OPERATIONAL RESEARCH TEXTS

What are the specifics of the report, reportage and interviews as journalism genres? The fact that, with a general preservation of interest in the news, the main thing in this respect is not the operational value of the information reported, but its interpretation. It is important to emphasize: the analysis in the report, the interview and the report is not an end in itself, but a naturally occurring result of a reproducible event or its commenting. Narrative-descriptive elements, not logical-rational elements, dominate in the report, report and interview. The fact recorded in the note can be returned to the newspaper page, to radio and TV broadcasts in the form of a developed material, informing about the details and details from the scene of the event, commenting and evaluating what is happening. Together with a note, a report, a report and an interview allow you to create a moving panorama of reality, to convey a sense of the dynamics of life. Mutually complementing each other, operational research texts not only give an idea of ​​the world around us, but also make it possible to grasp the logic of social development, help to understand the characteristics of people as participants in social processes.

The report is one of the most effective genres of journalism, because it combines the advantages of the rapid transmission of information with its analysis. The core-genre element here is a reflection of the event in the form in which it actually happened. Like any journalistic genre, reportage is characterized by a specific reproduction of time and space. The time in the report is discrete (intermittent), conditionally, because it does not correspond to the length of the real time of the event being described (in literature this time is called conceptual), but it always moves in one direction - from the beginning of the description of the event to its completion. This is a genre fabul (like a report): the basis of the narration is a consistent description of the event. Combined with visibility, that is, reproduction of details and details, the sequence of description creates the effect of the presence of the reporter at the scene. The effect of the presence is not an imitative device, but real evidence that the publicist describes the event, he personally observes.

This has to be recalled, since both theorists and practitioners from time to time argue about the nature of clarity in the report. In the mid-1970s, Gennady Bocharov, a well-known reporter for the Literary Gazette in those years, argued that a journalist could write a good report even without visiting the site of the event, but reconstructing it. M.I. Shostak, the author of a number of detailed works on the work of reporters, writes that the report "does not always need a consistent statement of chronological moments." And further: "The participation of the author in the event is very desirable" [11]. However, the report can not be written according to eyewitnesses. Reconstruction of the event - the prerogative of the sketch, sketches. The journalist is free to select the most significant, from his point of view, episodes of what is happening. But to choose a composition for narration that destroys the actual course of what happened is to destroy the genre: instead of a reportage, the reader will see correspondence with elements of the reportage, an article, a review, etc. The reporter has the right to provide evidence of other participants or eyewitnesses to the events, but they will only be a kind of quote in the text, which is dominated by the author. The author of the report is not necessarily the person in charge of the event (although it may be him, for example, in materials like “the reporter changes his profession”), but he is always an active observer and commentator on the action. Events in the report are not staged (as is sometimes thought), but reproduced in their entirety. In other words, reportage is a journalistic genre that gives a visual representation of the event through the direct perception of the author - an eyewitness or participant in the event.

Nature-forming elements of the story:

Ø Sequential reproduction of the event - the dynamism of the narrative, associated with the length of the action in time and space;

Ø visibility - creating a figurative picture of what is happening by using a substantive description of the details, bringing the details of the situation, reproducing the actions and replicas of the actors;

Ø marginal documentary - the report does not tolerate either reconstruction, or retrospection, or creative fiction (which is possible in a sketch and article);

Ø figurative analyticity - answering the question how the event took place, the publicist acts as a researcher (let us recall the famous reports of V. Gilyarovsky);

Ø emotionally colored style of narration, giving the story additional persuasiveness;

Ø an active role of the reporter’s personality, allowing not only to see the event through the eyes of the narrator, but also encouraging the audience to work independently of the imagination.

A classic example of the genre, confirming all of the above, is a report by V. Peskov “My river, my cranes ...” from the cycle “Meshcherskoye flood”. The journalist talks about his trip to the Prioksky Reserve. The material has an environmental theme: the man and the surrounding nature, its protection. Everything is subject to the opening of the topic: and the initial episodes are the canteen at the Shilovo station, where visitors are fed bream (““ Excuse me, the bream gives us kerosene, ”the waitress said. The bream did give kerosene”) and the story about the captain of the steamer, where he swims a journalist who turned his ship back so that the correspondent could take the necessary photographic frames, and a meeting with the armless tractor driver who tells the legend of a crane re bringing happiness. The dynamism of the narrative is attached to the fact that tons of spilled Oka. The time of action is from morning to evening. Report is densely populated by actors. Each of the characters outlined briefly, but for sure. “The captain has an anchor and a scar on his arm. There are dark spots on the face under the skin that leave coal and gunpowder. ” But "the old woman, who has chickens in a basket, and bagels on a string, like a ribbon with cartridges, are hanging over a sheepskin coat." Here is a girl, a princess sitting on a pile of bags and baskets and carefully holding a large mirror. Here is a policeman who "mows his eyes in the direction of the mirror and, plucking at last of courage, sits next to the girl."

Sands is telling the story leisurely - to match the unhurried spanking of steamer wheels. This unhurried pace itself has an internal reason: an inadvertently established team will then actively participate in the work of a journalist, suggest new objects for filming, raise migratory birds into the air ... Deck - “seventeen pairs of eyes” - a collective hero of the reportage: “Now the whole deck wants to see geese "..." After excitement, the deck becomes silent "..." The whole deck waves its hands, shouts "... And at the same time there are individual dashes for many fellow travelers, mainly through speech. “Well, how the newspaper will reach the Germans. They gaze at beauty and again ... ”- this was said by the grandmother. “I lie near Bryansk in a trench. Wet, lice nip the loins, cartridges on the bill, bowler polished tongue "- and this is from the story of an armless tractor driver. “It is necessary for a man to know, to love, and to protect his land. Then it is easier to die for her, and you want to live on it ... ”, says the captain. The boat sails, and the journalist reminds of this movement: “On tiny islands, in the middle of the flood, there are neat beacon houses with an obligatory number on the wall. 450 ... 463 ... 475 ". And now the journey ends: “The sea of ​​water in the evening silence became glassy. The red sun rolls hot water into the water. Now it touches, boils, steam goes ... "

Today they do not write like that. Other times are different rhythms. One thing invariably: the publicist constantly remembers that his task is to make the audience feel the atmosphere in which the event unfolded, to make it possible to see what he, the journalist, some time ago was himself a witness. You don’t have to invent anything in the report - you only need to be able to see, listen and analyze.

The specificity of the interview as a genre lies in the fact that in its text the point of view is dominated not by the author but by the interlocutor of the journalist. This does not mean that the voice of a publicist in an interview is not heard: first, the course of the conversation itself is skillfully sent by a journalist (the content and structure of communication are strictly subordinate to the tasks solved by the author), and secondly, the demonstration of the interlocutor’s point of view on the subject under discussion implies , reveals (sometimes - directly, sometimes indirectly) and the position of the correspondent. The art of interview is that the audience always gets the opportunity to relate the opinion of the publicist with the opinion of his interlocutor.

Interview forms are different: conversations, dialogues, monologues, polylogs, questionnaires ... But all this diversity in its essence is subordinated to two important tasks: to identify the point of view of the interlocutor on the subject (s) and talk about the interlocutor, to create his psychological portrait. The most important genre-forming feature of the interview is narrative subjectivization. At the heart of the text is the interlocutor's statement - his live speech, reflecting the peculiarities of the speaker's thinking. It is extremely important to catch and fix these features. The statement can be recorded as an operational response to the event that just happened (express interview, micro-interview). But it can also be a detailed monologue - an answer to a question that was previously formulated and transmitted to the interlocutor. This may be a conversation-dialogue in which both parties act as equal participants, discussing the events that concern them.

The technique of preparing for the interview and its conduct was discussed in the chapter on methods of collecting information. Here we will focus on the final text, which reflects the course of the conversation, and the mastery of the literary design of the material.

The text of the interview in most cases is a kind of commentary of what happened (or what is happening). It is dominated not so much a fact as an attitude towards him. Here is a typical example - the conversation of Maria Vardengi with the writer Boris Vasiliev “On the Question About Myself” (“Arguments and Facts”). Before us is not just a set of judgments of a popular writer, his portrait. The publicist is interested in Vasiliev’s attitude to the main issues of modern Russian life - to power, to the country's development, to the moral state of society. The main thing in the interview (for the sake of which it is conceived) is to induce the reader to account for his own life, to define moral guidelines, to help suppress the inner “whine” in himself. In this case, the journalist constantly varies questions to the interlocutor - personal and common. The necessary “binocular” effect arises: the point of view of a particular person - the writer Boris Vasilyev - is combined with the point of view of the author of the interview. And the focus of these two views is the position of an ordinary Russian citizen, to whom the material is addressed and who is one of his heroes. Here are fragments of the text.

“- Boris Lvovich, what do you think of the motto:“ My years is my wealth? ”- Nonsense. At seventy-five, twice as bad as at thirty-seven. That’s all. ” A purely biographical question fulfills a twofold goal: it reminds us that the conversation will go with an elderly person and suggests an extraordinary thinking interlocutor (usually elderly people talk about age-related wisdom). The following questions develop this thought: from the wisdom of age (“And the wisdom that comes with age?”, “Have you met really wise people yourself?”) The conversation turns to the problem of the wisdom of power (“You know, despite that you maintain respect for the current government "," You, Boris Lvovich, were actively involved in politics in the eighties. What are your impressions of the campaign in power? ") The writer says that he cares, constantly appealing to his own experience ("I once drove across China ... Everything is very reasonable there ..."; "Here we have a state farm nearby -" Sunny. " the deceased was a great friend of ours. The German was thoroughbred, knew how to work - the wonderful was the uncle, the wonderful worker ";" I survived the Ukrainian famine of the 30s: we lived in the Smolensk region, and he came right there "). This deprives Boris Vasiliev’s harsh statements of declarativeness. Other writers sometimes appear in the media as professors of truth. Vasiliev speaks vividly, relaxedly (“Guys, do you not understand, or what? .. What kind of China do we have, listen? .. Listen, there are three ways to live”). And the circle gradually opens: “On the Question About Me” - a caption with a trick. About ourselves means about each of us: “And notice: who is whining? Common man. That's why he is a philistine - he whines all his life and asks ... Don't you ask. You start with yourself. You are the starting point. ” This is confirmed by the well-known definition of the genre: an interview –– a conversation between a journalist and a person of public interest and intended for publication or broadcast on radio and television.

Once the report was attributed to purely informational materials. Today, some experts include it in the number of analytical genres. The textbooks of previous years saw the substantive side of the report in action expressed in a word: the text was written by a journalist who had attended a session of the council, at a meeting, at a conference. It was assumed that the description of the event in its entirety is possible not only in a strictly consistent, chronological form, but also in the form of a “bundling” of individual semantic nodes (thematic and analytical report). However, the main genre-bearing omen of the report was supposed to be a strictly documentary statement of what is happening.

Today, the report, noticeably cramped by other genres, tries to maintain its place in the press, extensively using elements of correspondence (pictures from life), reportage (presence effect), articles (system of reasoning of the author), comment (description of the fact with its subsequent analysis). The substantive basis of the report has also expanded - Sport-Express publishes reports on matches, tournaments, and competitions; in Izvestia, there are frequent reports related to the conduct of all-Russian actions (for example, campaigns for the return of deserters to their units); "Komsomolskaya Pravda", "Moskovsky Komsomolets", "Novaya Gazeta" publish reports telling about various events in the country's political, economic, and cultural life. Naturally, the traditional direct report, which records various meetings (government, Duma, local authorities), public meetings, etc., did not disappear.

The modern report has changed, but retains its generic genre features. What kind?

Ø The basis is the most complete story about a particular individual event, personally observed by the author;

Ø The narration is limited to a specific spatial-temporal framework covering the described event. This does not mean that the publicist cannot push the boundaries of his story, but such an extension looks like intentional blotting of additional episodes in the description of the course of the event;

Ø an essential informative element of the report is the detailing of the event, the presentation of details. And as the details and the details are not substantive descriptions of things or situations, but, as a rule, replicas of the actors;

Ø in order to emotionally influence the audience, the author is not obliged to mute the formal methods of “self-expression” (as you know, they are still obvious in the structure of the story, in the selection of details, in the individual features of the letter). Encouraging the audience to actively perceive the text of the report is associated with a direct demonstration of their own position.

Of course, the report as a genre is more rigorous in comparison with a report or an interview (its main task is an extremely objective presentation of what is happening), but within these limits the publicist does not necessarily act as an impassive informant. Lexical and semantic expression of the report is not contraindicated. Here is a typical example. The district newspaper Semilukskaya Zhizn (Voronezh Oblast) publishes a lengthy report (it occupies part of the first and the entire second page) of its correspondent from the session of the district council. Session summarizes the year and outlines the prospects for the next year. “The district does not promise anything good for 1999,” the journalist said gloomily, who suggested a heading with a characteristic intonation to the material: “To buy plywood. Yes, there is no money. And nowhere to fly. The text is divided into subtitles into several parts, which introduce into the disturbing atmosphere of the life of the district: Prologue, “Today is worse than yesterday! And tomorrow is worse than today, ”“ The whole life is a struggle — we can only dream of peace, ”“ Batteries ask for heat, and utilities — money, ”“ After a salary increase, will we become even poorer? ”, Epilogue.

Citing information about the results of the fiscal year and plans for 1999, the journalist uses the figures and facts drawn from the speeches of the session participants. The main thing here is the author's conclusion that “the district treasury cannot fulfill its obligations. Its accounts payable already amounted to 34.4 million, which is 2.6 times more than at the beginning of the year. ” Далее корреспондент подробно, упоминая фамилии выступавших, приводимые ими доводы и резоны, рассказывает, как принимался новый бюджет («Самым скандальным на сессии райсовета получился вопрос об утверждении нормативных затрат на содержание объектов социально-культурного и коммунально-бытового назначения»). Живые голоса выступающих («Вы мне предлагаете сейчас, 23 декабря, цену за корову, которую я у вас купил еще в январе») перекликаются с четко выраженным мнением самого публициста («Особых иллюзий по поводу того, что... дефицит будет покрыт манной небесной, никто не питал...», «Прогноз, как показывает практика последних лет, всегда оптимистичнее реальности», «Но тут буквально взмолились коммунальщики», «Сессия продолжала свою работу рекордно долго. Аж пять часов. По сути, ни одной доброй новости не прозвучало»). Журналист наполнил сухое древо протокола живыми соками актуальных проблем. Пространный текст читается с интересом, ибо не только передает реальную атмосферу сессии, но и погружает читателя в круг тех проблем, с которыми сталкивается район. Публицистические ресурсы отчета, как видим, достаточно велики.