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	<title>The Fourth Estate</title>
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	<description>A documentary about the media, corruption and us</description>
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	<title>The Fourth Estate</title>
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		<title>A Documentary about the British media and the digital paradox</title>
		<link>http://www.fourthestatedoc.com/2021/02/02/a-documentary-about-the-british-media-and-the-digital-paradox/</link>
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		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Tue, 02 Feb 2021 22:38:04 +0000</pubDate>
				<category><![CDATA[Uncategorised]]></category>
		<guid isPermaLink="false">https://www.fourthestatedoc.com/?p=1827</guid>

					<description><![CDATA[<p>Digital media technologies are full of paradoxes. On one hand they are said to open up new opportunities, a “democratisation” of media, but on the other they&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2021/02/02/a-documentary-about-the-british-media-and-the-digital-paradox/" rel="bookmark">Read more <span class="screen-reader-text">"A Documentary about the British media and the digital paradox"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2021/02/02/a-documentary-about-the-british-media-and-the-digital-paradox/">A Documentary about the British media and the digital paradox</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>Digital media technologies are full of paradoxes. On one hand they are said to open up new opportunities, a “democratisation” of media, but on the other they are said to consolidate not just media power, but also the ideological frameworks that constrain critical creative practices. Funding regimes, festival circuits, commercial distribution networks, filmic narratives and conventions of film-making, not to mention the institutional order in which we exist, are persistent limitations on truly critical, or radical practice&#8230; <a href="http://filmint.nu/radical-film-making-and-digital-paradox-the-case-of-the-fourth-estate/" target="_blank" rel="noreferrer noopener">read more here</a>.</p>
<p>The post <a href="http://www.fourthestatedoc.com/2021/02/02/a-documentary-about-the-british-media-and-the-digital-paradox/">A Documentary about the British media and the digital paradox</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>The cynical trap of User Generated Content – it does not democratise media</title>
		<link>http://www.fourthestatedoc.com/2017/10/11/the-cynical-trap-of-ugc/</link>
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		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Wed, 11 Oct 2017 08:41:22 +0000</pubDate>
				<category><![CDATA[Social media]]></category>
		<category><![CDATA[UGC]]></category>
		<category><![CDATA[democratization]]></category>
		<category><![CDATA[digital media]]></category>
		<category><![CDATA[news]]></category>
		<category><![CDATA[news media]]></category>
		<category><![CDATA[reflection]]></category>
		<category><![CDATA[social media]]></category>
		<category><![CDATA[time]]></category>
		<category><![CDATA[ugc]]></category>
		<guid isPermaLink="false">http://www.fourthestatedoc.com/?p=136</guid>

					<description><![CDATA[<p>I was asked recently, though perhaps not sincerely: How has User Generated Content (UGC) changed journalism? My reservations about the sincerity of the question were largely due&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/10/11/the-cynical-trap-of-ugc/" rel="bookmark">Read more <span class="screen-reader-text">"The cynical trap of User Generated Content – it does not democratise media"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/10/11/the-cynical-trap-of-ugc/">The cynical trap of User Generated Content – it does not democratise media</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>I was asked recently, though perhaps not sincerely: How has User Generated Content (UGC) changed journalism?</p>
<p>My reservations about the sincerity of the question were largely due to it being an attempt to promote a <a title="Lobster Media UGC" href="https://www.journalism.co.uk/news/how-to-source-user-generated-content-legally-with-lobster-/s2/a667810/?utm_content=buffer1854c&amp;utm_medium=social&amp;utm_source=twitter.com&amp;utm_campaign=buffer" target="_blank" rel="noopener noreferrer">new commercial service by Lobster Media in collaboration with Journalism.co.uk</a>. The commercial relationship that underpinned the publication is perhaps is the vindication of what follows.</p>
<p>I wrote about UCG many years ago in <a title="Digital Journalism" href="https://www.academia.edu/34214216/Digital_Journalism_book" target="_blank" rel="noopener noreferrer"><em>Digital Journalism</em></a>, which I co-authored with Janet Jones. I wrote then that UGC,</p>
<p style="padding-left: 30px;">can contribute to richer journalism, but it is also true that such material is usually exploited by corporate media in the context of economic calculations – it is often seen as cheap or free content for which the contributors need not be remunerated (p.30)</p>
<p>The scramble to incorporate UGC into news reports in the late 2000s under the guise of “democratisation” was cynical, and based on a notion of “democracy” that was conceptually unrecognisable.</p>
<p>In the very first instance, whose voices are heard? Many years ago I tried to explain to a then BBC News editor that their UGC “Have Your Say” on Venezuela <a title="Digital Journalism" href="https://leesalterblog.wordpress.com/2014/02/18/whats-going-on-in-venezuela/" target="_blank" rel="noopener noreferrer">may not reflect the voice of “the people”</a>. On one hand we know those contributing from the UK have been subject to a rather significant propaganda campaign, which may skew understanding if one understands that news media may not be the arbiter of all truth.</p>
<p>On the other hand, the plentiful voices from Venezuela may not reflect Venezuelan society. Largely English speaking, articulate and with access to computers and the internet, those voices probably weren’t coming from Barrio 23 Enero. This is to say, there is a class and status relation in UGC and social media more generally. Heavy users are <a title="Pew Internet" href="http://www.pewinternet.org/fact-sheet/social-media/" target="_blank" rel="noopener noreferrer">young, wealthy and educated</a>. It is their voices that come through UGC.</p>
<p>So UGC is hardly democratic. Moreover, as the passage above suggests, UCG was akin to any other innovation in media technologies – it can be reduced in the final analysis to a commercial relation: UGC was simply free raw material.</p>
<p>Lobster Media’s initiative to remunerate UGC providers is admirable in a sense. News Flair does something similar with video work. So yes, it’s about time “citizen journalists” were paid by the companies making vast profits from their unpaid labour.</p>
<h2>What does UGC really contribute?</h2>
<p>In explaining its business model, Lobster Media relates UGC to exciting times in the media world, especially</p>
<p style="padding-left: 30px;">the immediacy of social media. However, that&#8217;s not the only factor. At the very heart of this is a craving for authenticity – the genuine, gritty and unfiltered nature of UGC, which is bursting out from every corner of the globe. It’s legit and it’s as live as it gets</p>
<p>I’ve long held that immediacy is not a good in itself. Sometimes it can be useful, if for example there’s a flooded area to be avoided or an incident that may affect people’s movements in the immediate future.</p>
<p>However, the concept of immediacy in news is again an economic relation. The notion of the “scoop” was one in which journalists got the story out first, and therefore sales to the newspaper with the scoop would rise. Immediacy is an attention-grabber and little more.</p>
<p>Additionally the belief that it is more authentic than traditional content is questionable.</p>
<p>Even a tin pot philosopher is rather well aware that appearance and reality are not the same thing. There is little “authentic” about surface reality. News editors aren’t really very interested in long accounts that present a complex and deep reality. Indeed the first thing journalists are taught is how to make a complex world simplistic. As such they are taught to infantilise the public.</p>
<p>Take any recent incident and look at the UGC – immediate footage of people running, some screams, a siren, police cars. It tells us precisely nothing beyond the initial statement that “something has happened”. It offers no depth, no insight, no authenticity. It’s just filler. It’s candy for the childish mind.</p>
<p>But there’s a deeper problem with the account here. Immediacy has become the business model in journalism. Unreflective response is nurtured encouraged though UCG and social media platforms. The hyperreal is now the authentic.</p>
<p>Behind all this are scandal merchants whipping people up into hysteria over the latest scandal or tragedy. “Here something awfully terrible and very sad has happened….isn’t it terrible and sad?” Even the soundest minds are guided to rage so often articulated online.</p>
<h2>Rage Markets in the UGC-Media Complex</h2>
<p>UGC isn’t independent of mainstream media &#8211; a term itself less and less useful as they have adopted the forms of radical media as radical media had adopted the forms of mainstream. From the camera angles and POV to the topics, intonation and emphasis much of UGC copies the form of traditional reporting.</p>
<p>The Age of Moronism that Herbert Marcuse identified in the 1960s can be discerned in any shooting, protest, terrorist attack, and nowadays car crash.</p>
<p>If there’s an Islamist terrorist attack, right wing social media pounces upon it as evidence of the incompatibility of Islam with Western culture. At the same time the left will jump in to deny any causal relation and denounce those entertaining such a link as “Islamophobic”.</p>
<p>When there’s a white terrorist attack, the right is as likely to call it the action of a lone madman as the left is to call it evidence of organised white supremacism.</p>
<h2>Rage Markets and the Crisis of Political Rationality</h2>
<p>Social media encourages and almost demands ignorant speculation framed by the concerns or this or that political lifestyle. The echo chambers are getting bigger and louder to the extent that we have certainly reached a crisis of political rationality.</p>
<p>The echo chambers reinforce narratives with their mainstream counterparts egging them on – the Daily Mail on one side and its liberal-left analogue, the Independent, on the other.</p>
<p>The papers listen to their readers, tell them what they want to hear, which is then amplified through sharing on social media, and then integrated into news copy, and so the cycle continues.</p>
<p>Fuelling the respective rage market becomes the function of the press. And so news stories come to be written as click bait, tailor made for their respective markets to froth over.</p>
<p>The paradox is this. Social media and UGC don’t change things for the better. Flat earthers, 9/11 conspiracy theorists, racists, paranoid leftists, conservatives, xenophobes, internationalists, Corbynites, Brexiters, antifa, and each and every other grouping is encouraged to further fragment into what are effectively consumer groupings.</p>
<p>Links form networks, Facebook and Twitter accounts provide walls to keep out undesirables, so unchallenged adherence to unreflexive beliefs is untouched.</p>
<p>Safe spaces, bans, no platforming, Doxing, trigger warnings, unfriending, blocking are the tools of the new politics. Purity is key. Disagreement is the new taboo.</p>
<p>The unending cycles of confirmation bias within bubbles reinforces the walls, ensuring no dissenting idea can get in while Spanish Inquisitors roll in their graves.</p>
<p>“Tell them more of what they want to hear” is the mantra of the news editor. Abidingly the Daily Mail tells its readers of a new group seeking to impose Sharia in a genteel English village as The Independent tells its customers of the cognitive disabilities and racism of every white working class Brexit voter. Neither the Muslim nor the Brexiter can be reasoned with – they have no words, no reasons and can only be destroyed as the virtual pitchforks are brought out to do their bidding.</p>
<p>The problem of course is precisely what passes for &#8220;authenticity&#8221; and the supposed need for immediacy. The time compression that news media and particularly social media structure remove the space for reflection, consideration and thought. The commercial imperatives of the news media, and its basis in cost-benefit analysis are structurally positioned to remove the necessary conditions for democratised media.</p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/10/11/the-cynical-trap-of-ugc/">The cynical trap of User Generated Content – it does not democratise media</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>France’s new revolutionary politics: anything new under the sun?</title>
		<link>http://www.fourthestatedoc.com/2017/06/26/macron-and-frances-new-revolutionary-politics-anything-new-under-the-sun/</link>
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		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Mon, 26 Jun 2017 12:27:40 +0000</pubDate>
				<category><![CDATA[Media and Politics in France]]></category>
		<category><![CDATA[France]]></category>
		<category><![CDATA[Macron]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[post truth politics]]></category>
		<guid isPermaLink="false">http://www.fourthestatedoc.com/?p=117</guid>

					<description><![CDATA[<p>With the Conservative victory in the UK following the election of Trump in the USA and the earlier Brexit vote, the political landscape in the West seems&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/06/26/macron-and-frances-new-revolutionary-politics-anything-new-under-the-sun/" rel="bookmark">Read more <span class="screen-reader-text">"France’s new revolutionary politics: anything new under the sun?"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/26/macron-and-frances-new-revolutionary-politics-anything-new-under-the-sun/">France’s new revolutionary politics: anything new under the sun?</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>With the Conservative victory in the UK following the election of Trump in the USA and the earlier Brexit vote, the political landscape in the West seems somewhat depressing. Against the spectre of Le Pen in France, the victory of Macron sent signs of hope across the European liberal-left. The liberal media let out a collective sigh of relief, extolling the virtues of this great new hope. Yet in this era of simulacrum is all the media sphere promises?</p>
<p>It’s been 40 years since Stuart Hall announced the Great Moving Right Show, where the centre of political gravity shifted far to the right. In the UK it was startling to see Corbyn’s Labour manifesto derided by 80% of the press as radical. Indeed, it would have looked more or less at home as a 1970s Conservative Party manifesto. That’s how far to the right the centre has moved.</p>
<p>France is no different: policies passed since 2015 by Hollande’s social government were increasingly towards the right of the spectrum. The state of emergency adopted following the Paris terrorist attacks in November was then renewed five times, and Macron is planning to extend it further. <a title="" href="http://isj.org.uk/interview-the-meaning-of-macron/" target="_blank" rel="noopener noreferrer">International Socialism</a> explains the shift in its last edition, highlighting in particular the crisis political parties are facing in France.</p>
<p>This shift has been supported by a largely right-wing mediascape; where “the left” is really just the centre. Television news and newspapers are staffed by middle-class liberals who are said to represent “the left,” but as <a title="" href="https://www.youtube.com/watch?v=g-6No4ZUKhg" target="_blank" rel="noopener noreferrer">Deirdre O’Neill argues</a>, the majority of the commentariat are privately educated Oxbridge graduates.</p>
<p>At best journalists reflect what Marx Deuze calls an “occupational ideology”, wherein their concepts of “balance” and “objectivity” tend merely to reflect hegemonic shifts – they obey and amplify institutionalised politics and its reconfigurations over time.</p>
<h2><strong>No clean politics </strong></h2>
<p>The challenge to the political “centre” by UKIP, the Front National and other far right groups has been met with contradictory consternation by the media that facilitated it. The narrative of the likes of UKIP and FN feeds off the media narrative that the political class is dirty and its institutions corrupt. It is not just the promise of national self-determination that animates the right, but also the cleaning up of dirty politics.</p>
<p>In response the political class and broadly supportive, if contradictory media, will seek a “clean” candidate.</p>
<p>It was on this basis that Macron was elected on <a title="" href="http://www.reuters.com/article/us-france-election-ethics-idUSKBN18I27B" target="_blank" rel="noopener noreferrer">a clean politics pledge</a> and promised to do away with embezzlement scandals and bad habits – but bad habits die hard. What France faces now is pretty much to the T a copy of the Fillon affair, or “Penelope gate” for the media, which shook the presidential campaign between January and May. The smear campaign saw the leading right-wing candidate and former Prime Minister François Fillon go from polls favourite to disgrace through a series of scandals including reports that he paid his wife for work as a parliamentary aid that she allegedly did not perform.</p>
<p>Fillon and Le Pen, who was accused of using legislative aids on the EU payroll for her own party’s political activity but rejected a formal summons from French investigators, quickly became the plagues of the 2017 presidential election. This paved the way for fresh blood, novelty and dynamism, incarnated by the young and smiley Macron. He played his cards well and benefited from the crisis of the traditional parties and a media seeking hope.</p>
<p>Having left Hollande’s government, he distanced himself from the much disliked president (who gathered 4% of approval at the end of last year) while never taking positions (“I’m neither right nor left”) and using appealing timely statements (“Make our planet great again.”)</p>
<p>Such rhetoric sits well with the media. It is the rhetoric of Blair, Jospin, Schroeder and Hollande – &nbsp;it says enough to appeal yet not enough to threaten the establishment. The <a title="" href="https://www.theguardian.com/world/2017/jan/29/french-socialists-leftwing-rebel-benoit-hamon-elysee-manuel-valls-francois-hollande-presidency" target="_blank" rel="noopener noreferrer">media’s position towards Benoit Hamon</a> – who was democratically chosen to represent the left in a primary election Macron refused to participate in – is unequivocal. Although hardly a revolutionary, the Guardian presented him as a “rebel” from the outset, <a title="" href="https://www.theguardian.com/world/shortcuts/2017/jan/30/meet-benoit-hamon-aka-the-french-jeremy-corbyn" target="_blank" rel="noopener noreferrer">drawing obvious comparisons with Corbyn</a>. Hamon’s programme, had he been elected president, was very daring compared to previous and other leftist candidates, promising a Universal Basic Income and strongly criticising Hollande’s bad record on immigration, refugees, and the treatment of undocumented migrant.</p>
<p>The broadly liberal policies of the “radical” candidates are portrayed at the left boundary of possible politics. Such limitation constitutes what Chomsky calls the boundaries of legitimate dissent. Left-liberalism is the only left alternative to liberal liberalism. Anything beyond that is cloud-cuckoo land. Therefore, personalities like Macron are championed by the media because it’s better to have them than the real left.</p>
<p>Of course, in reality, Macron brings nothing new, but in the lead-up to the election, he was the perfect answer to old-style politics which, as the Fillon and Le Pen affairs demonstrated, are filled with <a title="" href="https://www.theguardian.com/world/2017/feb/24/francois-fillon-fake-jobs-allegations-receive-full-judicial-inquiry" target="_blank" rel="noopener noreferrer">abuse, treason and unworthy of public trust</a>.</p>
<p>Before long, rumours were circulating about Macron’s entourage, and investigations are now ongoing into four of his former ministers, who resigned shortly after being nominated.</p>
<p>But the distinction ought to be clear between what is legal – and indeed all these ministers, members of parliament or other public figures should be treated as innocent until proven guilty – and what is right in the ethical and moral sense. As elected representatives of the French people, they should lead by example.</p>
<p><a title="" href="http://www.liberation.fr/elections-presidentielle-legislatives-2017/2017/02/01/la-defense-tres-bancale-des-soutiens-de-francois-fillon_1545550" target="_blank" rel="noopener noreferrer">Fillon’s many lines of defense</a>, including the always-handy “everyone else’s doing it” has only contributed to making these practices commonplace – to the point where Fillon still gathered 19.5% of the vote in the first round; and so it’s hard to imagine Macron, with his choir-boy image will lose much voters confidence in the current affairs. The parallels with the UK’s own deified liberal Tony Blair are stark.</p>
<p>So Macron’s leadership, instead of bringing fresh air, has so far been more of the same.</p>
<p>Four of his ministers could be heard in current investigations and have already resigned.</p>
<p>Richard Ferrand, formerly from the Socialist Party, is under investigation for his past business and financial dealings, and was asked by the president to resign in order to lead the party’s deputies in the national assembly. Not completely sidelined then, but moved enough to show the government is tough on ethics, Ferrand now benefits from parliamentary immunity.</p>
<p>Most significantly perhaps was the resignation of Justice Minister and Garde des Sceaux (garant of the justice) François Bayrou, who was carrying the moralisation law.</p>
<p>The law, a true symbol of the moral ideals publicly defended by Bayrou through years of political campaigns, is meant to “restore confidence” and is mainly targeted at ministers and members of parliament.</p>
<p>Speaking in a press conference early June, Bayrou said “For years we have seen practices develop that have damaged people’s confidence in their elected representatives and provoked a profound exasperation among the French.” This is what the fresh blood is supposedly fighting against, then?</p>
<h2><strong>Macron: a breath of fresh air?</strong></h2>
<p>Macron’s election promised renewal, and of the 350 LREM deputies, 315 have never been elected before. LREM being less than two years old and self-defined as a “neither right nor left” party, calling it directionless is probably just an understatement. So what do these new wannabe politicians believe in, defend, and most importantly what did they agree to in order to represent the party at the assembly?</p>
<p>In order to be invested, all candidates had to sign a contract – which Macron explained would discourage “disagreement with the heart of our project” and prove commitment to “voting with (him) the big projects”. He wants no dissenting voices.</p>
<p>The contract itself is rather vague and organised around six projects – the clearest one of all being the labour law – the one Macron failed to pass originally in 2016 and which was pushed with force through parliament edited and revised under its new name: <a title="" href="http://www.politico.eu/article/france-violent-labor-protests-could-tilt-the-scales-for-2017-francois-hollande-manuel-valls-myriam-el-khomri" target="_blank" rel="noopener noreferrer">El Khomri law</a>.</p>
<p>Now that he has a majority in the national assembly, Macron will push for a vote of confidence in early July which will enable him to rule by decree – bypassing Parliament to push through new reforms. And what better time to do that than during the quiet summer months?</p>
<p>The muted response to such a proposal in France and abroad is telling, just as when Mario Monti was appointed to lead a “technocratic government” in Italy. In that instance there was no chorus of protest in the Western press about a new dictatorship in Europe. It is in the Western media mindset justifiable to impose martial law, rule by decree or unelected government if “necessary”. But of course that necessity cannot be found in places like Venezuela for instance.</p>
<h2><strong>Contradictory positions: who can we trust?</strong></h2>
<p>In a post-political era it is not the substance of rhetoric that counts. Much as newspaper headlines are designed to attract attention and <a href="http://www.fourthestatedoc.com/2017/06/18/fake-news-post-truth-closed-minds/">feed bias in the left and right</a>, so the vacant utterances of politicians are there to titillate empty-minded voters who demand their prejudices are spoken to.</p>
<p>While in Brussels for a EU leaders summit, Macron declared it was France’s honour and duty to welcome refugees. Visiting Calais on Friday, Home Secretary Gerard Collomb defended <a title="" href="http://www.liberation.fr/france/2017/06/23/a-calais-la-politique-de-gerard-collomb-la-fermete-sans-l-humanite_1579185" target="_blank" rel="noopener noreferrer">more heavy-handed security measures</a> in the handling of the migrant crisis in Calais and announced the deployment of 200 more police staff, bringing to almost 700 the total of forces on the ground. As for the charities trying to help migrants access food and water on the ground, Collomb invited them to “spread out their know-how” away from Calais.</p>
<p>The government’s position was recently criticised by Jacques Toubon, head of France’s public human rights watchdog, who advocated for migrants to have access to clean water and for charities to distribute food.</p>
<p>So while his ministers defend tougher security measures, raising Macron’s popularity with Fillon, Le Pen, and “centrist” voters, Macron seduces foreign leaders – and the media ensures this is what everyone sees.</p>
<p>Devoid of substance he plays the game with a compliant media. There is no substance, we are left with gushing adoration of his personality and character: He’s a good person, has a nice smile, he’s stylish, witty, young, has a wife. There is no political evaluation whatsoever, purely personality evaluation.</p>
<p>UK media coverage has shown even more support to Macron than the French; with the Guardian describing him in November 2016 as “<a title="" href="https://www.theguardian.com/world/2016/nov/08/emmanuel-macron-presidency-bid-former-economy-minister" target="_blank" rel="noopener noreferrer">a product of the times</a>,” and “a rebel,”.</p>
<p>Since his election, his victory has been portrayed as “<a title="" href="https://www.theguardian.com/commentisfree/2017/may/08/the-guardian-view-on-frances-electoral-system-a-two-stage-lesson-for-britain" target="_blank" rel="noopener noreferrer">an example for Britain</a>,” a “<a title="" href="https://www.theguardian.com/commentisfree/2017/jun/17/macron-brilliant-coup-could-british-do-same" target="_blank" rel="noopener noreferrer">revolutionary political moment</a>,” “<a title="" href="https://www.theguardian.com/commentisfree/2017/apr/08/emmanuel-macron-carries-hope-france" target="_blank" rel="noopener noreferrer">a breath of fresh air in French politics</a>” simply for being young, good looking and energetic – which earned him comparisons with Canada’s Trudeau.</p>
<p>And it’s not just the “left” newspapers that are happy to support Macron: <a title="" href="https://www.theguardian.com/business/live/2017/apr/24/euro-rallies-shares-market-france-election-macron-eurozone-business-live" target="_blank" rel="noopener noreferrer">so are the markets</a>.</p>
<p>Rare are the opinion pieces that present his anti-system stances as a “<a title="" href="https://www.theguardian.com/commentisfree/2017/jan/18/emmanuel-macron-anti-system-french-presidency" target="_blank" rel="noopener noreferrer">sham</a>”; and indeed, he is nothing but a product of the system. One that knows that nowadays the old distinctions between left and right are gone, and to appeal to the masses and please a broad audience, he should avoid taking a strong stance for as long as possible. As with compartmentalised liberal newspapers the strategy is clear – tell people what they like to hear and hope nobody notices the contradictions.</p>
<p>Politics have shifted, and so has our perception of politicians: their roles, their responsibilities, and what we should them hold accountable to. But indeed, we know deep corruption persists, with the wealthy seeking always more power and more money. Tax evasion, embezzlement, fictitious jobs – corruption at this level could easily be solved if there was real counterbalance. But the media defends and perpetuates the status quo, sacrificing a couple of figures here and there to seem balanced. So when there’s a need for fresh blood, the media presents fresh blood. But Macron, former economy minister, former investment banker, graduated from the Ecole Nationale d’Administration (ENA) and Sciences Po, is not only no different, he’s probably more dangerous than what France has just left behind.</p>
<p><em>Written by Charlotte Sexauer</em></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/26/macron-and-frances-new-revolutionary-politics-anything-new-under-the-sun/">France’s new revolutionary politics: anything new under the sun?</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>Identity Politics series</title>
		<link>http://www.fourthestatedoc.com/2017/06/23/identity-politics-series/</link>
					<comments>http://www.fourthestatedoc.com/2017/06/23/identity-politics-series/#respond</comments>
		
		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Fri, 23 Jun 2017 09:22:31 +0000</pubDate>
				<category><![CDATA[Identity Politics]]></category>
		<category><![CDATA[brexit]]></category>
		<category><![CDATA[class]]></category>
		<category><![CDATA[feminism]]></category>
		<category><![CDATA[identity politics]]></category>
		<category><![CDATA[rationality]]></category>
		<category><![CDATA[socialism]]></category>
		<category><![CDATA[Trump]]></category>
		<guid isPermaLink="false">http://www.fourthestatedoc.com/?p=114</guid>

					<description><![CDATA[<p>This is a short series of video interviews on identity politics and the crisis of political rationality (interviews below) Each interview opens the question of the political&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/06/23/identity-politics-series/" rel="bookmark">Read more <span class="screen-reader-text">"Identity Politics series"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/23/identity-politics-series/">Identity Politics series</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>This is a short series of video interviews on identity politics and the crisis of political rationality (interviews below)</p>
<p>Each interview opens the question of the political present and investigates the configurations of political reasoning through which it is understood. The victory of Trump, Brext in the UK, the rise of Cineque Stelle in Italy are understood as responses to the modern political and economic crisis, and in particular the economic crisis that began in 2007. We hear in these interviews how the contradictory responses of sections of the left that grew from the 1960s might be seen to exasperate the crisis of political rationality.</p>
<p>We the interviews dig deep we find that identity politics of course has routes beyond the 1960s into the imperialistic white supremacism articulated in the nineteenth and early twentieth centuries. At the same time, the postmodern fragmentation of people into ever more niche segmentations can be seen to serve the age old method of divide and rule, at a great cost to concepts such as public good or well-being.</p>
<p>Here we hear Prof. Olivia Guaraldo reflect on the political present and how we arrived here. She interrogates the trajectory of identity politics from the early twentieth century, considering its virtues as well as its problems.</p>
<p><iframe title="Professor Olivia Guaraldo on identity politics, the left and the common good" width="775" height="436" src="https://www.youtube.com/embed/8NvNolCFR2U?feature=oembed" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p>In the second interview, Dr Deidre O&#8217;Neill explain how class has become marginalised as an analytical category, thereby restricting adequate diagnosis of social problems. For Dr O&#8217;Neill, the problem lies not just in analytical shortcomings but also in the class dynamics of public engagement.</p>
<p><iframe title="On class, identity politics and the Trump era" width="775" height="436" src="https://www.youtube.com/embed/g-6No4ZUKhg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/23/identity-politics-series/">Identity Politics series</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>Forging a Constellation: The Memory Strategies of Patricio Guzman</title>
		<link>http://www.fourthestatedoc.com/2017/06/22/forging-constellation-memory-strategies-patricio-guzman/</link>
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		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Thu, 22 Jun 2017 21:54:28 +0000</pubDate>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Batalla de Chile]]></category>
		<category><![CDATA[Chile]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Nostalgia de la luz]]></category>
		<category><![CDATA[Patricio Guzman]]></category>
		<category><![CDATA[Salvador Allende]]></category>
		<guid isPermaLink="false">http://www.fourthestatedoc.com/?p=109</guid>

					<description><![CDATA[<p>Since the release of Battle of Chile/La Batalla de Chile over the course of three years (1975, 1976, 1979) the films of Patricio Guzman have become internationally&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/06/22/forging-constellation-memory-strategies-patricio-guzman/" rel="bookmark">Read more <span class="screen-reader-text">"Forging a Constellation: The Memory Strategies of Patricio Guzman"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/22/forging-constellation-memory-strategies-patricio-guzman/">Forging a Constellation: The Memory Strategies of Patricio Guzman</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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										<content:encoded><![CDATA[<p>Since the release of Battle of Chile/La Batalla de Chile over the course of three years (1975, 1976, 1979) the films of Patricio Guzman have become internationally renowned for the directors auterism and sensitivity towards his subject matter: Chile. Guzman’s films are analyses of a country scarred by the events of September 11th 1973, when a CIA backed coup overthrew the popular Socialist government of Salvador Allende, leading to the kidnapping, incarceration and death of over 30’000 people. The mnemonic wound caused by such an event has manifested as a national culture of amnesia that has lasted well into the country’s transition to democracy. The intention of Guzman’s films is to resist this culture, in which “the post-dictatorial media landscape continuously projects new images that establish an amnesiac flow of insubstantial data” (Cisneros 2006: 59).</p>
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<p>This mode of resistance involves the use of memory strategies that utilise film’s chronotopic (space-time) potentiality, re-forging the disconnected past and present. In other words, re-forging memory. Against the overabundance of hyperstimulus pervaded by neo-liberalism Guzman pits a strategy of decelerated storytelling that embraces a poetics of signs, fashioning an aesthetic environment that allows for a more paced consideration than that permitted by “the speed culture of globalisation” (ibid). Guzman’s films pool together signs, creating a constellation of memory before taking their place as a constituent part of that constellation, a process that illustrates “the incorporation of living memory in a public construction of history” (Chanan 2007: 269) and constitutes an act of what Derrida calls “consignation&#8230;through gathering together signs” as well as the “institutional implementation” of the text- its admission to collective memory as an archive (Derrida 1996: 3, 4). Here I want to show how the sensible and material display of signs in Guzman’s Nostalgia For The Light/Nostalgia de la Luz (2010) makes possible the re-examination of the lived experience of history and acts as a catalyst for the forging of memory.</p>
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<p>We can gain a better understanding of Guzman’s memory strategy by analysing Jacques Ranciere’s definition of memory as “the work of fiction” (Ranciere 2006: 158). Here the word fiction is not used in the singular sense ‘a work of fiction’. Rather, it is derived from the original fingere, meaning to construct or forge. Memory is subject to ongoing construction, the subjective assemblage of data from the objective world, which is then archived pending its re-examination in respect to new data. Cinema is the art best equipped to represent the operations of memory because it is “the combination of the gaze of the artist who decides and the mechanical gaze that records, of constructed images and chance images” (Ranciere 2006: 161). Contrary to a classical Aristotelian poetics that relies heavily on the performance of actors and an adherence to verisimilitude, Ranciere aligns this process with a romantic poetics- a poetics of signs and their assembly.</p>
<p>The power of romantic poetics lies in the form’s three-way negotiation between expression, correspondence and metamorphoses. A constituent sign of any narrative may “represent the sense, or nonsense of the whole”. At the same time signs may correspond with one another to form relationships, and this combination “solidifies into an opaque object or deploys itself in a signifying, living form”. Finally, reflection allows combinations of signs to interpret one another and allow themselves to be interpreted (Ranciere 2006: 160). The arrangement of stimulus in such an open-ended structure creates the possibility for myriad interpretations. Of all the cinematic genres, documentary cinema is best suited to the elicitation of meaning because</p>
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<blockquote><p>Documentary cinema is not bound to the “real” sought after by the classical norms of affinities and verisimilitude that exert so much force on so-called fiction cinema. This gives the documentary much greater leverage to play around with the consonance and dissonance between narrative voices, or with the series of period images with different provenances and signifying power (Ranciere 2006: 161).</p></blockquote>
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<p>Romantic poetics deploys itself within documentary as a combination of signs which, like memories, are subject to endless re-examination and re-appraisal. Its poetic power is “already present in the life of language” (Ranciere 2006: 160), giving meaning not just to signs, but, crucially in respect to montage, to the gaps between them, to silence, absence. In this sense every sensible quality of the documentary perpetuates some form of meaning if only by virtue of it’s not being something else. Every sign, therefore, contains within itself the presence of an absence. Why, we might ask, is it that this thing I see before me is this thing and not something else? The interplay between presence and absence catalyses the search for meaning that is a fundamental act in creating a “memory of fiction”.</p>
<p>Consideration, for example, of the interview, the oral testimony, makes it clear just how important this interplay is to the documentary filmmaker. As well as representing the opacity and unreliability of memory, the interview, as Thomas Klubock notes “illuminates the problems of memory and oral testimony, as well as the complicated relationship between the interviewer and the person whose memories are being interrogated: (Klubock 2003: 275). The necessary lack of any such thing as an objective account means that there are gaps and distortions in the story, and these “direct historians toward unexplored areas”. In other words, straddling the lines between ambiguity and specificity, romantic poetics allows for the creation of “documentary as a history that can free memory from repression” (ibid).</p>
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<p>In his work on the figure of memory in Chilean cinema, Cisneros (2006) draws a correlation between Ranciere’s theory of film aesthetics and Guzman’s memory strategy. He finds Ranciere’s “overabundance of information” in the contemporary media landscape, placing Guzman’s films in conflict with the memory strategies of the Pinochet regime and the frenetic media output surrounding the transition to democracy. The primary concern is resistance to a culture of amnesia that operates by “installing an insubstantial transience through the continuous flow and replacement of mediated images that blind through a hyper-visible simulacrum” (Cisneros 2006: 59). Blaine (2012) takes this a step further, identifying the source and perpetuation of amnesiac culture as the neo-liberalism instituted by Pinochet and the transitional government’s collusion with it. The refusal to properly acknowledge the past was a part of the new governments strategy for preserving political legitimacy and avoiding the prosecution of Pinochet for human rights abuses. Thus</p>
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<blockquote><p>Instead of encouraging a true reckoning with the past and the conflict and the re-opening of wounds that this would surely imply, the consistent impulse during the transition was to avoid disagreement and to create a highly questionable “consensus”. This process included&#8230;media policies that favoured conservative owned and controlled media outlets and contributed to the disappearance of the array of leftist independent media that had emerged during the dictatorship (Blaine 2012: 121).</p></blockquote>
<p>Meanwhile, in its antithetical stance toward the forging of memory, neoliberalism rouses an orgy of hyperstimulus that demands attention for that which can barely be grasped by consciousness. In a BFI interview Guzman attributes the creation of this media landscape to a Chilean political class who “during the entire period of political transition worked with timidity and prudence. We think that there’s a kind of pact between them and the military. Otherwise, why is their memory so lacking?” (Guzman 2010). Cisneros highlights the characteristics of Guzman’s strategy of resistance toward the culture of forgetfulness enacted through this pact. The task is to confront the pervasion of amnesia with a language that can “tear the surface of the image market” and “recover film for memory” (Cisneros 2006: 60, 61). This involves the fashioning of a space of resistance that is embodied within Guzman’s films as an aesthetic of decelerated images.</p>
<p>However, this space is inseparable from the environment in which it is situated. The challenge is to forge a memory strategy “that neither redraws linear continuities of history and tradition nor contributes to today’s global visual culture, but that nevertheless produces contemporary images of that past conception of history” (Cisneros 2006: 60). Guzman realises this motive in the opening scene of Salvador Allende (2004), his film biography of the former president. The camera remains static while showing us a number of personal items that belonged to Allende: a wallet, watch, Socialist Party manual with his name written in it, his presidential sash. A hand inspects these items for the audience as if to give a more robust perspective of them, while the occasional cut to a close-up allows for a closer inspection. The long duree of the shots and the slow, infrequent cutting reflects the historicity of the objects being put on display. They provide a material center-point on which memory can focus, and we are given adequate space in which to ruminate on what we see. With these first few shots Guzman sets the pace with which we cross a bridge back to the past, showing historical objects in a way that resists the redrawing of “linear continuities of history and tradition” (ibid).</p>
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<p>Allegory connects these films to memory through the former’s embrace of the discontinuities and ruptures inherent in the latter. As well as invoking the interplay between presence and absence, this method of allegorising memory can take on many guises. Rodriguez (2012), for example, connects the metaphor of the ruined memory to the visual presence of the ruin. This paves the way for a further connotation: the ruin of the documentary film as a form. The ontological status of the ruin, it’s limits as a site of memory, as well as the limitation on memory implied by the fact of something ruined, comes to signify a memory struggling to piece together what happened. The process manifests in the framing of ruins, as in Guzman’s filming of the La Moneda palace bombing during the 1973 coup, which he included as archive footage in his later film Chile: Memoria Obstinada/Chile: Obstinate Memory (1997).</p>
<p>Images such as these become “fragments of the petrified unrest and inevitable decay of the nation-state” (Rodriguez 2012: 133). They provide a window to history “that cannot be separated from the present” (ibid), eliciting a historical confrontation with catastrophe that is all the more haunting given the nation-states ongoing complicity with violence. Rodriguez employs Walter Benjamin’s theory on the ruin and its relationship to the fragment, explaining how “confronting history as it “decays into images”” allows the documentary filmmaker to “explode the homogeneity of the epoch, thus revealing “a constellation of dangers”” (ibid). Framing the ruin, then, has a double function for Guzman: it acts as a point of contradiction to the neoliberal zeitgeist while contributing to the forging of memory by providing a sensible source between the present subject and the past trauma, fulfilling the psychoanalytic motive of allowing the subject to remember without them having to repeat the symptoms of their forgetting. Freud, remarks Chanan (2007), discovered that people are not suffering from their memories, but from their forgetting.(1) Guzman’s framing of ruins in Obstinada Memoria acts as an archive, a set of signifying traces that forge memory through the use of signs that are continuously renewed by myriad interpretations. The framing, and re-framing of the bombing of La Moneda that occurs throughout Guzman’s films takes into account the ongoing creation of hindsight and the space this provides for another interpretation of history. The framing strategy employed is simple, although it connotes great complexity: repetition over time. Yet these interpretations are anchored in concrete historical events, a material basis that, as we have seen in the opening scenes of Salvador Allende, is vital to the forging of memory. Regarding, for example, the process of mourning delayed by the search for those who were ‘disappeared’ during Pinochet’s reign, Rodriguez writes</p>
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<blockquote><p>If we cannot follow the existing traces [of memory] back to an event, a document or a missing body, then how can we interrelate the remains to produce a memory of absence? When the storage banks have been emptied, the question that arises is: how to bind the few remaining vestiges so that their visibility becomes the index of an invisible absence they cannot represent? (Cisneros 2006: 61).</p></blockquote>
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<p>Guzman faces the problem of “producing images of that era without producing the temporality undergirding it” (Ibid). This would be to re-produce the kind of hyperstimulated hostility towards the forging of memory espoused by neoliberalism. Here, however we see another advantage of romantic poetics: the space it gives for signs to correspond with each other across “uneven temporalities and heterogeneous regimes of the image” (Ranciere 2006: 165). Correspondence between signs induces the metamorphosis of signifying forms, allowing historical images to be produced without re-producing the atmosphere in which the trauma took place. History becomes accessible across generations as these forms speak to each other and change over time. Films themselves as signs, as well as the multitude of signs through which they are constituted are subject to ongoing interpretation as new generations supplement them with different memories.</p>
<p>As Derrida informs us, this notion of accessibility is fundamental to the archive and the contribution it makes to the forging of collective memory. The act of gathering together signs, what Derrida calls consignation, is gravely affected by censorship, since this limits the scope of collective memory. Guzman’s films consign their constituents into a single body of text before the whole text as a sign enters the realm of public discourse, contributing to collective memory. The archive, therefore, is of a circular nature that continuously returns to the subject (as memory) and informs collectively on a multi-generational level. As Guzman remarks in Salvador Allende “the past doesn’t pass, it vibrates and twists with the moves of my life”. Access to this past is at risk of being cut off (and indeed was cut off in Chile) by a change in regime that establishes limitations on memory through secrecy and censorship.</p>
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<p>The lasting effect of Pinochet’s regime and its brutal characteristics is a theme that unites Guzman’s post-coup documentaries. His latest, Nostalgia de la Luz, is set in the Atacama Desert, the site of many unmarked graves of the ‘disappeared’ and home to numerous observatories because of the unparalleled clearness of its skies. It also happens to be, as the narration explains, the “one small brown patch” on our planet “that has absolutely no humidity”. The film comprises three strands that are related through the theme of a search for answers and the uncovering of history. Astronomers search from their observatories for the beginnings of life in space while archaeologists seek out history in the land of the desert.</p>
<p><iframe loading="lazy" src="https://www.youtube.com/embed/anDBhg8OJg4" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p>Meanwhile, Guzman follows a group of women as they seek out the remains of their disappeared friends and relatives. Given that the first interview isn’t until fifteen minutes into the film, Nostalgia should not be looked at simply as a documentary about the searches going on in the Atacama Desert. Nor does it present these searches as simply allegorical for the loss brought about by the coup. Rather, the film creates a “memory of fiction” by looking at the nature of memory, history and the paradox between presence and absence. Guzman finds strategies of framing materiality that open up the past, allowing for the continuous projection of future possibilities through the production and re-production of historical materiality.</p>
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<p>The opening shots of an old German telescope set the tone of the film in a number of ways. Each shot focuses on a different component of the object, a handle, wheels, gyroscope, all in movement as it turns to focus at the sky. We then see the telescope as a whole, and this juxtaposition is a prelude to the complex idea of history contained within the film: that it must be analysed through a lens made up of multiple components, factors, objects and, finally, people. “The concrete”, as Marx explains “is concrete because it is the concentration of many determinations, hence unity in the diverse” (Marx 1973: 101). These first few shots also announce the decelerated aesthetic that is present throughout the rest of the film. The following shots of the moon show how it is covered in celestial pockmarks, imprints that indicate a happening. In their multitude, these marks could be seen as simply allegorical for the lives affected by the dictatorship. On the other hand, these marks are present signs that signify an absent history, an absence represented by the physical emptiness of the crater. The scarred body of the moon points to a history that began before people existed. Its display sets the precedent for the theme of the original impression, “an impression that is no longer an archive but almost confuses itself with the pressure of the footstep that leaves its still-living mark on a substrate, a surface, a place of origin” (Derrida 1996: 4).</p>
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<p>This theme is extrapolated primarily through interviews with astronomers and the incredible shots of space that Guzman laces throughout the film. As he explains, he used to think that our origins could be found on Earth, but has since changed to the opinion that “memory lies with the stars”. Through these signifying forms the paradox of presence/absence comes into play. The stars present us with an appearance about which information is absent, catalysing the search for an explanation. This carries out the same function as the silence of the interviewee. Guzman does not cut his interviews into hermetic sound bites. He allows them to go on speaking, and for the silence to fill any pause. In an interview with Violetta, one of the women searching in the Desert, he allows her to be present on screen for at least five seconds before she begins talking. Similarly, the grandparents of Valentina Rodriguez are kept in a shot that has them staring motionlessly at the camera while she narrates over the shot. A director does not allow diegetic time to be taken up by silence unless he is trying to exemplify silence. This is also part of the film&#8217;s strategy of deceleration. The opening credits run in silence, which is broken by the sound of an observatory telescope being pointed toward the sky. The themes enunciated in the shots of the moon are connected to lived experience through a transition that draws attention to the similarity between the pockmarks and sunspots reflected through the branches of a tree. We then find ourselves in a quiet house, the space of resistance in which Guzman’s memory strategy begins to take shape. This sequence, more than any other in the film, is a product of his subjective memory. As he explains in a separate interview</p>
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<blockquote><p>When I speak of nostalgia I remember in my childhood a country before cell phones, where you watched the airplanes pass, where everything seemed to be asleep. Where if water was dripping in the kitchen you heard it throughout the house (Guzman 2010).</p></blockquote>
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<p>Nostalgia is enacted through the camera’s focus on objects within the house and the narration of the director: a radio, the arms of a chair, a table. The piecing together of these fragmentary parts of a whole is representative of the piecing together of memory, and at the same time signifies the opacity of memory, since the act of piecing together implies a continuous absence. Nostalgia, it seems, is the feeling brought about through the filling of this absence. Similarly to the opening sequence of Salvador Allende, Guzman is displaying objects through straight-on, static shots and infrequent though paced cutting. We are shown objects in the manner of a continuous slideshow, as if the director is attempting to spark off a series of connections between our thoughts and these objects in the forging of a constellation of memory. The film’s focus on matter activates the materiality of the film itself, both of which are shown to be in a constant state of flux. It is this state that allows us to constantly re-forge memory as we navigate the world. “Only the present moment existed” Guzman explains as the film cuts from object to object. In a later interview, the astronomer, Gaspar, explains how sound and light signals take time to travel to our senses. “The present” we are told “is a fine line”. “A puff of air would destroy it”. The Atacama Desert, however, is a place where “human remains are mummified and objects are frozen in time”. In the same way that stars have the appearance of being still, the Desert itself harbours a history that has yet to be uncovered. It is a site where lives have halted, unable to move forward for want of a lost connection to the past.</p>
<p>Frozen lives are represented through the films display of frozen objects. The archaeologist explains to us how Chile has never acknowledged the mistreatment of Indian miners earlier in the 20th century. This unacknowledged past comes to the fore when we enter a barn next to a graveyard. Again the camera pays specific attention to objects: dusty old volumes of engineering manuals, a stack of unopened bottles, an old jacket hanging from a rafter. These are the remains of dead nomadic miners of the 19th century. Cuts from shot to shot are laced with the solitary sound of spoons hitting each other as they dangle from the ceiling on strings being slowly brushed by the air. The present as a “fine line” is shown to us through a close up on the strings from which the spoons hang. The shot is framed as such that we do not see the spoons or the rafter, just a series of strings flicking off dust and reflecting sunlight as they reverberate. Every memory has its connection to something else. This allegory shows us how memory operates in the present, vibrating and twisting between the past and the future. Yet this is a place where objects are “frozen in time”. Time, however, does not stop moving forward, as exemplified by the cut to a shot of a train moving across the screen. The sound of the spoons overlays the cut, finally being drowned out by the horn of the train as it powers through the Desert. Each carriage represents a segment of time, of ‘progress’ away from a past that is “frozen” because it remains part of an unacknowledged history in a culture of amnesia. That Guzman would be critical of such a linear materialisation of time indicates the train as allegorical for the kind of determinism espoused by neo-liberal strategies that seek to compartmentalise history. That is, an indication of the kind of strategy the film aims to resist.</p>
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<p>While the astronomers, as the archaeologist, Lauturo, explains, “built a giant telescope to bring two seemingly incompatible things [man and the stars] together” the film plays a part in resisting the amnesiac culture by pulling together disparate stories of different groups who search for history in their own way. The Derridean act of consignation allows these strands to speak to each other, taking their place as nodes within an active constellation. This inter-subjectivity pauses the amnesiac flow of information, giving rise to a new kind of dialogical voice that strengthens rather than impedes the memory. “I am convinced” Guzman says “that memory has a gravitational force. It is constantly attracting us”. We see how, in the process of production, the film itself becomes an object of attraction, as the paths of the women had never crossed with those of the astronomers despite their close proximity. The film bridges a gap between two nodes in a constellation. Shots of solitary figures against the vast Atacama backdrop exemplify the scale of the task faced by the women as the astronomer compares their search to his. Here we cut to shots of myriad galaxies frozen in space. The forward movement of the camera represents the continuing search as the film cuts to a shot of a woman walking forward through the desert. Again the connection between these two shots is made stronger through the sound that overlays the cut. The desolate wind of the Atacama Desert purveys the wider connotation of the ‘winds of history’.</p>
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<p>Guzman connects shots using sound overlays as well as transitional fades. In the latter case, these create a visual ambiguity that reflects that of memory. At the beginning of the film there is a transition between a shot of a Chilean street and a room full of objects. Here the narration changes to the topic of the coup. Meanwhile, a continuous visual overlay connects both shots. Yet it remains unclear what this overlay is. At first it appears to be stars. Later it seems to be dust lit up by sunlight, not actually a separate shot laid over another. We see these objects, shrouded in some kind of dust, the origins of which is unknown to us. Where do these memories come from? The dust plays a part within Guzman’s memory strategy, acting as a catalyst in our search for the meaning of the memory objects presented to us. As a transition it establishes a connection not just between the shots, but in itself as first stars, then dust, showing us a historical continuity between the Earth and space. Dust is also what fills apparently empty space, linking seemingly discrete entities. Finally, it is only in relation to the other objects on screen that the status of the dust changes, forcing us to re-examine it in respect to new sensory data, new memories. “In this visual order”, according to Cisneros</p>
<blockquote><p>The conditions of visibility remain obscure, as the living images are not exterior images of some inner substance, but apparitions arising from a dream of things to come, flickering unsteadily in the disjointed present. It is the cinema, long inhabited by spectres from the valley of shadows, that has most developed this particular visibility (Cisneros 2006: 70).</p></blockquote>
<p>Guzman also draws connections between archaeology and astronomy while creating open-ended shots and sequences that resist any restriction to a single meaning. In one of these shots we see an ancient rock carving at the bottom of the screen and an observatory situated at the top, facing upwards at the sky. Compositionally, this tells us that answers can be found on Earth or in space, by archaeology and astronomy. The upward trajectory of the shot allegorises the ‘progress’ or elevation of humanity from Earth to sky, indicating, in other words, a collective intellectual development. What Guzman really wants to stress with this shot, however, is how we are oriented towards the future in respect to the past. Like the three different strands, the components of this shot speak to each other, making a comment on the nature of history in a manner that highlights the “irreducible discrepancy between the two temporal regimes” of Pinochet’s neo-liberalism and Allende’s democratic Socialism (Cisneros 2006: 70). This discrepancy is extrapolated in the section about the Chacabuco concentration camp that Pinochet set up in the Atacama Desert, a place that would have housed many of those who were disappeared and never returned. The first shot of Chacabuco is black and white archive footage. It is the last in a series of shots that begin with a display of the giant telescope slowly moving into position. This is followed by a shot of one of the former prisoners, Luis, looking up at the stars through an old piece of equipment that another astronomer, Dr Alvarez, taught him how to make while they were in the camp. This middle shot provides the buffer between the present and the past, asking us not to look at the latter through the lens of a hyper-stimulated culture. The past is reflected back at us through a contrast between the upward facing shot of Luis looking at the stars and the downward facing aerial shot of Chacabuco.</p>
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<p>The camera follows Luis around Chacabuco as he recounts how Dr Alvarez taught a group of men to chart the constellations of stars. Shots of the buildings run like a procession of still photographs as Luis tells of how the group was eventually shut down by the guards who became “convinced that the constellations could help the men to escape”. We are shown the map of constellations that Luis drew while in Chacabuco. This narrative is followed by that of an architect, Miguel Lawner, who had been imprisoned in five different camps and memorised each one. He now reproduces them by drawing from memory. These two forms of documentation are conducive to those carried out by the astronomer and the architect. The first charts the stars, the second a more recent history that is embodied by the ruins of Chacabuco. I am reminded of Walter Benjamin’s theory on how “confronting history as it “decays into images”” allows the documentary filmmaker to “explode the homogeneity of the epoch, thus revealing “a constellation of dangers”” (Rodriguez 2012: 113). Here the epoch of the Pinochet regime is exploded through the display of the ruin, and the prevailing of memory that is constituted by the charting of two different histories: that of the stars, and that of the prison camps. The drawings we see are maps, subjective accounts of history that are committed to collective memory via the films consignment of them and its institutional implementation as an archive of signs. In this way the constellation of stars recorded by Luis is replicated as the constellation of material signs pooled together by Guzman. The environment of the Atacama Desert, Lauturo tells us “facilitates our access to evidence of the past”, and if this is true of the Desert then it is true of the memory strategy of Guzman’s’ film.</p>
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<p>Ultimately, Ranciere’s “memory as a work of fiction” arises out of the space between presence and absence, the process of connecting the past with the future. Guzman’s catalogue of films is an example of this never-ending process. However, an absence, a loss of memory as a result of trauma, cannot be filled or recovered by appealing to the neo-liberal environment that induced the trauma in the first place. The recovery of memory is the recovery of the future, and the method or strategy of recovery will determine what is recovered, and therefore what is projected. The possibility of myriad possibilities is what Guzman projects through framing materiality in such a way so as to multiply the historical meaning of objects, artefacts, fragments, ruins. This dialogical memory strategy continues to act as a point of resistance to the monological voice imposed on memory by the neo-liberal hyperstimulus.</p>
<p><em>by Anthony Killick, Edge Hill University, UK</em></p>
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<p><strong>References</strong></p>
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<p>Blaine, P (2012) “Representing Absences in the Postdictatorial Documentary Cinema of Patricio Guzman”, Latin American Perspectives. 40 (2), p114-130</p>
<p>Chanan, M (2007) The Politics of Documentary, London: BFI<br />
Cisneros, J (2006) “The Figure of Memory in Chilean Cinema: Patricio Guzman and Raul Ruiz”, Journal of Latin American Cultural Studies: Travesia. 15 (1), p59-75</p>
<p>Darke, C (2012) Desert of the Dissapeared: Patricio Guzman on Nostalgia for the Light, Available: http://www.bfi.org.uk/news-opinion/sight-sound- magazine/interviews/desert-disappeared-patricio-guzman-nostalgia-light, Accessed August 24 2016</p>
<p>Derrida, J (1996) Archive Fever: A Freudian Impression, Chicago: Johns Hopkins University PressGuzman, P (2010)  Nostalgia, Memory and Revolution: An Interview With Patricio<br />
Guzman, Available: https://www.youtube.com/watch?v=4gYm4asc8ug, Accessed August 24 2016</p>
<p>Klubock, T.M (2003) “History and Memory in Neoliberal Chile: Patricio Guzman&#8217;s Obstinate Memory and The Battle of Chile”. Radical History Review. 85 (Winter), p272-281</p>
<p>Marx, K (1973) Grundrisse: Foundations of the Critique of Political Economy, London: Penguin</p>
<p>Ranciere, J (2006) Film Fables, Oxford: Berg<br />
Rodriguez, J.C (2012) “Framing Ruins: Patricio Guzman&#8217;s Postdictatorial Documentaries”, Latin American Perspectives. 40 (2), p131-144</p>
<p><strong>Filmography</strong></p>
<p>Chile: Memoria Obstinada/Chile: Obstinate Memory (Patricio Guzman, Canada, France, Chile, 1997)</p>
<p>La Battalla de Chile/The Battle of Chile (Patricio Guzman, Chile, Cuba, 1975, 1976, 1979)</p>
<p>Nostalgia de la Luz/Nostalgia for the Light (Patricio Guzman, France, Germany, Chile, Spain, 2010)</p>
<p>Salvador Allende (Patricio Guzman, Belgium, Chile, France, Germany, 2004)</p>
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<p>The post <a href="http://www.fourthestatedoc.com/2017/06/22/forging-constellation-memory-strategies-patricio-guzman/">Forging a Constellation: The Memory Strategies of Patricio Guzman</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>Fake news, post truth and closed minds</title>
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		<pubDate>Sun, 18 Jun 2017 04:26:03 +0000</pubDate>
				<category><![CDATA[Fake News]]></category>
		<category><![CDATA[arendt]]></category>
		<category><![CDATA[brexit]]></category>
		<category><![CDATA[digital media]]></category>
		<category><![CDATA[fake news]]></category>
		<category><![CDATA[lies]]></category>
		<category><![CDATA[lying in politics]]></category>
		<category><![CDATA[mainstream media]]></category>
		<category><![CDATA[post truth]]></category>
		<category><![CDATA[Trump]]></category>
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					<description><![CDATA[<p>Debates about fake news and post-truth politics seem central to the contemporary political moment. It is striking that these terms have so rapidly become part of the&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/06/18/fake-news-post-truth-closed-minds/" rel="bookmark">Read more <span class="screen-reader-text">"Fake news, post truth and closed minds"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/18/fake-news-post-truth-closed-minds/">Fake news, post truth and closed minds</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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										<content:encoded><![CDATA[<p>Debates about fake news and post-truth politics seem central to the contemporary political moment. It is striking that these terms have so rapidly become part of the political vocabulary for both the left and right, yet are rarely interrogated as claims in themselves.</p>
<p>The New York Times, apparently Trump’s most significant media adversary, expressed <a title="" href="https://www.nytimes.com/2016/08/24/opinion/campaign-stops/the-age-of-post-truth-politics.html?_r=0" target="_blank" rel="noopener noreferrer">concerns about fakery</a> well before Trump was elected. In a statement reminiscent of C. P. Scott, it held that ‘facts hold a sacred place in Western liberal democracies’. He points out that 70% of Trump’s statements fall into the categories of false, and then cites the claims of Brexiters to suggest ‘the sense is widespread: We have entered an age of post-truth politics’.</p>
<p>In the UK, former editor of The Times, Harold Evans, <a title="" href="https://www.theguardian.com/media/2017/feb/27/post-truth-era-perilous-for-media-sunday-times-editor-harold-evans" target="_blank" rel="noopener noreferrer">told us in February</a>, ‘In terms of truth of journalism it is a very perilous time…We have those people who don’t have the brains to distinguish facts [from fiction]. Then we have the bad performers in the press, particularly numerous in the UK … Then you have got the assault [on the media]’</p>
<p>There we have it. Two newspapers telling us they are concerned about truth and fakery. While they’re at it, Trump tells us that the same newspapers deal in fake news and sustain a post-truth politics.</p>
<p>Lined up in ironic formation on either side are the foot soldiers. Postmodern left and right wing “activists” face off to condemn anything that grates with their prejudices as fake and post-truth. Egging them on are their favoured media – the likes of The Guardian and Independent on one side and the Sun and the Mail on the other.</p>
<p>I’m minded of the Rabbi who on adjudicating two counter-posed views tells the first “you’re right”, and tells the second “you’re right”. They query him: “but we can’t both be right”, and he replies “you’re right”.</p>
<p>To untangle this a little, let’s start with some logical points. Might it not be the case that news is all fake? Might there be a possibility that what is considered fake or untruthful is merely that with which people disagree? This is, after all, the consumer society, wherein lifestyle starts and ends at individual preference. Does not the dominance of subjectivity in our hyper-real world render the concept of “fake” anathema? If the position is maintained, then it necessitates the acceptance of antonymic concepts.</p>
<p>To maintain that we have entered a period of “post-truth” politics or one of “fake news”, two logical relations must be demonstrated.</p>
<ol>
<li>“post-truth” indicates a prior period in which politics was “truthful”</li>
<li>“fake news” indicates a form of news that is “real”</li>
</ol>
<p>So the first thing anyone throwing around such terms needs to do is to explain when the “truth politics” period was and where the “real” news can be found.</p>
<p>The problem is perhaps that cultural shifts underpinning political discourse militate against recognising such concepts. Perhaps the meta-explanation for these problem is that we’ve arrived at a crisis of political rationality. The characteristics of this crisis seem to be:</p>
<ol>
<li>A lack of coherence and consistency in the application of principles, which seems to result from</li>
<li>A speeding up of communication but not of thought, which we can see in particular in the uses of social media</li>
<li>A disregard for or misuse of historical precursors</li>
<li>Mediationscapes that create echo chambers of narcissistic self-referentiality</li>
<li>The domination of “discursive conformity”</li>
</ol>
<p>Let’s take an example. Last week <a title="" href="http://metro.co.uk/2017/05/24/ex-ukip-mep-calls-for-death-penalty-for-suicide-bombers-6658334/" target="_blank" rel="noopener noreferrer">Metro reported that ex-UKIP politician Janice Atkinson called for the death penalty for suicide bombers</a>. The story perfectly fitted the liberal left view of UKIP members – so thick they want to kill dead people. People on blogs and social media rushed to ridicule and condemn without considering for a moment that perhaps the newspapers they spend so much time criticising might in this instance too be spreading fake news. The notion that a headline may be embellished with the same click-bait techniques used by the Daily Mail as much as The Canary, seems not to be considered.</p>
<p>But the news media fed tasty junk to a hungry audience who swallowed without chewing and belched their guttural reaction onto the internet. No, you don’t have to like Atkinson to find fault in the story any more than you need to agree with the death penalty. Yet to publicly object to it as post-truth fake news being used to manipulate public opinion against UKIP would be to step out of synch with the discourse of the left against UKIP. The actual statement <a title="" href="http://www.janiceatkinson.co.uk/2017/05/manchester-rip-now-bring-back-death-penalty/" target="_blank" rel="noopener noreferrer">can be found here</a>.</p>
<p>There’s no move to condemn the Metro’s piece as fake news, because it is reassuringly aligned with prejudice. To even notice it is fake would have entailed stepping out of conformity with discursive alignment. Another recent example, no less embarrassing, was the idiotic speed with which news circulated that the right-wing Tory MP Philip Davies lost his seat in the 2017 election. Within minutes feminist activists spread the glorious news around the world. It seemed not to matter whether it was true – it wasn’t – it was a moment, a dream come true, a simulation of a better world whose veracity did not matter, as long as it provided momentary pleasure. Naturally because people said it on social media, then <a title="" href="http://www.telegraph.co.uk/news/2017/06/09/general-election-2017-winners-losers-pictures/philip-davies-has-lost-tory-seat-shipley-labour/" target="_blank" rel="noopener noreferrer">journalists said it in the newspapers</a>, so then people said it with verification on social media.</p>
<p>Discursive conformity frequently mediates Facebook and Twitter spats. If an utterance fails to intersect with the general thrust of a discourse it is rarely reasoned with. At best responses come from a pre-packaged repertoire of unreflexive and standard phrases and slogans. Rather, given the lack of time and cognitive capacity to engage an alien perspective or counterpose data, the rapid reaction is to remove the dissenting perspective altogether. There’s little interest in truth or reality, as it is overridden by conformity.</p>
<p>Consider the frequency with which you read the words “blocked”, “muted” or “unfriended” on social media. They are as awfully depressing terms, especially when those who block, mute and unfriend accuse those who fail to mediate their politics of being fascist and shutting down free speech. More often than not, those blocked, muted or unfriended are dismissed as “thick”, and therefore unworthy of education and engagement. How mean and uncharitable people have become.</p>
<p>There is something incoherent and illogical about such attitudes. Truncated thought processes, flawed principles, rapid, responses too quick for consequentialism, immediacy and discursive conformity militate against considered analysis and understanding. Who wants to wait two weeks to hear your thoughtful analytical, evidenced-based response to the subject of the latest Twitter storm? The story has moved on, gone, you’ll miss your opportunity. Indeed which news organisations will eschew the time-honoured tradition of being first with the news to facilitate some long-winded complex analysis that fails to lend itself to click-bait?</p>
<p>Who has the inclination to slip outside the comfort zone of discursive conformity and risk being ostracised from the social crutch that activism has become for those on the left as much as those on the right?</p>
<p>So to a degree fakery is reduced to subjective preference expressed in discursive alignments. But to juxtapose it to “real” news would require news to report on things that are themselves real without mediation. Moreover a simple unmediated window on reality. Yet the second claim, that we have entered post-truth politics seems not to present a “real” work on which to report.</p>
<p>The crisis of political rationality that underpins such contradictory relations to media is itself premised on a philosophical problem: Can the concept of post-truth be coherently criticised without a conceptualisation of truth. The postmodernism that underpins so much left discourse does not allow for such a criticism because of the inimitably contradictory assertion that the truth is there is no such thing as truth.</p>
<p>Beyond even more difficult epistemological questions, and eschewing a couple of thousand years of history that demonstrates truths are anathema to the strategic pursuit of political power (which does nothing to discount their existence), let us consider prior considerations of truth in the modern, democratic world.</p>
<p>In the 1970s Hannah Arendt developed the theory of “modern political lies”, which are ‘so big that they require a complete rearrangement of the whole factual texture – the making of another reality into which they will fit without seam, crack or fissure [<em>. . .</em>] modern political lies [<em>. . .</em>] offer a full-fledged substitute for’ reality&#8217;. For Arendt, the modern political lie was the cause of the disastrous invasion of Vietnam and was well illustrated in the ‘Pentagon Papers’ otherwise known as the ‘History of the US Decision-Making Process of Vietnam Policy’. Arendt argued that policy in Vietnam was set by ‘self-deceivers’ who manipulated reality to fit their theories of what was wrong and how it could be fixed.</p>
<p>In this sense, “facts” that could be weaved into this “factual texture” became true in virtue of their “fit”. Indeed even Arendt was prone to referring to “North” and “South” Vietnam.</p>
<p>The notion of a factual texture in which claims are weaved together discursively is, however, the tip of the iceberg. It is not just a discursive fabric but a material reality in which truths are constructed. To this end, Christian Aid’s analysis of Israeli actions in the Palestinian Territories is instructive. It’s not just words but a reality – in this case of “settlements” that is constructive to give truth claims their validity. Another study found the same process taking place in the US-UK invasion of Iraq. George W. Bush’s claim that the war was over on 1<sup>st</sup> May 2003 seemed absurd, but it had the effect of creating a material and legal reality that provided validity to US-UK actions in Iraq, and made reports of those actions factually correct terms of their alignment to this constructed truth.  “Facts on the ground” were the bases of truth-claims.</p>
<p>Of course admitting that truth is created leads those with short attention spans to give up: there’s no such thing as “real” truth. Therefore “truths” become pragmatic. Something is true because it is useful and aligned to particular discourses, to particular factual textures that make up self-referential echo chambers. Nothing on the outside is true.</p>
<p>So we are left with two considerations. Either there is truth, but truths are historical and politically created, or there is no truth. In either case the concept of post-truth politics is redundant.</p>
<p>The reporting of these “truths” leads us to consider the nature of fakery. In this sense, it is not “fake news” that is the problem, but the very nature of news itself. It is not just news one doesn’t like that is “fake”, but news itself as a discursive style and time- resource- and epistemologically-limited practice is unable to get at truths. News exists on the surface, always. It, like politics, is constructed.</p>
<p>So there was not and is not “real” news before or beside “fake” news. Yet it is one of those curious phenomena that no matter how long one might study the social construction of news, ideology, hegemony or any array of analyses that indicate the news is anything other than an accurate portrayal or reality, people do tend to believe it if it conforms to a discursive preference.</p>
<p>It is therefore reasonable to suggest that The Sun or the Daily Mail provide fake news from the right-wing, just as The Guardian and The Independent provide fake news from the left wing.</p>
<p>It is worth recalling that, whatever the publication, it is at base a business that provides packaged news commodities to a consumer group whose choices are founded in preference, reassurance and prejudice. The intonation and slant given to any given story necessarily coheres with the expectation of the audience or consumer group’s preferred framework of understanding.</p>
<p>To be able single out the contemporary historical moment as somehow special requires understanding of a more innocent and truthful past that simply did not exist. To consider only that with which one disagrees to be “fake news” requires a concept of reality that fails to understand how all news media operate.</p>
<p>The solution is not, as canny newspapers and politicians seem to be encouraging, to reassert the reality of news or truth of politics. Is it to insist on the veracity of one solipsistic politics over another. Nor is it to give up and slip into a relativism that is immune from critique.</p>
<p>As the problems of politics and news are so much deeper than post-truth or fake news, so too are the solutions. Reconfiguring discursive time might help, but this is unlikely in a social media world where immediacy is the major currency.</p>
<p>Media scholars often refer to Jurgen Habermas’s concept of the public sphere to suggest how democratic discourse might be arranged, but more often than not its conceptualisation ends with “people communicate”. Such a formulation tends towards an argument for free speech that negates power relations, or in its “radicalised” form, forms of performance in public spheres that resist and challenge power.</p>
<p>The lack of reflexivity in the latter seems to militate against the purpose of the public sphere in the first place. Rather than closed discursive circles hermetically sealed by preferred media it is crucial for people to break out of their comfort zones, and be exposed to the other, however disagreeable. The key value of the public sphere is to encourage intersubjectivity, on the basis of which truth claims can be evaluated. To seek and understand the perspective of the other is a necessary start to finding a way out of this crisis of rationality.</p>
<p>Yet it seems truth and reality have little relevance within fully marketised media and political spheres. Each market segment will continue to feed its consumers with the information that confirms both the form and content of presumptive prejudice while also bolstering those outlets as the chosen and thus agreed reality and truth. There is little likelihood of this changing in the digital media world.</p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/18/fake-news-post-truth-closed-minds/">Fake news, post truth and closed minds</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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		<title>Trump, elections and the end of mainstream news?</title>
		<link>http://www.fourthestatedoc.com/2017/06/07/trump-elections-end-mainstream-news/</link>
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		<dc:creator><![CDATA[fourthestatedoc]]></dc:creator>
		<pubDate>Wed, 07 Jun 2017 11:56:00 +0000</pubDate>
				<category><![CDATA[Fake News]]></category>
		<category><![CDATA[digital media]]></category>
		<category><![CDATA[elections]]></category>
		<category><![CDATA[fake news]]></category>
		<category><![CDATA[mainstream media]]></category>
		<category><![CDATA[media]]></category>
		<category><![CDATA[polling]]></category>
		<category><![CDATA[Trump]]></category>
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					<description><![CDATA[<p>Has the election of Donald Trump spelled the end of mainstream news media? Probably not &#8211; at least if you dig down into the structures of media.&#8230; <span class="read-more"><a class="more-link" href="http://www.fourthestatedoc.com/2017/06/07/trump-elections-end-mainstream-news/" rel="bookmark">Read more <span class="screen-reader-text">"Trump, elections and the end of mainstream news?"</span></a></span></p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/07/trump-elections-end-mainstream-news/">Trump, elections and the end of mainstream news?</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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										<content:encoded><![CDATA[<p>Has the election of Donald Trump spelled the end of mainstream news media? Probably not &#8211; at least if you dig down into the structures of media.</p>
<h2>What the newspapers did</h2>
<p>Research by the American Presidency Project shows that of the major US newspapers, 57 endorsed Hilary Clinton, 26 did not endorse, 5 went for “none of the above”, 4 endorsed the Libertarian candidate Gary Johnson, 3 had a line of “not Trump” and just 2 endorsed Trump.</p>
<p>In rough circulation figures, 17 million Americans read papers that were against Trump, 6.5 million read papers that did not endorse, and only 300,000 read p<a href="http://www.presidency.ucsb.edu/data/2016_newspaper_endorsements.php" target="_blank" rel="noopener noreferrer">apers that did endorse him</a>.</p>
<p>Despite these stark figures, Trump got elected. It’s amazing, apparently, that Trump trumped the media. Some have gone so far as to claim that Trumps victory spell the end of mainstream media. No longer are they able to sway opinion or voting intention like they once did.</p>
<h2>But what about television and radio?</h2>
<p>Well in the first instance, they never really did decide elections. But more importantly, newspapers aren’t The Media. “Mainstream” media also encompass television and of course radio. I’ll come to the internet later. Whatever the impact of the internet, the Pew Research Center reports, 57% of Americans often <a href="http://www.journalism.org/2016/07/07/pathways-to-news/" target="_blank" rel="noopener noreferrer">get their news from television</a> (including cable) against 20% who often get their news from print newspapers.</p>
<p>Where the vast majority of newspaper circulation did indeed oppose Trump, the most widely viewed cable television news station was vociferous in its support for the Republican candidate. <a href="http://deadline.com/2016/12/cable-rankings-network-ratings-fox-cnn-msnbc-1201873996/" target="_blank" rel="noopener noreferrer">Fox News registered an audience of 2.48 million in 2016</a>, which is more than the combined viewership of the next two stations, CNN and MSNBC, put together</p>
<p>It is not through just through immediate reporting that media have their influence, but rather through the long-term exposure to particular views and ideas. To the first quarter of 2017 Fox News held the position of most watched Cable TV news station for 61 quarters. It had laid a discursive frame through which Trump would be comprehensible long before he announced his candidacy.</p>
<p>In addition to Trump’s support from Fox, it is worth attending to the audience of radio shows. In 2016 the inimitably right-wing Rush Limbaugh and Sean Hannity shows drew a combined 29 million listeners each week.</p>
<p>Unorthodox as they might seem, Limbaugh’s and Hannity’s shows are carried by Premier Networks, the largest syndication company in the US, and both play out on major corporate radio stations. They are as mainstream as you might find.</p>
<h2>Is digital media any different?</h2>
<p>But, we are told, it is social media and the internet that carried the 2016 election.  Breitbart has been singled out as the main non-mainstream news web site, but the Alexa’s list of the “top” news web sites reads like a who’s who or the corporate media – the top 5 are CNN, New York Times, The Guardian, and the Washington Post. <a href="http://www.alexa.com/topsites/category/News" target="_blank" rel="noopener noreferrer">Alexa’s ranking</a> does not take account of just visits, but other indicators such as inward links.</p>
<p>Where there is certainly a big audience for “digital native” news web sites, they are hardly cottage industry radical outlets. Huffington Post is owned by the media giant, AOL. Incidentally, Andrew Breitbart, founder of Breitbart news was also one of the founders of The Huff.  Another example of “non-conformist” digital native news outlet, Buzzfeed, whose investors include Comcast, NBCUniversal and venture capital firm Andressen Hotowitz, has annual revenues that surpass $150 million annually.</p>
<p>Of course social media shares account for a huge amount of traffic, but social media firms are among the biggest capitalist corporations, and shares tend to circulate stories from corporate media companies.</p>
<p>In other words, digital news services are mainstream news. As Robert McChesney put it in 2002, the corporate media giants walk on.</p>
<p>The post <a href="http://www.fourthestatedoc.com/2017/06/07/trump-elections-end-mainstream-news/">Trump, elections and the end of mainstream news?</a> appeared first on <a href="http://www.fourthestatedoc.com">The Fourth Estate</a>.</p>
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