O objetivo desse estudo é compreender os saberes desenvolvidos nas práticas de trabalho e nas trajetórias de vida de um grupo de cinegrafistas, de uma emissora de televisão. A compreensão dos saberes desenvolvidos nas práticas do grupo pesquisado segue a perspectiva da aprendizagem baseada em prática à luz do knowing in practice. Para atingir o objetivo, se fez necessária, além da análise dos saberes e das práticas predominantes no cotidiano desses profissionais, a identificação de como, no desenvolvimento dessas práticas, os processos de aprendizagem estão relacionados. O estudo foi desenvolvido através da metodologia de histórias de vida, com a utilização de vídeos de matérias trazidos pelos próprios entrevistados, para que eles pudessem contar sobre suas experiências a partir de uma situação real e visível. As entrevistas foram realizadas, entre os meses de julho e agosto de 2014, com cinco cinegrafistas da mesma emissora de televisão, com tempos de profissão distintos, para possibilitar a análise de diferentes percepções. Seus relatos possibilitaram constituir o percurso profissional de cada entrevistado, identificando os saberes relacionados. A descrição do cotidiano de trabalho dos cinegrafistas entrevistados permitiu entender a relação entre os saberes constituídos, durante a história de vida de cada um, e a (re)produção das práticas e seus processos de aprendizagem. Evidenciou-se que práticas, saberes e aprendizagem aparecem simultaneamente, durante as rotinas de trabalho, quer através de subsídio verbal dos colegas mais experientes, quer através da observação e da vivência em diferentes situações, durante as gravações. A pesquisa sinalizou não somente a complexidade dos saberes envolvidos, por estarem vinculados a uma série de práticas heterogêneas, mas também peculiaridades da profissão foram desvendadas durante as conversas. Para desempenhar suas tarefas, os cinegrafistas adaptam seus corpos e consideram os equipamentos de gravação como uma extensão deles. Adaptam também a mente, pois as gravações exigem grande esforço cognitivo, relacionado à capacidade de improviso, ao controle das emoções e ao julgamento do que é esperado pelo telespectador. O estudo mostrou a possibilidade de articulações teóricas entre os conceitos do knowing in practice e a realidade vivenciada pelos cinegrafistas. Indicou também que os saberes são complexos e estão vinculados a uma rede de práticas; são aprendidos e desenvolvidos por meio das relações e das experiências e impulsionados pelas necessidades de cada imagem a ser capturada. / The aim of this study is to understand the knowledge developed in working practices and life trajectories of a cameramen group of a television station. The understanding of the knowledge gained in the activities of the group observed is based on the learning perspective of practice-based in the light of knowing in practice. In order to achieve the goal, it was necessary to analyze the prevailing knowledge and practices in the daily life of these professionals. It was also necessary to identify how the learning processes are related in the development of these practices. The study was conducted by using the methodology of life stories, by using videos of materials brought by the interviewees so that they could narrate their experiences from a real and visible situation. The interviews were carried out between the months of july and august 2014, with five cameramen from the same television station with different career time to enable the analysis of different perspectives. Based on the reports, it was possible to structure the career path that each interviewee came from, identifying the related knowledge. The description of the daily work of the cameramen allowed the understanding of the relationship between the knowledge acquired during the life story of each one and the (re) production practices and their learning processes. It was possible to prove that practices, knowledge and learning appear simultaneously during their work routines, be it with the verbal assistance of more experienced colleagues or through the observation and experience in different situations during the recording. Not only did the research indicate the complexity of the knowledge involved, which is linked to a number of heterogeneous practices, but also showed the industry peculiarities which have been elucidated during the conversations undertaken. In order to perform their tasks, the filmmakers adapt their bodies, already considering the recording equipment as an extension of them, and also adapt their minds, because the recordings required a great cognitive effort, related to the ability to improvise, to control emotions and to judge what is expected by the viewer. The study indicated the possibility of theoretical links between the concepts of knowing in practice and the reality experienced by the cameramen. It also indicated that knowledge is complex and linked to a network of practices; it is also learned and developed through relationships and experiences, which are driven by the needs of each image to be captured.

O objetivo desse estudo é compreender os saberes desenvolvidos nas práticas de trabalho e nas trajetórias de vida de um grupo de cinegrafistas, de uma emissora de televisão. A compreensão dos saberes desenvolvidos nas práticas do grupo pesquisado segue a perspectiva da aprendizagem baseada em prática à luz do knowing in practice. Para atingir o objetivo, se fez necessária, além da análise dos saberes e das práticas predominantes no cotidiano desses profissionais, a identificação de como, no desenvolvimento dessas práticas, os processos de aprendizagem estão relacionados. O estudo foi desenvolvido através da metodologia de histórias de vida, com a utilização de vídeos de matérias trazidos pelos próprios entrevistados, para que eles pudessem contar sobre suas experiências a partir de uma situação real e visível. As entrevistas foram realizadas, entre os meses de julho e agosto de 2014, com cinco cinegrafistas da mesma emissora de televisão, com tempos de profissão distintos, para possibilitar a análise de diferentes percepções. Seus relatos possibilitaram constituir o percurso profissional de cada entrevistado, identificando os saberes relacionados. A descrição do cotidiano de trabalho dos cinegrafistas entrevistados permitiu entender a relação entre os saberes constituídos, durante a história de vida de cada um, e a (re)produção das práticas e seus processos de aprendizagem. Evidenciou-se que práticas, saberes e aprendizagem aparecem simultaneamente, durante as rotinas de trabalho, quer através de subsídio verbal dos colegas mais experientes, quer através da observação e da vivência em diferentes situações, durante as gravações. A pesquisa sinalizou não somente a complexidade dos saberes envolvidos, por estarem vinculados a uma série de práticas heterogêneas, mas também peculiaridades da profissão foram desvendadas durante as conversas. Para desempenhar suas tarefas, os cinegrafistas adaptam seus corpos e consideram os equipamentos de gravação como uma extensão deles. Adaptam também a mente, pois as gravações exigem grande esforço cognitivo, relacionado à capacidade de improviso, ao controle das emoções e ao julgamento do que é esperado pelo telespectador. O estudo mostrou a possibilidade de articulações teóricas entre os conceitos do knowing in practice e a realidade vivenciada pelos cinegrafistas. Indicou também que os saberes são complexos e estão vinculados a uma rede de práticas; são aprendidos e desenvolvidos por meio das relações e das experiências e impulsionados pelas necessidades de cada imagem a ser capturada. / The aim of this study is to understand the knowledge developed in working practices and life trajectories of a cameramen group of a television station. The understanding of the knowledge gained in the activities of the group observed is based on the learning perspective of practice-based in the light of knowing in practice. In order to achieve the goal, it was necessary to analyze the prevailing knowledge and practices in the daily life of these professionals. It was also necessary to identify how the learning processes are related in the development of these practices. The study was conducted by using the methodology of life stories, by using videos of materials brought by the interviewees so that they could narrate their experiences from a real and visible situation. The interviews were carried out between the months of july and august 2014, with five cameramen from the same television station with different career time to enable the analysis of different perspectives. Based on the reports, it was possible to structure the career path that each interviewee came from, identifying the related knowledge. The description of the daily work of the cameramen allowed the understanding of the relationship between the knowledge acquired during the life story of each one and the (re) production practices and their learning processes. It was possible to prove that practices, knowledge and learning appear simultaneously during their work routines, be it with the verbal assistance of more experienced colleagues or through the observation and experience in different situations during the recording. Not only did the research indicate the complexity of the knowledge involved, which is linked to a number of heterogeneous practices, but also showed the industry peculiarities which have been elucidated during the conversations undertaken. In order to perform their tasks, the filmmakers adapt their bodies, already considering the recording equipment as an extension of them, and also adapt their minds, because the recordings required a great cognitive effort, related to the ability to improvise, to control emotions and to judge what is expected by the viewer. The study indicated the possibility of theoretical links between the concepts of knowing in practice and the reality experienced by the cameramen. It also indicated that knowledge is complex and linked to a network of practices; it is also learned and developed through relationships and experiences, which are driven by the needs of each image to be captured.

O objetivo desse estudo é compreender os saberes desenvolvidos nas práticas de trabalho e nas trajetórias de vida de um grupo de cinegrafistas, de uma emissora de televisão. A compreensão dos saberes desenvolvidos nas práticas do grupo pesquisado segue a perspectiva da aprendizagem baseada em prática à luz do knowing in practice. Para atingir o objetivo, se fez necessária, além da análise dos saberes e das práticas predominantes no cotidiano desses profissionais, a identificação de como, no desenvolvimento dessas práticas, os processos de aprendizagem estão relacionados. O estudo foi desenvolvido através da metodologia de histórias de vida, com a utilização de vídeos de matérias trazidos pelos próprios entrevistados, para que eles pudessem contar sobre suas experiências a partir de uma situação real e visível. As entrevistas foram realizadas, entre os meses de julho e agosto de 2014, com cinco cinegrafistas da mesma emissora de televisão, com tempos de profissão distintos, para possibilitar a análise de diferentes percepções. Seus relatos possibilitaram constituir o percurso profissional de cada entrevistado, identificando os saberes relacionados. A descrição do cotidiano de trabalho dos cinegrafistas entrevistados permitiu entender a relação entre os saberes constituídos, durante a história de vida de cada um, e a (re)produção das práticas e seus processos de aprendizagem. Evidenciou-se que práticas, saberes e aprendizagem aparecem simultaneamente, durante as rotinas de trabalho, quer através de subsídio verbal dos colegas mais experientes, quer através da observação e da vivência em diferentes situações, durante as gravações. A pesquisa sinalizou não somente a complexidade dos saberes envolvidos, por estarem vinculados a uma série de práticas heterogêneas, mas também peculiaridades da profissão foram desvendadas durante as conversas. Para desempenhar suas tarefas, os cinegrafistas adaptam seus corpos e consideram os equipamentos de gravação como uma extensão deles. Adaptam também a mente, pois as gravações exigem grande esforço cognitivo, relacionado à capacidade de improviso, ao controle das emoções e ao julgamento do que é esperado pelo telespectador. O estudo mostrou a possibilidade de articulações teóricas entre os conceitos do knowing in practice e a realidade vivenciada pelos cinegrafistas. Indicou também que os saberes são complexos e estão vinculados a uma rede de práticas; são aprendidos e desenvolvidos por meio das relações e das experiências e impulsionados pelas necessidades de cada imagem a ser capturada. / The aim of this study is to understand the knowledge developed in working practices and life trajectories of a cameramen group of a television station. The understanding of the knowledge gained in the activities of the group observed is based on the learning perspective of practice-based in the light of knowing in practice. In order to achieve the goal, it was necessary to analyze the prevailing knowledge and practices in the daily life of these professionals. It was also necessary to identify how the learning processes are related in the development of these practices. The study was conducted by using the methodology of life stories, by using videos of materials brought by the interviewees so that they could narrate their experiences from a real and visible situation. The interviews were carried out between the months of july and august 2014, with five cameramen from the same television station with different career time to enable the analysis of different perspectives. Based on the reports, it was possible to structure the career path that each interviewee came from, identifying the related knowledge. The description of the daily work of the cameramen allowed the understanding of the relationship between the knowledge acquired during the life story of each one and the (re) production practices and their learning processes. It was possible to prove that practices, knowledge and learning appear simultaneously during their work routines, be it with the verbal assistance of more experienced colleagues or through the observation and experience in different situations during the recording. Not only did the research indicate the complexity of the knowledge involved, which is linked to a number of heterogeneous practices, but also showed the industry peculiarities which have been elucidated during the conversations undertaken. In order to perform their tasks, the filmmakers adapt their bodies, already considering the recording equipment as an extension of them, and also adapt their minds, because the recordings required a great cognitive effort, related to the ability to improvise, to control emotions and to judge what is expected by the viewer. The study indicated the possibility of theoretical links between the concepts of knowing in practice and the reality experienced by the cameramen. It also indicated that knowledge is complex and linked to a network of practices; it is also learned and developed through relationships and experiences, which are driven by the needs of each image to be captured.

一般人總以為電視新聞攝影記者的主要任務，只是拍攝影像。倘若換個角度觀察，記者既要擷取新聞畫面、又要編輯影像，以配合文字語音敘事。因此電視新聞攝影工作，既是建構新聞內涵，也是發現與解決實務問題的過程。攝影記者最困擾的問題之一，在於當畫面影像不足以搭配文字和語音時，如何適時彌補「破口」(Gap)。因此，攝影記者工作重點之一在彌補素材不足。 本研究所關注的問題是：攝影記者工作的主要情境為何？他們如何運用策略和情境互動，以解決素材不足的困境？本研究從資訊尋求、配置智能，以及活動理論等觀點切入，並透過深度訪談和參與觀察，以蒐集資料，以解答本研究關注的問題。 記者尋找畫面資料素材，是知識、策略和情境互動的歷程；一方面，攝影記者累積工作知識，定義資訊缺口、並選擇資料來源；另一方面，記者也因應情境變化、隨時取捨資料、並調整先前資料蒐集策略。 攝影記者能力並不應該只是呈現在操控機具、或卡位、搶拍畫面的能力；更重要的或許是臨機應變、運用資源彌補畫面與文字落差的資訊蒐集能力。研究成果可以讓我們重新思考未來電視新聞攝影教育和訓練的課程內涵。 / The Cameramen gathers visual formation for TV news. They gather not only “fresh” clips on the spot, but also “classic” ones from archives and other sources. Both requires cameramen to find resources surround and make decisions. Clip seeking can be identified as one of the major characteristics of cameramen’s work. The purpose of this study is to find how cameramen fill up insufficient resources for their daily reporting activities: mainly, what contexts are they situated and how they develop the strategies to respond the contexts? This researcher collected data, in two critical cases, by employing depth interviews as well as participant observation. Controlling cameras and capturing visuals may only count for a small part of cameramen’s required talents. Finding discontinuity and meeting the gap requires cameramen solve problems by identifying and organizing resources in order to in changing environment. Cameramen are more reflexive practitioners than device operator. This result may lead us to revisit design of TV journalism curriculum.

《睜開左眼》真實紀錄了國內四位電視台記者太短又太長，太急又太慢的職業生命。都說記者是無冕王，其實他們像乞丐般一整天蹲在特偵組前面，只為乞求一個不到5秒鐘的約談畫面；或者配合業主拍攝美美的業配新聞。對於一個擔任15年把最精華的人生歲月都給了新聞工作的電視新聞攝影記者來說，究竟「什麼樣的事物是生命當中最重要的註腳」？ 長久以來，觀眾所看到的電視新聞都經過了不只一道的壓縮與過濾，事件真實的樣貌當然是難以窺視。不過在這部紀錄片當中，我們清楚看到了目前商業電視台無法避免的「業配新聞」究竟如何產製？而這些站在第一線見證歷史的攝影記者們又是怎麼面對？ 如果我們把電視媒介生態當成一幅拼圖，那麼「電視新聞攝影記者」與「新聞產製過程」無疑的是兩片重要的拼圖，而紀錄片《睜開左眼》就剛好適時的把這兩片拼圖擺到他應有的位置上。 / The documentary named “Eye on the Left” is literally telling a true story about four TV news cameramen whose life careers in Taiwan were too short, too long, too harsh and too slow. We always said the reporters are the King without Crown, but the truth is, they are little more than a group of beggars sitting in front of the Special Investigation Division all day long, begging for an opportunity to capture the certain person interview by the prosecutor for finding their individual counseling which the content of length is only less than 5 seconds. Thing can be worse that reporters were forced to make a series of nice-looking paid news in order to fulfill the commercial buyers' demand sometimes. As a professional reporter who have been dedicated his prime 15 years to TV news reporting and videos taking, he might ask himself, “what is the most significant thing during my career?” For a long time, the TV news which offer to audiences daily is manipulated by not only but several human interferences and condensed selectively, the truth behind the scene is very hard to reveal to the public. However, in this documentary, we can understand apparently the fact about how the commercial TV company produce the “paid news” which they are just cannot say no to the buyers. And how these TV news cameramen witness and face the historical scenes they encounter in the front line. If we consider that the TV media as an uncompleted jigsaw puzzle, the “TV news cameraman” and the “Process of News Reporting” are undoubtedly the last two essential pieces to assemble together. “Eye on the left”, just put all of them back to their right positions in the best time.