The media “…are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical and social consequences that they leave no part of us un-touched, unaffected, unaltered…” [McLuhan, 1967]
The television media play an important role in the shaping of the public’s perceptions of our global and local communities. Not only are our political thoughts influenced by television, but also our social and cultural ideals.
News and current affair programs infiltrate our thinking processes daily on a subconscious level; we need to ascertain how the media manipulates visual and language tolls to achieve this. In determining the role of the presenter reviewing treatment and production values, identifying the codes and conventions that generate representations and stereotyping, realise how the media, through discourse, conditions our ideologies and cultural attitudes. Comparing news and current affair formats together with the program content of commercial and public broadcasters, we can discover which delivers informative and accurate reporting.
While there are no complete definitions for news or current affairs, it is generally accepted that the time frame given to each story as well as the depth of interpreting and analysing the item determines whether or not a story is news or a current affair program. There is a distinctive pattern of difference between the way commercial broadcasters and the public broadcasters present current affairs.
New is a commodity and its function is to deliver items of interest within the last 24 hours both locally and globally in a short time frame to give the audience a general overview of what is occurring in the world. Commercial television often presents news as “drama”, human disasters, war, celebrities and royalty entices the viewer to keep watching, increasing the ratings.
The function of current affairs is to present issues affecting the social, cultural and political climate of the day in a format that allows comment and analysis between two opposing views to allow its audience to make “informed” conclusions regarding the topic through the interviewing of “expert” guests.
News and current affairs are constructed by the gathering and manipulation of information into a digestible construct for consumers and by doing so they create an intentional/unintentional bias regardless of which angle the issue is shown in. Taking one issue and comparing how both commercial and public broadcasters present the story can prove this.
Commercial television is a powerful medium that has the ability to affect the way people in the public gaze respond to its scrutiny. Politicians modify their behaviour due to the small time frames they are given to discuss issues as there is no time for debate and most of their time is spent issuing denials and making claims. People make assumptions based on this with no background given to the issues.
“Free-to-air television remains the most used source for news and current affairs, with nearly 88 percent of Australians using it” [ABA, 2001]
Commercial programs such as Meet the Press are dedicated to a longer time frame in which political analysis and discussion can occur, however these programs generally occur only once a week. Therefore we can assume commercial stations are trivialising the importance of analysing politics for public consumption, by only giving lip service to quality political comment. Politics was given more coverage in the lead up to the last election but the emphasis centred around the two leaders and instead of concentrating on the policies and issues at hand and how each political party would deal with them.
The public broadcasters SBS and the ABC give political comment and analysis more coverage with daily and weekly programs such as Lateline, the 7.30 Report and Statewide.
A commercial television owner can exert through the power of television, bad publicity towards politicians if they pass unpopular media policy. Although this is not openly recognised, in 1975 in the print media Murdoch brought down a Government in this way.
Journalists generally agree that commercial station owners do not impose on them what angle they should report on a story but most acknowledged that there was an unwritten rule they should follow a slant that their employer would find favourable. Due to the low numbers of television station ownership in Australia, most conceded that it would be pragmatic to go against the tide. So therefore, the public assumes that there is interference in the way “newsworthy” stories are being selected for news and current affairs due to the political leanings of other corporate interests the television station may also have.
“Public broadcasting, as opposed to commercial broadcasting, is the only form of broadcasting where the actual aim of the programming is to educate, inform or entertain.” [Davidson, 1996]
The common view held by most Australians is that public broadcasters remain independent and un-editorialised as they are not as ratings driven for monetary purposes as the commercial broadcasters.
The Charter for the ABC regarding news and information stipulates:
- no editorial stand
- avoid conflict of interest
- news accurate and, in context, balance, authority for editorial decision and directions will be vested in editorial staff.
People become a marketable commodity when they select which television shows they watch. Commercial television has a monetary bottom line and their programming reflects this.
The shareholders of commercial broadcasters expect a profit and as there is no Government funding, capitalists and corporations play an integral part of the running of a commercial station. Advertising is important as the proceeds help cover production costs. It is therefore important for the networks to increase ratings by widening its audience scope to entice advertisers to spend large amounts of money in marketing their products during prime time, which is the news/current affair time slot.
“Total media expenditure for 1999, Telstra – $130-$135m, Coles Myer – $120-$125m” [The Media and Communications in Australia, 2002]
Through market research, commercial networks can ascertain which news and current affair programs an audience demographic is watching and can gives their advertisers a cross section of the gender, age, disposable income of the targeted audience. There are rumours of advertisers also having editorial licences to put pressure on the commercial networks to not do an “expose” on their companies or they will withdraw their advertising which could be worth millions a year.
A code and convention which commercial stations rely on within a current affair/new item is stereotyping through representation. This is achieved by identifying the differences between the majority (main stream public) and the minority (ethnic groups, minority groups, subcultures). Differences in appearances and behaviours such as religious practices, ethnicity, work habits and job status are emphasised in a negative light.
Positive traits are often ignored. It is assumed that the audience watching the commercial networks have a certain level of intelligence and are impressionable to the effects of visual and linguistic codes and conventions, disregarding the accuracy of the facts being presented.
Television consistently stereotypes people through word association linguistics such as welfare bludgers, the little Aussie battler, single mothers, ethnic groups, shifty salesmen, shonky builders and the elderly as weak. Factors of alternative lifestyles are also magnified for example vegetarians, homosexuals, and followers of non-Christian religions. This serves to prejudice the audience into perceiving this lifestyle as freakish, emphasising the normality of the viewers’ life by accentuating the differences of alternative life choices. The media concentrates on the contrasting social and cultural characteristics dictating how the public should perceive these groups through encoded prejudices delivered subliminally through codes and conventions to the audience.
A recent expose on food practices in food courts for example centred on workers of Asian appearance at the rear of a shop premises, while at the front the owners refuting the journalist claims in broken English and showing no facial expression.
This representation of people of Asiatic backgrounds plays on our ignorance and intolerance of other cultures within our own community by sending the message that Asiatic people cannot speak fluent English, show no emotions when confronted with allegations so therefore they cannot understand our health legislations in food handling, so our food is prepared in unhygienic conditions. In not knowing or understanding their language we feel threatened and the journalist plays the fear factor.
If the audience cannot relate to a presenter they will switch to another channel. As presenters of news/current affairs act as a link between stories and the audience the presenters need to be likeable, trustworthy and familiar to the audience to be allowed into their homes every night. The presenters look authoritative in the way they dress, their speech and their mannerism, a professional touch.
The presenters on commercial stations become celebrities in their own right, commodities. Channel 9 had a slogan “Brian Told Me” which sold its news program on the popularity and trustworthiness of Brian Henderson. Henderson had been with the station since its inception and was a familiar, recognisable face and viewers believed him. The station could not buy this kind of marketing and he was a great asset to the network in the ratings war.
However the presenters have no real authority to give us their view of the issues on current affairs and news. They have a narrative function and read an autocue prepared by an editor and producer who have “editorialised” the material. This gives the audience a brief overview of what the following story is about and halts the audience from questioning stories, having the thinking already done for them.
Codes and conventions are used to enable journalists, especially on commercial networks, to portray the intended meaning of a story to the audience. These help sensationalise a story to attract the interest of the audience.
The studio is set out with a presenter who links journalists with the audience. There is usually a background picture to set the tone for the next item, which begins to shape the viewers take on the subject matter subconsciously.
The journalist is well dressed in a suit, speaks formally and looks straight at the camera to give the illusion that he/she is speaking directly to the viewer. The journalist is often “on location”, gesturing for the camera to pan to the “left or right” to give the impression that the audience is actually at the scene, to give them the impression that they are at the cutting edge of television.
On the spot interviews or live video/satellite feeds add to the “authenticity” of the broadcast which, often unbeknown to the viewer is mostly staged in studios with pre recorded sound/voice overs and interviews which are widely used due to time constraints and budgetary costs of commercial television.
A journalist will often take one point of view and emphasise this with an eye witness, the comments of someone working within the field being shown, or statements from authoritive figures such as a politician, policeman, officials, which the audience perceive to be “experts”.
Great “investigative” journalism will involve conflict of some kind or an expose. The use of spy camera’s secretly recording a person, or a journalist interviewing a subject at their front door or at the side of their car to give the impression that they are hiding something as it is hard to view their face makes for captivating television and keeps the audience interested and watching.
Another technique used is “on-the-run stories” which involve chasing a person through a building and cornering them in a room or chasing them down a busy street and trapping them when they to their car, bombarding them with questions and then accusing them when they refuse to answer. The fact is the “journalists” refusal due to budget and time restraints to examine the circumstances of the issues behind the story, turn the victims into the perpetrators.
The commercial stations rely on subject content which will attract viewers, sports stories, weight loss success stories, baby food exposé’s, the pensioner who lost their life savings to shifty salesman, the builder who built a faulty house and the family are living in despair are great human interest stories but not hard hitting. Where are the “real” stories such as the AIDS epidemic in Africa, or the inability to find a cure for the common cold or cancer? Commercial stations seem to have a “infotainment” layout or that of a tabloid then serious news/current affair reporting, similar to reading the Daily Telegraph, high on quantity but low in substance.
A human interest story is used to wrap up the bulletin for current affairs show to give you a positive resolution to a dilemma which is to coax you into feeling good and to keep watching the following shows so they hold onto their ratings.
A catch cry or slogan is often used to sign off at the end of a show to signal to the audience the show is ended for the evening, this carries the familiarity for the viewers with the presenter, a feeling of routine. For example at the closing of his Channel 9 news broadcast Brian Henderson ended with “and that’s the way it is for this Monday 8th November 2004, I’m Brian Henderson, good night”. Ray Martin likes to use “I’ve enjoyed your company”, personalising his narrative to give the audience the feeling of inclusion.
Issues such as objectivity, accuracy, balance, reliability and lack of bias give credibility to a current affairs or news programs. Sometimes we do not realise the power the programs have in forming our ideologies and shaping our values and the way we look at our world. Through codes and conventions they can, through repetition of language and visual pictures influencing the way we view things.
The ABC has a “no frills” policy on codes and conventions due to being funded by the Government and not through advertising. Their budget is mainly directed towards producing high quality programs with quality content from journalists who spend hours researching and investigating an issue so it is presented as informative and balanced, enabling the audience to make informed and unbiased judgements.
The programming is straight forward with the simplification of codes, usually one presenter, use of formal language and giving longer time periods to discuss and analyse issues. Correspondents are scattered around the world and not manufactured in a studio while video tape and satellite live feeds enable up to date reporting which gives the ABC authenticity in their content and integrity to their journalists, unlike it’s commercial competitors who pre record scenes and source information through syndication to save on productions costs due to budgetary and time constraints, as money is their bottom line. This undermines their integrity as does cash for comment and cheque book journalism, which loses its impartiality and objectivity by chasing ratings.
The ABC news and current affairs content speaks for itself, the presentation of facts from accredited experts from either sides of the issue being debated allow for unbiased analysis by the discerning audience. It is common knowledge that the ABC audience has a higher level of intellect then those that watch commercial networks. They can understand formal dialogue and have a background in issues regarding current events and are able to make judgements of their own without the overuse of codes and conventions to sensationalise issues in a particular slant to dictate to the audience what their thought processes “will be.
Bias is not as obvious in news reporting, but by giving more air time live feeds and images of irate/violent protestors (sensationalising) as against the calm, even tempered official of an organisation, corporation or politician we have to accept this is a low form of bias.
Clive James believes that a large number of channels leads to “universal ignorance…the more that the information explosion continues, the more that we should protect public service broadcasting.” [James, 1996]
News and current affairs do construct our beliefs and ideas about issues through the use of codes and conventions. The quality and credibility of the facts used to shape our ideologies through the media will depend upon which broadcaster you choose to enjoy. As commercial networks are vying for a large bottom line through ratings driven programming, public broadcasters are the only choice you can make to form your own unbiased and balanced perceptions of the local and global communities.