Resumen:
If we assume that the man has a naturally religious essence and religion, as it is
presented to us today; carries the believers to a relational dimension where the natural
coexist with supernatural, we are going to conclude that religiosity is located where the
human beings live and establish relations. Consequently, nowadays, the, religion is also
present in the air" in the technological waves of virtual communication and in the
images which are exhaustively shows, given that the media is one of the vehicle for this
dissemination. Moreover, there is the fact that during the last decades, the mass media
enabled the proliferation of spectacles through the new organizations in the media, such
as television and internet. In these organizations, the spectacle itself is becoming one of
organizational principles of the daily life and the peculiar contemporary religiosity, thus
while we reach the end of this dissertation, we realize that the society of the spectacle,
which was presented and defended by Debord in the 1960s and which we are inserted,
allows the religiosity propagated by the mass media constitutes itself as a series of
technologically sophisticated shows, to meet the expectations of the faithful religious
public, who at the first sight, seems to be increasingly hungry for entertainment.
Meanwhile, the numerous forms of entertainment invade the modern and multimedia
every day, the same extent that enhances the way of the spectacle of the media culture.
Thus, we can see that the beginning of the religious life is increasingly shaped by the
spectacle. Countless hours of religious content is present on the screens of the media
culture, presenting not only the great moments of the daily life filled with represent but
also even a richer material for fantasies and dreams, shaping the thoughts behavior,
identities and the religions. In this case, the profundity of faith on the spectacular
religions not measured by the theological anilities of its postulates but it is measured by
the intensity of the individual feeling, who are engaged with the religious fervor
experienced in the services that is exactly why, in these services the faithful are taken by
attacks of catalepsy convulsions, visions, burst into laughter on sudden outbursts of
singing or even barking. In this sense when we approach ours thesis, the relationship
between religion, media, spectacle and entertainment, we reflect about the care of the
media discourse, potentially dramatic the narratives and characters present on the
media, somehow, are dramatized, in order to provoke emotions either laughter or tears.
