Radiojornalismo e Segurança Pública: uma análise da narrativa sonora do programa Patrulha da Cidade

Abstract

This study aims to outline a comparative trajectory of the transformations in sound-based narrative within Brazilian police radio journalism, and, from this perspective, to reflect on the discourses conveyed in this field and their production characteristics. From a theoretical standpoint, it is grounded in the understanding that journalistic content on public security within sound media presents distinctive characteristics, strongly influenced by traditions such as radio drama and radio soap operas. These influences are expressed through the extensive use of soundtracks, including gunshots and police sirens, as well as through a verbal language marked by stereotypes and a strong emotional charge. Based on this framework, the research examines the central role of sound in police radio journalism programs, seeking to understand the function of their narratives and effects in shaping the journalistic public debate on public security. From a bibliographical perspective, the study is anchored in a historical trajectory of Communication, focused on the paths of sensationalist press, with the aim of understanding its specific dynamics within radio journalism over time. In this sense, the paper reflects on the communicational processes that structure public security coverage in the press, fostering a theoretical and conceptual debate on the challenges and possibilities of a more critical and responsible approach to the topic in the Brazilian context. Methodologically, the study conducts a comparative analysis of the program Patrulha da Cidade, broadcast by Super Rádio Tupi/RJ, considered the longest-running police program in Brazilian radio journalism, with 65 years of existence. Based on this corpus, the research investigates narrative continuities and ruptures, especially with regard to the program’s sound dimension, in order to develop reflections and critical tensions concerning the transformations and fluidity of public security journalism on the radio. One of the initial findings indicates that such aesthetic and sonic influences, although revealing broad creative freedom, often result in confusing and sensationalist framings of violence.