MEDIA STUDIES 3.4
Explain the relationship between media genre and
society. Credit value: 4
Genre groups texts by identifying common codes
and conventions. Includes: horror, western, film noir,
thriller, Science Fiction, documentary …
Relationship refers to the influence of the genre on
society and the influence of society on the genre,
and may include developments over time.
Influences on genre include: political & economic
climate, idealogical, mora, spiritual & social values,
technological changes, audience demand…
MEDIA STUDIES 3.4
Influence on society may include “copycatting” (imitation
of stylesor tends in genre by individuals in society),
changes in societal expectations and beliefs, influence on
other media forms…..
Developments could be technological and or stylistic
changes to the genre made over a period of time.
A range of texts should be studied to develop an
understanding of the relationship/s. You are to discuss,
explain and analyse the genre as a whole in a perceptive
manner. This means you need to be alert to the issues
raised by a society and be able to comment on how they
are reflected in the film genre and vice versa.
Genre Study
Science Fiction
as a reflection of society.
The films of Andrew Niccol
 A study of ouvere film-making
 A study of three science fiction films dealing with
social, ethical and economic concerns scripted
and/or directed by Andrew Niccol.
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Filmography:
1997 – Gattaca
1998 – The Truman Show
2002 – Simone
2004 – The Terminal (author – Screenwriter)
2005 – Lord of War
Biography
 Born Auckland. New Zealand 1964.
 TV Commercial maker in U.K. until located in USA to
make movies.
 Wrote screenplay for The Truman Show before Gattaca.
Reputation from the themes and direction of Gattaca
(1997). Simone (2002)
 Films have had mixed reviews but share common thematic
structures and focus – i.e. Science Fiction exploration of
the effects of scientific advance coupled with the impact of
technology on an individual’s life.
Niccol as a film-maker
 Andrew Niccol has said that he never set out to specialise
in “social science fiction film.” His projects just end up
that way.
 Consciously or not Niccol’s career has made him one of
the Great Bright Hopes of fantasy movie-making. His
films go beyond the FX laden space cartoons (Star Wars)
to approach something more thought provoking and less
formulac than your average adventure-comedy or
intergalatic epic.”
Kathi Maio - “Lost in the Land of Fake Fakes”
Fantasy & Science Fiction; Jan 2003. Vol 104. Issue 1. Pp 130-136.
Niccol as a film-maker
 Niccol loves writing characters that have to scheme.
 In GATTACA Ethan Hawke must go to great lengths not to be
detected as "not genetically perfect.”
 Truman, in THE TRUMAN SHOW, must scheme to escape
Sahaven and enter the world of reality.
 In RIVER ROAD Myler Kline risks his life again and again to
cross the river to what he hopes is freedom.
 Viktor, in SIMONE, is just like these men, only his battle is one of
trivia, not of life or death.
Gattaca - 1997
 Genre. Science Fiction – Social
commentary.
 Gattaca (1997): A tale of the near
future and the reach of science –
especially the influence of genetic
engineering and selection on society.
Gattaca - 1997
 Genetically inferior Vincent wants to
be an astronaut in a society that favours
those who are classified as “genetically
valid”. Against all odds he succeeds in
overcoming the prejudices of the
genetically valid, the constraints of the
society and the controls on his
“invalid” existence to launch into
space.
 .
Gattaca - 1997
 Social commentary:
 Genetic engineering,
 social control and conditioning on
the basis of DNA analysis.
 Scientists playng ‘god” on
individuals’ lives
The Truman Show - 1998
Andrew Niccol - scriptwriter.
Peter Weir- Director
 Truman Burbank exists in an intricate
lie – the sealed community of Seahaven
which is in reality a huge stage set
complete with total environmental
control and 5000 cameras that track his
every move. Truman is unaware that his
life is being manipulated until a series
of accidents occur that cause him to
seek answers to the questions that have
been troubling him for sometime.
The Truman Show - 1998
 Eventually Truman overcomes the
constructed fears that have served as
controls on his behaviour and escapes
into the real world to seek out the
woman of his dreams – his adolescent
love who was removed from the
programme as the relationship did not
fit into the Director’s vision of
Truman’s future.
The Truman Show 1998
 Social Commentary:
 The influence of T.V. reality shows,
 abuse of power by the T.V. director
/ producer,
 the pervading of Advertising
placement in programmes.
 The T.V. director playing “god”
within the program.
Simone - 2002
 Viktor Taransky, a film
director whose career is
rapidly entering its twilight
finds himself short of a
leading lady when his star
quits his latest project. Fired
by the studio he sets about
creating his own superstar
using a computer program –
Simulation One.
Simone - 2002
 Simone is the ultimate actress
– able to perform her own
stunts, willing to do nude
scenes, doesn’t throw tantrums
and perfectly capable of
following direction regardless
of the director’s demands. As
an added bonus she is
maintenance free.
Simone - 2002
 The ploy is successful and
makes Taransky an
international success. The
publicity eventually becomes
over whelming and Taransky
attempts to destroy his
creation only to find that the
media are baying for his
blood.
Simone - 2002
 Simone is resurrected and
declares that she will
consider entering politics –
a move welcomed by the
media who still believe in
her reality.
Simone - 2002
 Social Commentary:
 The possibilities in a virtual
reality,
 the cynicism of the film
business,
 the influence of the media on
society,
 the director as “god”.
Specific analysis of the films.
Gattaca
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United States, 1997
U.S. Release Date: 10/24/97 (wide)
Running Length: 1:52
MPAA Classification: PG-13 (Violence, mature themes, profanity)
Theatrical Aspect Ratio: 2.35:1
Cast: Ethan Hawke, Uma Thurman, Alan Arkin, Jude Law, Loren Dean,
Gore Vidal, Ernest Borgnine
Director: Andrew Niccol
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Producers: Danny DeVito, Michael Shamberg, Stacey Sher
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Screenplay: Andrew Niccol
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Cinematography: Slawomir Idziak Music: Michael Nyman
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U.S. Distributor: Columbia Pictures
Gattaca
Vincent Freeman, a
genetically “invalid”,
seeks to fulfil his dream
- to enter the world of
the “valids” and become
an astronaut.
He succeeds but is
almost discovered
before the launch.
Gattaca

Welcome to the 21st Century, an era when things aren't that much
different, but people are. No longer is standard procreation the
accepted way to reproduce.

Consider all of the birth defects that such an approach can bring about.
And, while it would be unreasonable to outlaw sex for the purpose of
producing offspring, be aware than any children so conceived are
almost certain to be "in-valids" -- genetically imperfect and ill-suited to
be productive members of society. There is a better, more rational way - a method that will guarantee health, stamina, and physical
attractiveness.

Let science do a little tinkering with the DNA. Everyone does it. Or at
least everyone who wants their child to have a shot at a normal, welladjusted life.
Gattaca
 This is the chillingly feasible premise of Gattaca. While in 1997,
science has not yet perfected the genetic engineering
techniques used in this film to routinely develop babies, every
day brings the medical profession closer.
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As a result, Gattaca doesn't just function as a science fiction
thriller, but as both a cautionary tale about the dangers of letting
scientific ability outstrip ethics and as a morality play about the
irrationality of bigotry.
Gattaca
 Andrew Niccol's oppressive future, which contains more than an
element of Orwell's "Big Brother is watching" mentality, isn't just
a clever backdrop against which to set a thriller. Instead, it's an
integral part of the story. While it's true that there is a murder
mystery, that's just a subplot.
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The main focus of Gattaca is the struggle of a genetically
inferior man, Vincent Freeman (Ethan Hawke), to survive and
prosper in a world where his kind is routinely discriminated
against.
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show
The Truman Show is repeating a story that
dozens of other works of popular fiction have
used for decades. It is a story that reveals an
essential truth about what is happening to society
in the 20th Century.
What is that truth? In part, it is about how the
media and corporations have begun to surround
us with a universe of illusions. From their hightech control centers, they increasingly script and
stage-manage events, creating the danger that we
will find ourselves living inside seamless works of
theater that we mistake for the world.
The Truman Show
In the last few years, America has undergone a
significant cultural change. Previously, almost no
criticism of the media reached the public, except
for some of the complaints of business interests
and conservatives.
The media controlled the "means of
communication" and it used that power to censor
virtually all discussion of its own role in shaping
events
.
The Truman Show
. The Truman Show, it shows us a character who
also challenges -- and ultimately escapes from -a contrived world that is an invention of media.
The movie’s message: we will have to stand up
to the manipulators of television and news if we
want to protect ourselves from the absurdity
and falsehood that now surrounds us at every
turn.
The Truman Show
Thus does the movie offer us a metaphor for our own situation.
The
. fake landscape Truman lives in is our own media landscape
in which news, politics, advertising and public affairs are
increasingly made up of theatrical illusions.
Like our media landscape, it is convincing in its realism, with
lifelike simulations and story lines, from the high-tech facsimile
of a sun that benevolently beams down on Truman to the mock
sincerity of the actor he mistakenly believes is his best friend.
It is also rewarding and masquerades as something benevolent.
And it is seamless -- there are almost no flaws that give away
the illusion -- at least until things start to go wrong.
The Truman Show
The movie depicts two attitudes we routinely take toward
media.
In one, we are absorbed by it; we accept its rendition of
.
reality because it occupies our view.
We are like children whose parents define their world. The
lifelikeness and seamlessness of media fabrications and the
fact that they are entertaining, help induce this attitude in us.
We frequently experience it while reading news stories and
watching television and movies.
In the second attitude, we distance ourselves from media. We
examine its meaning and try to understand the intentions of its
authors. This second attitude is what makes criticism -- and
freedom -- possible.
The Truman Show
First, Truman is absorbed by his stage-set world. He is
convinced
it is real and it occupies his view.
.
Then, as a result of flaws in the seamlessness of the illusion, he
begins to question it. He develops a healthy paranoia -- are they
watching him; can he know what is authentic?
As he makes his escape, and the producer of the show blocks
him at every turn, that is the creators of the movie telling us that
we too have to take a journey -- of mind -- and distance
ourselves from this media landscape, if we want to secure our
freedom.
The Truman Show
The movie wants to play the role of a social critic for us. It tells
us
. to look around and break the spell that keeps us believing in
the media-fabricated illusions of popular culture.
Of course, the movie is also a form of media. As it conveys
these ideas to us in dramatic form, we are absorbed by its own
take on the meaning of things. Like Truman, we are manipulated
and entertained by its lifelike simulations and story line.
We identify with Truman and psychologically become a part of
his world. So the movie uses the manipulations of media in
order to manipulate us into seeing through the manipulations of
media.
The Truman Show
The movie isn't only a satire of television and other forms of
media.
It aims many of its most pointed barbs at us, the
.
audience. After all, as we watch the characters hanging on
Truman's every expression so they can feel something, that is
us we see depicted on the screen. We are the one's who make
this system possible, the movie tells us.
The willingness of the audience to exploit Truman so it can
enjoy his life as entertainment is our own willingness to exploit
an endless parade of human victims of news and reality
programming because they have the misfortune to be part of
some "newsworthy" event.
The Truman Show
And both the audience and Truman portray our willingness to
experience
an easier and more exciting substitute for life, which
.
is what fuels the media machine.
So Truman and the audience depict us. We're the villains and
victims and hero of The Truman Show. And, ultimately, the only
illusions we have to escape are the ones we create ourselves.
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The Truman Show
Like other depictions in the movie, this one is based on a
disturbing
characteristic of contemporary society.
.
Everywhere we look, today, we see powerful shapers of media - including entertainment companies, news organizations,
corporations and political groups -- offering us a benevolent
face, with promises of enjoyment and an easy life. But, behind
the mask, we increasingly find surveillance, manipulation and
social control.
Many works of fiction show this same combination -- phony idyllic
settings that mask a system of surveillance and social control. This
theme can be found in written stories such as "The Machine Stops", by
E. M Forster, The Futurological Congress by Stanislaw Lem, and The
City and the Stars by Arthur C. Clarke; in movies such as Logan's Run,
and in television programs such as "The Cage", which was the pilot
episode for the original Star Trek.
Simone - (2002)
 The film "Simone” is a satire of the Hollywood
obsession with celebrity.
 Viktor is a two-time Oscar-nominated director, a
veteran of the New York independent-film scene
of the '70s, who's feuding with a bitchy actress
(an overplayed cameo for Winona Ryder) over,
you guessed it, the size of her on-set trailer. His
ex-wife Elaine (Catherine Keener), who also
happens to be the studio head, then fires him
while they're standing on a Hollywood set that
replicates a New York street scene and he's
bellowing about the spirit of John Cassavetes.
Simone - (2002)
 As Viktor is packing up his gear at the studio, he's accosted
by a one-eyed computer geek (an uncredited cameo by
Elias Koteas) who insists he's invented the antidote to selfcentered celeb actors who put their candy-dish requests
ahead of Art.
 Viktor shoos him away, but some time later -- "Simone" is
told as a series of disconnected vignettes, and you can
never tell how much time has elapsed or how we've gotten
from one thing to the next -- the geek conveniently dies,
leaving Viktor a Zip drive containing the program he needs
to create Simone.
 .
Simone - (2002)
 "I have re-created the infinite nuances of the human soul,"
Viktor muses to himself while admiring his creation. (A lot
of "Simone" involves Viktor sitting around talking to
himself, or talking to Simone, which amounts to the same
thing and makes us feel ever queasier about his character.)
.
Simone - (2002)
 Simone wins two Oscars in the
same year (her acceptance speech,
done by videophone from her "Third
World goodwill tour," replete with
garbage-eating dogs and
background gunfire, is one of
Niccol's better moments), is
romantically linked to both Viktor
and Mick Jagger, becomes a singing
star, appears drunk on daytime TV
and "directs" her own unwatchable
art movie, "I Am Pig.”
 These last two arise from Viktor's
Dr. Frankenstein efforts to destroy
his creation, which backfire
completely and only lead to his own
downfall.
Simone - (2002)
 Ironcally, Vicktor’s plans to destroy Simone fail. He is
forced to resurrect her - she literally comes back from the
hard drive dead!
 In keeping with the celebrity obsessed society that sees
actors aspiring to political office - e.g. Reagan,
Schwarzenegger… Simone announces her virtual
campaign to run for office.
 The audience is left to ponder the ramifications if “she” was
to succeed.
Simone
 Taransky can create
and totally manipulate
digital characters,
from the nuance of
their accents to the
size of their tears.
Taransky creates a
CGI surrogate leading
lady named Simone.
The word Simone is
also a double
entendre, which plays
upon the software
acronym "S1m One"
or "Simulation One
Simone
Simone, like all that she
symbolizes, provides
a world of advantages
over her human
counterparts. "she" is
inexpensive. She
never argues, tires, or
negotiates contracts.
She can be
programmed to say or
do anything; and she
is eternally young,
malleable, and
available.
Simone
 What seems significant
when watching the film is
that we the audience
become conscious of
questioning whether we
actually can know truth via
the media. What if the
"Simone" we are seeing is
a composite - sometimes
Rachel Roberts ( who
provided the “body”
image) sometimes her
body double, and at other
times Niccol's digitized
images?
Simone
 Which of these is
"Simone"? Moreover, even
when a "real" actress is
billed as authentic, at what
point does a person who
may have dyed hair,
silicone implants, a tummy
tuck, liposuc- tion,
surgically removed ribs, a
face lift, e-tanned skin,
elaborate cosmetic
enhancement, digital
beauty marks, and acting
lessons qualify as "real?"
Is anyone authentic? In
Simone, "Simone" says "
I'm no more artificial than
anyone in Hollywood.”
Simone
The predecessor technology to CGI such as rotoscoping
(tracing the outlines of projected moving characters and
then animating them), optical printing, and pixillation of
mannequins, it is the next-of-kin status of Final Fantasy
images which engages audiences.
We note both how the shadows, the textures, and the
colors resemble but do not precisely duplicate human
beings and their environments.
Simone
However, when watching Simone, as when watching a
good magician, we are never certain which image is an
illusion, and which image records the image of a live
actress. And since the film is reflexive, that is, it calls
attention to the character generation process in both
senses of the word character, we are constantly invited to
think about the line of demarcation between reality and
verisimilitude.
Simone
When cinema was introduced, after seeing his first closeup shot, the famous playwright Bernard Shaw said "they'll
never pay to see just part of an actor." Those who now
say "they'll never pay to see a facsimile actor" may soon
seem as short-sighted as Shaw. Such objections fade
quickly.
Simone
One question which arises between the frames of Simone
is "Where will we draw the line?"
As a society we have accepted astroturf as a substitute
for grass despite the injuries caused to athletes. We think
nothing of eating and drinking artificial sweeteners,
colors, and chemicals.
We hardly expect the politicians we meet via the media to
act the same when they are off camera.
Our standards about authenticity have eroded so much
that Andrew Niccol can tease us for two hours about it -and the satire stings.
.
Simone
To be sure in the age of cloning, virtual reality, public
relations and artificial intelligence, a wave of books and
films -- Algeny (1983), AI (2001), Being There (1979),
Bicentennial Man (1999), Primary Colors (1998) ,
Virtuosity (1995), et al -have already raised questions
about what is authentic. Long before this century
philosophers have struggled with questions as deep as
whether truth exists and, if so, is it knowable?
Subjective? Sensory? Universal?
And contemporary thinkers - Barthes, Baudriard,
Jameson, among others - are at home with developing
this line of thought. By the 1960's McLuhan was already
calling movies "dreams that money can buy". The
concept of "moving pictures" is an oxymoron in any
event. So there is nothing new about questioning the
authenticity or mediated "reality".
Simone
The websites associated with Simone are a case in point.
Anyone happening across the realistic websites about
Victor Taransky, Amalgamated Films, and
Simone's"movies" will not know that these characters
and entities are fabrications. So, in an age when fake is
fashionable, how do audiences know which websites,
characters, actors, politicians, images and sounds are
genuine? Indeed one implication of the film-within-a-film
is that we no longer are as concerned with "is this true?"
as "does this satisfy?" And if we are satisfied, we will
permit all manner of pseudo-reality and surrogacy
Simone
The issues raised by Simone point toward a mountain of
ethical questions. Everyone from amateur actors to
mainstream unions is concerned about replacing flesh
and blood actors with digital facsimiles not only in
entertainment, but also in news, advertising, and beyond.
The issues of fraud and deception also loom large..
What is the ethical if not the legal limit? In Who Framed
Roger Rabbit (1988), Space Jam (1996), Babe (1995), and
Cool World (1992) it is obvious which characters are
human and which are manufactured. And in Final Fantasy
(2001) and its genre it is obvious that all characters are
man-made. But such is not the case with Simone (2002),
nor was it in such controversial media hoaxes as Orson
Welles' famed radio broadcast of The War of the Worlds
(1938).
Simone
In his book Amusing Ourselves to Death (1985) Neil
Postman points to an important distinction separating the
science fiction classics 1984 (1948) by George Orwell and
Brave New World (1931) by Aldous Huxley. In 1984 nonconforming individuals are controlled by being punished
in "room 101" where their greatest fear, such as of
spiders, heights, or rats, awaits them. However, in
Huxley's Brave New World of test tube castes, individuals
are controlled through pleasure, not pain. Huxley's
characters use an all purpose drug soma and enjoy the
feelies, a multi-sensory arousing version of the talkies, to
avoid and numb their pain or discomfort, whether
emotional or physical.
Simone
In WHAT IS CALLED THINKING (1976) the great twentieth
century philosopher Martin Heidegger described thinking
as "that which is slipping away."
If original thinking is indeed receding into a mirage of
illusion, it is valuable to have an illusion like Simone to
provoke fresh thought.
Sample question 2005 Examination
You have 60 minutes to respond to the question.
Identify the media genre you have studied in terms of its
relationship with society.
Analyse and evaluate how this media genre has influenced
society and been influenced by society.
Refer to at least THREE texts to support your argument.