All language subtitles for 12 - Character and identification I.eng

A long time ago,
television programs

were conducted
by large humans,

who spoke to children
as if they were teachers.

Somehow,
the television programs

replaced the classroom plan

and there was an adult
or an adult disguised

talking to the children present.

Little by little, that was changing.

While still in some way,

that was changing and they started
to be the boys and girls

the protagonists of the programs.

They started with animation

and then with "live action",
with live shows,

then the audience
started to identify with peers,

with characters that are like them.

So now let's talk
a little about identification

and how we can think
empathic, memorable characters,

with which our audience
will identify

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and so tell better stories.

Before getting fully
into the character,

let's talk a little
about the idea of identification.

It's a link
that we establish with the character,

which is a bit mysterious,
is a mystery.

To explain it very briefly
I chose a quote from Marlon Brando,

I saw her in the movie
"Listen to me, Marlon", which I recommend.

There he says he has something absurd

that people spend
the hard earned money

for entering a room where they sit
and look at a crystal screen

where images move and talk.

And the reason
that there are no lights in the cinema is

because you're there with your fantasy.

The person on the screen
does all the things you want to do.

Kiss that woman you want to kiss,
hit those who want to hit,

is brave the way you want to be. "

Marlon Brando
surely was very clear

that when he was
composing a character

was bringing to reality
the fantasy of a lot of people.

What we do
when we go to the movies is pay

to have things happen to us that in General
does not happen to us in real life.

Somehow, that link
that binds us with the protagonist

makes us live things

that is very difficult to live them
in our daily lives

Now, what's the use of all this

to think our content

or to think
our audiovisual project?

Let's see.

This staging
probably familiar to them.

is a teacher or a teacher
with a blackboard

talking to a student.

In this staging, the first children's programs were inspired
.

Safe Now come to mind

some formats
that had an animator or a cheerleader,

sometimes animeado,
sometimes accompanied by a giant stuffed toy

and that way there was a presenter
I was carrying a children's program.

There is an author named Valerio Fuenzalida
that I am going to quote.

He says: "There is an exhaustion
of the structural scheme

made at the beginning
of children's television,

where an adult was driving,
present on the screen

or with voice-over,
the children's television program.

This enunciator model
was taken from the school.

The adult teacher who teaches the child,

who must passively learn
of adult's wisdom. "

What Fuenzalida says

has to do with those formats
that we surely remember

of adults disguised as children
who are animating a children's program.

There are still some,

but those adults then
were replaced by characters,

many times animated characters,
at the beginning they were animals

and then they started being boys or girls

with which the viewers

began to identify
because they were equal to them.

How does this identification work?

Why is it that the viewer
identifies with that character?

What unites it?

Look at this staging.

This happens in the cinema

and something similar happens.
Now we'll see a new illustration

that will finish us
closing the concept,

but we just saw
what was happening in the classroom,

we are now seeing
what happens at the cinema.

Christian Metz says
that when we are in the cinema

we are in an instance
of submotricity.

is, we can not move

because the convention is that we can not
walk around the cinema, etc.,

but we must be
more or less still.

And hyperperception, that is, everything enters
through the sense of sight.

What Metz says is that this moment is
similar to when we are young

and we start looking at ourselves in the mirror,
which is the phase of Lacan's mirror.

Lacan says
that we are constituted as people

by starting
to differentiate ourselves from the others

and to recognize ourselves.

I say it in a very simple way.

Somehow, what Metz says is

if there will not be any similarity
in the way that, as humans,

we start to recognize
ourselves.

Through looking in the mirror

we realize
that we are no longer part of our mother,

but that we are subjects.

Will not there be some similarity between that
and the phenomenon that happens in the cinema

or the phenomenon
that happens on the screens?

We are not looking at ourselves in the mirror
,
but we look at each other on a screen maybe

and we also recognize ourselves as subjects

through the character
that appears on the screen.

Now how do you finish closing this?

This is the character
with whom we are identifying.

What happens if we take this to the classroom?

What if the teacher or the teacher,

instead of them
who are the source of knowledge

or try to make the students,
as spectators,

identify with them,

what happens if they show you a character,

someone who is much closer
to the audience or to the students

and with whom they
can identify?

Specifically, and doing the example
with "Zamba's amazing excursion",

what happened with the series in the classroom is

that the teachers started
to introduce to the topic of the story

through an animated series.

It's a series in which the students
and the students

identify with that character

and, in some way,
can, in quotation marks,

travel in the time of the hand
of a character who is like them.

Then then the teacher
can develop the subject much more,

but through
a previous positive experience.

Then, as much as we
think incredible stories,

a magnificent art,
gags and have other resources,

without a character that can establish

that identification link
with our spectators,

according to my point of view,
we are lost.

We need a strong character,
that is empathetic

and that can take the hand
to our audience

through the content
that we want to develop.

Let's see now
what happens to the characters

and how we can do
to think memorable characters.