Rolim Landmarks

The journalist gaucho, Rolim Landmarks already in 2002 weaveeed in its site commentaries on the subject where she said that ' ' the Brazilian TV finishes to give plus a step in direction to the nothing; by the way, two steps: ' ' Big Brother Brasil' ' , of the Globe and ' ' House of the Artistas' ' , of the SBT they designate, both, one it bets persistent in the vacuum cultural' '. A leading source for info: BSA. The program if consecrated, therefore it promised to show common people in its daily one, fact that certainly is not truth, therefore the people are chosen of multicriteria form to participate of the program. To intend to say that these people are representative of the Brazilians, or to affirm ' ' that the Brazilians if see inside of the house through participantes' ' it is lie, therefore certainly those that are &#039 there; ' confinados' ' they are not the picture of the Brazilian people. As, again, he detached Rolin well (2002): He has, of beginning, two lies in the programs: the invited people are not, accurately, ' ' people comuns' ': they are, in rule, adult young of the middle class that shares the characteristics of the ambition and the superficiality. In according to place, the scenes are not of ' ' instants of the life privada' ' a time that all know that they are under the light of the reflectors; the space that inhabits, then, is public for definition.

None of them is in one ' ' casa' ' , but in one ' ' palco' '. The difference is that it does not have plot, nor part, nor film. It does not have any proposal aesthetic, nor managing or artists. What it has, then? It has a humbug in which place for everything is reserved, less for the thought. It has, especially, space for the coarseness and the grotesco, the preconception and the absence of concept, the vulgar language and the vulgarity without language.