A bit like in the cartoons of yesteryear, celluloids placed under vertical cameras allowed the unemployment curve to appear on the beautiful crowd shots taken out by archivists. Better still, "deco" services were created to cut out paper silhouettes, or make various sketches to help represent these cursed unfilmable subjects in the street. Electronics did the rest. It was finally possible to write directly on the shots of crowds, roads or buildings, official or not. We thus moved from the pretext image to the support image for the information. The illustration gained in performance. Images sometimes specially intended for this use, unframed photos or films were made to facilitate the placement of the "writings".
Thus, three image-making regimes coexist japan mobile database more or less in television news. First, there are the pretextual illustration shots, then those that display the written word, and finally the full infographic that no longer uses any real image.
So here, in great strides, are more than 40 years of trajectory, which constitute what one could call the drama of the illustration image on television. A drama and not a tragedy. Because drama feeds, as we have seen, on twists and turns, on discoveries as well as on catastrophes. The story does not end there.