The transcended boundaries of mass media
Abigail Lee argues that the mass media landscape is shifting, with both positive and negative consequences.
Jordan Peele’s 2017 film, Get Out, was (and still is) highly appraised. And rightfully so - the movie slaps audiences hard in the face with the reality of present-day racism. The main selling point of the film is Peele’s ingenuity in the context of seemingly conventional thriller tactics: a nice white family in the foreground that extends warm, welcoming arms towards the black man, a twist that propels the plot into climax, a few jump scares here and there, a brutal ending. The film kept me on edge throughout its runtime, but more importantly, it continued to do so even after the credits started rolling.
Putting details of the plot aside, the movie’s success, in both the box office and among critics, has been a surprise. There have been many films that chronicle the suffering of minorities, but none have directly tackled and forced audiences to confront a social issue quite like Peele’s masterpiece. Following Get Out, Peele went on to produce Us, another critically acclaimed film on political polarity in America. The success of such an ‘in-your-face’ work highlights the role of mass media as a vehicle to spread awareness of socio-political issues. Personally, I see this as a reconstruction of the media’s role.
As we witness this reconstruction morph according to current affairs, we must understand the one core role of media that will never waver: to inform. The transfer of information to the audience doesn’t have to be related to headlines; it may come in the form of a sci-fi story, or a mindless slapstick comedy, or maybe an anti-hero blockbuster filled with gore and action. Directors and screenwriters aim to provoke a reaction with exciting plots and unique narratives, because it is emotion that allows viewers to consider different perspectives.
The collection of movies that have left lingering traces on modern culture is vast. People still celebrate classics like Jaws or Star Wars, with iconic slogans plastered over worn-out sweaters or vintage tees. This extends to music, literature, blogs, vlogs, Instagram stories, tweets… The list never ends, and it will not end anytime soon. The more forms of media that arise, the wider the reach of content creators to advocate a variety of causes.
The outreach we see greatly depends on the creators themselves. As new global issues emerge, creators feel the increasing need to speak out on issues to which they feel deeply attached. Peele is directly tied to racial discrimination in the US, with the increasing number of police brutality cases set against the backdrop of a haunting history of slavery and an endless fight for equality. Perhaps Peele wants to project this very personal reality on a commercial scale, amidst the obvious lack of daily news attention. He manages to evoke a widespread reaction, from both a desensitised majority and a frustrated minority. Get Out does not inform audiences of some new ground-breaking thriller genre. Instead, it presents reality through the conventional thriller genre. He exaggerates reality to keep audiences on edge, to make an impact, to keep the conversation going.
However, issues arise with this new conception of mass media. Audiences, especially younger viewers, remain impressionable. An exhilarating two-hour movie may very well completely shift their perspective on certain issues, creating the potential for radicalisation. The recent Joker film sparked controversy over its encouragement of violence via the murderous, psychopathic protagonist. But the ability of this film to influence behaviour is in no way the filmmaker’s fault. In fact, the purpose was to show a more humane side to the villain and depict a deteriorating society riddled with class division and socioeconomic problems. There was no intention of provoking a crowd into violence; it was a work of art created to explore a theme. Content is an extension of the creator’s vision and should be received with an open mind.
Nonetheless, the power of film to materialise an idea indicates the potential for empowering action and reform. We have created vehicles for our voices to be heard. These vehicles were never meant to empower a crowd physically, but to empower them in reflection and insight. As such, there lies a potential for forms of media to bring about both progress and regress. Peele’s works ostensibly defy the regress argument, seen in the way his films generate discussion across every media platform. Content creators know what and who they want to inform, but they are changing the ‘how’.
Media, just like any other physical tool, remains as simple as that – a tool. Reconstruction does not signify redefinition. Reconstruction comes with new roles and responsibilities, but we must uphold these responsibilities with caution and at the discretion of parties on the receiving end as well. Will this power be jeopardised? By whom? Can the transference of knowledge and opinion ever be free? I stand by the proposition that the new wave of media will encourage the public (and even authorities) to reflect. That is a stepping-stone towards growth amidst uncertainty.