound and picture - potential developments = 56
H. Indeterminacy of visual information and the need to make meaning explicit = 57
I. The role of sound in counteracting randomnenss of interpretation = 59
J. Attracting the viewer's attention = 60
K. The visual potential of words = 61
5. The Changing Style of Presenting Information = 62
A. Mental rootedness and hypothetical development = 63
B. The influence of viewers on television broadcasting = 66
6. Initiative and Creativity in Television Journalism = 77
A. Creativity as an element of initiative = 78
B. Affirmation of initiative in journalism = 79
C. Consequences of restrictions on creativity and initiative = 80
D. Attitude to the profession and metaphysics = 83
E. Responding to the myth of "individuated" programmes = 86
Ⅱ. Affirmation of the Art of Presentation = 89
1. The value of TV presenters = 89
2. Telegenity = 95
A. Appearance = 96
B. Personality = 115
C. Educating TV presenters - the preliminaries = 119
3. Pitfalls = 128
A. Telegenic pitfalls = 128
B. Physical hazards = 132
C. Psychological pitfalls = 136
4. Self-Presentation = 138
A. How to speak = 139
B. Establishing contact with the viewer = 144
C. Tiredness and the necessity to 'adrenalise' = 146
D. Openness to criticism = 147
E. Relationship with the television crew = 147
F. The profession of presenter as an art = 148
The Future = 153
Conclusion = 155
Bibliography = 157
Index of Names = 175
About the Author = 181
About the Book = 183
