Before beginning my study of this elective I held a very simple black and white view regarding ‘Truth’ and ‘Telling the Truth’. I believed that there was a right a wrong to every situation and that the information and news the media presented was mainly correct and true. Through the studying of this elective I have been presented new & relevant information and from this information I have reassessed my views on ‘’Telling the Truth’. This elective presented to me the idea that truth is determined by the way it is told and by who tells it. Also revealed are the many reasons why people choose to distort the truth, for example personal gain.
This elective also presented the ideas that there are many truths to a situation and these truths vary on perspective and the way the truth is portrayed and represented. In my discussion I will make reference to the recording “Disturbing Practices” and the Frontline episodes ‘The Siege’ and ‘We Ain’t Got Dames’. Disturbing practices is a montage of quotes from the “Children Overboard” affair set to a rhythmic musical parody. The aim of the song is to criticize and raise awareness of the false, misleading and inappropriate reactions and actions taken by the Howard government during the “Children Overboard” affair.
The song reveals the truth and lies of the situation by chronologically placing the accusations and quotes in order. The song begins with the prime minister informing the public that ‘they are not coming to the Australian mainland that is one choice that is not available’. Philip Ruddock who was the Australian Immigration Minister then goes on to say ‘A number of people have jumped overboard and have had to be rescued. More disturbingly, a number of children have been thrown overboard’.
The Essay on Abused and neglected children almost always come from poor, minority
Child abuse has been on the forefront of the public domain and the media. This is because although every body in the society seems to be aware of what child abuse is as well as its consequences, several cases of death are reported every day as a result of child abuse. A number of myths have been conceived in an attempt to explain the group of people who are most venerable to child abuse. In this ...
He then criticizes the events, insulting the refugees portraying them to the Australian people as lowly people in an attempt to have them resented by the people so the government will not lose face when they are disallowed entry to the country. Further into the recording Peter Reith the Australian Defense Minister goes on to say “…and it is an absolute fact that children were thrown into the water”. After evidence is demanded to support the governments accusations on the situation the Howard government attempted to save face through promises to further investigate the situation and then present the evidence to the public.
When it is revealed that there is no actual evidence Admiral Chris Barrie states ‘I have now reached the conclusion, that there is no evidence to support the claim that children were thrown overboard… ’ as well as this the prime minister attempts to save face by claiming that he simply passed on information that he was presented. The song seems comical at the beginning but goes on to become quite serious at the end. The song is partly in the techno format and had regularly repeats words continuously to gain the listeners attention and focus.
This song helps listeners to be able to gain an overview on a situation that spread a few months and shifts the listeners perspective on the truth of the situation because the main and most significant quotes and accusations that government made have been collated into a song. Through the listening of the song it becomes clear how the government portrayed their own version of events so they would not loose face when dealing with the refugees and how when the government realized they had been caught telling the public lies and distorted versions of the truth they attempted to save face by passing the blame onto someone else.
Frontline is an excellent example and tool when studying the elective ‘Telling the Truth’ because Frontline blurs the line between fiction and fact and implies that current affairs television similarly blurs that line, reducing its usefulness to the viewing public. It is commonly accepted that viewers expect current affairs television to assist them in exploring, testing, refuting or endorsing truth statements made in the public arena. Frontline uses the tools of satire, parody, exaggeration and humour, to ‘test’ the authoritative voice and ultimately refute its ability to make truth statements.
The Essay on Song Lyric Analysis
Song Lyric Analysis Zimbabwe by Bob Marley "I believe in freedom for everyone, not just the black man." Bob Marley The King of Reggae, Bob Marley was the first Jamaican artist who became famous all over the world and who popularized the culture and art of his country as no one had done, did and would do after him. Bob Marley was one of the founders of reggae, a style of music which was closely ...
It uses the ‘behind the scenes’ frame story to characterise Mike as foolish, ego driven and superficial in direct contrast to his on screen persona. Mike is also juxtaposed against the journalists Marty and Brooke and the researcher Emma, who are all makers of ‘truth statements’. Both Brooke and Marty are also seen both on and off screen. Brooke is represented on screen as ‘sincere and compassionate’, while Marty is the ‘serious investigator’, both representations in direct and humorous contrast to their off screen character.
All are shown to be compromised by the commercial imperatives of a network current affairs programme. Frontline episode ‘The Siege’ reveal to us that truth is often pushed into the background as the media strives for a “good story”. Truth is ignored and vital stories deemed irrelevant not pursued leaving an audience with misconceptions of reality. The relentless pursuit for ratings and intrusive journalism take a hand, with those who own the power manipulating the truth. Through Brooke’s use of irony in this episode we see firsthand the use of power in the pursuance of ratings at all costs.
Ethics are abandoned in desperation to be the first with coverage, with ‘Frontline’ continually crossing the line for exclusive interviews and footage; “…one media organisation breaking the air-exclusion zone”. The relentless pursuit for ratings at all costs is also shown again in Brooke’s interview with the gunman’s mother. Upon realizing the effect on the ratings the grandmother of the children held hostage could have, Brooke unapologetically asks “Would you be able to cry again? “. This is highly intrusive, abrupt, and heartless and clearly shows that in the world of journalism ratings appear to be everything.
“…a pub crawl in Manly is better than a massacre of millions if you’ve got the pictures”. This shifts the responders perspective of the events portrayed because Frontline selectively used information to portray a story that would gain them the highest ratings as well as the fact that they could portray their own version of the events because they exclusive interviews of the events. Frontlines episode ‘We Ain’t Got Dames’ is based around the relentless pursuit for ratings coupled with public interest.
The Essay on “Story Truth” and “Happening Truth” in the Things They Carried
Throughout The Things They Carried, by Tim O’Brien it is difficult to separate what is fictitious, and what is true. During the entire work there are two different “truths”, which are “story truth” and “happening truth”. “Happening truth” is the actual events that happen, and is the foundation or time line on which the story is built on. “Story truth” is the molding or re-shaping of the “happening ...
After losing its female audience, Frontline’s solution to the problem is to present an patronizing response… “What do they wanna see? …Tonight on ‘Frontline’ – meet the Queen Mum”. In desperation to reestablish its female audience after accusations of being “too blokey”, Frontline uses the politician Cheryl Kernot to blurr the lines between truth and fiction through a juxtaposition of realities; “How do you balance work and family? “. Stories are constructed for ratings, with a certain verisimilitude offered to persuade people to accept so-called truths; “Not to worry.
We’ll be able to edit it”. Influential power-driven “cowboys” take the lead as audiences witness reenactments of sexual assault, and stories on dieting, pap smears, and the art of kissing. Truth is pushed into the background as Mike’s “sweat-shop” story is reconstructed from slave labour to a story about fashion. This again portrays the idea that whoever has the power owns the truth and again shifts the responders perspective on the events portrayed because Frontline is portraying what the audience wants to hear in the pursuit to recover their female audience and increase ratings.
