Hates the waiting game...
- Sep 28, 2004
Module C-Represenation and text-Frontline
Frequently Asked Questions
Frequently Asked Questions
This FAQ is designed to help HSC students studying Frontline for Module C: Representation and text for Advanced English. I take no responsibility for the accuracy or validity of the statements below. All new questions about Frontline not already dealt with here should be posted below and will be added to the FAQ in due course. Any more threads asking questions about Frontline will be closed.
MOST IMPORTANTLY: DO NOT COPY EXACT PHRASES SUGGESTED HERE, IT STANDS TO REASON HUNDREDS OF STUDENTS HAVE SEEN THIS, AND YOU WANT TO STAND OUT AS AN INDIVIDUAL, NOT BE 'ONE OF THE CROWD'
What are the Syllabus Outcomes For This Module?
This module requires students to explore various representations of events, personalities or situations. They evaluate how medium of production, textual form, perspective and choice of language influence meaning. The study develops students’ understanding of the relationships between representation and meaning.
Each elective in this module requires the study of one prescribed text offering a representation of an event, personality or situation. Students are also required to supplement this study with texts of their own choosing which provide a variety of representations of that event, personality or situation. These texts are to be drawn from a variety of sources, in a range of genres and media.
Students explore the ways in which different media present information and ideas to understand how various textual forms and their media of production offer different versions and perspectives for a range of audiences and purposes.
Students develop a range of imaginative, interpretive and analytical compositions that relate to different forms and media of representation. These compositions may be realised in a variety of forms and media.
* Analyse what you have learnt about the notion of ‘Telling the Truth.’ (Basically a “Telling the Truth” Area of study).
* The justification for these notions will generally come from these areas:
- How ‘media of production’ constructs & influences meaning / responder perception.
- How ‘textual form’ influences constructs & influences meaning/ responder perception.
- How ‘perspective’ constructs & influences meaning / responder perception.
- How ‘choice of language’ constructs & influences meaning / responder perception.
What is truth?
Truth refers to the quality of being in accord with fact or reality. Truth is a comprehensive term that in all of its nuances implies accuracy and honesty: “We seek the truth, and will endure the consequences” (Charles Seymour).
Questions you should be asking yourself about the truth:
thanks to sphynx:
WHAT is the truth that is being represented? (remember, it doesnt necessarily have to be THE truth, just A truth that they are trying to get across to readers/viewers)
WHY is this particular truth being represented in such a way? (this could include discussion on purpose/aims/motivations of the authors - ie moral, monetary, political, personal, etc.
HOW is this particular truth represented? (this is the token techniques question)
What is 'Satire'?
Dictionary defintion:A literary work in which human vice or folly is attacked through irony, derision, or wit.
Frontline is a satire on the media.
Which Episodes Of Frontline Are Set For Study?
in no particular order:
Add Sex and Stir
Playing the Ego Card
We Ain't Got Dames'
Smaller Fish to Fry
This Night of Nights
What is Frontline?
Frontline is a contemporary current affairs show based at an (unspecified) commercial network.
Mildly successful, the program is hosted by Mike Moore, a former ABC journalist still coming to terms with life in the big league.
Mike is largely the pawn of his Executive Producer Brian Thompson, a respected network cowboy, intent on high ratings at any cost.
Caught in the middle is Emma Ward, a bright, dedicated producer/researcher who does most of the work, yet gets little of the glory.
Reporters on the show are Martin Di Stasio, a knock about journo who reckons he's seen it all, and Brooke Vandenberg... confident, attractive, and determined to be Australia's next Jana Wendt (or USA's Diane Sawyer)...
What are Each Episode About?
[From the BoS resources page-http://www.boredofstudies.org/courses/english/advanced/1092800587_2004_English_Advanced_Notes_sezza.doc Thanks to Sezza]
1. Add Sex and Stir
Brooke sees the opportunity to run a scandalous story of the sexuality of a world championship winning female sporting team. Unconcerned about the trouble caused FRONTLINE charges forward to secure good ratings
Detailed episode summary:
The episode begins with Marty pleading with Brian not to have to go on a holiday. He says he is “desperate man” and that “I love this, this is what I live for” Brooke reveals she wants to use a story about a dumped team member from a world championship women’s sporting side. She is confident Brian will break his rule about not covering women’s sport as it is too boring, because the player claims the reason for the dropping was that she not a lesbian. Brian is interested…Brooke does the interview with Alison, the disgruntled dropped player. Alison answers the questions and is then sent to QLD courtesy of FRONTLINE, “frontline doesn’t approve with checkbook journalism, but here are two tickets to the gold coast.” Brooke then unethically manipulates the questions to increase its drama. The story of the team is run and includes a re-enactment of a steamy dressing room scene, Emma believes “we pushed the sleaze angle a little bit too far” and her and Brian disagree about the results of such distortion. Meanwhile Mike is going through the drama of deciding what advertisement to do; Australia first or Burke’s backyard. Unexpectedly the team captain arrives, furious about the damaging story aired and confronts Brooke. She accuses Brooke of not researching the story; “Did you know the facts? Did you bother asking anyone else?” Brooke tries to escape blame by hiding behind her supposed objectivity claiming, “No, I merely reported” The captain cuts her off, making Sitch et al’s points very clear: “No, you reported half the story. You beat up the rest…you took up a claim from someone with an axe to grind and broadcasted it” Mikes TV appearance choice comes to a head when after choosing Burke’s backyard finds himself in a predicament when Don Burke exposes Mikes idiocy by asking him about Rwanda that Mike cannot answer.
Main ideas addressed:• The media is more interested in drama than news
• The media encourages stereotyped responses to groups
• The media manipulate everyone to achieve their goal of rating success
Links to telling the truth
1. Those who hold the power control the truth: Brian tells Brooke to hide the player from other competing networks. “Once you’ve spoken to her, bury her. Usual thing, couple of tickets to the Gold Coast…just get her out of circulation.”
2. Truth is easily manipulated for personal, professional or financial reasons: Brooke’s comment that Alison might “if she’s pushed a bit” to which Brian replies “Well push, push, get an interview”Alison is shunted away immediately after the interview. Brooke alters the interview unethically without hesitation. Mike seems shocked to think this may have happened but is easily distracted. No one seems overly worried at what seems a complete breach of trust and ethics. Even Emma does not address this action explicitly. Everyone tries to get out of Mike’s cocktail party by telling white lies.
3. Truth can be coloured or altered by the language in which it is framed; Brooke tries to use semantics to cover her lack of ethics saying she ‘reported’. She hopes to hide behind the objective connotations of the word. Clichés are used to mask a lack of knowledge: Mike tries to cover his ignorance and lack of real understanding with clichés “Fighting goes on, and so does the tragedy”.
A siege situation occurs involving children. FRONTLINE makes contact with the gunman and he does an interview with Mike. However they are accused of putting children in danger through their maneuvering for a ratings coup…
Detailed events; Marty is sent out in a helicopter to the siege scene but complains he and his crew cannot get close enough because of the 5 km police exclusion zone. Emma makes a breakthrough when she makes contact with the gunman at the homestead. The gunman agrees to do an interview with mike over the phone. Brooke has made contact with the gunman’s mother and manipulates her into signing an exclusivity contract supposedly to protect her. Marty does his best to create danger on the scene. He wears a flash jacket and crouches down as if he himself is in danger. Then the FRONTLINE crew breaks the exclusion zone to acquire the footage that Brian demands. Kate is having difficulty locating an expert psychologist to be interviewed on air but does offer a student who is “mature age” and “has a beard”. Brian agrees instructing her to “slap him in front of a bookcase” to add credibility. When Mike arrives all flustered his image of credibility is juxtaposed with the fact that he is just wearing his jacket and underneath the desk he is wearing no pants. He projects an image of calm understanding and does the interview, heightening the drama by speaking to the gunman’s hostage daughter and referring to the gun and where it is pointed. Meanwhile Brooke re shoots the interview at the discovery of non working batteries in which she requests the mother to “cry again” The siege ends with the gunman giving himself up and the children unharmed. The next day is a period of celebration from the receiving of high ratings, despite moral criticism.
Main ideas addressed
1. Lack of scruples of the media
2. Manipulation of the media
3. Competition in the media
Linking to the truth
1. Ratings drive what news is delivered and how it is presented; there is continual justification for the legitimacy of actions by using the positive outcome (Machiavellian philosophy) “the kids are safe” this shows the team is fixated on results which is symbolic of the ratings driven media.
2. The media pretends ethics but really has no scruples; when the newsroom initially hear of the siege there is no sympathy, “try and get the whole half hour on this one” When the interview is secured with the gunman, no one seems to care about the children, ironically it is mike who thinks of it which Brian describes as a clever angle. FRONTLINE hampers the police efforts by instructing the gunman to take the phone off the hook and their motives are completely selfish; to remove competition from other stations. Marty and his camera crew have no qualms about getting close to the gunman and potentially inflaming the situation. Brooke terms the gunman as an “absolute nutcase” which emphasises the real danger the children must have been in
3. The truth of the story is second to the drama; Marty misrepresents the danger of the situation by crouching. Mike says “keep safe…live from the front line” The war imagery helps increase the dramatic tension. Once FRONTLINE has the gunman on air they are not really interested in the story. The effect is the important thing. So Moore, cuts the interview short at the ironic comment from the gunman, “they won’t listen”
4. Media networks are ruthless and manipulate the truth to achieve their desires; they are desperate to find anything to present as a report (the facts/truth) … “any damn things you can get hold of” and the staff is directed to find “an expert on psychos and stuff” The interview is manipulated and played with by FRONTLINE “how did the interview get cut together?” it is cut to amplify dramatic effect (and fit into time limits) so is not linear which distorts facts.
5. Language is used to manipulate the truth; the inflammatory words used to heighten the drama e.g.; “cache of weapons” Image association; “Vietnam Vet”
6. The media fabricates images of people; with no authentic expert available the “mature age student” with “a beard” will do. Marty notes how the colour navy is used to manipulate the audience’s reaction to news presentations. He comments that the rival stations jackets are navy; “They look like they know what they are doing”
3. Playing the Ego Card
Mike decides to lift his credibility, to do so he decides he should go overseas, into the field to do an important story. The network grabs the opportunity to give the popular Brooke a turn as host. Egos are bruised as people strive to impress…
Detailed summary: Mike approaches Brian asking to do an overseas important issue report, he is refused. Meanwhile it seems from findings that “Brooke’s coming up looking pretty good…the punters love her” it is suggested that they give mike a break for a week so she can host in his absence and see how she goes. Brian gets Emma to organise plane bookings for Mike and a camera crew to Papua New Guinea so Mike can do a Bougainville story is previously requested. Mike flies to Bougainville and his reports start arriving. They are dreadful and Stuart, the camera is adamant, “this is a snow job…something is defiantly suss here mate” Brian implores them to “just give me some vision, OK vision…I wanna see soldiers with guns” Mike’s latest footage arrives showing his breathless and very melodramatic but without visuals to support the drama. He cannot orchestrate bullet fire to punctuate his report. The soldiers interviews are slow, reluctant to talk and uncertain about their answers. Emma saves the day by noticing why the PNG was so uncooperative. Helicopters fitted with machine guns are those donated by Oz gov’t. They were to be non military only. This contravenes the agreement.
The finding returns the tide for Mike and he returns a hero. Meanwhile the ratings are wonderful. Brooke is furious that Mike receives the glory and Brian attempts to placate her with praise: “You kicked arse. You made these figures Brooke!” He then uses the same lines in quick succession on Mike and Emma.
Main ideas addressed:
• Media hosts are dependant on popularity with viewers
• The media industry is ruthless and everyone must watch their back
• The media is more interested in drama than in news
Links to telling the truth:
1. The media fabricates images of people: Mike is presented as a “fearless war correspondent” yet he is nothing of the sort. He whines in the singsong tones of a child. He is scared of injections. Brooke’s promo “look” conveying the image the network would like to convey, “concerned”, reassuring” and “smart”. It is important to note that she does not get to choose these. The image is orchestrated by the network. Brian admits, “this network spends millions each year cock teasing the audience”
2. Media networks are ruthless and manipulate the truth to achieve their desires: The network pretends support but only until it suits them, “Mike Moore has this networks 100% support…right up ‘til the day we sack him” Brian’s boss is open about the ruthlessness of the business, “you’ve got to keep your guard up mate” Brian does this by claiming credit for the helicopter spotting.
3. The truth of the story is second to drama: Brian makes it clear that it is not the story but the look of the story. He insists on “vision, vision, vision” The episode clearly shows Mike trying to create drama not report news, sitch et al satirise the media’s interest in the dramatic. Mike attempts to manipulate the background to his story, he and the crew search for dramatic scene. Brian demands “just give me some vision, OK vision?...I want to see soldiers with guns”
4. Ratings drive what news is delivered and how it is presented: according to sitch et al, hosts are completely dependant on gaining popularity. The preference of the audience drives the stories that are chosen to be aired. Sitch et al use Mike to make the point that the audience is very parochial, preferring to know only things about their country. “Only good vision makes them acceptable” and “a pub brawl in manly is better than a massacre of millions” without this. This shows that the news delivered is not the objective truth many expect.
5. Language is used to manipulate the truth: Mike uses emotionally charged language to heighten the drama. He claims the rebels are “armed to the teeth” and “the spears are razor sharp”
4. We Ain't Got Dames'
The FRONTLINE team is shocked to see figures that show they are not appealing to female viewers. They look to remedying this and filtering their stories to secure ratings in this demographic…
Detailed events: It appears FRONTLINE is considered by the women surveyed “too blokey, too much sport… sleazy, tabloid, bullying” Mike is keen to have the story he has been researching on sweatshops run but it’s told it is “too heavy” Mike is also having a new promo shot to lift his “insipid” image. Brian demands “we want every woman in Australia to fall in love with this bloke” Mike continues to push for his sweatshop story and brain blames the people “upstairs” for its rejection. He is forced to look at it when mike threatens to speak to those above about the story. When the sweatshop story is previewed, Brian and Hugh decide it is dull and excruciatingly boring. Brian convinces mike he can quicken it up. In reality the technician, high, and Brian think they have to do “major surgery” to make the story ready. The team repeatedly views the now finished, new promo and find it very successful. Mike interviews Cheryl Kernot, twisting the interview to a personal focus to appeal to female viewers. Kernot is furious at the lightweight approach. They also run a story about “dirty doctors” how doctors have been sexually abusing female patients, an obvious piece of falsity. On FRONTLINE that evening, Mike sees the revamped version of his sweatshop story and is outraged that all sense of the story has been lost and it has become a fashion piece to appeal to the female viewers.
Main ideas being addressed:
• That commercial media is principally concerned with ratings in every show they deliver, even the factual/objective types.
• Manipulation of people by the media
• The sacrifice of truth for drama in the media
• Current affairs shows may not actually provide news. Instead “news” is delivered is filtered, the audience only sees items that help networks achieve their goals.
Links to telling the truth:
1. The media fabricates images of people: The promo of Mike Moore is a false depiction of him. Mike is to be projected as someone “all women of Australia can fall in love with” The contrast between the image and reality is sustained through the episode. The media generates and protects these false images. Mike appears practicing cocking his head to the side and saying, “mmm…that’s a worrying trend” in this way media truth is about perception not content.
2. Media networks are ruthless and manipulate the truth to achieve their desires: Emma lies to Elliot Rhodes; she is not honest with him preferring to be evasive. Mike lies to Cheryl Kernot about the content of the interview; it is only her dogged refusal to allow him to focus on the personal details for her life that forces him to ask about the inquiry.
3. The truth of the story is second to drama: The perversion of Mike’s sweatshop story into a fashion story. Sitch et al make it clear that this is in response to serious issues not being deemed dramatic enough to rate. The “dirty doctor” is based on nothing. The actual story is non existent, whole thing being lifted from a magazine earlier and they added a hyperbolic re enactment. Brian refers to a past story as “the usual crap, tears on camera” which implies the news televised is overly dramatic and emotion charged versions of the truth.
4. Ratings drive what news is delivered and how it is presented: It is the need for female viewers that heavily determines the stories chosen and how they are presented, not what actually happened in the world. The radio appearance of broke is manipulated to engineer more of a woman’s focus.
5. The media pretends ethics but really has no scruples: They steal stories from each other; The FRONTLINE crew is eagerly scouring women’s magazines for stories. The visual of mike picking up a teddy bear in the promo is used to highlight the falsity if such morals. Clichéd comment that follows about needing “to stop and smell the rose”
6. Language is used to manipulate the truth: Clichés are added to create drama, the dirty doctor is hyped as “a story no woman can afford to miss..” and the cliché of mike saying he needed to “stop and smell the roses”
5. Smaller Fish to Fry
FRONTLINE is accused of being like all current affair shows and never going after the big fish. Mike tries to prove this wrong but when he comes across a great story finds himself the target…
Detailed episode summary:
The episode begins with Stuart Littlemore from the ABC’s Media Watch lampooning FRONTLINE for its exposes on “little fish”. He accuses current affair programs generally for not going after the “big fish”, those with power in society. Mike takes this message to heart and when he receives an offer of a great, revealing story from a disgraced investigator reporter, Bob Foster, he is keen to pursue it. Meanwhile FRONTLINE is busy coming up with other small time conmen to expose like dry cleaners who steal money from clothing pockets and people who sell cigarettes to underage buyers. Mike, craving secrecy and intrigue, meets with Bob Foster who reveals the story is about huge scale bank fraud and involves many powerful people and TV networks. Mike rushes back with Bob’s folder on the bank fraud and Brian suggest; ‘lets put it on the back burner for a day or two” Bob realizes that the story is being shunted and when he tells Mike, Mike catches Brian out on lying about it. Brian makes excuses and says he needs “vision”, “you’ve got to make it work for the tele” Mike goes off to work and has an awkward moment with Dominica when they nearly end up kissing in the stationary room. Mike meets with Bob who just happens to have a video supporting the indiscretions. Bob continues to warm Mike, yet Mike is adamant. Mike is called upstairs to a meeting with cavil, the managing director and thinks it’s about the bank fraud story. Yet it is the threat of sexual misconduct that is the charge and mike feels the pressure. Mike knows the threat is that if he doesn’t drop the fraud story then the charge will be brought against him. Brian says “mate you’ve got a lot to lose” but Mike is fixed on the expose.
Yet after awhile Mike gets cold feet and goes to Brian to tell him the story can be pulled. Yet when he sees Brian, Stu tells him that Hugh forgot to label the tape and it is lost. The story cannot be run. Mike pretends shock and claims, “you know I was going to put my neck on the line” Mike has managed to save both things he wants his job and his ethical credibility. Unsurprisingly Brian assures Mike that Dominica was never going to put in a complaint. Mike meets with Bob to explain the loss. The deep discussion is noisily disturbed by Hugh, puffing and panting as he triumphantly declares “I found it”
Main ideas addressed:
• The media filters what it reports in response to the desires to be powerful
• Those in power manipulate people to achieve what they want
• The media targets people who are unable to fight back
• Going against those with power takes tremendous bravado and involves great sacrifice
Links to telling the truth:
1. The wishes of those in power drive what news is delivered and how it is presented: Mike would have pulled out of airing the story straight away if he knew his job and way of life is threatened. We learn with Mike that when pressure is exerted subtly he will come around. He is naïve at first but wises up. The truth of the story is constrained by the medium and the format of the show. Brian states, “We’ve got three minutes to do the story, five if it’s got nudity.”
2. The media only pursues those powerless to fight back effectively: The small time operators are pursued. Later Hugh’s question about what happens to these exposed operators makes their powerlessness very obvious, “they cannot fight and they go bust’ Bob makes this very clear when he negates all the “big fish”, “look they re easy targets when they re down and out but when are you going for someone when they re actually doing the damage – when it really matters?” the media is presented as wanting easy success.
3. Media networks are ruthless and manipulate the truth to achieve their desires: Brian does anything to protect his own job; He is the one who gives Dominica the day off and takes what happened to management. Cavill, the managing director, always seems unconcerned about his actions. Seen in his threat to Mike about Dominica and his decisive manner and firm tone encourages us to believe he is a ruthless man- typical of the industry.
4. Language is used to manipulate the truth: Cliché’s are shown to be meaningless. Farmer says to Brian he has “100 % support” but we know this cliché has no merit.
6. This Night of Nights[/SIZE=4]
Main ideas addressed
Links to telling the truth:
Need summary for this episode. If you have one please submit it
What are some film techniques?
1. Add Sex and Stir
1. Framing: The position of the television between Brian and Mike is important when they are discussing Mike’s choice not to do the ad. TV is a powerful force that occupies a good deal of the frame. When the Mike leaves, the TV shows Jim Waley doing the ad Mike turned down.
2. Juxtaposition: The positive emotion of “I love this, this is what I live for” contrasts greatly with the antagonism shown by Brian when he sees Mike, “Oh shit, what's he doing here?” George Negus reveals his understanding and real involvement in his work by speaking with Dominica at the party and having to explain details of the Middle East. This is a sharp contrast to Mike who has no idea of Rwanda’s capital or its tribal names.
3. Symbolism: Mike’s shallow attempts for credibility and to be successful are symbolised by his need for gadgets. The electronic organiser and the car are examples of this. Note the way the sun shines on the car door in the opening scene when he speaks to Brian. Mike is all superficial gloss.
4. Exaggeration/Satire: “H-h-holiday” Filming Brooke’s noddies so separately and out of context amplify their falsity. Her reactions are as false as the story she manipulates.
5. Irony/Humour: The irony of the FRONTLINE team’s affronted response to Theresa, the captain of the sports team. Mike sympathises with Brooke, as it is an “ambush”, implying Brooke was not ready and in a public place. Yet Frontline’s report was far more of an ambush.
1. Framing; beginning of episode a montage of frames are crammed with action. Reflect the frenzy of the story gathering. The champagne bottle is nicely placed to mock the police commissioner’s comments.
2. Juxtaposition; The “you’ve crossed the line mate” pretence for ethics juxtaposed with “you beauty” when they realize they were the show that got through, the show that’s ethics were questioned.
3. Symbolism; the champagne bottle symbolizes their single minded obsession with ratings. Brian’s son is used to symbolise the complete disregard the media has for the real world.
4. Exaggeration/satire; Mike and Brooke’s facial expressions for the camera. Brooke is overly sentimental and concerned whilst mike is similarly worried and concerned. The language of the news is exaggerated to show how reporters and presenters use emotionally charged language to create drama. “live from the line of fire”
5. Irony; ironically no one is in the slightest concern about the danger the children are in, or even the sadness of the situation, the reflection of society and societal problems.
6. Camera shots; close ups of Brooke’s overly concerned face when interviewing, juxtaposed with Mrs. Forbes misery. Since the audience knows she is insincere this emphasises her duplicity.
3. Playing the Ego Card
1. Framing: Marty warning Mike of Brooke’s duplicity and hidden agenda, referring to her a lady Macbeth. Framing shows her as a looming threat beautifully.
2. Juxtaposition: Mike is the “fearless war correspondent” idea is juxtaposed with his fear of injection. Mike is breathless, serious and wearing sunglasses which appears ridiculous compared to the bumbling soldiers he is using to orchestrate dramatic gunfire to punctuate his commentary.
3. The refusal from Ike and Brooke to allow the other to finish the goodnight comments. This is exaggerated to be ridiculous but effectively shows their power struggle.
4. Irony and Humour: Brian makes the point that news shows do not actually inform like we think. He sees Mike’s suggested story as useless because it is not known: “That’s why it’s a dud mate, nobody knows about it” his is an irony since most people think that telling the audience of the unknown is the purpose of the news show. Mike’s misunderstandings…the banana gag (where Mike is told by Marty to check his top draw to find something that represents what journalism is about, he finds a banana which he examines intently pretending he is seeing the intricate symbolism) is very effective in showing Mike’s idiocy.
4. We Ain't Got Dames'
1. Framing: Many frames show the ultimate ridiculous nature of Mike’s character
2. Juxtaposition: Mike’s off and on screen persona is constantly juxtaposed in the episode. Sitch et al use juxtaposition to reveal the duplicity of the media. They manipulate the truth they tell to promote themselves.
3. Symbolism: The lap top computer is used to symbolize mike’s desire to be on the cutting edge of his field and be taken seriously. The new promo is used to symbolize the manipulation of truth by the media.
4. Exaggeration and satire: Mike’s promo is highly exaggerated as a family man who cares and is well informed when in reality he is none of these things.
5. Irony and humour: Whilst barb is explaining the perception that FRONTLINE is too “blokey” and too much time is spent on sport the camera shows Marty ignoring her, reading the sport in a newspaper; this is a visual joke that implies this perception is true. It is ironic that whilst FRONTLINE is meant to be a current affairs program, it stores stories and steals them out of publications already printed. Furthermore the gathering of news appears to occur inside the studio and not out in the world where the news is happening.
5. Smaller Fish to Fry
1. Juxtaposition: Mike and Bob’s car and clothing. It is clear about who is more successful in the industry. It is indicative that Bob’s ethical search for the truth has left him in a less than positive economic situation. Brooke’s filmed Xmas message and her real feelings are juxtaposed to contrast her on screen and off screen personality. It is a perfect example of media image manipulation.
2. Symbolism: Brooke’s diet and throwing up in the toilet symbolises the pressure on women in the media to look good.
3. Exaggeration and satire: Mike’s interest in intrigue and secrecy. “This is not a John Grisham novel”. Mike’s spy fantasy shows he does not understand the real world or the implications of what he is doing. FRONTLINE’s promo for the upcoming story on back cheats; “who will bend over backwards” if there is enough reason, is satirical humour. Now Sitch et al have alerted us to how petty this type of report is; we are more sceptical. The alarming and dramatic music accompaniment is ridiculous as is obvious ill fitting cliché. The woman features bends forwards, not backwards. In total the promo epitomises the cheap sensationalism of FRONTLINE.
4. Irony and humour: Mike’s verbal battle with Brian where Brian sidesteps the question to yell “since when did I back off getting us ratings?” Mike is forced to concede, “I guess” but completely misses that Brian has not answered his accusation.
5. Camera shots: The attention span gag is effectively created using camera shots. Brian is be moaning that “our audience simply doesn’t have the concentration span” and the camera shows Mike, distracted, playing with a gadget off Brian’s desk.
6. This Night of Nights
Need techniques for this episode. If you have any please submit
What are some important quotes from Frontline Episodes?
1. Add Sex and Stir
1. “It's not about lesos—it's about unfair dismissal.”
2. “This is a leso story!”
3. “Bury her—get her out of circulation.”
4. “There is an ancient current affairs recipe—you take any news story, add sex and stir.”
5. “We pushed the sleaze angle just a bit too much.”
6. “Just a bit of spice.”
7. “Did she make the re-enactment?”
8. “Where was she when you asked that question ... the Gold Coast?”
9. “I merely reported the story.”
10. “You reported half the story.”
11. “Sport rates, sex rates, put them together and it's dynamite.”
12. “You didn't invite her but you like her!”
• I wanna try and get a whole half hour out of this
• Would you be able to cry again
• To make it look like I’m in danger?
• Its dark who’s gonna know
• Is daddy pointing the gun at you
• So we could have a Rambo situation
• Absolute nutcase
• You endangered peoples lives
3. Playing the Ego Card
1. “It'll be good for the show.”
2. “Don't underestimate our viewers, Brian.”
3. “Mike has the network's one hundred percent support right up to the day we sack him.”
4. “Mike, I can assure you, the network is one hundred percent committed to you.”
5. “A reporter has to be in the story—part of it.”
6. “I couldn't think of a better person to fill in behind this desk.”
7. “She's a smart woman.”
8. “Maybe the army is playing games with us—I don't care. Just give me vision. Vision.”
9. “You hit the mark with the viewers, the execs are happy, the sales department's over the moon.”
10. “You made these ratings.”
4. We Ain't Got Dames'
1. “I'm not sure we should be poaching people from other stations.”
2. “We are not 'playing'; we're modifying some of the settings.”
3. “A lot of women felt the show has become a bit sleazy, tabloid, bullying.”
4. “We're just trying to keep up with the opposition.”
5. “This needs major surgery.”
6. “... no woman can afford to miss.”
7. “That bow-tie twerp will not be appearing on this show.”
5. Smaller Fish to Fry
• “we re running out of people to nail”
• “that’s entrapment”
• “no that’s current affairs”
• “as if the networks owners likes and dislikes are not known to the people who work for them”
• “our audience simply doesn’t have the concentration span”
• “they wont dare sack me for this”
• “No they’ll think of something else”
• “absolutely… if legal clear it”
6. This Night of Nights
1. “What right do we have to withhold information?”
2. “Lives, money; it's the same principle, mate. We, as the media have a duty to report what we hear.”
3. “The public have a right to know what happens with their money.”
4. “If you can't control your employees.”
5. “Telecom are a major sponsor for this network and we didn't want to jeopardise the relationship.”
6. “Let's be realistic here. We live in a very commercial world.”
“So we go from attacking them to endorsing them?”
7. “We'll keep it out of the papers if we all keep our mouths shut.”
8. “It's fixed!”
What is the journalists code of ethics?
Most media journalists belong to the Australian Journalists Association, a division of a trade union called the Media Entertainment and Arts Alliance (MEAA). Members are required to follow a code of ethics
The Journalists Code Of Ethics:
AJA CODE OF ETHICS.
Respect for truth and the public's right to information are fundamental principles of journalism. Journalists describe society to itself. They convey information, ideas and opinions, a privileged role. They search, disclose, record, question, entertain, suggest and remember. They inform citizens and animate democracy. They give a practical form to freedom of expression. Many journalists work in private enterprise, but all have these public responsibilities. They scrutinise power, but also exercise it, and should be accountable. Accountability engenders trust. Without trust, journalists do not fulfil their public responsibilities. MEAA members engaged in journalism commit themselves to
Respect for the rights of others
1. Report and interpret honestly, striving for accuracy, fairness and disclosure of all essential facts. Do not suppress relevant available facts, or give distorting emphasis. Do your utmost to give a fair opportunity for reply.
2. Do not place unnecessary emphasis on personal characteristics, including race, ethnicity, nationality, gender, age, sexual orientation, family relationships, religious belief, or physical or intellectual disability.
3. Aim to attribute information to its source. Where a source seeks anonymity, do not agree without first considering the source’s motives and any alternative attributable source. Where confidences are accepted, respect them in all circumstances.
4. Do not allow personal interest, or any belief, commitment, payment, gift or benefit, to undermine your accuracy, fairness or independence.
5. Disclose conflicts of interest that affect, or could be seen to affect, the accuracy, fairness or independence of your journalism. Do not improperly use a journalistic position for personal gain.
6. Do not allow advertising or other commercial considerations to undermine accuracy, fairness or independence.
7. Do your utmost to ensure disclosure of any direct or indirect payment made for interviews, pictures, information or stories.
8. Use fair, responsible and honest means to obtain material. Identify yourself and your employer before obtaining any interview for publication or broadcast. Never exploit a person’s vulnerability or ignorance of media practice.
9. Present pictures and sound which are true and accurate. Any manipulation likely to mislead should be disclosed.
10. Do not plagiarise.
11. Respect private grief and personal privacy. Journalists have the right to resist compulsion to intrude.
12. Do your utmost to achieve fair correction of errors.
How important is The Truth?
If I haven't made it clear enough - very, very important.
This is the topic you are studying - Telling the Truth. Make sure you remember that.
Where can i find Frontline Resources?
Under Representation and Truth
Do I need to know about ALL of the Frontline episodes
Yes, because they can ask you to refer to a specific episodes. It is more likely that they will ask you to refer to ones of your choosing, but in a previous HSC they have asked to refer to a specific episode, so know them all.
Where can I find Resources For Frontline that other people have submitted to bos?
How many episodes should i refer to in my responses?
people say 2-3 episodes
see http://www.boredofstudies.org/community/showthread.php?t=79958 for a discussion about it.
Do I need Supplementary Texts For This Module?
Examples of Supplementary Texts for this module:
(Thanks to Cro Angel)
The Simpsons (Hungry hungry Homer, Homer bad man episodes)
Who killed Malcolm Smith (documentary)
Good news week
Wag the Dog
The Dismissal (mini series)
Drop dead gorgeous
Josie and the Pussycats
Catch me if you can
The Client- John Grisham
To kill a Mockingbird
Articles:‘A dingo ate my baby’ Articles
'Cash for comment'
Articles from the magazine 'Reportage' (http://www.reportage.uts.edu.au)
Articles from 'Walkley' magazine (http://magazine.walkleys.com/)
Brilliant Lies (by David Williams)
Media- John Butler Trio
Comic- Lies (by Leunig)
Nothing to report- May Herschel Clarke
Sylvia Paths Poems
For more discussion on related material, see:
Related Material- Telling the truth
How many related texts should i refer to in my responses?
At least one.
What is an example of an exemplar response?
Thanks to Eagles
This is something you should all have a look at!
What are some possible HSC Exam/Trial questions for this module?
A 2004 Trial Question
"The truth is always under construction."
How are the representations of truth constructed in your prescribed text and at least two texts of your own choosing?
'Any representation of the truth is just someone's version of reality.'
To what extent do you agree with this statement? In your answer disucss the representation of truth in your prescribed etc etc.
Question 11 Elective 1: Telling the Truth (Catholic Trial 2001)
Write a speech for an audience of young adults in which you examine the idea that 'the truth is never pure and rarely simple'. Base you speech on the complex nature of truth and the various representations of truth found in your prescribed text and other related texts of your own choosing.
Question 11 Elective 1: Telling the Truth (Independent Trial 2001)
You are the producer of a national television arts program entitled Representation and Text. Each week, this program examines one important idea and how it is represented in texts. This week's program will look at how truth is represented in texts and explore how statements come to be accepted as true.
In an outline to the director of the program, explain
- How you would structure this program
- Whom you would have on the program as guests and why
- What information you would present to the viewer
You may present your outline in any form you choose but you must base your response on your prescribed text and other related texts of your own choosing.
Question 11 Elective 1: Telling the Truth (BOS sample question)
Write a persuasive article suitable for publication under the heading:
Whoever holds power tries to own the truth!
Base the article on your evaluation of the ways truth is represented in your prescribed text and in other related texts of your own choosing.
Question 11 Elective 1: Telling the Truth (HSC 2001)
You have created an exhibition of texts entitled: "One person's truth is ..."
The exhibition includes your prescribed text and other related texts of your own choosing. Write a speech for the opening night of the exhibition. In your speech, explain how the exhibition reflects your vision of the representations of truth.
Question 11 Elective 1: Telling the Truth (HSC 2002)
How has your understanding of the events, personalities or situations been shaped by their representations in the texts you have studied?
Base your response on your study of Telling the Truth OR Powerplay OR History and Memory. Refer to your prescribed text and at least TWO other related texts of your own choosing.
Question 11 Elective 1: Telling the Truth (Catholic Trial 2002)
You are the keynote speaker addressing a forum of cadet journalists on the difficulties of telling the truth. Write the transcript of your presentation. You must refer to your prescribed text and a variety of texts of your own choosing.
Sydney Boys High School 2003:
You are a journalist working for a well-known magazine aimed at influential business people. You have a particular personal interest in the conpcet of 'the truth' and how it is represented to the general public.
Wirite a feature article in which you discuss how various texts seek to represent 'truth' to society.
"Telling the truth is an ideal all subscribe to but few
achieve." Write an essay on this theme, referring to the way the
truth is represented in your prescribed text and other related texts
of your own choosing. (Question from Wizard Notes: A Student's Guide
You are the host for a radio program Media in the Spotlight.
You have invited a guest on the program to discuss 'truth in the
media'. This discussion is based on the prescribed text and other
including your concluding response to the view expressed by your
guests texts of your own choosing. Write the script of the discussion,
Questions from ETA 2003 Lecture Day:
-"The truth is often misrepresented and distorted"
How does your prescribed text and additional materials studied support or challenge this statement?
- The media has failed in its responsibility to convey truths. Do you agree? Discuss with reference to your prescribed text and additional materials studied
- Write a speech to a group of Year 11 students who next year will be studying Module C: Representation and the truth. Explain what you have discovered from your study of this module by discussing your prescribed text and related texts.
- Write an editorial for a newspaper expressing your concerns about representations of truth in the media. You need to refer to your prescribed text and to other related texts that will support your argument.
- Write a speech for an audience of young adults in which you examine the idea that
"truth is never pure and rarely simple"
Base your speech on the complex nature of truth and the various representations of truth found in your prescribed text and other related texts of your own choosing
- You have been asked to organise and host a radio program that explores the nature of truth and how it is created. You will have two guest speakers who have been chosen for their different ideas about telling the truth.
- Write the transcript for the discussion between the two people where they both refer in detail to the prescribed text and related texts. Your answer should refer to aspects of the medium of production, textual form, perspectives and choice of language.
"... It's very hard to know the truth. I think that people are bombarded with information, images and ideas, all aimed at persuading us to a particular point of view. We can't tell where the truth lies. We don't know where or how to take action."
"Every text constructs it's own truth"
Explore the representation of truth in the prescribed text you have studied and other related texts. How has your study enabled you to understand where truth lies?
Write a close textual analysis of 'The Siege'. In your analysis you should evaluate how the medium of production, textual form, perspective and choice of language influence meaning. In your analysis you must also make comparisons and contrasts to other related texts of your own choosing.
To what extent is 'representation' also a 'misrepresentation'? Write a persuasive feature article. Base this article on your evaluation of the ways truth is represented in your prescribed text and in other related texts of your own choosing.
"The Representation of truth is never simple" Do you agree? In your answer refer to TWO episodes of Frontline and at least one other source you have studied in this module.
Very best of luck to you all!