More Notes

LINK BACK TO THE QUESTION!!!!!!!

Intro – introduce 2 [maybe 3 key issues]

Paragraph 2 & 3 – discuss first issue in relation to the main texts below

Paragraph 4 & 5 – discuss 2^nd issue in relation to same texts

*[if time allows] discuss 3^rd issue

Conclusion – don’t just repeat the intro but provide a clear summation which allows for the direct answering of the question

Main Ideas

± How we understand and what we understand is changed by the process of telling. What shape, what order of ideas that goes into telling something, will change how it is perceived, how much truth it is felt to carry? I.e. the method of construction of ideas, even of simple reports, can change how they are perceived. This is one way in which truth is ‘constructed’.

± There are 2 kinds of truth that form the spectrum of truth. Minor truth, being a simple detail of the entire picture such as a fact, and major truth, which is an intertwining network of not just minor truths/facts but beliefs also. Major truths are patterns of understanding rather than a simple fact. It is more likely to be truth relative to something than a stand alone concept. At the pinnacle of the hierarchy of truth, with minor à formation of major truth, it begins to occur to us that “truth” may not be something achievable but a direction in which we head, or a principle that we abide by. It then comes down to the idea of whether an absolute truth indeed exists.

± In society, it is not simply the clean cut black and white concept of truth and lies, as with every recount of an event or story, there remains some essence of what really occurred also. A mere omission of fact or event does not ultimate result in the acknowledgment of a lie but simply a representation that is played off another ultimately creating a difference in how it is perceived

± Discuss link between the composer and the audience and how the two influence each other in terms of content, presentation and expectation

± HAS THE MEDIA AFFECTED WHAT WE COME TO EXPECT OF NEWS?

± Reality is itself a social construction held up by the framework and scaffolds of media influence

± With the media being the primary source of knowledge for the members of society, our ultimate understanding of the world lies in the way truth is conveyed

± The reliance of the media on ratings and image has lead to the truth becoming commodified, resulting in the construction of representations of the truth that many in society readily accept as factual

± The media in a sense teaches us, as argued by M O’Shaughnessy, how to understand the world, other people and ourselves in relation to society. There is the constant portrayal of what seems to be true, informing and shaping our minds into being able to ‘make sense’ of the information about the world that we are consistently bombarded with

± M O’Shaughnessy asserts that it is not the primary intent of the media to educate but it is rather as a result of society’s evolution with the media simply influencing us by giving us the patterns that explain how we perceive others in relation to ourselves

± The media is merely an ‘arena’ in which legal, political and cultural forces act and mainly seeks to reinforce society values

± The existence of the ‘elite’ group, most of which are conservative males, controlling the ideas that are released to the public ultimately result in the narrowing of the scope of journalism to portray a certain perspective that is almost always coloured by another agenda

± The media’s tendency to disclose the ‘behind the scenes’ action of production is important in fulfilling their desire for the validation of their representation of the truth as the final product is free from the interferences of the paraphernalia of such processes allowing for the event to appear as if it is occurring naturally. This poses significant problematic concern in regards to society accepting such media constructs as truth. This issue is one that arises from the power of the credibility of medium in reproducing authenticity, as the form in which ‘evidence’ or “vision” is provided is a determinant of the audience’s wilful acceptance of the representation as factual. It is at this time that the common saying ‘a picture is worth a thousand words’ strikes us as being very true. The use of any visual is extremely powerful as it portrays an ‘unmediated’ reality. An example of this is moving camera footage, which is a strategy employed and exploited in order to add weight to an idea, as the media knows that we tend to have the perception that simply because there is such footage that it is the absolute truth.

± There seems to be the continuous simplification of ideas and issues of an event being covered by the media as there is the need for the media to prevent the formation of a void of audience reception.

± The truth is a contested grown with different ‘truths’ all competing for legitimacy

± The media’s constant feeding into the pre-existing dominant discourse of the audience and tapping into such a domain prompts us to think about the danger involved in society being misguided by the media and ultimately being influenced to alter [lower] their expectations of the media and the types of information being conveyed

± Ratings and publicity have become adequate justification for the compromising of both the representation of truth and the responsibilities of media reportage that aim to govern the actions of the media

± Verisimilitude – appearance of being real or true

± The imperatives of power and corporate pressures can lead the media to suppress the truth which relates specifically to the existence of the ‘elite’

± In frontline, it is made clear that there is the deliberate employment of sensationalism to amplify pre-existing truths

± Media saturation of our contemporary society has been credited with ‘fabulous’ powers to change people & also blamed for contributing to most social ills

± In a world growing in complexity, we have a more demanding need to have knowledge of the events occurring around us in order to properly function with its influences. It is with this notion that the media brings us two types of information; the events occurring within one’s immediate society and the events occurring within the external arena that can come to effect the other

± The media do not simply select events to cover; they also offer interpretative frameworks through which these are to be understood. Frames are the ‘persistent patterns of cognition, interpretation, & presentation, of selection, emphasis, & exclusion that enable audiences to locate, perceive, identify & label.’

FRONTLINE – The purpose of the show is to portray the gap that exists between what is presented and what is true. It also demonstrates how the desire to please, undermines the information being conveyed, whilst satirising the willingness of the media to sacrifice real issues for trivial stories.

v The montage of the introduction establishes a high level of verisimilitude that is important in allowing it to serve its purpose as a mockumentary and maintaining its appearance to be similar to what is being satirised

v The use of fly on the wall documentary camera technique allows for the conveying of the ‘behind the scenes’ feeling which is also suggestive of the slightly skewed and slanted portrayal of truth

v There is the constant juxtaposition of the characters’ on-screen and off-screen images and personalities that is achieved through the strategic placement of perfectly groomed and constructed portraits of the FL team in the mise en scene whilst they are going about their usual ways of media reportage and construction

v Purpose of satire is to expose folly of the types of shows it wishes to parody

The Siege

d Focus of this episode is the unscrupulous behaviour by the media in a quest for higher ratings and the construction of their own representation of the siege and most importantly the harsh reality of the consequences that can result from the compromising of public safety for media reportage

d With Brian’s announcing of “Siege! Siege!” there’s the clear perpetuation of pre-existing attitudes strongly influencing how the story is to be presented

d Brian can in a sense be seen as being symbolic of the media’s shallow and mercenary [acting only for money] nature, reflected in his lack of concern about the consequences of his actions showing his being blinded by the shortened scope of ratings and commercial gain

d This episode clearly highlights the media’s disregard for social responsibility that comes with proper media reportage, that being, ensuring that an objective and informative representation of truth is conveyed to the society that has instilled trust in the arms of the media

d The moments of disruption to the light and humourous satirical atmosphere of the episode reinforce the composer’s serious critique of the dangers involved with such media behaviour and highlight the harsh reality of the situation as being real. I.e. with the commissioner’s blatant pointing out of the harm that such unscrupulous interference could incur, in this case, the potential death of the children and anyone involved. The loud gunshots piercing through the noise and excitement of the FL office, followed by the close up on Mike Moore’s shock stricken face has the dramatic impact of emphasising the reality of the situation

d The visuals of Brooke reinforce her two-faced character as we see her switch from 'caring into professional mode'. Visual and oral cues such as her raised eyebrow, soft mouth, and slow condescending tone of voice show her attempts to look concerned for the woman's wellbeing. These are contrasted with her 'professional' face when she turns to the camera, furrows her brow and straightens her mouth.

§ The final gun shots are to some degree, suggestive of copy cat behaviour that the media could instigate making us realise the amount of power such an institution has in affecting the thoughts and actions of it’s society. The recent Virginia Tech shootings in America were reminiscent of the columbine massacre. However, there is the scary thought of the media having gone way too far with the airing of the video footage of the offender to the world inciting more uproar. One must come to wonder to what degree has the media turned its back on upholding it’s integrity and responsibilities as we see them failing to acknowledge the potential damage that could have been further caused in response to it’s release. Although as compelling as it may be for drawing in ratings, but it is somewhat clear in this contemporary world that ratings and commercial gain have indeed become a more than adequate justification for even unethical actions.

d Quotes

– “He might be a war veteran” – Brian. An example of where an allegation becomes factual within the medium of ‘news’. This is links directly to Sian Prior’s article where she comments on the power of the credibility of medium providing for the blurring of the boundaries of fact and fiction with the common occurrence of allegations being received as fact. As information went presented in a certain way, gives it certain degrees of credibility

– “It’s to protect you” – Brooke to Mrs Forbes when asking her to sign a contract

– “Has the media gone too far?” – Times magazine

We Ain’t Got Dames

§ Introduces to the audience the hypocrisies that exist and the way the integrity of truth can be lost through the processes of constructing various representations.

§ The “show within a show” portrays the media and their representations as being blindly driven by the desire for ratings over their social responsibility of conveying truth to society

§ Reconstruction of truth occurring as a result of the show’s diminishing female audience

§ Reconstruction is seen in the symbolic new promo, which creates a hyperbolic warm image of Mike, strategically placed to juxtapose the off screen persona who doesn’t fail to express that “our national treasure” is “shithouse”

§ The ‘tabloid’ approach to Mike’s sweatshop story, with the editing, turns it into a fashion “puff piece” showing how programs still uphold the patriarchal mindset of women as superficial consumers who aren’t interested in politics

§ The importance of images and visuals is clearly portrayed through Brian’s assertion that the visual imperative for the sweatshop story “needs major surgery” and leaves it “with the doctor”

§ There is the blurring of the line between news that we want to hear and the news that we should hear

§ Brian’s view of his audience is very disparaging seen in the endless process of simplification of issues that occurs in order to supposedly impress his viewers. Relates back to the extent to which our expectations have been shaped by the media

Smaller Fish to Fry

Ø Focuses on the main ideas of active suppression and control of information by the ‘elite’, the fabrication and active construction of truth seen through cheque-book journalism and the hierarchy existing within the media framework that creates a glass ceiling

Ø Brooke’s calculating of calories suggests the overshadowing of content by appearance

Ø Bob Foster [the voice of truth in this episode] suggests that those who own or have power in the media tend to avoid the scruples of the media, reflected directly in the suppression of the bank fraud story

Ø “You gotta make it work for tele” – Brian in reference to the presentability of a story on the basis of visual footage i.e. “vision”

The Paper – Ron Howard 1994

– “We taint them today and make them look good on Saturday” – Alice [chief journalist and equivalent of Brian]

– “IT’S WRONG!” – Henry [moral stillpoint], “not for today it’s not, we only have to be right for a day” – Alice

– “Gotcha” story

– “Art” – the term used for visual photographic footage

– The frenetic editing used throughout with the sudden cuts in non diagetic sound to silence and close up shots used as a dramatic technique emphasising the importance of a particular point in the film

Give me knowledge instead of all these bits – Sian Prior SMH

d Discusses the composer’s mistrust of the media in its conveying of truth regardless of the medium that she turns to ‘fiction’ in order to gain knowledge and avoid being bombarded and manipulated by such media constructs

d Like The Siege, the composer also critiques the behaviour of the media in its misrepresentation of truth coloured by the agendas of the elite

d The section where the composer presents an allegation as factual seen in “did you know that…” portrays the media’s power and ability to manipulate, even construct truths for their specific purposes. The composer then subverts the lines above with “I bet you didn’t, are you surprised? Well that’s because I made it up, plucked it right out of the air and put it on paper. And the fact that it’s coming to you in print, you probably believed it”. Consequently, we see the power that is gained from the credibility of the medium in which the media exists in being able to convey certain truths. The existence of any statement in newsprint gives it a dangerous amount of credibility

d Media being a source of news as we see it, has, via the emphasis on the more entertaining aspects of any given story, transformed from being “gospel” to nothing more than “infotainment” as argued by Sian Prior