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TV PSDB? | The Padre Anchieta PPP

They might be better off I think.
The way it seems to me
Making up their own shows,
Which might be better than TV …
–Talking Heads

Recent developments at São Paulo’s PBS quasi-equivalent, TV Cultura, continues to draw flack from the Ford Foundation-funded Observatório da Imprensa and other local observers.

As Wikipedia notes, and I translate

The adminstrative council of the Padre Anchieta Foundation comprises 47 members. The appointment of life-time and elected members are, in large part, influenced by the São Paulo state government.  The state’s role in the foundation’s decision-making process — said to violate its founding principles – has led to criticism by media analysts.

This is true: elected and appointed city and state officials share the dais with tenured professors at state-run universities, which do themselves no favors by playing along. I cannot bear to watch it, although I used to enjoy Roda Viva.

The naked truth is that the ruling PSDB has followed in the footsteps of its ideological twin in Mexico, the PAN: founded as a moralizing antidote to the machine politics of the PMDB and PFL — the PRI, in PAN’s case — it has slipped the very leash it sought to place on public immorality.

Heading this partial llist, Goldman and Matarazzo are one of the PSDB’s federal senators and the power behind the throne of São Paulo’s municipal government, respectively. Is he one of those Matarazzos? Yes, he is: a scion of the coffee barons, a sort of tropical Lorenzo de Medici.

Added to the mix most recently is commercially produced programming by the Folha de S. Paulo and the Editora Abril, both of them credibly — they are incredibly guilty, really — denounced as part of the political machine.

I find that a preliminary «link ecology» of TV Cultura’s Web presence neatly confirms this diagnosis. I have pruned the network of most redundant «social code» — Twitter, Facebook and other echo chambers …

Were it not for the risk of exposing them to the risks of heterodoxy, I could recount tales of friends in the arts and letters game who have been caught up in this ideological rip tide.

Among many interesting points of intersection with the public sphere is the six-year joint Instituto Microsoft Research-FAPESP research project [English] …

I promised myself I would take a closer look at the mixed-model — economia mista — governance structure of the Padre Anchieta Foundation — owner of CMAIS, the for-profit operator of TV Cultura.

A recent explanation of the Foundation’s current alliance strategy appears to subject its original charter to some intepretative acrobatics … I translate:

Current management of the Padre Anchieta Foudation believes that no public services can be provided without the aid of public authorities. By their very nature, our broadcasters, in order to remain independent of market forces, must accept funds from the state.

We also believe, on the other hand, that partnerships and sponsorships are key to ensuring the creation, implementation and maintenance of our projects, always with a view to producing content of the highest quality.

Remaining independent of market forces does not, however, mean insulating oneself from them completely. Public broadcasters, like any broadcaster, must remain alert to signficant changes in the market and signs of changing audience expectations which must be met in order to achieve quality.

But this is not enough. In order to grow and realize its educational and cultural mission, in a market that is increasingly competitive, our broadcasters must have rev revenue sources of its own based on contracts with various sectors of society, both public and private.

Since 2004 …

Still to translate …

A partir do ano de 2004 a Fundação Padre Anchieta lançou-se mais agressivamente no mercado, com o objetivo de gerar e ampliar receitas através de: 

  • Mídia Promocional e Institucional: venda de patrocínios e apoios culturais.
  • Venda de produtos e sub-produtos criados a partir de elementos da programação. Para tanto se criou a Cultura Marcas que, de forma profissional, moderna e arrojada encarregou-se desse trabalho, mantendo hoje parcerias com grandes empresas fabricantes e de comércio eletrônico.
  • Licenciamento e prestação de serviços específicos, como produção de vídeos institucionais.

What I find difficult to grok is the open admission that the foundation is engaged in both for-profit public relations — advocacy speech — and journalism at the same time.

I also have to say that lack of any financial statements alongthe lines of our own Form 990 makes a mockery of the canned speeches about transparency and speaking dollars and cents to power.

I will try to see if I can find any information on the state’s usabiility-nightmarish Imprensa Oficial Online. A simple search pulls up event and program listings published in the Official Diary, as though it were the Ilustrada of the Folha de S. Paulo …

Returning PDF documents as the result of database queries is pure usability sacanagem

A usefully direct analysis of TV Cultura’s first 40 years (PDF) is Liana Vidigal Rocha and Edna de Mello Silva’s … oddly, in Spanish …

La historia  de la TV Cultura puede ser dividida en cuatro fases diferentes. La primera comprende los primeros años de la emisora, cuando aún pertenecía a los Diarios Asociados, de Assis Chateaubriand y tenía como objetivos el lucro y la audiencia. La segunda fase se refiere al periodo en que la TV es comprada por el
gobierno del Estado de São Paulo y administrada por la Fundación Padre Anchieta. La tercera fase está vinculada a la gestión del periodista Roberto Muylaert y durante este periodo de gestión se puede afirmar  que estaba más cerca del concepto de televisión pública. Y la cuarta fase se inicia con la gestión de Jorge  da Cunha Lima y termina en el año de 2009, cuando se completa 40 años. Esta última etapa se caracteriza por la fuerte crisis financiera y por el incumplimiento de algunos artículos del estatuto de la Fundación Padre Anchieta. Se puede observar que la emisora fue foco de disputas de origen económicas, intelectuales y, sobretodo, políticas. La sucesión de gobiernos tuvo influencia directa en la estructuración y consolidación de la emisora que sufrió con la imparcialidad, la falta de autonomía y de recursos.