Week 05: Mediating

King (2005) discusses the similarities between media coverage of a disastrous event and a Hollywood blockbuster. One of the ways he does this is by comparing the audio-visual effects used in ‘action-disaster movies’ to the reality of an actual explosion (p. 48). For example, this video http://www.youtube.com/watch?v=7PWr7x7zPiQ may incorrectly be interpreted as a movie trailer as it has fire, explosions, dramatic music and even suggests some narrative involving a koala! However, as the context is clearly explained on the YouTube page the audience knows this is some sort of tribute video.

King highlights differences between the “spectacle of the real” (p. 49) and blockbuster movies such as dodgy camera focus and a reduction in the volume of visual information available. The problem here, he points out, is that these differences audiences had once used to distinguish reality from fiction are now duplicated to make fictional media appear more realistic. For example, Cloverfield (2008) created a feeling of realism by using a shaky hand-held camera and revealing very little information to the audience. This creates the illusion that the audience is witnessing the first-hand account of a disastrous event. The Blair Witch Project (1999) chose not to advertise with a trailer, but instead used a viral campaign. This was done with signs in public places, postings on the internet and word of mouth which effectively changed the context in which Blair Witch would be perceived. The actors in Blair Witch were unknown, and the film was shaky and badly edited. Blair Witch successfully convinced their audience into believing their film was a documentary that went horribly wrong – reality not fiction.

Something else that comes from the blurring of the lines between reality and fiction is questioning our own morality (Freeman-Greene, 2011). Is it ok to watch a natural disaster unfold? Is this a form of voyeurism? I find it difficult to come up with a definitive answer to this as I often find myself viewing senseless destruction or the macabre. In fact, I was shocked earlier this week when I found out that a video had been posted of the death of Knut, Germany’s favourite polar bear. As upset as this made me, I was still drawn to watch Knut take his last breath. It could be argued that this is a way for the viewer to feel empathy or a connection with those involved in disaster.

On a final note, I found King’s writing refreshingly simple and can only hope we get more readings like this one!

References

Cloverfield 2008, motion picture, Abrams, J.J. & Burk, B., New York, USA.

Freeman-Greene, S. 2011, ‘Drawing a line in the morality of watching disasters unfold’, The Age, 26 March, viewed 28 March 2011.

King, G. 2005, “Just Like a Movie”?: 9/11 and Hollywood Spectacle in The Spectacle of the Real: from Hollywood Reality to Reality TV and Beyond, Intellect Books, Bristol, pp. 47-57.

The Blair Witch Project 1999, motion picture, Cowie, R. & Hale, G., Maryland, USA.

* Knut * Polar Bear Dead* see his last minute here * R.I.P * 2011, 231045, 22 March, viewed 28 March 2011, <http://www.youtube.com/watch?v=BGmtAWqwiZ0&feature=related>.

**Australian Bushfires **2009, xjoeyxSydneyGirl, 7 February, viewed 28 March 2011, <http://www.youtube.com/watch?v=7PWr7x7zPiQ>.