Essay 3

The truth can be seen as a commodity that is bought, sold and traded through different production mediums to represent a particular meaning. In many texts, composers illustrate that the absolute truth does exist and that its objectivity can be found while in others, we are given the impression that the truth is entirely subjective because of the way the media have packaged and marketed it. The truth is often valued by the way it is perceived by the media as they have much influence on what is conveyed in terms of meaning and our understanding of the world.

In the Frontline series produced by Rob Stitch et al, we are introduced to the hypocrisies that exist within the media and the way the integrity of the truth can be lost through the exposure of different ways of composing and representation. The ‘show within a show’ perceives the media and their representation of the truth through three different perspectives. FRONTLINE as the satirical series is an immaculate frame exposing media imperatives from an outside perspective while behind the scenes, the ‘office’ mimics a real news room of Frontline as a “Current Affairs” show within the series.

In The Siege, the team at Frontline get hold of an exclusive interview with the gunman holding his four children hostage that would be beneficial to their public status. During the interview, Mike ends the conversation just as the gunman begins to tell him that ‘no one listens’. The exclusive broadcast edits out the ‘no one listens’ part and demonstrates to the audience of Frontline, how the truth becomes largely irrelevant and that the media may not care at all. The mistreatment of journalistic ethics becomes obvious as the series emphasises the consequences of moral irresponsibility. Journalists should reach the purist form of truth possible and offer a balanced account on an event however through the series, is it seen that the media trade the absolute truth for a number of motives.

While live footage becomes a necessity ethics and any concern for the gunman or his children are discarded. The exclusivity is carried on from the site of danger, where Marty exaggerates the need for props and suggests that crouching in front of a police vehicle whilst wearing a flak jacket appears more dangerous. As viewers, we see how manipulative vision can be in portraying the entire truth because Marty doesn’t inform viewers he is reporting from five kilometres away. Instead, the severity of the situation is heightened during his live crossover with Mike who implies danger by using phrases such as ‘Rambo situation’ and ‘keep safe’. The episode makes us realise that the truth is often lost through sensationalism in an industry obsessed with vision where misrepresentations can lead to a one sided ‘truth’.

Contrastingly, a black and white cartoon published in The Sydney Morning Herald in February 2005, suggested that an objective truth does exist. However, where the truth is located and how it is perceived is entirely dependent on the individual’s perspective. From an outside perspective, the cartoon is humorous because the exaggerated caricatures of John Howard, Alexander Downer and Philip Ruddock who are seen as high authorities in the world of politics, are struggling with a harmless looking snake. Unlike Frontline, the message is subtle as the illustrator draws us to challenge the truth and question those who “make the decision and wield the power”

In the cartoon, Philip Ruddock is in a posture where he is about to stab an ‘X’ mark on the snake which symbolises the ‘spot’ where the truth may be found. His struggle to hit the spot implies that the truth is unmanageable. “The battle continues” caption is also used to emphasise the struggle in obtaining an objective and final truth and stresses that although an objective truth exists, it can be found but through much research and time. The contrasted ideas of truth and lies are juxtaposed through representations of the politicians. In the cartoon they are seen as struggling however in reality, they have much control over the truth. Ultimately, understanding of the truth relates back to how individuals perceive information exposed by the media and our awareness of the power they hold to fabricate the truth.

Two news articles published earlier this year discussed the latest of profits and losses of Kerry Packer’s PBL. Though both articles were from different sources - one from News Corp’s Daily Telegraph (Rupert Murdoch) and the other from The SMH (John Fairfax Holdings Ltd), they both reported on the same issue but clearly demonstrating different perspectives. The study of these opposing articles emphasises that the ‘truth’ is in fact a commodity and through its packaging, the media can reflect subjective or objective perspectives.

The Daily Telegraph report presented a more subjective view and ensured readers that channel nine was in real threat as “Competition in the TV market has intensified, with NINE slipping behind seven in the first ratings period of 2005”. Persuasive words such as ‘rejuvenated’, ‘intensified’, ‘hefty’ and ‘depressing’ are common throughout the article conveying a pessimistic tone. The negativity in vocabulary colours the representation of the article leaving a one sided ‘truth’. In the SMH article however, a more objective perspective is conveyed of Packer’s half yearly result where profits were discussed with reference to changing statistics and supported by quotes from Packer and other members of the company. The Daily Telegraph attempts to lure viewers with the headline ‘Packer profit defies TV war’ while The SMH gets straight to the point with ‘PBL profit up on strong economy’. Both corporations are considered as Packer’s rivals in the media industry and may well be reflecting subjective perspectives. The question raised is which article is less fabricated to portray the most truth and how effective is this packaging in appealing to the audience?

In We Ain’t Got Dames, the Frontline team become aware of their lacking female audience and prepare a promo to enhance Mike’s credibility. Slow movement, gentle gestures and voiceovers along with editing techniques dramatise Mike’s caring and affectionate personality in the promo. Long shots are used to establish the background and context to give viewers a glimpse into his ‘normal life’ outside the studio where he is seen helping others. The promo creates a sense of reassurance that female viewers are supposed to feel when they turn to him for the current affairs. Behind the scenes, the promotion juxtaposes Mike’s real personality with his TV personality. When Mike suggests his sweatshop report, his face is hardly seen in this shot as his story is being overlooked. Brian is seated in the middle and above two women as they search for articles in women’s magazines. Low shot angles point to Brian as the subject and emphasise his authority in making final choices. Even though Mike’s report reflects true journalistic traits, it is edited into a ‘fashion article’ that is more likely to interest women.

The episode raises the idea that regardless of the changing position of women in society, they are still being perceived in a certain way and that the ‘truth’ will be marketed in a way that will keep women in that patriarchal frame of mind. It stereotypes women as idiotic and easily manipulated in the sense that they will act upon what they perceive from the media. The series aims to exploit the incentives behind Current Affairs and attempts to show why they have progressively moved away from ‘highlighting the news’ to ‘infotainment’. Also, because the truth is a commodity, the media will keep colouring it in such a way that it will be of more appeal rather than informative.

Similarly, In Add sex and Stir, the truth is again being sensationalised to boost ratings and portray the idea that females are still marginalised in society. Brian rejects a story on women’s sport because it is ‘the natural enemy of ratings’ but approves of an edited version, that Brooke turns into a scandal based on a team of lesbians.

A re-enactment further shows the audience the lengths to which journalists go to produce an appealing story. The ‘behind closed doors’ scene shows three young flirtatious girls with towels wrapped around their bodies with added misty effects through soft focused shots. The girls are portrayed as sultry and sexy as opposed to the ‘butch’ coach who is more solid, older and unattractive. The contrasting images are accentuated with ‘predatory’ sound effects and close-up shots of the coaches eyes focused on the girls’ legs. The selective representation and uses of the ‘truth’ highlight the power that the media have in portraying a certain perspective.

Similarly, it pulls on ideas from ‘We Aint got Dames’ by reinforcing that social attitudes and patriarchal ways of thinking remain a huge influence of the representation of the truth when it comes to gender. Brian’s motto for an ideal report “sport rates, sex rates, put them together and its dynamite” is discarded as he ironically refuses to allow Brooke to work on a true story of a truly ‘gay’ cricket player as it will ‘destroy his career’. Add sex and stir shows how easily journalists can fabricate the truth through editing and sensationalism at the expense of the absolute truth and those involved in the story.

We observe from the comparison of texts that the truth may be of selected objectivity or subjectivity which is most obvious through the packaging and marketing of the truth as a commodity. Since the truth is hardly ever consistent with every beholder, the media tend to use their authority to manipulate the truth for their own imperatives. Ultimately however, construction of the truth links back to power, authority and who owns it. In most cases, the truth is best defined as an object in the hands of the powerful as they have the control to influence representations and alter the responders understanding of the truth.