la historia de los noticieros de televisión en colombia y la

LA HISTORIA DE LOS NOTICIEROS DE TELEVISIÓN
EN COLOMBIA Y LA CONSTRUCCIÓN DE UNA
MEMORIA CRÍTICA DE LA SOCIEDAD Y DEL OFICIO
PERIODÍSTICO 1954-1984 *
"#$%&'()*+,%*-%"$.$/'('*0%1$2(%'0%3*.*45'6%607%)#$%3*0()+89)'*0
*-%6%3+')'96.%:$4*+,%*-%;*9'$),%607%<*8+06.'(4%!= >?!=@>
Fabio López de la Roche
A#BCB% $0% D')$+6)8+6% ,% E()87'*(% 38.)8+6.$(F% G0'/$+('),% *-% A'))(58+H#F%
A$00(,./60'6F% :I()$+% $0% J0I.'('(% 7$% A+*5.$46(% A*.K)'9*(F% &'()*+'67*+F%
Analista Cultural y de Medios de Comunicación. Profesor Asociado del
Instituto de Estudios Políticos y Relaciones Internacionales -IEPRI- de la
G0'/$+('767%169'*06.%7$%3*.*45'6B%C'+$9)*+%7$%.6%:6$()+K6%$0%E()87'*(%
38.)8+6.$(%7$%.6%G0'/$+('767%169'*06.%7$%3*.*45'6B
3*++$(L*07$09'6M% N0()')8)*% 7$% E()87'*(% A*.K)'9*(% ,% O$.69'*0$(%
N0)$+069'*06.$(%?%NEAONF%36++$+6%PQ%1*B%> ?QP%E7'R9'*%S:608$.%J09KT6+U%
A'(*%PF%VR9'06%PQ?PQB%G0'/$+('767%169'*06.F%W*H*)IF%3*.*45'6B
X6+*9#$ @Y#*)46'.B9*4
RESUMEN
E.% 6+)K98.*% $ZL.*+6% 6.H80*(% 7$% .*(% L+*9$(*(% (*9'6.$(% ,% 98.)8+6.$(% [8$%
69*4L6\6+*0%$.%069'4'$0)*%,%$ZL60(']0%7$.%08$/*%4$7'*%S)$.$/'(']0U%
$0)+$% != >% ,% !=@>M% '0)$+069'*06.'T69']0F% 0*+)$64$+'960'T69']0F%
9*0()+899']0%7$%069']0B%C676%.6%'0$Z'()$09'6%7$%#'()*+'6(%4*7$+06(%^0*%
60$97])'96(%*%0*%9$0)+676(%$Z9.8('/64$0)$%$0%.*(%SH+607$(%#*45+$(U%*%
SL'*0$+*(U%7$.%4$7'*%*%.6%'078()+'6%)$.$/'('/6_F%%.6%68($09'6%7$%#'()*+'6(%
7$%.6%)$.$/'(']0%$(9+')6(%7$(7$%$.%6L6+6)*%9*09$L)86.%,%4$)*7*.]H'9*%7$%
.6(%4*7$+06(%9'$09'6(%(*9'6.$(F%$.%L+$($0)$%6+)K98.*%'0)$0)6%(8L.'+%$0%L6+)$%
$($%/69K*%9*0%806%L+*L8$()6%'0)$+L+$)6)'/6%6%4$7'*%964'0*%$0)+$%806%
#'()*+'6% 7$% .6% )$.$/'(']0% $0% 3*.*45'6% ,% .6% #'()*+'6% 4I(% $(L$9KR96%
7$.% H`0$+*% 0*)'9'*(*% )$.$/'('/*B% E.% 4*0*L*.'*% 5'L6+)'7'()6% 7$% .6%
*
E.%L+$($0)$%)+656a*%7$(6++*..6%6.H806(%7$%.6(%'7$6(%9$0)+6.$(%7$%.6%'0/$()'H69']0%“Historia de
los noticieros televisivos en Colombia 1954-1980UF%7'+'H'76%L*+%$.%68)*+%9*0%.6%R0609'69']0%7$%
3VD3NE13NJ;% $0)+$% bQQ % ,% bQQcF% 9*0% .6% 6($(*+K6% 7$.% L+*-$(*+% :'.9K67$(%d'T96K0*F% 9*0% .6%
L6+)'9'L69']0%7$%C'606%D*45606F%a*/$0%'0/$()'H67*+6%7$%.6%G0'/$+('767%7$%:$7$..K0F%J7+'606%
36++'..*%,%J06%:6+K6%:*0)6\6F%9*4*%6('()$0)$(%7$%'0/$()'H69']0B%D6%'0/$()'H69']0%($%'0(9+'5$%$0%
$.%46+9*%7$%.6(%69)'/'767$(%7$.%H+8L*%7$%'0/$()'H69']0%S3*480'969']0F%98.)8+6%,%9'876760K6U%7$.%
N0()')8)*%7$%E()87'*(%A*.K)'9*(%,%O$.69'*0$(%N0)$+069'*06.$(%NEAON%7$%.6%G0'/$+('767%169'*06.%7$%
Colombia.
López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
!
'0-*+469']0%)$.$/'('/6F%$.%*R9'6.'(4*%,%$.%9$0)+6.'(4*%S5*H*)60'T60)$U%
de los telenoticieros (de acuerdo con el análisis crítico de Luis Carlos
e6.I0% 7$% 4$7'67*(% 7$% .*(% 6\*(% cQ_% 6L6+$9$0% 9*4*% $.% 9*++$.6)*% 7$.%
+`H'4$0% 7$% .6% L6+'767% ,% 7$.% 4*0*L*.'*% .'5$+6.?9*0($+/67*+% 7$% .6(%
'0()')89'*0$(F% 96+69)$+K()'9*(% 7$.% ('()$46% L*.K)'9*% 7$.% f+$0)$% 169'*06.% %
^!= @?!=c>_B% J.H806(% )+60(-*+469'*0$(% 98.)8+6.$(% ,% L*.K)'96(% [8$%
($%#65+K60%L+*789'7*%7$(7$%.6(%L+I9)'96(%'0-*+46)'/6(%7$%)$.$/'(']0%,%
7$(7$%.6%L+*-$(']0%L$+'*7K()'96F%+$.69'*0676(%9*0%806%46,*+%6L$+)8+6%6%
.6%'0-*+469']0%+$H'*06.%,%9*0%806%9'$+)6%6L$+)8+6%L*.K)'9*?'0-*+46)'/6%
$0%.6%9*,80)8+6%7$%.*(%7'I.*H*(%7$%L6T%7$.%L+$('7$0)$%W$.'(6+'*%W$)6098+%
^!=@b?!=@g_%9*0%$.%:?!=F%($%$ZL.*+60%)645'`0%$0%$()$%)+656a*B
Palabras clave: Telenoticieros, Identidad Nacional, Cultura Política,
Frente Nacional.
ABSTRACT
"#$% L6L$+% $ZL.*+$(% (*4$% *-% )#$% (*9'6.% 607% 98.)8+6.% L+*9$(($(% 2#'9#%
699*4L60'$7%)#$%5'+)#%607%$ZL60('*0%*-%)#$%0$2%4$7'84%S)$.$/'('*0U%
-+*4% != >% )*% !=@>M% '0)$+06)'*06.'T6)'*0F% J4$+'960'T6)'*0F% 06)'*0?
58'.7'0HB% e'/$0% )#$% .69h% *-% 6% 4*7$+0% )$.$/'('*0% #'()*+,% '0% 3*.*45'60%
#'()*+'*H+6L#,%^0*)%60$97*)6.%*+%0*)%-*98($7%$Z9.8('/$.,%*0%)#$%SH+$6)%
4$0U% *+% SL'*0$$+(U% *-% )#$% 4$7'6% *+% )#$% "d% '078()+,_F% )#$% 65($09$% *-%
)$.$/'('*0% #'()*+'$(% 2+'))$0% -+*4% )#$% 9*09$L)86.% 607% 4$)#*7*.*H'96.%
6LL6+6)8(%*-%)#$%4*7$+0%(*9'6.%(9'$09$(F%)#'(%6+)'9.$%6))$4L)(%)*%L6+)'6..,%
R..%)#6)%H6L%2')#%60%'0)$+L+$)6)'/$%L+*L*(6.%5$)2$$0%6%#'()*+,%*-%)$.$/'('*0%
'0%3*.*45'6%607%)#$%4*+$%(L$9'R9%#'()*+,%*-%)$.$/'('*0%0$2(%H$0+$B%"#$%
)2*?L6+),% ^D'5$+6.?3*0($+/6)'/$_% 4*0*L*.,% *-% )$.$/'('*0% '0-*+46)'*0F%
H*/$+04$0)%607%9$0)+6.'(4%S5*H*)60'T60)$U%^W*H*)6?+$.6)$7_%*-%"d%0$2(%
^699*+7'0H%)*%)#$%9+')'96.%606.,('(%*-%D8'(%36+.*(%e6.60%'0%)#$%4'7?cQ(_%
6LL$6+(%6(%)#$%9*80)$+L6+)%()*+,%*-%)#$%L6+'),%+$H'4$%607%*-%)#$%.'5$+6.?
9*0($+/6)'/$%4*0*L*.,%*-%'0()')8)'*0(F%46'0%9#6+69)$+'()'9(%*-%)#$%L*.')'96.%
(,()$4%*-%)#$%Sf+$0)$%169'*06.U%^!= @?!=c>_B%;*4$%98.)8+6.%607%L*.')'96.%
)+60(-*+46)'*0(% )#6)% #6/$% $4$+H$7% -+*4% )#$% )$.$/'('*0% '0-*+46)'*0%
L+69)'9$(% 607% -+*4% a*8+06.'(4% ')($.-F% +$.6)$7% )*% 6% H+$6)$+% *L$00$((% )*%
+$H'*06.%'0-*+46)'*0%607%2')#%(*4$%L*.')'96.?'0-*+46)'/$%*L$0$((%'0%)#$%
4'7()%*-%)#$%L$69$%)6.h(%*-%A+$('7$0)%W$.'(6+'*%W$)6098+%^!=@b?!=@g_%2')#%
)#$%:?!=F%6+$%6.(*%$ZL.*+$7%'0%)#'(%L6L$+B
Key words: "$.$/'('*0% 1$2(F% 16)'*06.% N7$0)'),F% A*.')'96.% 38.)8+$F%
Frente Nacional.
Recibido: 20 de noviembre de 2010
Aprobado: 28 de noviembre de 2010
b
folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
INTRODUCCIÓN
Durante la F$+'6% 7$.% D'5+*% +$6.'T676% $0% W*H*)I% $0% $.% 4$(% 7$% 65+'.% 7$% bQQgF%
$.% L+*H+646% L$+'*7K()'9*% S&65.607*% 9.6+*% 9*0% .6% L+$0(6U% 9*0789'7*% L*+%
Darío Fernando Patiño en el canal Caracol, dedicó una de sus emisiones a
9*0/$+(6+%9*0%)+$(%$(9+')*+$(%a]/$0$(%9*.*45'60*(%6.+$7$7*+%7$%(8(%+$9'$0)$(%
L+*7899'*0$(%.')$+6+'6(B%E0%$(6%9*0/$+(69']0F%<*+H$%f+609*F%60)$%.6%L+$H80)6%
7$.% $0)+$/'()67*+% (*5+$% $.% '0)$+`(% 46('/*% #69'6% (8(% 0*/$.6(% ,% $0% L6+)'98.6+%
hacia Rosario Tijeras%9*4$0)656%[8$%`.%L$+)$0$9K6%6%806%H$0$+69']0%[8$%#65K6%
9+$9'7*% 56a*% $.% '0X8a*% 7$% .6% )$.$/'(']0% ,% [8$% ($H8+64$0)$% (8% *5+6% .')$+6+'6%
$+6%$0%$($%($0)'7*%48,%)$.$/'('/6%$%'09*+L*+656%$.$4$0)*(%7$%$0H609#$%9*0%
.*(% 08$/*(% Li5.'9*(% .$9)*+$(% 9+$9'7*(% $0% 9*0)$Z)*(% 7$% L+$7*4'0'*% 7$% 7'9#*%
medio.
E.% 9*4$0)6+'*% 7$% <*+H$% f+609*% $ZL+$(6% 80*% 7$% .*(% L+*9$(*(% H$0$+6.$(% [8$%
65*+764*(% $0% $.% L+$($0)$% )$Z)*% ,% $(% $.% 7$% .6% L+*H+$('/6% $ZL60(']0% (*9'6.%
,% 98.)8+6.% 7$.% 4$7'*% S)$.$/'(']0U% $0% 08$()+6% #'()*+'6% +$9'$0)$F% ,% $.% 7$% (8%
6L+*L'69']0%*%6('4'.69']0%(*9'6.%L*+%L6+)$%7$%.6(%687'$09'6(B%E0%$()$%96(*F%$.%
7$%9]4*%.*(%L+*L'*(%$(9+')*+$(F%.$/60)67*(%$0%80%645'$0)$%#'()]+'9*?98.)8+6.%
ya !"#$%$&'(!#%!% 46+967*% L*+% $.% 7$(L$H8$% tecno-cultural% 7$% .6% )$.$/'(']0F%
#60% '0)$+'*+'T67*% $()`)'96(F% .$0H86a$(F% $.$4$0)*(% 06++6)'/*(% ,% +$98+(*(%
$ZL+$('/*(% .'H67*(% 6% $()$% 4$7'*B% J80[8$% 0*% 4$% L+*L*0H*% $0% $()$% $(9+')*F%
606.'T6+%$.%'4L69)*%7$%.6%)$.$/'(']0%,%7$%.6%98.)8+6%7$%46(6(%)$.$/'('/6%$0%.*(%
$(9+')*+$(%,%.6%.')$+6)8+6F%4$%L6+$9$%'4L*+)60)$%4$09'*06+.*B%V)+*(%$(9+')*+$(%
9*4*%f$+0607*%d6..$a*%$0%SD6%d'+H$0%7$%.*(%;'96+'*(U%$.65*+60%.')$+6+'64$0)$%
(')869'*0$(% +$.69'*0676(% 9*0% $.% '4L69)*% 98.)8+6.F% `)'9*% ,% L*.K)'9*% 7$% .6%
)$.$/'(']0F% .'H67*% 6% .6% '0X8$09'6% 7$.% 06+9*)+IR9*F% $0% .*(% /6.*+$(% ,% 69)')87$(%
7$%.*(%a]/$0$(%7$%.6(%56++'676(%L*L8.6+$(%7$%:$7$..K0%78+60)$%.6(%7`9676(%7$%
.*(%@Q%,%=QF%6(K%9*4*%.6%'0X8$09'6%7$%.*(%4$7'*(%$0%.6%9*0RH8+69']0%7$%*)+*(%
)'L*(%7$%$ZL$+'$09'6%98.)8+6.%,%7$%4$4*+'6%H$0$+69'*06.%7'()'0)*(%7$%.*(%7$%.6(%
H$0$+69'*0$(%L+$9$7$0)$(B
V)+6(% '0)$++$.69'*0$(% $0)+$% )$.$/'(']0% ,% .')$+6)8+6% $0% $.% L$+K*7*% 65*+767*%
L*7+K60% )645'`0% $ZL.*+6+($B% G06% 7$% $..6(% $(% .6% ('H0'R969']0% ,% .*(% L+*9$(*(%
9*09+$)*(% 7$% -*+469']0% ,% 7$% 6L+$07'T6a$% 7$(6++*..67*(% 7$(7$% $.% )+656a*%
de dirección teatral de Bernardo Romero Lozano, Fausto Cabrera y otros
7'+$9)*+$(% L'*0$+*(% $0% .*(% 6\*(% Q% ,% gQ% ^6[8K% )+6(9$07$4*(% .6% .')$+6)8+6%
L6+6%'098+('*06+%$0%$.%)$6)+*%0*%(*.*%9*4*%L+*7899']0%.')$+6+'6%('0*%)645'`0%
en tanto medio de comunicación% $0% 80% ($0)'7*% 64L.'*% 7$.% )`+4'0*_F% ,% .6%
'4L*+)609'6%[8$%$(*(%L+*9$(*(%-*+46)'/*(%)8/'$+*0%$0%$.%7$(6++*..*%L*()$+'*+%
7$% .6% L+*7899']0% 7$% R99']0% )$.$/'('/6% ^)$.$0*/$.6% ,% 7+646)'T67*_% H+69'6(% 6%
.*(%.6+H*(%6\*(%7$%)+656a*%,%69)'/'767%9+$6)'/6%L6+6%..$/6+%6%.6%L60)6..6%9#'96%
.6(%*5+6(%,%$.%.$0H86a$%)$6)+6.$(F%L6+6%7$(6++*..6+%806%7+646)8+H'6%676L)676%6.%
López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
P
08$/*%4$7'*%,%806(%L68)6(%7$%7'+$99']0%69)*+6.%,%7$%69)869']0%L6+6%)$.$/'(']0%
^:6+)K0?W6+5$+*%,%O$,F%!=@=_B
V)+6% +$.69']0% 9*0$Z6% 9*0% .6% 60)$+'*+% 7$(7$% $.% L80)*% 7$% /'()6% 7$% (8% L*('5.$%
'0X8$09'6% $0% $.% L*()$+'*+% 7$(L$H8$% 7$% 806% L+*7899']0% 7$% R99']0% )$.$/'('/6%
7$% 96.'767% $0% $.% L6K(F% $(% .6% $ZL$+'$09'6% 7$% 676L)69']0% L6+6% )$.$/'(']0% 7$%
reconocidas obras literarias como El Buen Salvaje de Eduardo Caballero
Calderón, La Vorágine% 7$% <*(`% E8()6('*% O'/$+6F% María de Jorge Isaacs
y La Mala Hora% 7$% e65+'$.% e6+9K6% :I+[8$TB% D6% R7$.'767F% 68)*0*4K6F%
9*4L.$4$0)6+'$767% *% '0)$+)$Z)86.'767% 7$% $(6(% +$6.'T69'*0$(% )$.$/'('/6(% 9*0%
+$(L$9)*%6%.6(%*5+6(%.')$+6+'6(%(*0%6(80)*(%[8$%L*7+K60%606.'T6+($%,%7'(98)'+($F%
6(K% 9*4*% $.% $-$9)*% 7$% $(6(% +$6.'T69'*0$(% ,% (8% )+60(4'(']0% )$.$/'('/6% (*5+$%
.6% /6.*+69']0% L*+% .6% )$.$687'$09'6% 7$% .6% )+67'9']0% .')$+6+'6% ,% (*5+$% .*(%
L+*9$(*(% 4'(4*(% 7$% .$9)8+6% 7$% .6(% *5+6(B% E(% L+*565.$% [8$% .6% 676L)69']0% ,%
)+60(4'(']0% )$.$/'('/6% 7$% $(6(% SR99'*0$(% -80769'*06.$(U% ^;*44$+F% bQQ>_%%
#6,60% 9*0)+'58'7*% 9*0)$4L*+I0$64$0)$% 6% +$9+$6+% 08$()+6(% j9*480'767$(%
'46H'0676(j% 7$% .*% 069'*06.% $0% 9*07'9'*0$(% #'()]+'96(% ,% $0% 9*0)$Z)*(% )$90*?
98.)8+6.$(% ,% 4$7'I)'9*(% (8()609'6.4$0)$% 7'()'0)*(% 7$% .*(% $()87'67*(% L*+%
W$0$7'9)%J07$+(*0%^bQQ _%L6+6%$.%('H.*%kNkB
No nos detendremos sin embargo, en estos ejes de análisis recien nombrados.
C67*%[8$%$.%L+$($0)$%$0(6,*%$()I%7$7'967*%6%.6%#'()*+'6%7$%80%H`0$+*%489#*%
4$0*(%9*0$Z*F%L*+%.*%4$0*(%6L6+$0)$4$0)$F%9*0%.6%9+$69']0%$(L$9KR964$0)$%
.')$+6+'6% 986.% $(% $.% 7$% .*(% 0*)'9'$+*(% 7$% )$.$/'(']0% $0% 3*.*45'6F% $(% 7$(7$% $.%
L+'(46%7$%$()$%H`0$+*%[8$%6/60T6+`%6.H80*(%60I.'('(%,%+$X$Z'*0$(%,%L+$($0)6+`%
6.H806(% #'L])$('(% ,% 9*09.8('*0$(% L6+9'6.$(% (*5+$% .6% )$.$/'(']0% ,% .6% #'()*+'6%
(*9'6.F%L*.K)'96%,%98.)8+6.%7$%3*.*45'6%$0)+$%!= >%,%!=@>B%E()6(%#'L])$('(%,%
9*09.8('*0$(%L6+9'6.$(%(*0%$.%+$(8.)67*%7$%806%6L+*Z'469']0%'0)$+7'(9'L.'06+'6%
7$(7$%806%L$+(L$9)'/6%7$%$()87'*(%98.)8+6.$(F%6%.*%[8$%L*7+K64*(%7$0*4'06+%
806% (*9'*.*HK6% #'()]+'96% 7$% .6% L+*7899']0% '0-*+46)'/6% $0% )$.$/'(']0% $0% (8(%
'0)$++$.69'*0$(%9*0%.6%98.)8+6%,%9*0%.6%98.)8+6%L*.K)'96F%6%.6%9*0()')89']0%7$%.6(%
986.$(F%9*4*%/$+$4*(%6%9*0)'0869']0F%.6%69)'/'767%,%.6(%-809'*0$(%#'()]+'96(%
de los noticieros han contribuido notablemente, junto a otros actores como los
L6+)'7*(F%.*(%.K7$+$(%L*.K)'9*(%*%.*(%4*/'4'$0)*(%(*9'6.$(B%E.%L+$($0)$%$0(6,*%
L*0$% $0% 7'I.*H*% L*+% .*% )60)*F% .6% #'()*+'6% L*.K)'96% ,% 98.)8+6.% ^A`968)F% !=@=l%
D]L$T%7$%.6%O*9#$F%bQQP%,%bQQ>_F%.6%(*9'*.*HK6%7$%.6%98.)8+6%^W+800$+F%!=@@_F%
.6%#'()*+'6%7$%.*(%4$7'*(%46('/*(%7$%9*480'969']0%^3+*2.$,%,%%&$,$+F!==cl%
V+*T9*F% bQQbl% "+609#$% ,% ;I09#$T?W'*(96F% bQQ!l% m6L6)6% ,% V(L'06% 7$%
f$+0I07$TF% bQQ>l% 36++'..*% ,% :*+6F% bQQP_F% .*(% $()87'*(% (*5+$% $.% L$+'*7'(4*%
,%.6%0*)'9'6%)$.$/'('/6%^"89#460F%!=@Pl%&$++I0F%!==Ql%A8$0)$F%!==c%,%!===l%
V.'/6%,%;')a6F%!===l%d6+'*(%68)*+$(F%!=@ _F%$.%60I.'('(%7$.%7'(98+(*%^d60%C'ahF%
!==g_%,%.*(%6L*+)$(%7$%.6%9*480'9*.*HK6%.6)'0*64$+'9606%6%.6%)$*+K6%98.)8+6.%
^:6+)K0?W6+5$+*F%!==@l%;6+.*F%!==cl%%:*0('/I'(F%bQQQl%&$+.'0H#68(F%bQQb_B
>
folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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y recreación de las culturas e identidades nacionales, sobre todo desde géneros
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López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
LOS NOTICIEROS CINEMATOGRÁFICOS COMO
ANTECEDENTE HISTÓRICO Y COMO GÉNESIS DEL
GÉNERO “NOTICIERO TELEVISIVO”
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Sánchez Biosca llaman la atención acerca de cómo en NO-DO:
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g
folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
El trabajo de Tranche y Sánchez-Biosca es interesante también en cuanto a las
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(*9'$767$(%6%.6(%986.$(%($%7$()'0656F%9*0%.6(%-*+46(%7$%(8%98.)8+6%L*L8.6+%,%
7$.%$0)+$)$0'4'$0)*F%6(K%9*4*%9*0%(8(%9*09$L9'*0$(%(*5+$%$.%7$5$+%($+%7$%.6%
noticia.
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$.% 0*)'9'$+*% 9'0$46)*H+IR9*% 9*0()')8,]% 806% 4$T9.6% 7$% )+$(% '0H+$7'$0)$(M%
actualidades, variedades –entre ellas atracciones y curiosidades-, y material
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López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
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$()65.$9'$07*% 80% 9*0)69)*% /')6.% 9*0% $.% $(L$9)67*+B% D6% 0*9']0% 7$% S$-$9)*% 7$%
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&$+0I0%36()+'..]0%O$()+$L*%$0%$.%1*)'9'$+*%S;8+64$+'9606U?F%L6(607*%L*+%.6%
H$()86.'767%,%$.%460$a*%7$%.6(%460*(%[8$%'0)$+L$.60%$%'0/*.89+60%%6.%$(L$9)67*+%
^<860% e8'..$+4*% OK*(% 60)$(% ,% 78+60)$% .*(% 7'I.*H*(% 7$% L6T% 7$% !=@>?!=@ _F%
#6()6%.6%'0)+*7899']0%7$%.6(%#$+4*(6(%L'$+06(%,%.6%RH8+6%($0(86.%7$%d'+H'0'6%
d6..$a*F%489#*%60)$(%7$%.6(%*)+6(%L'$+06(%.6+H6(%,%$(5$.)6(%7$%d'$06%O8'T%%9*0%
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.*(%0*)'9'$+*(%7$%)$.$/'(']0B
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
TELEVISIÓN Y MEMORIA VISUAL DEL PAÍS
D6% '0/$()'H69']0% [8$% /$0'4*(% 7$(6++*..607*% L*0$% $0% $/'7$09'6% .6% 8+H$0)$%
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0*%(].*%.6%#'()*+'6%7$%.*(%0*)'9'$+*(%7$%)$.$/'(']0%('0*%)645'`0%.6%#'()*+'6%7$%
08$()+6%(*9'$767B%D*(%0*)'9'$+*(%)$.$/'('/*(%$0%L6+)'98.6+%L8$7$0%6L*+)6+%80%
9*0a80)*%$(L$9KR9*%7$%'4IH$0$(%,%)$Z)*(F%L*+)67*+$(%7$%06++6)'/6(F%$()'.*(%,%
$()`)'96(%(*9'6.$(F%9.6/$(%L6+6%.6%9*4L+$0(']0%7$%7'()'0)6(%`L*96(%,%L$+K*7*(%
7$%.6%#'()*+'6%9*0)$4L*+I0$6%7$%3*.*45'6B%
D6(% 0*)6(% '0-*+46)'/6(% 7$% .*(% 0*)'9'$+*(% 7$% )$.$/'(']0F% L$($% 6% ($+% $()*(%
460$a67*(%9*0%80%9+')$+'*%7$%7'()+'589']0%7$%98*)6(%L*.K)'9*?'0-*+46)'/6(F%0*%
$()I0% 7$7'9676(% (].64$0)$% 6% .6% L*.K)'96B% E..6(% $ZL+$(60% .6(% )$07$09'6(% 7$% .6%
4*76F%.*(%9#*[8$(%H$0$+69'*06.$(%7$%L67+$(%,%658$.*(%9*0%.6(%S9*969*.6(U%,%
.*(%S9*969*.*(UF%9*0%.*(%9#'9*(%,%9#'96(%SH*H]U%,%S,$,`UF%9*0%.6%$()+'7$09'6%
7$.% +*9h% % ,% 9*0% .6% LK.7*+6F% $.% 8(*% 7$% .6% 46+'#8606% ,% .6% .'5$+69']0% ($Z86.B%
Algunas notas del corpus de noticieros analizado muestran la difusión de
.6%4'0'-6.76F%'4IH$0$(%7$%.6(%a]/$0$(%-84607*F%%.*(%L6+)'98.6+$(%L$'067*(%,%
9*+)$(%7$%965$..*%[8$%8(6560%.6(%a]/$0$(%7$%.*(%gQ%,%$0%4$7'*%7$%)*7*%$()*%.6%
67[8'('9']0%L*+%.6%48a$+%96L')6.'06%7$%6[8$..*(%7K6(%7$%80%9'$+)*%7$(L6+L6a*%,%
7$%806%9'$+)6%68)*0*4K6%-+$0)$%6%.6%)+67'9']0%L6)+'6+96.B23
E.% 4'(4*% 7'(98+(*% /$+56.% 7$% .*(% L*.K)'9*(% )+67'9'*06.$(% $0% .6% )$.$/'(']0% 7$%
.*(% gQ% ,% cQ% )645'`0% 7$a6% /$+% 806(% +$)]+'96(% 7$.% L*7$+% 609.676(% $0% $()'.*(%
696+)*067*(% ,% -*+46.'()6(% 6(*9'67*(% 6.% 8(*% +$98++$0)$% 7$% $ZL+$('*0$(% ,%%
L6.65+6(%9*4*%S9*L6+)'76+'*(UF%SL6)+'9'*(UF%S'.8()+$%64'H*UF%S7'.$9)*%64'H*UF%
S+$/$+$07K('4*UF% S4$% L.69$vUF% .'H67*(% 6% 806% /'$a6% +$)]+'96% -*+46.'()6%
,% L6)+'6+96.% [8$% L+*565.$4$0)$% $()656% ,6% #69'$07*% 6H86% % $0% 4$7'*% 7$% .6%
4*7$+0'T69']0% 7$% .6% (*9'$767F% 7$% .*(% '++$4$7'65.$(% +$.$/*(% H$0$+69'*06.$(%
,% 7$% .6% L+*L'6% 9+'('(% 7$.% ('()$46% L*.K)'9*% 7$.% f+$0)$% 169'*06.% [8$% 680[8$%
9+*0*.]H'964$0)$% 7$5K6% 9*09.8'+% $0% !=c>F% ($H8K6% 0$H607*($% 6% 7$(6L6+$9$+%
9*4*%L+I9)'96%4*0*L*.'T67*+6%7$%.6%/'76%L*.K)'96%,%7$%.6%$ZL+$('*0%Li5.'96%
desde los medios de comunicacion.
E(% '078765.$% $0)*09$(% [8$% .6% 7*984$0)69']0% 687'*/'(86.% 6L*+)6% 80% L.8(%
[8$%9*45'067*%9*0%.*(%+$98+(*(%)+67'9'*06.$(%7$%.6%'0/$()'H69']0%#'()]+'96%
,% 9*0% .6% #'()*+'6% *+6.F% L8$7$% 9*0)+'58'+% 6% 806% +$9*0()+899']0% 489#*%
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806% #'()*+'6% 7$% .6% 98.)8+6% 9*.*45'606% 9*0)$4L*+I0$6F% 7$% .*(% 7'()'0)*(%
$0)+$9+8T64'$0)*(% H$0$+69'*06.$(% 7$% 06++6)'/6(F% 4$7'*(% ,% .$0H86a$(%
mediáticos, de las trayectorias de la identidad nacional, así como de
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7*984$0)6.%)$.$/'('/*B 24
López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
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CONCLUSIONES
E.%069'4'$0)*%,%7$(6++*..*%7$%.6%)$.$/'(']0%$0%3*.*45'6%9*0()')8,$%80%L+*9$(*%
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9*.*45'60*F% 6(K% 9*4*% $0% .*(% L+*9$(*(% 7$% '0)$+069'*06.'T69']0% ,% )+60('9']0%
social y cultural de la sociedad.
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4*()+6+%806%9'$+)6%4678+$T%9*4*%.$0H86a$F%$()`)'96%,%06++6)'/6%4$7'I)'96%[8$%
($%$ZL+$(6%L+'09'L6.4$0)$%$0%.6%L+*7899']0%7$%R99']0B
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como género (organización de sus sets, determinación de secciones, roles
7$%.*(%L$+'*7'()6(F%$)9_F%,%('%67$4I(F%7$0)+*%7$.%-*+46)*%7$%!g%44%6/60T60%
$0% .6% $ZL$+'4$0)69']0% /'(86.F% $()I0% 9*0()+$\'7*(% 7$% )*76(% -*+46(% L*+% (8%
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)+67'9'*0$(F%L*L8.6+'T6+*0%6+)'()6(%,%L$+(*06a$(%('H0'R96)'/*(%$0%*)+6(%$(-$+6(%
7$% .6% /'76% 069'*06.F% 9$.$5+6+*0% .*(% )+'80-*(% ,% +$6.'T69'*0$(% 7$% 08$()+*(%
7$L*+)'()6(F%6L*+)607*%$.$4$0)*(%7$%'0)$H+69']0%,%7$%9*#$(']0%069'*06.B
&69'6% R06.$(% 7$% .*(% cQF% L$+*% (*5+$% )*7*% 78+60)$% .*(% @QF% .*(% 0*)'9'$+*(% 7$%
)$.$/'(']0%$/*.89'*060%#69'6%-*+46(%7$%L+*7899']0%,%7$%+$L+$($0)69']0%7$%.6%
+$6.'767%069'*06.%4$0*(%9$0)+6.'()6(F%7$(6++*..60%('()$46(%7$%9*++$(L*0(6.K6(%
L$+460$0)$(% $0% .6(% L+'09'L6.$(% 9'8767$(% ,% 9*4'$0T60% 6% ($+% 80% L*9*% 4$0*(%
0*)'9'$+*(%5*H*)60*(%,%96L')6.'0*(B
El acercamiento a las regiones y el desarrollo desde los noticieros de informes
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Unidos.
REFERENCIAS
J9*()6F% DB% fB% ^bQQ _B% j3$.$5+69']0% 7$.% L*7$+% $% '0-*+469']0% *R9'6.B% D6% L+*7899']0%
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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FLACSO, Santiago.
36++'..*F%JB%,%3'+6%NB%^bQQP_B%&$9#*(%9*.*45'60*(%L6+6%*a*(%,%*K7*(%7$%.6(%J4`+'96(F%
Ministerio de Cultura, Bogotá.
3+*2.$,F% CB% ,% A68.% &B% ^!==c_B% D6% 9*480'969']0% $0% .6% #'()*+'6B% E7')*+'6.% W*(9#F%
Barcelona.
f'$.7'0HF% OB% ^!=cb_B% "#$% J4$+'960% 1$2(+$$.% !=!!?!=gcB% G0'/$+('),% *-% Vh.6#*46%
Press, Oklahoma
Herlinghaus, H. (2002). Narraciones anacrónicas de la modernidad. Melodrama e
'0)$+4$7'6.'767%$0%J4`+'96%D6)'06F%E7')*+'6.%386+)*%A+*L'*F%;60)'6H*B
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Nación. Historia de los medios de comunicación en Colombia, Museo Nacional de
Colombia, Bogotá.
:6+)K0?W6+5$+*F%<B%^!==@_B%C$%.*(%4$7'*(%6%.6(%4$7'69'*0$(B%W*H*)IM%3*0/$0'*%J07+`(%
Bello.
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,%R99']0%)$.$/'('/6F%e$7'(6F%W6+9$.*06B
López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
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Bogotá.
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Anagrama, Barcelona.
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Santiago.
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la Argentina, Ariel, Buenos Aires.
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FCE Colombia, Bogotá.
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Editorial Cátedra.
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de la información. Barcelona: Paidós.
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folios 24, 2010, Facultad de Comunicaciones, Universidad de Antioquia
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López- La historia de los noticieros de televisión en Colombia y la construcción de una memoria... (pp.51-79)
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