Embedded Files
The Truman Show explores the idea that mass media shapes the nature of reality for most people, most of the time.
Weir encourages his viewers to consider the power of the media to manipulate reality through the recurring motif of Truman's manufactured fear of water. When Truman attempts to leave Seahaven Island he is prevented by his fear, which is exacerbated by the actors and the setting. The use of the spy lens to reveal the name 'Harbor Island' helps viewers understand how the setting of an island has been used as a vehicle to contain Truman in his manufactured 'reality', since he is afraid of the water.
Task
Task
Let's watch this scene. Answer the following questions:
1. How are camera angles and camera shots used to create a sense of paranoia and fear?
2. How does the dialogue help to generate fear in Truman?
3. How do the different elements of film style combine to develop the concept that the mass media can shape the reality people experience?
Task
Task
Write a PEEL paragraph (250 words) in response to this question:
How does Weir use elements of film style to develop the thematic concept of media manipulation of reality in the scene in the office and the Harbor Island scene?
Sample paragraph response
Sample paragraph response
Peter Weir uses his distinctive postmodern film style to explore the thematic concept that mass media shapes the reality of most people, most of the time. This concept is represented in the Harbor Island scene where the manufactured nature of Truman’s fear of water is revealed. Low-angle shots of Truman’s co-worker or boss are used to establish the power that he holds over him, and how he is able to intimidate him into visiting Harbor Island through the dialogue mentioning the threat of “cutbacks” if he does not take the case. This is further emphasised by the scene at the ferry pier, where low-angle shots are paired with vignetting, representing the hidden camera shots from the sunken boat. The boat has become a haunting symbol of his father’s supposed death by drowning, which Truman blames himself for. The sight of the boat makes Truman visibly distressed as we see in his pained facial expression, and he keels over, suggesting he is faint or having trouble breathing. Truman’s inability to overcome his fear is confirmed by the mid shots of him walking back to shore and the dialogue “Do you need any help sir? You go ahead, I’ll be fine.” The power dynamics established by these two scenes effectively reiterate how every aspect of Truman’s life is controlled by the television producers and this critiques the media manipulation widespread in our society.
Truman's Transformation
Truman's Transformation
As Truman becomes more suspicious of the nature of his reality we see him increasingly confused and frustrated. These emotions are direct consequences of his feelings of being watched and his lack of personal freedom, reflecting the emotions of the viewers themselves who cannot escape the ubiquity of the media.
As Truman drives to work he begins to sense he is being watched, revealed through the close-up on his car's side window which frames his face, capturing his emotions of confusion and suspicion. Side mirrors are used to capture his reflection as well. Mirrors are typically symbolic of identity and here they represent Truman's transforming identity. The diegetic sounds of the cars and conversations of people on the street increase in volume to show how he focuses on the actions of others in an attempt to catch them in their fabrication. This is paired with shots from Truman's point of view, reflecting his growing awareness and autonomy. The shots from the film are intercut with shots from the television show, again conflating the two, and creating an effect in the viewer similar to what Truman experiences - of not being sure exactly what we are seeing.
The scene reaches its dramatic climax as Truman is shown via an overhead shot holding the traffic at bay. The fact Truman is positioned at the centre of the shot with the vehicles around him and the increasing tempo of the music informs the viewer that this is a significant moment of realisation for Truman: he is the centre of everything that happens in his world. Ironically, this brief moment of control for Truman actually betrays his ultimate powerlessness within the constructed world in which he lives. Truman's shock at what he believes is a significant discovery in this scene is conveyed as he runs away, futilely trying to avoid the scrutiny of others.
Task
Task
Focus on the second half of the video above. Take notes on: camera work, sound design, music and facial expressions/body language. Write a PEEL paragraph (250 words) in response to this question:
"How does Weir portray media manipulation and Truman's growing scepticism about his reality in these scenes?"
The loss of trust engendered by the media manipulation that people experience in modern societies is depicted in the scene where Truman briefly takes Meryl hostage. This is illustrated through Meryl's pleas for help during his outburst in the family home.
MERYL: Do something!
TRUMAN: What? What did you say? Who are you talking to?
Her pleas which are directed at Christof and the show's production staff reveal to Truman that his suspicions about the fabricated nature of his reality are warranted. Meryl's darkly humourous cry for help "How can anyone expect me to carry on under these conditions? It's not professional!' - reminds the viewer of the artificiality of television as well as destructive impacts of pervasive media on human relationships.
Christof as emblem of powerful media
Christof as emblem of powerful media
Weir criticises the rampant power of media, emblematised by the creator of the the show, Christof. His ruthless pursuit of television ratings and his complete disregard of the ethical content of the show is a comment on the capitalist media industries. Christof's powerful role in the construction of a false reality is revealed in his decision to return Kirk Truman to the show.
Task
Task
Let's watch this scene. Answer the following questions:
1. How are camera angles and camera shots used to create a sense of the power of media to manipulate people's emotions?
2. How is the non-diagetic music used to build anticipation? What else is the use of music doing in this scene?
3. How do the different elements of film style combine to develop the concept that the mass media can shape the reality people experience?
Christof as emblem of powerful media
Christof as emblem of powerful media
The juxtaposition between scenes within the studio control booth and those from within Seahaven Island reflect this: Christof commands, via a mid-shot of his face, 'easy on the fog', coupled with an overhead shot from a 'crane cam' of the men walking towards one another on the bridge which cuts to an extreme close-up from Kirk's button cam. This scene cuts between shots of the viewing audience, the director and the actual scene on Seahaven to reinforce how our viewing experiences are manipulated by media.
The continued directions of Christof, such as 'fade-up music...and now, close-up', combined with his gestures, which reflect those of the conductor of an orchestra, and the zooming in on his emotional face are ironic because his emotion is based in his sense of success in having fabricated this emotional scene for Truman and the viewing public. This is juxtaposed to the genuine emotion of Truman shown via a close-up on his face as he hugs his father. The reality of Christof's powerful role, and unethical motivations, are evident in the line "That will bring the ratings back' while the production team hug and celebrate their success.
The problematic relationship between the media, consumerism and voyeurism is illustrated via the 'interview' with Christof, which features a montage of Truman's life experiences that also serves as a celebration of Christof's role as the chief creator of the show. A visual of Earth from space is overlaid with the claim that the giant dome which houses the 'set' of the show is 'One of only two manmade structures visible from space'. Christof is later introduced as the 'designer and architect of what is a world within a world'. The realistic portrayal of how the media celebrates a man who has constructed an entirely false reality for one person all in the name of TV ratings and money is a scathing critique of the lack of the media's ethics.
Christof's moral bankruptcy is powerfully illustrated in the scene where he sends out a search party to find Truman. The long-shots of the actors linked together with torches, coupled with the diegetic sounds of dogs barking, creates a representation of a mob that does not care about Truman but rather about their own jobs on the show. A shot of the actor who plays one of the twins as his imperative 'Just find the son of a bitch' reveals the selfish attitudes of the actors. The untrammelled power Christof exerts is dramatised in his command to 'cue the sun', with its biblical allusion to God's command 'let there be light'. Christof's assumed omnipotence however is limited to The Truman Show, as evidenced when the network executive yells at him: "The media is having a feeding frenzy with this' and later reveals that 'Sponsors are threatening to rip up their contracts. The scene reveals the power relationships inherent in media.
Analysis Table
Practice Paragraph
Practice Paragraph
Use the information from this page and TQE table above to write a 250 word PEEL paragraph in response to this question:
How does Peter Weir use a distinctive film style to explore the way mass media manipulates our experience of reality?
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