“Stu (joking): Sure you don’t want a flack jacket?
Marty: Actually, that’s a bloody good idea”
Textual form also influences the meaning we derive from texts. The main aim of current affair programs is to gain populist appeal, the episode “Playing the Ego Card” emphasises this and how it is achieved through textual form. The use of an anchorperson is a good example of this as they position the viewer to react to the truths presented in certain ways. Throughout the episode, Brooke and Marty follow a certain criteria when presenting the program to gain the trust of the audience. The camera angle used is always an eye level shot, to create a sense of trust and equality. Close ups are also used to do this, showing the dependable expressions presented by Marty and Brooke. The attire of the presenters is also very respectable creating a sense of intellect and high regard, positioning the viewer to place their trust in Brooke and Marty’s judgement.
Satire as also used in this episode to show how the anchorperson causes the audience to respond in a certain way. This is seen through the rehearsing of Brooke’s promo and the contrast between the on-screen and off-screen. Idealistic images of Brooke are performed, as she is required to stage expressions such as “concerned”, “approved” and “intelligent”. After these rehearsal’s Brooke immediately returns to her irritable and vindictive self, yelling at the surrounding crew. This ridicule suggests the falseness of Brooke’s genuine nature through the use of contrast allowing the reader to question the influence of the textual form.
Another episode that demonstrates how textual form is used to influence meaning is “The Siege”. An example of this is the use of Brooke as a reporter throughout the blockade situation. Brooke interviews a family member of the man who is holding children hostage. Brooke is required to appear concerned to construct a feeling of trust for the program. To do this Brooke poses leading questions and stages concerned looks. The contrast of the off screen to this constructed image emphasises how textual form poses the audience to react a certain way. Satire is used to show that Brooke’s concerned nature towards the woman she is interviewing is false through contrast between the on-screen and off-screen. An example of this is when Brooke, after finding the camera ran out of batteries, asks the woman to cry again, showing her self centred and unconcerned attitude.
Frontline also conveys how language is another aspect that can influence the meaning of a text. In the episode and “The Siege” language is often dramatic and exaggerated in order to manipulate the way the audience perceives the truth. An example of this is the melodramatic terminology used during Frontline’s coverage of the trivial hostage situation. For instance, Mike’s expressions when referring to the situation include “so we could have a Rambo situation?”, “directly from the line of fire” and “stay safe”. Marty’s dialect during a report is also very dramatic, influencing the way the news story is perceived; “the police are warning the media out here of the very real dangers” and when responding to a news readers question of the children’s safety Marty replies; “Physically, yes. Of course, who knows what psychological scars they may bear from this incident.”
“Playing the Ego Card” is another episode that illustrates how language contributes to the construction of a truth by creating excitement, interest and tension. An example of this is the terminology used in Mike’s interviews in Bougainville. Mike poses leading questions when interviewing soldiers to construct a dangerous and chaotic image, as seen in; “so those hills are literally crawling with rebels” and “idealistic island or bloody battleground”. The language also contributes to the dramatic impression used to position the audience in a certain way. Satire is also used in this episode to contrast the language on and off screen to suggest that what we see is a construction of the truth. Frontline reporter Mike is depicted to be an intelligent and sophisticated reporter when on-screen and this is reflected in the typical competent journalistic language used. However, the language used when Mike is off-screen is the opposite of this. Mike appears vulgar and idiotic, this is depicted in his language as seen in”” suggesting what we see off-screen is reality while the on-screen is a construction.
Frontline also depicts how the perspective of a text can manipulate its meaning and can contribute to the construction of a truth. This idea is achieved through satire in both episodes “Playing the Ego Card” and “The Siege”. The way the current affairs program presents itself is that it is concerned for justice and the real truth. However it is clear that the program’s real concern is for ratings. Through the ridicule of this idea Rob Sitch shows how perspective is used to manipulate the meaning gathered from texts. The criteria Brian applies when deciding whether as story is suitable for frontline in both episodes is “good vision”. This coincides with the petty concern possessed for ratings, rather than the interest in what is important. The criteria therefore impacts upon which stories are shown to the public, for instance, in “Playing the Ego Card” Brian stated he would rather cover a “pub brawl in Manly” over a massacre of thousands if there were good images.
Frontline’s direct interference with the hostage situation in “The Siege” is also a good example of how perspective influences meaning. The image that is presented to the public in this episode is that Frontline is concerned for the people involved in the siege. However it is clear that the only concern of the program is its ratings. This is depicted through satire in Frontline’s immediate interference with the serious situation. They breach media restrictions laid down by police to protect the public and the children being held hostage. In doing so, Marty flies within the five-kilometre exclusion zone in a helicopter showing the lack of concern for the safety of the children. Brooke’s interview with the gunman’s mother also shows the singular concern for ratings, as she gets her to sign an exclusivity contract, preventing authorities and other media from gaining information. However, it is Mike’s phone call with the gunman in his attempts to negotiate that most actively interferes with the siege. Mike acts as a professional compromiser when he clearly has no experience in the field. He speaks to the gunman and children, putting their lives in danger and disregards the authority of the police. An example of the confronting questions Mike poses in order to gain ratings is; “Amy are you afraid?” and “Is Daddy pointing a gun at you?” Brian’s response to this is “Sensational”. Reinforcing this idea is the celebration that follows Frontline’s coverage of the story. The program is thrilled at the ratings they have achieved, not showing any concern for the outcome of the siege. For example “Melbourne thirty four, thirty six. Sydney thirty-four, thirty-four. We bloody creamed ‘em!”
Evidently, it is unmistakable that the truth is rarely pure and never simple. This is because the truth, in many cases is a construct, as the realities presented in modern day society will be at one point of view, making the truth incomplete, oversimplified or distorted. This is depicted in the program Frontline as it shows how the meaning we derive from any text is influenced by its medium, form, language and perspective. Frontline satirizes how current affairs programs manipulate the truth. However, it must be considered that the program in itself can be thought of a construction of the truth, as it is Rob Sitch’s opinion urging viewers to think critically of what the media presents us.
