The six semesters finance Patricia Fernández “in San Marino” and the scenes of Gaviota singing in the coffee plantations of Finlandia, Caldas, are some of the most memorable references Colombian television. And they are because the stories told in Betty, la fea (1999) and Coffee (1994) attracted both his audience that, at the time, each chapter became the subject of conversation in offices, universities and colleges in the country. They were a social phenomenon
Not only that. both productions, written by Fernando Gaitan, they achieved an unprecedented international fame still reaping the benefits. For example, Betty achieved a Guinness World Record in 2010 for being the most successful of all time thanks to its 28 adaptations and the transmission of the original in more than 180 countries novel. Coffee also came out in lots of places on the planet and, with the story of the ugly, leads the ratings on platforms like Netflix, where both are among the most viewed productions, racing series the likes of House of Cards, narcos and Orange Is the New Black.
Although later there were projects with very good rating, as Pasion de Gavilanes (2003), open heart (2010) and Escobar in Colombia, the pattern of evil (2012 ), among others, Colombians seem not to have fallen in love with a story.
the reasons range from lack of attractive librettos for the public, through the transformation of the television model in Colombia, until the appearance new entertainment platforms like Netflix, HBO subscription and YouTube.
One sector of the Colombian television industry believes that efforts are needed in the librettos, it is still not enough training of those who write. Ana Piñeres, producer CMO Producciones, “schools and training programs dedicated to screenplay writers and audiovisual librettos are almost nonexistent in the country.” However, it also recognizes that the exercise of the librettist is not only to write a good story, but also understand that it is looking for the public.
From other side, is considered to be librettists necessary, but not determinative. For example, great writers dramatized in Colombia as Julio Jimenez, Martha Bossio and Fernando Gaitan are empirical. In fact Dago Garcia, producer, film director and screenwriter, insists that contemporary writers have more opportunities and preparation than previous generations, as they have been able to study in the country and abroad, and that does not make best or worse librettists.
Ready or not, Garcia says he is open to criticism, in some cases, disconnection with the public. And matches Piñeres. “The screenwriters can be very technical but sometimes forget the needs of local audiences for wanting to replicate the series outside”
Another difficulty is the fear of writing novels that no adapt to market demands. That believes Martha Bossio, librettist large Colombian productions But I’m still the King (1984), Gallito Ramirez (1986) and San Mob (1987): “In the country there are very good storytellers, however, television is thinking much more in the business and less on giving freedom to the creative. “
a symptom that shows that something is wrong in the creative capacity of television channels is the remake of unforgettable novels like Sugar (1989 ), originally a production directed by Carlos Mayolo. His new adaptation has generated a debate about how much the initial idea was respected, but also just how scarce the new proposals.
The boom of reality shows and their success rating as shown by My name (2011), Expedition Robinson (2001) and Challenge, Cape Shark (2005), which are among the 20 productions more views in Colombian history, also show how telenovelas have lost prominence in prime time and viewers and not convinced entirely dramatized.
But there are also optimistic positions. For example, Fernando Gaitan speaks of a transition phase, which means that good stories will not cease. Even, dare to say that right now you can be cooking a big production. “Thus was born ‘Betty’: at the least expected moment and without imagining such international significance,” says
On the other hand, some voices emphasize that not all the responsibility falls on the role of scriptwriters. I would to look to the current model of television that affects the exercise of writing creatively
“there are always stories that are worthwhile, but television has tried to adapt telenovelas to format series. reduces dramatized more than 100 chapters to 60, “says Samuel Castro, writer, screenwriter and film critic. The industry demands more and more low-cost products and fast, affecting quality and prevents channels to risk launching innovative products.
The national channels bet them formulas that have worked for them, it is say, reality shows, narconovelas and biographies of people like Joe Arroyo, Marbella Street and the sisters Celia Cruz. These are projects that maintain a good rating and are entertaining, but do not go down in history. Therefore, as says Tatiana Andrade, screenwriter and librettist television, “he underestimates the audience in Colombia and those who want to see good stories today migrate to Netflix or HBO.”
The task of recovering the heart audience, rather than its rating, is in the hands of screenwriters, producers and national channels, who will apostarles to new stories unconventional. Although it can be a risky exercise in economic terms, is a first step for the country to fall in love again television, as they succeeded soap operas of yore.
The film does not escape
Although the Colombian film industry is going through its best, the scripts are still a pending task:
Several characters of national cinema, as Jaime Manrique, director of Laboratorios Black Velvet Tatiana Andrade, screenwriter and writer, and Franco Lolli, director of People of good (2015) agree that more work is needed and better in the stories and scripts of national productions. To do suggest.
– professionalise the screenwriter and try the role of directors not overshadow the librettos
– Harnessing the inexhaustible source of stories in Colombia and do good adaptations on the big screen
-. to strengthen and create programs to train writers across the country. Betting on specialization.
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